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

Reviews: Voivod, Druidess, Tidal Wave, Mascot Moth (Rich Piva & Matt Bladen)

Voivod - Symphonique (Centruy Media Records) [Rich Piva]

It seems these days a lot of people, who may not have known before, know now how awesome Voivod is. The entire back catalog is anywhere from very good to God tier, and their influence is blabbered about by countless musicians. 

Even their latest studio releases are essential listening. I am not sure if anyone saw this release coming from the Montreal legends. Not because it is a new live record, but because Symphonique is a live record of all the Voivod classics with the. Quebec Symphony Orchestra. 

Now, metal bands doing live records with orchestras is old news, but what makes Symphonique unique to this particular form of live records is how complex Voivod compositions are and how hard it seems the band had to make the orchestra work to keep up. This is no string section playing along to Enter Sandman, this is some serious virtuoso stuff.

I mean just listen to the perfect opener for this record, Experiment (indeed). Everyone is playing crazy shit with insane changes and nothing straightforward. Oh, and it’s killer. You get the chug of a track like Holographic Thinking while the orchestra builds behind it. 

There is so much to love on here, but my favourites are the huge Forgotten In Space, which sounds like a deranged 50s sci fi movie soundtrack, Nuclear War, from their classic first record, and, of course, their take on the Pink Floyd classic, Astronomy Domine, which is even more mind blowing with an orchestra. The recording sounds amazing and the band(s) are super tight.

Voivod fans will love this, because we are nerds and Voivod rules. This is no gimmick and no re-tread. The Voivod classics come alive (again) on Symphonique, breathing new life into songs we have been loving for decades as fans of one of the best and underrated bands out there still today. 9/10

Druidess - Trip Meadow (Self Released) [Matt Bladen]

Once More we plunge into the world of psychedelic stoner doom with Newcastle based Druidess present their debut album, Trip Meadow, having shared stages with some of the riff world's best and brightest.

The band follow up their 2024 EP Hermits And Mandrakes with a a record that pulls more sonic inspiration than just Iommi worship, though of course you can hear Tony all over this record in Daniel Downing's guitar playing, his tone is sharp and fuzzy (Descended From Giants), rarely going fully clean, though he switches to sax to bring a slight jazz flair on Witches Sabbath, it's the riffs though that matters most.

With Trip Meadow they taking more mind altering route through 60's psychedelia (Mandragora) as James Hill's keys/organs as muscular as the thunderous riffs on the Green Lung-like Title Track which shifts from heavyweight classics rock thunder to bass/drum driven grooves.

Sam Armstrong's drums are huge, setting the steady doom pace on the title track while on Knightingales there's a drive to them. Shonagh Brown meanwhile gives us the head nodding bass rhythms and reverbed, otherworldly vocals, drawn from the astral plane.

Druidess fit comfortably into the modern occult doom crowd, guitars and organs bleeding together, lyrics drawn from Albion's history/mythology all wrapped in retro trappings. Trip Meadow defines Druidess' journey so far. 8/10

Tidal Wave - Volume Tree (Ripple Music) [Rich Piva]

Tidal Wave started like a good morning, with Blueberry Muffin, their debut record that blew people away. It was a hard act to follow but The Lord Knows they were able to with The Lord Knows. 

Now, Ripple Music brings us their latest record, the cleverly named Volume Tree. It took me a second, but their take on doomy stoner rock once again has these guys from Sundsvall, Sweden stand out amongst the throngs of bands doing this today both with their excellent playing and witty lyrical stylings.

The Orb kicks it off, a doomy number with the great vocals we have come to love from Tidal Wave. You even get a nice death growl. The album is recorded expertly, really capturing the band’s sound, and a special shout to 'Raz' Sundberg who kills it on the drums throughout Volume Tree. I love the groove on the next one, Hangman, that is until it gets a bit trippy to make the riff even more filthy when it returns as he is swinging his axe so hard. I love the different tempos on this one. 

Earth is some serious Sabbath worship done Tidal Wave style, and it works so very well. Temple Of Humanity is an interesting one. It almost reminds me of one of those slowed down early 80s metal tracks, and it works very well within the confines of the record. Good stuff. The dual guitar adds to that 80s metal vibe. 

Sideburns is where the sense of humour comes out, but it comes with a killer riff and excellent vocals (as usual with these guys). Shapeshifter has this rawness to it and kicks ass while Manuscript: 512 is the stoner rock banger everyone expects from Tidal Wave. Skitliv closes the record out in an interesting and chill way, with more 80s vibes from which I hear Scorpions all over it. Oh, and that solo.

Volume Tree is another great record from Tidal Wave. Don’t compare the previous works from the band because they are all great, just let Volume Tree live on its own and enjoy it for all that it is; a very cool imagination of the genres of heavy music these guys love. 8/10

Mascot Moth - MOTHerSHIP (Self Released) [Matt Bladen]

Since 2015 Mascot Moth have been the premier prog, jazz. rock combo from Cymru (that's Wales for you non Welsh), they cross musical boundaries several times on all of their records.

Journeying into the outer reaches of space with psychedelic wandering of Hawkwond, the depths of the earth with blues, through smoke filled clubs with sax driven jazz of Krautrock and into the gardens and rolling hills of their homeland with pastoral folkisms drawn from the Canterbury scene.

Their new album MOTHerSHIP is another hour of sonic exploration that sees this experimental crew of Sioned Camlin (drums/vocals), Rob Harrison (flute/saxophone), Eric Heath (synths), Jack Hunter (bass/keys/vocals), David Thomas (guitar/trumpet/vocals) and Gavin Williamson-King (synths) combining their powers.

Ellis The Horn comes from Captain Beefheart jazz, while (I Think I'm) Grooving It goes into some funk shaking, Whatever It Was combines Frank Zappa with Can and with just three songs you can hear the sort of band Mascot Moth are, paying homage to a particular era when prog was daring and leaned into other genres.

The dreamy Lullaby In Giliminour the first prog rock masterclass on the record with sweeping guitars against flutes, You're On Your Phone meanwhile puts funk with Styx synth/vocoder, it's an alchemic mix of styles that keep things quirky but catchy. Fans of Krautrock, Psych and Canterbury prog will love this record, the MOTHerSHIP has landed and if this is your first contact be not afraid. 8/10

Reviews: Elder, Prince Of Failure, Alunah/Samavayo, Leoni Jane Kennedy (Rich Piva & Matt Bladen)

Elder - Through Zero (Stickman Records) [Rich Piva]

I have heard whispers from long time fans that Elder, one of the biggest bands who have broken through out of the heavy underground, have gone too soft. They are too prog, they are more Yes than anything else at this point. 

I also saw that Elder’s new record, Through Zero, finished at number one on the May Doom Charts, and it wasn’t even close, even with All Them Witches putting out a record the same day. Is Elder more proggy now? Absolutely. Are they a better band musically now? Yup. Is Through Zero amazing and some of the best stuff they have ever done? A resounding yes indeed.

Sigil To Ruin, the opener, simply rules. How clean the recording can sound without being overproduced is pretty amazing. The guys rip it up on this one too, as we get some seriously killer guitar work to go along with the atmospheric prog. The synths on Capture/Release add to the complexities of the proggy/Krautrock composition that, when it kicks in, is a beautiful piece of art, with Nick DiSalvo’s vocals never sounding better and the guitar work from him and Michael Risberg at another level, even for Elder. 

The changes are so great as these guys are just locked in. The title track has a nice chunky riff no one will say is too soft and the build on this one is just epic. If people want to say there is too much Yes going on listening to Through Zero they may call out Strata. This one is eleven minutes of proggy atmospheric goodness, with layered vocals, cool changes, and a ton of complexity. I wonder if the same people who say Elder is too proggy love King Buffalo? To be clear, I love King Buffalo, but I digress. 

Sight Unseen goes towards Krautrock again in parts, but there is always this underlying heavy in these songs, no matter if the naysayers want to hear it or not. Just listen at about 5:30 and you will see what I mean. Closing with the most chill song on the record, Blighted Age, is a nice comedown from all of the complexity on the record, and doubles down on the beautiful atmosphere Through Zero brings.

I am probably (absolutely) overstating the new Elder naysayers, but I think they come across louder because there really has been no pushback before on their material. Rest assured people, Through Zero has everything you want from Elder, and more. Yeah, it is not recorded in a garage or shed, and yes more time and money can now go into the recordings, but the songs are still top notch and the band continues to grow as musicians and songwriters. 

This is top top top shelf stuff that should not be ignored because they are bigger now. Elder still rules and this record is truly something to behold. 9/10

Prince Of Failure - Prince Of Failure (Kscope) [Matt Bladen]

Daniel Tompkins is one of the premiere voices in the metal world, his work with Tesseract has made them one of the best modern metal bands to come out of the UK in years, moving away from their initial Djent groupings into something more well rounded and brilliant than us lowly journalists could have predicted in the beginning.

Away from that though he's and in demand guest vocalist and has his own solo project where he can show a side that's not always heard in Tesseract. Both of his solo albums Castles and Ruins were just as inventive as his day job but added soundscapes that you may not have heard, one was also a reinterpretation of the other so clearly Daniel has a mind that is ever creating.

From that mind comes Prince Of Failure a project that deals with "neurodivergence, masking, and the psychological weight of living out of alignment with expectation" created over a long period of time alongside Paul Ortiz aka Chimp Spanner another originator of that Djent sound that is now so ubiquitous in both metal and modern pop too.

Rather than being a solo project or having it compared to either man's musical legacy, Prince Of Failure is it's own creation, a true collaboration that has grown into something familiar but different. The blending of oscillating electronics, intense guitar workouts and floating ambience with the intimately emotive vocals highlights the skillset of both men but never takes this album off into needless virtuosity.

It's an album that is song focussed and projects it narrative theme through the dynamic music this duo create as Ortiz's instrumental brilliance drives a darker edged sound than falls back to those djent early days but retains all the modernity of where it is now with track such as the menacing Phantom where Daniel's vocals are at their rawest and most melodic too, the deeply personal lyrics about living in shame of who you really are and masking that for the everyday really resonating.

It's told with a narrative arc, from the initial self pity though to self acceptance, built within a world of progressive, atmospheric and expertly crafted instrumentals by Ortiz that accentuate the vocal brilliance of Tompkins, joined by Krystyn Hope of Daedric. Fans of Tesseract, Chimp Spanner will obviously love this but it's also hinged on the style of Karnivool or any band that is signed to Kscope.

No sign of failure here Ortiz and Tompkins are a winning combination. 9/10

Alunah/Samavayo - Embers Of Belief (Heavy Psych Sounds) [Rich Piva]

I love a good split album. Labels like Ripple Music and Heavy Psych Sounds have really perfected this form of release. The latter are up now with their latest split from two killer bands: UK’s Alunah and Germany’s Samavayo. These two bands have released some killer stuff before, and this does not stop on this split album, titled Embers of Belief.

Starting with four tracks from Alunah, who are now featuring a new lead vocalist, Daisy Savage, who brings a more Pat Benatar poppy feel to the big riffs and proto sounds of the band. When I say “poppy” this is a complement; Savage’s voice fits perfectly with the sound of the band, with case in point being the opener, On Blacklow Hill, which comes along with a killer riff too. 

La Pucelle has some killer guitar work and shows a bit of Savage's range as a vocalist. The other two Alunah tracks are live and feature Savage’s debut as the new singer, taking on two previously recorded tracks, Hazy Jane (from 2024’s Fever Dream) and a melody from their 2019 record, Violent Hour. Both sound excellent and show how Savage will be a welcomed addition to the band.

Samavayo brings their heavy stoner psych stylings to three tracks. First, the crunchy BAVAR, which has interesting origins to the point that is worth checking out the description of it on their Bandcamp page, but all you need to know here is that it is very, very cool. Mottainai is an aggressive number that shows the band’s heavier side and rips it up. California Sky is an interesting one. A ten minute acoustic psych number inspired by their US tour and trip to the desert. Very cool stuff.

Another cool split from Heavy Psych Sounds. It was a great move by Alunah to get some tracks out there with their new singer to show how perfectly she fits in the band, while Samavayo do their thing like they seem to always do. Good stuff from two great bands. 7/10

Leoni Jane Kennedy - Synthetic (Self Released) [Matt Bladen]

There aren't many artists who can tour with both neo-prog outfit Solstice and veteran blues man Walter Trout, but Leoni Jane Kennedy is just that sort of artist. The PRS Guitars sponsored artist, multi award winner and recipient of the Freddie Mercury Scholarship which financed her university tuition.

She's previously released acoustic versions for Rush classics on New World Woman but returns with an album of her own material that was financed by her fans through Kickstarter in just 6 days. A few of these songs have been with Kennedy for many years but they are all presented here for the first time to an audience that are now well aware of Kennedy's style of inventive, progressive rock.

Leoni takes vocals, guitars on the record, co-producing with Eliot Kennedy who mixes, masters and Nick Andrew who assisted in production and engineering while also playing synths and Midi Guitar. It's a record that sounds lush and vast, which lets Leoni express her inventive sound fully, moving away from the covers many will associate her with and into a world created by her own compositions.

Will Plunkett plays bass, James Jackman plays drums, the driving, expressive rhythms to Kennedy's fluid playing and soulful vocals ala Susan Tedeschi. From the orchestral title track, through the jazzy Closer, there's musical dexterity to this release with the dreamy Sloe reminding me of Jeff Buckley while Test The Water and Different Kind Of Woman brings a bit of bluesing.

Synthetic is an excellent record from Leoni Jane Kennedy, blues, prog and more there's lots here to love. 8/10

A View From Blackweir: The Cure (Matt Bladen)

The Cure, The Twilight Sad & The Joy Formidable, Blackweir Live, Cardiff 24.06.26



Remember folks: "Goths Die In Hot Fields" and it didn't get much hotter than today, the warmest June day on record saw 35,000 decamp to Blackweir Fields, Cardiff newest outdoor event space, to take in the indie/goth/rock pioneers, and Olivia Rodrigo's favourite band.

Before all that though we made our way across the vast field filling up our water bottles and looking for the promised additional shade, which didn't appear, we settled into place for Flintshire alt rockers The Joy Formidable (8).

They began the evening loudly with some jangling post rock guitars, alt rock grooves and dual vocals from guitarist Rhiannon "Ritzy" Bryan and bassist Rhydian Dafydd, accompanied by their current drummer and another member who shifted between keys and singing saw, they're a big sounding band, despite basically being a duo, at a crossroads where post meet alt rock.

With the final "Diolch" they left the stage to applause from the early arrivers as the files began to fill for the headliners. This meant that The Twilight Sad (7) had a bigger crowd and while their style is a bit more theatrical, their music did sort of blend into one grungy post punk noise at times.

The issue is differentiation, the music is suposiyto be the focus here, each track adding to the stage performance, the licks and melodies of guitarist Andy MacFarlane, flowing through the body of vocalist James Graham who releases them into the world through his voice. I get it, but I did find little variation in what they do, still, it set the right moody atmosphere for what was to come.

Now the field felt like 35,000, all here to worship his gothness Robert Smith and as the chimes began the lights came down and Robert along with his band of misery makers took to the stage in Cardiff to a heroes welcome. Smith took his bows, stepped up the microphone and the magic began with Plainsong, Cardiff bewitched by The Cure (10) and the usual mammoth set list.

Much like New Jersey's favourite son Bruce Springsteen, The Cure setlists are fluid beasts, often hooked around a few "key songs" and then drawing songs from across the various albums and styles The Cure have adopted over the years. Be that electronic industrial bruising, driving post punk, moody goth shoegazing or shimmering new wave pop.

There's even time for, as my colleague put it, "Mr Smith's House Of Funk" all bass and choppy guitars but mostly this was The Cure in goth opulence as six from this set of twenty eight(!) songs came from 1989's Disintegration, with four from Head On The Door and the rest from another seven of their fourteen albums, even busting out Burn (very apt for the day) from their rarities collection and Wrong Number from their 1997 single release, as well as Hot! Hot! Hot! which too was apt for the day. 

Ultimately though, amongst the sold out crowd those that were down the front would have been hanging on every single song but for the rest it's Pictures Of You, Just Like Heaven, A Forest, Disintegration , Friday I'm In Love, Lovecats and Boys Don't Cry that illicit the biggest cheers.

With these in their arsenal and the shifting setlist, it's easy to see why so many people would put The Cure as their favourite band and it's a testament to the enduring legacy, as they managed to indoctrinate this hardened metalhead into the cult of Robert Smith.

A View From The Back Of The Room: Drowning Pool/Spineshank (Alex Tobias)

Drowning Pool/Spineshank & Silly Goose, Tramshed, Cardiff 16.06.26

There are gigs that ease you into the evening, and then there are gigs that kick the doors off their hinges before you've even finished your first drink. The June 16 stop of Drowning Pool and Spineshank's UK run at the legendary TramShed belonged firmly in the latter, delivering a sweaty, bruising celebration of nu-metal's legacy. With Atlanta chaos merchants Silly Goose opening proceedings, Cardiff was treated to a three-band bill that never once let the energy dip.

If anyone in the room arrived unfamiliar with Silly Goose (7), they certainly weren't by the end of their set. The Atlanta outfit stormed the stage with the kind of swagger and reckless enthusiasm that feels increasingly rare. Blending rap-rock attitude, hardcore aggression and a non stop energy boost that lasted the entire time they were on stage. They turned the packed venue into a bouncing mass of limbs within minutes.

Their performance felt less like an opening set and more like a challenge issued directly to the audience: keep up if you can. Frontman antics, relentless grooves and a wall of low-end punishment immediately established the tone for the evening. As support acts go, this was a masterclass in how to win over a room.

Spineshank (8) have always occupied a unique place in my music collection and brain ever since I heard the bands first album, sitting somewhere between industrial precision and nu-metal groove. On stage in Cardiff, they sounded anything but nostalgic.

From the opening moments, the Californian veterans were razor sharp. We start with four songs from The Height Of Callousness album, Asthmatic, Synthetic, (Can't Be) Fixed and Cyanide 2600 which everyone in the building sings at the top of their lungs before the band switch to material from their other albums to mix it up. 

Vocalist Johnny Santos states that he and the band are so humble to have had been given the amazing welcome the band have from Wales all day before praising new friends Silly Goose and oldest brothers in the game, Drowning Pool. The mechanical riffs hit with machine-like accuracy while the electronic textures that helped define their sound add a layer of menace many modern bands still struggle to replicate. More importantly, the songs have aged remarkably well.

The crowd response suggested many had waited a long time to see these tracks performed live again. Circle pits erupted throughout the set, while every recognisable chorus was met with a roar from all here tonight. The band round off the set with Dead To Me from the bands 2003 album Self-Destructive Pattern which sent everyone into even more of a frenzy of pits and joy. Rather than feeling like a reunion cash-in, Spineshank looked and sounded like a band with unfinished business.

Drowning Pool (8) took the stage and this Tramshed crowd was primed for absolute carnage.

The Texas metal veterans have spent years proving that they're far more than a one-song band, but let's be honest: everyone knew what was coming eventually. The band get going with classic after classic in the shape of Sinner, from the bands first album then switching up through the bands very impressive back catalogue with Feel Like I Do and no stops straight into the classic Step Up from 2004s album Desensitized. This is a set packed with groove, aggression and crowd participation.

Jasen Moreno remains a formidable frontman, effortlessly commanding the room while balancing the band's heavier moments with an infectious sense of fun. The rhythm section hit like a wrecking ball, while CJ Pierce's riffs still possess the simple, devastating effectiveness that made Drowning Pool such a force in the first place.

We then come to the awesome cover of Rebel Yell which sends everyone here crazy with surfs and pitting with singing almost louder than the noise coming from the stage. When Bodies finally arrived, the reaction bordered on predictable chaos. Hundreds of voices united, the floor became a sea of movement and for a few glorious minutes Cardiff collectively lost its mind. It was exactly the moment everyone wanted and the band delivered it flawlessly.

This wasn't a nostalgia trip. It was a reminder that heavy music built on riffs, hooks and genuine crowd connection still works exactly as intended.

Silly Goose brought the unpredictability. Spineshank delivered precision and intensity. Drowning Pool provided the anthems and the payoff.

Three bands, three very different approaches to heavy music, and one of the most relentlessly entertaining metal shows Cardiff has hosted this year so far.

A View From The Back Of The Room: Garbage & Skunk Anansie (Dean Palmer & Matt Bladen)

Garbage, Skunk Anansie & Du Blonde, Depot Live, Cardiff Castle, 22.06.26

Matt:

The first open air gig of the year as part of Depot Live at Cardiff Castle and it's a 90's grunge/alt rock feast for Generation Xers, before all that though was the opening act Du Blonde (7), the stage name of British musician Beth Jeans Houghton.

This was just the right sort of music to kick off the evening as Du Blonde play gritty grungy, punky, pop with confessional lyrics and high energy power rock. Having collaborated with Laura Jane Grace, Ezra Furman and Shirley Manson, there's no doubt why she was chosen to open the show.

Dean:

A great person, I have no idea who, once stated “There are levels to this”, and whilst it’s a quote which has been refused for many scenarios, I can only assume that the real origins of the quote came from somebody who had just seen Skunk Anansie (10) live and had realised that in the live sphere there are virtually none their equals.

This is a band who have headlined Glastonbury (1998), survived cancer (seriously, look up the story about bassist Cass’ journey and eventual all clear), founded charities, stood up for human rights and been on a 32 year journey and in that time have pretty much mastered the live show.

Taking the stage as the first of the headliners Skunk Anansie smash through opener This Means War in such an intense manner that you know frontwoman Skin is using this as a declaration of the next 80 minutes, prowling the stage whilst delivering a vocal assault that most singers wish they had the pipes to belt out.

And for the next hour and change the band deliver over and over, hitting every make musical food group with powerful singalong anthems such as Weak, Shame and Hedonism (Just Because You Feel Good), going hard with belters like Yes It’s Fucking Political, Cheers and Charlie Big Potato, and bringing main party vibes with Twisted (Everyday Hurts), I Can Dream and An Artist Is An Artist. During all of which guitarist Ace is tearing through some incredible riffage, Cass is hitting every bass note perfectly and drummer Mark simply doesn’t miss a beat. This is a live band that has everything honed to perfection, but can improvise as a unit with zero hesitation.

And improvise they have to, as the queen leading the group is not afraid to take the show elsewhere and as such the band have to play around this (and do so, perfectly). Skin is, put simply, an icon and legend of the alternative world. For me there isn’t a single frontperson on this planet who comes even close to the levels of charisma, talent and being as much of a sheer force of nature as her. She crowd surfs for fun, she heads to the middle of the audience to create a female-only mosh pit and she carries her “Skin-cam” around with such style that by the end of the show everybody remembers why this band deserve all their flowers.

Ending with seminal belter Little Baby Swastika the band exit the stage and the crowd are left to catch their breath. Special.

As impossible to follow as that is, Garbage (8) grab the reigns after an interval and take on the task in fine style. Bring brutally honest, I’ve seen Garbage many times and whilst some shows have been earth shattering, I’ve come away from equally as many slightly flat and that has always been down to what I can only describe as some very odd setlist choices (except that one time somebody thought it would be a good idea to book them in the concourse of a football stadium, but that’s another story).

Thankfully tonight is not one of those nights as Shirley Manson takes to the stage on a mission to absolutely lay waste to Cardiff castle with menace in her eyes and a band of musical royalty in the form of Butch Vig, Duke Erikson and Steve Marker (with Veruca Salt’s Nicole Fiorentino on touring bass duties) to give maximum firepower so she can do so.

Tonight we get a far stronger setlist from the band, with some heavy hitters like Vow, Stupid Girl, I Think I’m Paranoid and Push It being delivered to maximum effect, and keeping the crowd happy whilst they worship at the altar of Shirley.

There are still a couple of odd choices, such as The Day I Met God closing out the set instead of Only Happy When It Rains (which is played just before, and it is noticeable how many are making an early break for the exit afterwards, instead of staying for the last song) but this doesn’t detract from a phenomenal night in one of the best outdoor venues in the UK.

Seminal.

A View From The Wreckoning: Day Of Wreckoning 2026 (Matt Bladen)

Day Of Wreckoning, Corn Exchange/Le Pub/The Pit, Newport South Wales 20.06.26

The third annual Day Of Wreckoning rolled it's way into Newport this year after two years in Swansea, going bigger than ever before with not just one stage of music but three different stages all situated within a minute walk of each other in Newport high street. 

With the incredible Corn Exchange being the mainstage, a big welcoming room with plenty of unobstructed seating and well stocked bar featuring the extremely popular frozen cocktails. Stage two was Le Pub a all inclusive art space with a wide array of beverages and some top notch vegan food while stage three was The Pit a basement venue in the catacombs of McCanns Ale Bar. 

This turned what has always been a celebration of the South Wales metal scene into a full festival atmosphere as the sun beat down, the drinks were flowing and everyone seemed to be in very high spirits a and ready for a full day of amazing music.

As always the Day Of Wreckoning is the final of the South Wales Metal To The Masses initiative with there's bands from the West side and three from the East side playing for a coveted place at a sold out Bloodstock Festival. It's also a way to introduce them to bigger stages than perhaps they're used to, spurring them on to be the best version they can be and every year they are.

The crowds packed in early for the M2TM bands as it was Excursia that kicked things off first with some brutal deathcore battery. Node to Lorna Shore and others were heard as the beatdowns, riffs and throat shredding vocals were all pumping through the PA of the Corn Exchange, puts began in earnest as the energy was high from moment number one.

Next up was House Of Hosts who blend members from all over Wales and bring a very modern melodic metal sound. Full of huge riffs, slinky solos and vocal harmonies, while not quite as aggressive, House Of Hosts still kept the energy high with plenty of crowd interaction and their slick powerful metal sound.

This was going to be tough for the independent judging panel!

Following up all this modern metal melee was the thick syrupy sludge riffs of Risperidrone, a doom mob that offered a severe change of pace into some low slung heavy grooves ala the NOLA crowd. Seeing a sea of head headbang in slow unison never gets old and the doom was very much being wrought at Day Of Wreckoning.

Back to modernity, well sort of as Disrupt The Continuum brought back the 'core' values of many of these metal bands. This was 2000's metalcore, in the bouncy riffs and harsh/clean vocals, while the technically of melodeath comes from the widdly guitar parts.

Full of venom and melody the disruption caused an out break of weirdness that led to the arrival of Grindhorse83, Swansea surf rock psychos who throw pretty much anything they can think of into the pot, from surf, to punk, to whistling, western, metal nursery rhymes and whatever they fancy, it's an invitation to get weird

No such weirdness from INSCAPE though, just a mechanised assault that was right in the precipice of the modern metal scene, influences from Don Bronco and Enter Shikari can be picked out as they exploded onto the Corn Exchange stage with energy and electricity.

Synths/electronics bled into ear bending math metal which took the room by storm and convinced the judges that it had to be INSCAPE who would be representing South Wales at Bloodstock.

They will absolutely tear the New Blood Stage apart so if you're going to Bloodstock Festival make sure you catch INSCAPE as they managed to overcome a VERY tough competition this year with all the bands giving their all on the stage of Corn Exchange.

With M2TM done and the winner chosen (though not announced until after the headliner) it was time to open up the other stages and get more music flowing. As well as The Corn Exchange, there was four bands in Le Pub and four bands in The Pit which is downstairs in McCann's Rock & Ale Bar.

The Pit

The Pit hosted the heaviest line up of the day as South Wales favourites Democratus kicked off the proceedings with their well tenured melodeath, the room was packed all day but vocalist Steve still found room to stalk the audience as they got the The Pit up and running with that sense of familiarity from a local act.

Following them was Tumanduumband a two man doom band (get it?) who brought an unholy racket to The Pit, just bass and drums...and cloaks the walls rumbled, the roof shook and ear drums ruptured, as the duo took it low and slow to menace the Newport audience.

Though you can forgive them from being slightly broken by that noise, The Pit quickly refilled as the South Wales black metal veterans Agrona returned to Newport for their second show since their rebirth this year. Playing with new members and old ones, those songs from that first record still sound brilliant on a live stage as Agrona sounded as brutal and vital as ever, with a packed house welcoming Thier unholy mass with open arms.

Closing out The Pit in only the way they can were South Wales death metal brutalists Sodomized Cadaver, this is death metal at the most gnarly, disgusting and unforgiving. Gutteral vocals and flesh ripping riffs Sodo themsleves have had a line up shift recently but sound better than ever in my opinion becoming a more vicious version of themselves.

So that was The Pit, an all day extreme metal feast for the sense that even the most hardened metal fan couldn't turn their nose up at.

Le Pub

The Pit was for the metal maniacs, Le Pub was more eclectic for the music fan of discerning taste. Beginning with the prog/power style of Awake By Design, a band that impressed the hell out of me at Bloodstock 2024, I'd compare them to Kamelot and Evergrey as they filled Le Pub with harmonious vocals and virtuoso instrumentation, with another superior showing.

Speaking of superior, few bands in the South Wales scenes get people rocking as hard as Häxan and the heavy rocking trio made sure to pack out Le Pub with their feisty, groovy hard rock. Always a band who create a party atmosphere Häxan are well known round these parts and as such got a loud support from the Newport natives, coming in at the last minute to replace Lifer (get well soon Scriv), there still ain't no party like a Häxan party!

Keeping the riffs flowing were Syncolima, veterans of the UK stoner scene, another trio another fist full of riffs and the volume turned up to 11, Day Of Wreckoning saw them making their way to Wales for the first time and they blew a hole in the roof of Le Pub. I've always said South Wales is something of a stoner rock haven and the reaction to Syncolima proved just that.

The headliner for Le Pub were another band who have a massive following here in South Wales and have been on an upward trajectory in the last 18 months. Le Pub was at capacity when Black Lakes came calling and they delivered a masterclasses in chorus driven melodic metal.

They take their sound from various genres tropes, such as alt metal, hard rock, goth, electronic and even pop and combines then into a slick stage show and a showstopping performance which was rapturously received by the crowd at DoW.

A perfect way to end the day at Le Pub and get people in the mood for our Corn Exchange headliner. Before that though there were three bands who took to our mainstage bringing with them plenty of pedigree.

The Corn Exchange

Opening up Corn Ex were South Wales thrash juggernauts Helldown, who have been storming stages for a fair few years now causing chaos with their razor sharp mix of thrash and groove metal that gets the front row moving. Ferocious and focused Helldown deserve your attention and kicked off the Corn Exchange with vitriol.

Still heavy but with a more melodic edge to them Scottish prog metal act Tiberius made their South Wales debut and introduced Newport to their catchy choruses, djenty riffage, huge vocals, Goblin Pits and beach balls. With band members spending most of their time in the crowd, they're a frenzy of virtuoso playing and prog metal infused with power metal vocals. Newport didn't quite know what hit them but they won over the crowd with their infectious energy.

If Tiberius' energy is infectious then Mother Vulture is like an epidemic. Possibly the wildest live band on the scene today Mother Vulture are always running on 110% power and deliver every song like it's their last, constantly in motion, kicks fly, head bang and garage rock riffs are punched out of their instruments. If you don't move to this you're probably dead inside as Mother Vulture once again brought their unflappable energy to South Wales and they loved it, resulting in crowd that was ready for what was about to happen.

In a huge coo for an event that is only three years old, getting legendary, and that's not hyperbole, band like The Wildhearts to headline, but here they were just about to hit the stage and the excitement was palpable. Especially with Ginger's recent news this was going to be emotional and it was going to be very special. Not that you'd notice as after their triumphant Download sets, Ginger strode on to the stage every inch the rock legend and began to kick out the riffs with Failure Is The Mother Of Success, a cheer went up and we were all now under Ginger's command as ringleader to this rock n roll circus.

Aided and abetted by his killer band, they stormed through their 15 song set of punk, pop rock n metal, blurring genre lines with every single shout of a chorus, fist in their air and cheer, visibility bringing a smile to Ginger's face as The Wildhearts stormed though Nothing Ever Changes But The Shoes, Mazel Tov Cocktail, Cheers, and Chutzpah, blending old with new and delivering it all with a wry smile and some great banter, you could tell the band were enjoying themselves.

Poking fun at adult hide and seek that is a rock gig, the encore was Suckerpunch and My Baby Is A Headfuck and then the place erupted, an outpouring of love, respect and sheer joy as The Wildhearts closed the third edition of Day Of Wreckoning in triumphant style. Ginger is the ultimate rock god and this warm night in Newport he was worshiped as such.

So Day Of Wreckoning's gamble to head to the far East of Wales and expand to three venues paid off, I've heard nothing but positive feedback so it looks like this may become a fixture going forward. Now the only thing to worry about is how don't they top it next year!?

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

Geoff Tate, James Keegan & Sisters Doll, Y Muni Pontypridd, 05.06.26

It's been a long old time since I've been to Y Muni in Pontypridd but I always enjoyed watching gigs there and since I last went they've had a big refurbishment so it feels very new but with that rustic charm of a being an art centre and theatre.

What better gig to return to the venue with than one of my bestest buddies favourite artists playing his biggest album only two days before he got married to his dream girl. He, myself and our other friend caught the train to have a couple of lovely beverages, on the way meeting up with one of his colleagues, along with members of King Kraken and Pantheïst, clearly an eclectic crowd but worthy of the headliners stature and longevity.

Before all that though the night kicked off with Sister's Doll (6), an Aussie band who were picking up gigs around their second stage headline at Call Of The Wild, they are a very retro focussed act, ripped straight from the 80's with a bit of Bon Jovi, some Poison, a flash of Kiss and even Y&T heard in their sleazy rock anthems.

They captured the audience immediately with their stage presence, many I'm the crowd would have been around the first time these bands were popular, but while they do what they do slickly and professionally they're playing a tried and tested genre, that doesn't do much for this writer.

Still we were off, this was a rock gig after all though had you walked in during James Kennedy (6) you wouldn't have thought so. A solo Irish singer songwriter, he was the support for the whole tour and while I can appreciate that perhaps Mr Tate loves him and his music would be brilliant in a small Irish bar or indeed supporting Imelda May which he has done recently, in the middle of rock gig it did kill the vibe a bit.

James' charm and charisma were enough to keep the audience in the room, but to me it was a little odd, perhaps a switch around may have made it felt a bit more natural. Kennedy though is a gifted performer just stuck out between sleaze and prog metal.

The climax of the evening though was the reason everyone was here, the smile on Mr Hewitt's face grew larger as these fateful word "I Remember Now" came through the P.A and Geoff Tate (10) took to the stage to perform the seminal Operation: Mindcrime, in full, for the last time with his band of the same name. Striding straight into Anarchy X, you could hear Tate was on top form.

Vocally he still has power behind him, using a bit of technology to bolster the experience making it sound close to the record, but you can still hear his natural tone come through above it all. Tate's all about the performance, skulking and striding around the stage as he re-tells these well worn stories through anthems such as Revolution Calling, Spreading The Disease, Breaking The Silence and I Don't Believe In Love which all had the crowd belting them back at him.

Mindcrime is Tate's magnum opus and with his young gun band peeling off those old Queensryche riffs and solos, for many in the crowd this was pure nostalgia delivered with youthful exuberance. A special shout out has to go to Clodagh McCarthy who takes the role of Sister Mary and duets brilliantly throughout the night on Mindcrime and beyond.

Yes beyond as with Eyes Of A Stranger, Mindcrime for the last time was finished, but Geoff wasn't going to stop there, we got two form Mindcrime Part III which fit in perfectly with the rest of the album, but it was classic like Empire, Jet City Woman and Take Hold Of The Flame that made sure everyone was singing along, including our quartet!

It was the encore though that got the emotions running their highest with a massive sing along to the ballad that fans have been married too, alas Mr Hewitt is not one of those. Silent Lucidity is such a standard now it will follow Tate for the rest of his career but it always elicits a fantastic reaction.

To make sure things ended with a bang the final cut of the evening was Queen Of The Reich which is a brave choice for a closer, but was pulled off impeccably. So while we may never hear Mindcrime in full again, seeing it one last time with my best buddies made for a magnificent night in Pontypridd.

Review: Liminal Sky – All Tomorrows Darkness By Rick Eaglestone

Liminal Sky – All Tomorrows Darkness (Karisma Records) [Rick Eaglestone]



Some albums arrive with the weight of lived experience so palpable you feel it before the first note has fully sounded. All Tomorrow’s Darkness, the debut record from Liminal Sky, is one of those albums. It does not ask for your attention so much as quietly command it, drawing you into a sound that is vast, still, and saturated with the kind of grief that does not resolve — only changes shape over time.

The darkness named in the title is not metaphorical. It is the specific, inescapable darkness of losing someone suddenly, or gradually, or both at once.

The album opens with Some Other Time, the first single, a song written in the shadow of two kinds of loss running simultaneously, one sudden, one slow. McNerney’s vocal performance sets the tone immediately: this is not the tortured expressionism of extreme music, nor the confessional rawness of singer-songwriter territory. It occupies a more unsettled, indeterminate space, grief rendered as atmosphere rather than statement.

A Solitary Future introduces Kristoffer Rygg to proceedings, and the fit is intuitive. There is something in the Ulver vocalist’s delivery that has always suggested enormous distance — the sense of someone observing suffering from within it, simultaneously inside the emotion and removed from it. That quality serves the track’s exploration of mental solitude and the inability to outrun one’s own mind with quiet devastating effect.

In Some Secret Universe marks the album deepening into its own atmosphere. The arrangement here is more expansive, guitars building through patient repetition toward a climax that earns its emotional release precisely because it has been held back long enough. 

McNerney’s lyrical instincts are at their strongest in this middle section of the record his words articulating interior states that resist ordinary language, the album’s thematic concern with memory, dissolution and presence rendered in lines that resonate without over-explaining themselves.

Forget Me Not carries its title’s weight openly. Whether read as a flower, a plea, or a command, the phrase contains within it the central anxiety of watching someone’s memory and identity disappear. McNerney inhabits that ambiguity with care, and the music around him characteristically unhurried, Gomez and Knight resisting the temptation to dramatize when restraint serves better provides the space for the words to land at full weight. It is one of the album’s most quietly devastating moments.

Penance brings Årabrot’s Karin Park into the fold, and the effect is immediate and galvanising. Where McNerney and Rygg move through the album with a kind of sustained control, Park’s contribution carries a more physical, embodied quality the sense of someone for whom expression is an act rather than a statement. The track shifts the album’s emotional register perceptibly, introducing a harder, rawer edge that makes the surrounding stillness feel even more present by contrast.

The Weight Of Heaven sees Rygg return, the pairing of his voice with the album’s most explicitly spiritual subject matter feeling entirely right. There is something about the way the track holds its harmonic tension without resolving it that captures the particular anguish of faith under pressure — the weight of the title an unmistakeable double meaning, heaven here as burden as much as aspiration. Alongside A Solitary Future, it represents Rygg’s finest work in a guest context.

Algebra Of Unknowing is the album’s most structurally ambitious piece it’s a track that moves through several distinct phases without ever feeling fragmented, the transitions managed with a fluency that speaks to Gomez Arellano’s production intelligence and Knight’s compositional instincts. The title itself is one of the album’s most resonant images: grief as an equation with no fixed solution, the variables shifting each time you think you’ve arrived at an answer. McNerney’s words here are among his finest on the record.

Oar On The Mooring offers something like stillness before the final movement. An image of suspension, the oar placed but not yet used, the vessel held but not yet committed to departure the track captures the paralysis that profound grief can induce with a musical patience that mirrors its subject exactly. It is not a quiet track so much as a suspended one, held in a moment of not-yet, and the effect is quietly extraordinary.

The title track closes the album, and it does so with the particular gravity of something that understands what it is concluding. O’Sullivan’s contribution alongside McNerney gives the track a quality of dialogue two voices moving through the same darkness from different positions, neither offering the other resolution, both sustaining a presence through the final minutes of a record that has earned the right to close on ambiguity rather than false comfort.

All Tomorrow’s Darkness is a debut album in name only. In every other sense it is a fully realised work from musicians who have served long enough in difficult terrain to know precisely what they are doing and why. Gomez Arellano and Knight have built something here that is genuinely rare: an album that processes grief without exploiting it, that achieves beauty without prettifying pain, and that assembles an extraordinary cast of collaborators without losing its own coherent voice in the process.

This is not easy listening. It is not intended to be. But for those willing to sit with it — to let the album’s slow architecture do its work without rushing toward the exit.

All Tomorrow’s Darkness is one of the most moving and meticulously crafted records to emerge from the heavy music adjacent world this year. A landmark debut, and a deeply human document. 9/10

A View From Call Of The Wild: Day Three (Debby Myatt & Tony Gaskin)

Call Of The Wild Festival: Day Three Lincolnshire Showground, Sunday 30.05.26

We’ve made it to the final day, and despite some tired legs around the arena, the enthusiasm hasn't dampened one bit. The sun is still shining on us as we head into the arena early to see what Sunday has in store to close out what’s been a superb weekend.

Onto the music then, and opening up the day on the Southall Lawless stage are Retsecrows (8). This lot are very young but incredibly talented, hitting the stage amidst a veritable jungle of house plants! With youth comes a sense of invincibility and a little precociousness, but these kids have talent and if their energy is focused and they get some good advice and guidance then we could be witnessing the birth of the next big rock band to break out.

Next, it's over to the Kilmister stage for Black Country rockers The Soul Revival(8). They bring a fantastic, gritty classic rock groove to the main arena, playing with absolute vigour and setting a superb tone for the afternoon. Front man Steve Nunn has a charisma and gets the Sunday afternoon crowd bouncing

The music keeps coming thick and fast as we head back to the SL stage for MeMe Detroit (9), who treat us to a high-octane set that’s inspired by a blend of grunge and grrrl rock.

Apriori (9) are next on our list, a band we’ve been fortunate enough to catch on a number of occasions now and it’s great to see them take to the Kilmister stage with their heavy, melodic and moody rock that has the crowd cheering their approval.

It's a trip over to the Trailblazer tent next for a double-whammy of top-tier rock, starting with JoanovArc (8). They deliver a wonderful, high-energy set packed with massive hooks and brilliant stage presence, passing the baton directly to Wailing Banshee (8) on the same stage. This bunch are a powerhouse of energy; their traditional heavy metal delivery and soaring vocals completely take the roof off the tent.

Back out into the arena and sun, US outfit Hearts & Hand Grenades (8) are next up for us on the Kilmister stage. After a long delay with technical issues, they channel that frustration into delivering an edgy, heavy rock set with plenty of crunching riffs. We then split our time a bit, catching the melodic metal of Wicked Smile (7) over on the SL stage, tight and polished, just a bit generic for me and the appearance of Cassidy Paris added glamour but no shine, so we ended up nipping back to the Trailblazer tent to catch some of Marc Valentine's (8) infectious rock 'n' roll. A good bit of bopping was going on inside the tent to these guys.

At this point, we head back to the Kilmister stage for a band we've been eagerly anticipating, and my word, they do not disappoint. Silveroller (10) are an absolute masterclass. For me, they are the best band of the weekend after Bullets and Octane. They play with an immense amount of style, swagger, and a beautiful, soulful classic rock groove that channels the very best of the 70s. It’s pure, unadulterated rock 'n' roll played with real heart and deliverance, and the crowd goes absolutely wild for them. Set of the day, without a doubt. 

Keeping the momentum moving, we catch the first half of The Rattlebacks' (7) high-energy set in the Trailblazer tent, but it’s all a bit chaotic on stage with the band trying to use every inch! Maybe save that for a bigger stage.

Back over to the SL stage for a big appearance from Fireheart (9). The arena is packed and the atmosphere is electric as they deliver a blistering, rapid-fire set full of emotion that leaves everyone buzzing.

Getting into the final stretch of the festival now, and the Kilmister stage lights up for Chez Kane (8). She brings a slice of raunchy 80s femme fatale rock to the main arena. Although she insists she’s doing this whole sexy rocker thing on her own terms, it does come across as a bit sleazy. Scantily clad with a rockstar attitude, she covers every inch of the stage and to be fair to her she does have a great voice as she belts out massive AOR anthems that have the whole crowd singing along. Just maybe taking that 80’s style a bit too far?

Over on the Southall Lawless stage, it’s time for the final marquee performance of the weekend, and Aussie rockers Sisters Doll (10) (who are actually all brothers!) close it out in magnificent style. They treat the fans to a high-voltage, glam-infused hard rock show packed with massive visual flair. They leave the stage to a roar of applause amid a sea of pyro and confetti galore—a proper party atmosphere to end their festival run!

Finally, setting up the ultimate climax for the weekend, Finnish prog titans The Von Hertzen Brothers (10) take to the Kilmister stage. What follows is a complete masterclass in modern progressive rock. Their sprawling, atmospheric landscapes, complex harmonies, and heavy melodic grooves are delivered with absolute precision. Goosebumps were in evidence with a wonderful rendition of “Flowers and Rust” one of the big highlights of the weekend. It's a powerfully emotional and epic end to a genuinely fabulous weekend.

Massive well done to the organizers and the crew. Call of the Wild, you've been absolute magic!