Bloodstock M2TM South Wales Interviews: Clarity As Arson - West Heat #1 The Bunkhouse, 15.02.26

Interview With Clarity As Arson - West Heat #1 The Bunkhouse, 15.02.26

1. Please introduce yourself for anyone who may not know you. Tell us
a little bit more about you as a band?

We are Clarity As Arson, we are a metalcore band from Ebbw Vale South Wales. We formed in 2008 but after a few name changes, we settled on Clarity As Arson. We were active for many years playing all over Wales and a few times in England but in 2016 we decided to go on an extended hiatus as several of us wanted to settle down and start a family. 

Time passed and we all decided to get back together and jam for fun but after a few sessions we decided to start playing gigs again as nothing feels as good as playing on a stage in front of a crowd. 

Last year we recorded our Second EP Blood, Sweat and Beers which is on all streaming sites and we are looking to record another EP sometime this year. We mix metalcore heavy riffs with southern hardcore licks, we draw our influences from Cancer Bats, Every Time I Die, Killswitch Engage, Letlive., Converge, Malevolence and so many more.

2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your First time?

We have previously played in metal to the masses many years ago and got to the final heat. It was an amazing experience and we had so much fun, it was held in Fuel Cardiff and the energy from the crowd and comradery from the other bands made applying for this year's competition a no brainer for us.

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

The whole scene has changed massively since we were last playing gigs regularly, the scene is crucial for us as an aspiring band and it's always good to make connections with bands and promoters at gigs and M2TM is a huge opportunity for us and other bands.

4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Bunkhouse & Green Rooms. Have you played the venue before or is this your first time? Are you excited to get on those stages?

We are playing Bunkhouse and its avenue that we have never played before but we have heard amazing things about the venue from friends who have had the privilege to play there. We have played in Swansea before, in Sin City, Lemon Factory and The Scene. It was always a great atmosphere in Swansea

5. What are your expectations from being a part of M2TM?

What we expect from being a part of M2TM is to put on a good show, meet new bands and people and hopefully build relationships and connections that lead to more shows and opportunities for us as a band.

6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?

As a band playing in the Day Of Wreckoning would be an incredible opportunity, playing for the chance to play at Bloodstock with the best up and coming bands in the UK. Even if we didn't make it to Bloodstock the learning that we would come away with from that opportunity would be invaluable. But on the other side, playing a festival as established and renowned like Bloodstock is every band's dream. 

We at Clarity As Arson have always wanted the opportunity to play a festival and would love for that dream to become a reality one day.

7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?

We have checked out the other bands in our heat and there is some fierce competition. I know I am really looking forward to sharing the stage and hearing House of Hosts live.

8. Tell us in five words why people should come and see your band?

High Energy, groovy metal, sweaty

https://www.facebook.com/clarityasarson
https://open.spotify.com/artist/03havxXkl41PmZPjhyxze4?si=EZ50uPIeQ22ujysZ23cFww

A View From The Back Of The Room: A.A Williams (Natt Sabbath & Mike Chew)

A.A. Williams & Spotlights — Hare & Hounds, Birmingham, 03.02.26



Spotlights (9) opened the evening with a set that immediately established the tone: immersive, textured, and quietly powerful. Formed originally in San Diego before relocating to New York, the band: Mario Quintero (guitar/vocals), Sarah Quintero (bass/vocals), and Chris Enriquez (drums) have built a reputation for blending shoegaze ambience with heavy, slow-burn metal, drawing comparisons to bands like Deftones and Pallbearer.

Their set focused heavily on material from their Tidals EP, moving through the record in sequence before closing with a newer track. Opening with Walls, the room was immediately filled with dense, pulsing distortion and raw emotional weight. Mario’s vocals shifted between restrained melody and harsher delivery, while Sarah’s bass created a deep, resonant foundation that could be felt through the floor of the venue. The sound was heavy but never overwhelming; textured rather than aggressive.

The Grower leaned further into a doom-shoegaze atmosphere, slow and cathartic, with the kind of low-end presence that makes smaller venues feel enormous. The interplay between bass and guitar created a hypnotic quality that held the room’s attention completely. Tracks like Hover and To The End continued that balance between ambience and heaviness, with drummer Chris Enriquez providing a steady, deliberate backbone that allowed the songs to expand naturally. There’s a patience to Spotlights’ songwriting, nothing feels rushed, and live, that restraint makes the heavier moments land with real impact.

By the time they reached Joseph, the set shifted into a more ambient space, before closing with Sunset Burial, which blended delicacy and distortion in equal measure. The transition from softness to heaviness across the set felt intentional and cohesive, making the performance feel less like a support slot and more like a carefully constructed introduction to the evening. Spotlights were intense yet accessible, a genuinely compelling start to the night and a perfect tonal bridge into what followed.

After a quick changeover, A.A. Williams (10) took to the stage in low light and near-silence, immediately transforming the atmosphere in the room.

Classically trained as a pianist and cellist before moving into guitar-led alternative music, A.A. Williams has developed a sound that sits comfortably between post-rock, gothic ambience, and modern metal. Since the release of her debut album Forever Blue in 2020, followed by Songs From Isolation (2021) and As The Moon Rests (2022), she has built a reputation for performances that prioritise emotional weight and atmosphere over spectacle.

At the Hare & Hounds, that approach translated beautifully. From the opening moments, she wove dark, gothic ambient magic through the room, holding the audience in complete stillness. Her voice; controlled, expressive, and quietly powerful, carried effortlessly over the band’s expansive sound.

Songs from across her catalogue appeared throughout the set. Material from Forever Blue felt particularly powerful in this setting, with Glimmer, Love And Pain, Dirt, and Melt translating into deeply immersive live moments. Glimmer felt fragile and almost folk-like in its delivery, while Melt built gradually from near-silence into a towering emotional crescendo.

Newer material sat seamlessly alongside it. Pristine moved from delicate restraint into thunderous intensity midway through, while As The Moon Rests filled the venue with rich guitar textures and slow-burn power. Throughout the set, the contrast between softness and heaviness remained the defining feature of the performance.

A.A. Williams doesn’t rely on theatrics or dramatic stage presence, the power lies entirely in the music and atmosphere. In a venue as intimate as the Hare & Hounds, that restraint becomes mesmerising. By the time the closing song faded out, the room felt suspended in that quiet emotional space her music creates.

Both Spotlights and A.A. Williams delivered performances that felt deeply connected in tone and intention, an ambient-metal pairing that worked effortlessly together.

Reviews: Big Big Train, Karnivool, Tailgunner, Demonic Resurrection (Matt Bladen)

Big Big Train - Woodcut (InsideOut Music) 

Is there any band more British than Big Big Train? I mean that by them being a sprawling collection of nationalities all working and creating together, drawing influence from shared tradition while also infusing their own heritage, in a musical harmony. So I don't mean British in the sense certain Toby Jug Faced politicians would have you believe.

Proudly flying the flag for progressive rock grandeur, folk intimacy and lyrical storytelling, Big Big Train are still forging away led by band founder Gregory Spawton (bass), as Woodcut is the second full length featuring vocalists Albeto Bravin who took over the mic following the passing of longtime vocalist David Longdon. It's also their first concept record, which for a prog band is mad, however every prog band needs one and BBT don't scrimp with a 16 track, 66 minute "human exploration of art, faith and endurance."

Heady stuff indeed but BBT have always been able to pull things like this off, despite members from England, Scotland, Italy, the USA, Sweden and Norway, Woodcut sounds very British, as I stated, a throwback to simpler times, wrapped in the classical/folk motifs spawned from Claire Lindley's violin and Paul Mitchell's trumpet, Inkwell Black begins the this tale with nostalgia, before we are introduced to our protagonist on The Artist, the first stabs of Oskar Holldorff's organs coming here while Gregory Spawton keeps the track moving forward with technical bass and mellotron, the heartbeat of the band on tracks like Albion Press.

It begins the record with what I would consider a 'classic' prog sound, the multiple voices all in union throughout, countering and harmonising with each other as every emotion wrought moment comes from Alberto Bravin. With a band made up of multi instrumentalists it difficult to decipher who plays what where, brass, violin and bass excluded, but then that's the point, BBT have always been a band that work as collective each with a wide array of skills that they can bring to the cinematic scale of their albums.

All I know is that it's definitely the drum work of Nick D'Virgilio beneath it all, steering off-time beats with enormous fills, then switching to restraint when called for, his link with Spawton is instinctive, a rhythm section that locks you in to the record in a similar way to a band like Yes on Warp And Weft. Fear not though guitar fans as for all the keyboards (a lot of members) and vocals (a lot of members), there's plenty of guitar too mostly acoustics and 12 strings to carry through the naturalistic analogue feel of the concept, though Rikard Sjöblom gets to wield those dramatic free flowing leads on Light Without Heat and bluesy solo on Warp And Weft.

In conjunction with the record, Big Big Train have launched a website full of hidden content connected to the story of this record which adds more depth to the overall concept of this nostalgic, beautifully realised new record. Rich in English/Scottish folk traditions, Woodcut is a masterpiece of conceptual progressive rock. 9/10

Karnivool - In Verses (Cymatic Records/The Orchard)

It's been almost 13 years since Aussie genre originators Karnivool have graced us with their grooving style of progressive metal.

One of the bands that inspired the whole Djent sound of today, Karnivool have gained cult status over 20 years as one of the seminal Australian bands, the classic records such as Themata, Sound Awake and Asymmetry, cementing them as a band whom a whole host of acts owe their sound to. They're played some massive gigs in their time but most recently in the UK they were one of the headliners at ArcTanGent and rightly so as there is a festival full of bands who have been inspired by Karnivool, making for a full circle moment for so many.

However Karnivool are never a band to release a record because they have to, because label pressure makes them, no they do everything on their lane terms, calls it selfish, call it creative, call it what you want but you don't get a Karnivool album until they decide it's ready. The band experimenting, comparing and creating away in their studio to bring to life some of the most anthemic and emotive prog metal around. It's the reason why the band have three almost perfect albums in their back catalogue, so what about their fourth? Has 10 years of life experience and a 13 year recording period produced another showstopper, in league with longtime collaborator Forrester Savell? Well almost. 

Let me explain; In Verses is very deliberate, a record crafted for two purposes, satiate their rabid fans with another ten tracks of grooving magic to dance awkwardly too. However it's also a record to introduce themselves to a new audience, fans of this music that may not know about the band, who may religiously attend ArcTanGent but may not know about the influence of a band like Karnivool, 13 years is a long time in music after all.

In Verses was conceived through "feelings of frustration, catharsis, and a rediscovery of identity" and it begins exactly as you'd want, jangling guitar melodies lead into a big bass this from Jon Stockman and it's into the grooving chunky riffs from Drew Goddard and Mark Hosking, the classic prog touches coming though their guitars harmonic, intricate guitar parts.

The inspiration of alt/prog bands like Tool, a track such as Aozora and 2021 single All It Takes both put the bottom heavy grunt of Tool with introspection in the lyrics and keening vocals of Ian Kenny. There also the grunge moments, where they bring in the massive riffs of Soundgarden and Animation is full of the angst of Nirvana the expressive drumming from Steve Judd is at the core.

Now In Verses is the sound of band who've been through some shit, you can feel the trauma and the catharsis throughout this record. It's a band rediscovering who they are joined by their buddy Guthrie Given on Reanimation, it's perhaps a record that is a bit more contemplative and pensive than their previous three, as such it's not as heavy, there's more balladry and lighter alt rock moments here, not just the start stop heaviness.

Is it perfection? No. But this is a record from a band who have struggled with all manner of things outside their existence as a group, these moments of strife and struggle are disclosed on In Verses, making for a Karnivool record that takes a more angst driven path, that will open up their fanbase to more than just prog metal fans. 8/10

Tailgunner - Midnight Blitz (Napalm Records)

Despite only appearing on the scene in 2022, Tailgunner's rise through the ranks has meteoric. They are a band who are very obviously inspired by the NWOBHM, when Bristol metal ruled the world and bands like Iron Maiden, Def Leppard, Saxon and Judas Priest ruled the world.

Their EP and debut album were both packed with twin axe harmonies, bass gallops and air raid siren vocals, so they have a crossover appeal for older fans who want to re-live the glory days of heavy metal as well as young fans who will able to experience the energy packed NWOBHM sound for the first time. The band have supported some of their heroes (they are the main support to Fozzy this month) but it was their run with KK's Priest that solidified their place as the true heirs to the heavy metal throne. So much so the KK himself has produced their sophomore record Midnight Blitz, putting his faith, support and expertise behind the band.

Midnight Blitz is classic British metal worship but for the modern generation, it doesn't languish in former glories nor does it shamelessly copy the inspirations, this second album very much seeing Tailgunner defining themselves as their own entity. With power metal on the title track at the beginning of the record and Eulogy at the end , they have chorus heavy melodic metal on Tears In Rain, the songwriting has become more varied, pulling from inspirations across the heavy metal spectrum, with speed metal on Follow Me In Death and the Maiden-like Dead Until Dark allowing Rhea Thompson and Zach Salvini to peel off that razor sharp twin axe attack.

The rhythm section of Bones (bass) and Eddie Mariotti (drums) steam full speed ahead on the pirate infused Barren Lands And Seas Of Red, but can also use restraint when they want a mid-pace groove. Tailgunner though are not a band to take their foot off the gas, the blistering heavy metal rarely stops as Chris Carns unleashes those huge vocals, across the record, more polished after all that touring they've been doing.

They can slow down though with the 80's AOR balladry of War In Heaven, featuring some keys from Adam Wakeman. It may prove to be Tailgunner's most divisive song but you know what? Where it sits in the middle of the album perfectly splits this record like the LP's of old as the riffs come back with that Brit metal might on Blood Sacrifice and on that engine roars for the rest of Midnight Blitz.

Slick, refined and anthemic, Midnight Blitz is more than slavish worship, it's a whole new church of heavy metal from these modern torchbearers. 9/10

Demonic Resurrection - Apocalyptic Dawn EP (Self Released)

25 years is a long time for a band, more so in the often turbulent Indian heavy music scene, any band who want to play heavy metal in countries where often they can't or are marginalised for doing so, get support from me. Demonstealer and his band Demonic Resurrection have been a little quiet as of late, a band welcomed warmly on UK stages.

Their last release was a compilation celebrating 20 years, but in 2026, Apocalyptic Dawn is not only a celebration of 25 but seems to be a reactivation of this cult Blackend death metal band. The artwork from Gaurav Basu aka Acid Toad is beautiful but the songs are just as exciting if you're a fan of extreme music.

Demonic Resurrection feel like a band again, back to being a four piece Demonstealer's riffs and snarling growls (and some clean shouts) are front and centre but Swarnava Sengupta doubles the battery as Nikhil Rajkumar crushes you into dust. The rhythm trio all mesh well, bringing a celebratory mood but a renewed urgency, Aditya Swaminathan meanwhile pulls out the incendiary leads as often as he can.

With constant changes in pace on opener The Great Famine, it's progressive and punishing, the orchestrals/keys swelling in the background to bring that epic sound DR have always been associated with aided by the the mix and mastering of Keshav Dhar (Sky Harbour), picking out the technical prowess here is easy.

Even in the background of second track Of Blindness And Divinity, you can hear the keys here and extra vocals on Apocalyptic Dawn XXV from Anabelle Iratni building up the layers of these songs to reintroduce the epic style of Demonic Resurrection to many who perhaps have forgotten about them since their last full length in 2017.

The 2025 version of the title track, is a re-record of a track from their second album and showcases the band as they are today, recharged, reloaded and ready to strike again. 25 years has presented plenty of challenges but Demonic Resurrection continue to break boundaries and deliver top flight extreme metal. 8/10

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

Ofnus, Onieros, Saarkoth & Sanhedrin, Ye Olde Salutation, Nottingham, 31.01.26

When band start to change members that can so often change there entire dynamic of them. Vocalists especially are a funny thing as there have been multiple famous acts who have struggled to find replacement for their singers.

That sound of the voice is so often the make or break on whether you like the music, just look at Cradle Of Filth. A voice in the black metal scene perhaps seem a less important but many bands from that style hook their tremolo picked satanism on screams from their singers. Go to any major black metal act and I bet you'd be able to name the singer over any other member.

Anyway I digress and I'm going into this deeply because when I heard that the object of my fanboy affections Ofnus were getting a new singer I did have a tinge of trepidation, as this was the lone up that that had records two incredible albums and played numerous gigs most of which I had been to.

Their original singer Will had mutually parted ways with them just as they were coming off their biggest show ever at Bloodstock, so felt like a gut punch at the worst possible time. However Ofnus are a band born from frustration and from the need to create so they quickly searched and found a new singer.

I'd not heard new vocalists Brendan's other band Old Blood but I was assured he could definitely step up to the plate, filling the shoes that Will had left easily. Maybe this was bluster, but I had to find out myself, so I booked a ticket to their debut gig with Brendan at Ye Olde Salutation in Nottingham. It was an easy decision as I had missed their finals show with Will through illness, so I needed to be at the beginning of their second era.

Alongside the headliners there were three support acts who perfectly warmed up the crowd.

First up were Samhedrin (7) a blackened thrash outfit from Derby who kicked off the evening with some frantic riffs and aggression, interlinking guitars that are influenced by the blackened likes of Behemoth and Dimmu Borgir but also Melodeath Children Of Bodom and thrash of Kreator too.

Fast and furious they got the crowd moving however I'm not quite sure what was going on about the additional clean vocalist who popped up for two songs and then creeped back onto the crowd. He was decent addition, bring a melodic element however it was strange that he only sang on two tracks and aesthetically was the polar opposite of the long haired thrashers on the stage.

Still that was a me thing and if I wanted tradition then I didn't have to look far as next up was the more traditional take on black metal from Saarkoth (7). A band with corpse painted faces, cloaks, trem-picking and songs about paganism and the natural world were the order of the day here and the Lichfield based unit.

Having released two albums, they've gained quite a following, meaning that many had witnessed these sermons before. As an outsider I was impressed by what I saw as Saarkoth take the melodic black metal style of Winterfylleth and Agalloch as their mantra and they manage to hit all of the marks these bands have laid down while also retaining their own uniqueness, flashes of atmospheric metal and post-black metal came washing in.

With Saarkoth things moved further towards the darkness of the headliner but first the emotional level had to increase and with Onieros (8) it did exponentially. Although a one man act in the studio, live Alex Wills has brought together a very talented band to bring these atmospheric, melancholic tracks to life. He's even borrowed the drummer of the headliners, meaning that poor Ethan had to blast like hell for a bloody long time, though he probably loved it.

Onieros brought in the atmosphere, a foreboding, introspection that was there to carry on through to the headliner, ethereal and evil, yet focussed on the natural world again. The songs twist and manipulate their way between furious blasts and stomping workouts, the epic and melodic moments not going to waste when they pair the pained growls and shouts with clean lead moments on top of the trem riffs.

A quick word about Phil Core & Tortuous Promotions who promoted the event, and I can say nothing but good things, Phil brings plenty of extreme metal variety to Nottingham and from what I saw most of these monthly showcases in Ye Olde Salutation always seem very well attended, the show this night was pretty much sold out.

All the changeovers are slick, the sound was brilliant considering the room dynamics and anyone without a ticket trying to sneak in from downstairs was promptly told to fuck off. It also proudly supports it's local MC which I always think adds credibility to rock venue. If every city had a Torturous Promotions equivalent more would be in better health.

So the headliners and as I said in the preamble I will always find time for this band as I love what they do and them as people. There was frisson in the air in Nottingham and expectation but also a hesitation, would this be a shining new era? Or would it call turn to ash? I had immense faith and I'd say most of the crowd who knew the band did too.

The opening backing track began and they exploded into Burned By The Soul Of The Moon the opening track from Time Held Me Grey And Dying and fear subsided as the band locked into the intense opener as Brendan began to deliver with ferocity. I found it apt the opted to open with the first track from the first album, a definitive statement about the new line up. "Thanks for supporting us before, here's who we are now"

From here it was into The Shattering, and this is where things really started to move, the song itself is already one of their most potent but there seemed to be something more to it now, Brendan's vocals are not only excellent (more on that later) but he has a presence, a menacing, stalking, theatrical presence that allows him to embody these songs better than his predecessor.

You can feel the bitter, rageful, sadness of the lyrics through him, the vocals shifting from black metal screams, the death growls and even the harsher tones of DSBM, where he bree's like it's a harsh noise floor. Throughout he is wide eyed, grips the mic with intent and threatens you to get involved. He also is understand but imposing on the between song moments, saying little but striking a chord.

You can feel that the band are now enjoying it, the anxiety has gone and they're loosening up, Throes Of Agony made way for Grains Of Sand, the rhythm section of Ethan (drums) and Rich (bass) blasting away for their lives, the shifts in pace and tone massive as this progressive, atmospheric blackened metal act owned the stage.

One either wing Alyn (guitar) was a massive of hair cranking out the lightning riffs while James (guitar) locked in on the other side, the delicate leads and melodies sounding as lofty as he is. They then treated the Nottingham crowd to a new song, Lamentations Of A Life Regrettable, one written with Brendan's vocals in mind and if this is the route they are taking from now on then I'm 100% behind it as this was an epic glimpse into the future.

With the whole room on side, Brendan's mettle proved it was time to turn on the waterworks as Proteus shifted into Zenith Dolour, cue crying and headbanging from the front row contingent as the symphonic strains of this one led to the insane blast moments in the latter half. It will be their closer forever at this rate but no one would mind that I'm sure.

Ofnus (10) made an imperious first statement in the first show of version 2.0, even my miserable soul shed a tear. If you are at Reaper Fest in this weekend, go to their Manchester debut. DO NOT MISS THEM!

Reviews: KMFDM, Induction, In Aeternum, Jack Harlon And The Dead Crows (Cherie Curtis, Matt Bladen, Mark Young & Rich Piva)

KMFDM – Enemy (Metropolis Records) [Cherie Curtis]

KMFDM’s new album Enemy is just as visionary, vibrant and energizing as they’ve ever been. Though they have been through many lineups and hiatuses over the years, they still manage to keep their blueprint of nostalgia which can only be described as a factory floor on a spaceship which just so happens to be hosting a thrash metal gig.

KMFDM prioritizes a highly cinematic atmosphere that's action packed and dystopian with an unbeatable amount of spirit that’s gripping and has the potential to captivate the most cynical of metal listeners. There is a mixture of vocal styles, Sascha Konietzko’s signature loud and gritty shouted vocals and the softer more silky vocals by Lucia Cifarelli which plays a central role within this album.

Each track in Enemy has something interesting and unexpected sprinkled in; Outer National Intervention has a bouncy and electric atmosphere with an eerie synthesizer or theremin paired with some heavy-duty riffs which is campy, fun and kicky and a definite floor filler. It’s classic KMFDM, It’s technically explorative with a sci - fi spin. 

Track 8, Stray Bullet is a Reggae cover of a fan favourite which is a switch up from the rest of the album just when you thought you might be getting bored and is just as much a delight to listen to and shows us the remarkable technical range KMFDM has as well as their clear knowledge of what we expect from them and how to keep us interested.

There is so much to listen to; you'll be picking up different elements every time you put it on. There's something so magnetic about KMFDM, even within a genre where arguably most of the music sounds the same, KMFDM’s Enemy brings us once again a well-crafted bridge between a mosh pit and a rave. I feel like it will be too satirical and clubby for some people, but they would be missing out on something truly fun, lasting and unique 10/10

Induction - Love Kills! (Reigning Phoenix Music) [Matt Bladen]

Ah power metal always a long time love of mine and there are plenty of bands who can do it well as well as really badly. Induction are one of the former, as they put together a modern style of power metal that is full of pulsing beats but there's an old school edge that comes from the early speed metal days too. This is probably because Induction is led by Tim Kanoa Hansen, son of Kai Hansen of Helloween/Gama Ray so power metal pumps through his blood and through his guitar, linking up with Justus Sahlman for the twin axe attack of this record.

Now Induction have climbed the ranks very quickly picking up some high profile supports such as Sonata Arctica, Battle Beast and Accept. Across their two albums they've expanded their progressive power metal sound into wider realms than any previously. With their third record Love Kills! they've brought in the melodies of AOR on the duet Strangers To Love while War Of Hearts has the boisterous thump of the those pulsing synths that are all the rage nowadays, as does I Am Evil.

From the industrial beginnings of Virtual Insanity (not a Jamiroquai cover) the galloping triumphal power metal of Steel & Thunder and Beyond Horizons. The rhythm section of Dominik Gusch (bass) and Markus “Maks” Felber (drums) drive the swaggering Gods Of Steel. They're also as behind the battery on The Veil Of Affection, which also shows off the vocals from Gabriele Gozzi, his range is wide and full of grit, the full range coming on the closing epic Empress. 

Induction bring more influences to their already formidable sound with their third album Love Kills! a band who will be the knocking at the door of the genre leaders sooner rather than later. 8/10

In Aeternum - Of Death And Fire (Soulseller Records) [Mark Young]

Capping this first week of February, In Aeternum have undergone something of a resurrection themselves, returning after a period away to usher in a brand-new release of black death metal. Generally speaking, any metal that comes from Scandinavia comes with an almost ingrained way of doing things, an unconscious choice made to make sure that the music to follow is as extreme as possible. Its doesn’t mean that every album is a world breaker, but it means that they know what constitutes good metal.

Of Death And Fire is such an album. It has all of the right ingredients needed to make a death metal album but suffers at times from a lack of focus, utilising speed as a means of bludgeoning the audience when a lighter touch would have sufficed. There is the now de rigueur intro track that morphs into Beneath The Darkened Tomb which represents the unfocused aspect here. It rumbles in, on that front foot opting to batter you from start to finish. Trem picking, double bass and heady melodic lines it’s a fine opening track but one that tries to bring a number of threads together. 

The Day Of Wrath continues in that same aggressive vein, again its ok as it observes the rules of engagement for heavy metal – never be boring, bring riffs and a lead break if you don’t mind. Both do what they need, its that they don’t feel essential to me. When Spirits Of The Dead kicks in, it becomes a different proposition. This slower, muscular approach is ideally suited to them, and it’s a quality track that has this bullet proof main riff to it. Here the melodic touches shown earlier shine through without softening it up. It is a cracker, and then followed up with Mortuary Cult.

Here, the speedy attack returns, but with a difference. It keeps the build simple, going for efficiency which in turn aids the increased velocity. The Vile God Of Slime completes this early hat-trick, with a grinding tone and that mid-tempo pace. Its takes its time, unhurried and like Spirits, shows that this is the right way for them.

I’m not suggesting for one second that their faster attempts are poor. Far from it, they are decent examples of the form. Its when they go for that measured attack, the music seems to have more time to breath. Bow To None manages to combine both ways to a good effect with Goddess Of Abominations a particular favourite with climatic melodic breaks and crawling rhythms making it one of the strongest tracks here. Was it a confidence thing that they needed to kick off the way they did here? Maybe but as it goes there is more fun to be had with those mid-paced affairs, they just seem to fit them better. 

Nothing against Beneath The Darkened Tomb, or The Hourglass, they are just not as interesting as Spirits Of The Dead or Goddess Of Abominations. Of course, a lot rests on the closing track to finish things off. To Those Who Have Rode On (ft Erik Danielsson) is a belter. It is the definition of leaving the best for last, a super-strong climax bringing the lead breaks and all the atmosphere you could possibly want. On the whole, we have a 11 tracks that can be split into ok and very good. Ultimately, its decent if unbalanced return for In Aeternum, one where the good is outweighed by the better. 7/10

Jack Harlon And The Dead Crows - Inexorable Opposites (Magnetic Eye Records) [Rich Piva]

Only recently did I come to know that the Jack Harlon from the band Jack Harlon and the Dead Crows was not a real dude, but the fictional hero that band leader, Tim Coutts-Smith, created for the universe that makes up the band’s (amazing) back catalog. In speaking with Tim on The Rich & Turbo Heavy Half Hour, Jack is a sort of a Ziggy Stardust alter ego that has really driven his songwriting and output up until this point. The band’s new record, Inexorable Opposites, still has some elements of Jack, but Coutts-Smith has created his most personal material in the form of the eight tracks on what is his best record till date.

Why is this the best work from the entity known as Jack Harlon and the Dead Crows? First, the songwriting is next level, with Coutts-Smith incorporating more of his personal experiences and work in the mental health field into this set of songs. Songs like Dave Is Done and To Die would not have shown up on a prior JHATDC record. Inexorable Opposites is infinitely better for it. Second, new drummer Brayden Becher makes the Harlon sound so much bigger and so much heavier. Just check out the opener, Moss, and the killer track Seer, for evidence of his impact on the record. 

The heaviness of the record overall, not just from the drums but certainly influenced by it, takes the fuzzy heavy blues sound of JHATDC and ratchets up their definition of what heavy sounds like. Venomous is a track that outlines this, with its killer riff and grungy tones. The songs on Inexorable Opposites sound bigger too, with more atmosphere and a wall-of-sound leaning direction, like on Mt. Macedon. The aforementioned To Die, the closer, is where Jack steps back and Tim steps forward. 

The quietest, yet heaviest song ever put on a Harlon record, this is Coutts-Smith stripped naked, stepping into the light, leaning less on a character and more on himself, akin to how Igor Sydorenko from Stoned Jesus did the same on his closer, Quicksand, from last year’s amazing Song To Sun. Both are breathtaking and inspiring songs, not because of the content, of which both are amazingly deep, sad, impactful, and emotional, but from a standpoint of putting yourself out there, out of your comfort zone, for all the world to see. Amazing stuff.

The world of Jack Harlon is not dead on Inexorable Opposites, but the line between the creator and the character has certainly been blurred, and the outcome could not have been better. An excellent record that everyone should check out. 9/10

Reviews: Rotting Christ, Full House Brew Crew, Abstruse, XenoVenous (Matt Bladen)

Rotting Christ - Aealo: Re-Recorded (Season Of Mist)

Where the modern incarnation of Rotting Christ begins I'm sure we'll be up for debate all over every forum you've ever read about black metal.

For me though it begins with their tenth album Aealo (catastrophe or destruction), this is the record where they came out of the Greek black metal underground and established themselves as the world conquering act they are today. Aealo is the record where they fully leaned toward the more groove driven sound they continue with in their most recent efforts. The band have managed to gain more of a significant following than perhaps they would have had they stuck to the raw black metal sound they began with.

That being said they have never shied away from their links to the underground and are probably the most successful extreme metal band from Greece however they have achieved this partly by adopting the style that is featured prominently on their 2010 concept record. By increasing the orchestral/symphonic elements, traditional instrumentation and taking their music into a more melodic route by slowing down into heavy chugs with anthemic choruses, they reinvented themselves with album ten, charting a course to where they rightfully stand today.

So in-keeping with Sakis Tolis’ drive to make sure everything he release is of the best audio quality and a true example of what they wanted to achieve, Aealo now returns re-recorded with the vocals and musical parts fully re-done by the current iteration of the band; Sakis Tolis (vocals/guitar), Themis Tolis (drums), Kostas "Spades" Heliotis (bass) and Kostis Fouk (guitar).

Musically it doesn’t vary too much from the original, perhaps given a bit more of bite and wider scale, however it’s in the production/mixing that adds that potency, that was maybe missing from the original. Whereas in 2010 this was an underground band, taking a shot towards the mainstream, here it's a rediscovery of an album, which is very influential in the way the band would continue from there, but still had the production techniques/flaws of a band from the underground.

With all of the skill and the experience they, I mean Sakis, has now, Aealo now is a production sound and final mix more akin to the way they produce albums in 2026. It makes Aealo, which was already a theatrical, cinematic record, more cinematic, more imposing and allows you to not only hear the power and complexity of these compositions. Also the talents of the featured artists such as Diamanda Galás, who performs on the cover of her song Orders From The Dead, the traditional Greek/Balkan instruments, guest vocalists like Alan A. Nemtheanga (Primordial), and the Pleiades choir are all heightened.

Did Aealo need to be re-recorded? Well clearly the band think so and what they have done is make a brilliant record, sound as it should have the first time around. Leaving you in no doubt that this is the turning point where Rotting Christ became 'the' Hellenic extreme metal band. 10/10

Full House Brew Crew - Glasgow Grin (ROAR)

Vangelis Karzis (Wolfheart/ex-Rotting Christ) once again revs up the engine of his groove metal machine Full House Brew Crew. This hard drinking, heavy riffing mob, have turned their sights towards the rough and rowdy streets of Glasgow with the title for their fifth record. Full House Brew Crew are band who have always played tough bloody knuckled heavy metal that swaggers in with attitude and its fists clenched in anger. Along with Karzis (vocals/guitar), FHBC comprises Spiros Dafalias (bass), Giorgios Tzatzakis (guitar) and Chris Borméy (drums), teaming with Saku Moilanen to give Glasgow Grin its meaty mix and master. 

This rawness is deliberate as Glasgow Grin comes from a place of anger. Inspired by injustice and the struggles of life, they're quick to make a statement with the punishing title track which beats you down with a heavy crush that plays with the stereo sound moving the guitars between left and right fidelity. The likes Lamb Of God and Pantera are the clear influences to the band but there’s also the ruthless aggression of Soulfly (No Gods, No Chains) some of the gigantic grooves of Gojira in there (Crawling) and plenty of the NWOAHM on the technical The Tear and The Other Side. 

With the use of melodies and atmospheres against these throat ripping groove metal anthems, Full House Brew Crew prove they aren’t a blunt instrument but a sharpened axe ready to decapitate with riffs, the electronics make their way in on Free Fall and Rain, as the mechanical power of Fear Factory creeps in. Coming toward the end of the record they start to bring the djent style that came partly from the groove scene as clean and harsh clash on Distant Star. Vangelis and co play groove metal sure, but they borrow from other similar styles to make sure that Glasgow Grin stays with you after that final chug. 8/10

Abstruse - Meninx: Piercing Through The Mind (Self Released)

Experimental music when done correctly can be a transcendent experience, Abstruse is an experimental metal project from Athens, it's a precursor to a much full length record that is coming later this year called Horror Endemic. Only two of these tracks will feature there, so this is a stopgap but not in a kitchy, money grabbing sort of way they usually are, this is an intermezzo, a way to link albums though a musical bridge.

The first thing you notice about Abstruse is that they are band who dwell in the formless, using jazz timings to propel avant garde musical experiments which has the weirdness of Mr Bungle and Primus though some desert rock and doomy wooziness. Meninx: Piercing Through The Mind is a four tracker of strange but intriguing music, worth checking out if you like music to be a journey. 7/10

XenoVenous – Face Of War (Self Released)

Back to Athens now for some heavy/speed/thrash metal from XenoVenous, a band who have some skilled guitar players, as the leads and solos here are extremely satisfying if you love bands such as Megadeth, Annhilator or Testament, who have shit hot guitar players and love to show that off. The neo-classical intro Nightmare’s Dream is just a guitar solo, a good one obviously and does the job to begin the record, displaying the virtuosity on offer here. First track proper Gods Bleed, gets down into a bass-heavy and blast-beating gallops, rattling through at warp speed, from verse to chorus, delivered with vocals that take from the trad metal scene.

The bass playing is just as skilled as the six string guitars, the flourishes and runs coming all the way through the parts where they get their riff on, but it’s almost like they’re fighting to get to another set of solos with every track, the guitarists wanting to double tap, dive and twin harmony on every song. XenoVenous slow into some anthemic classic metal on Slaughter Is Near and Wolfheart, both going down the route of bands such as Mercyful Fate or Accept. You could definitely see XenoVenous in the same kind of festival as NWOTHM bands such as Enforcer, Haunt and Cauldron, they blend those traditional trappings with the thrash styles on tracks such as Exterminatus, the vocals also showcasing a lot of grit as they embrace both the thrash snarl and soaring classic metal.

Face Of War is an old school metal record from XenoVenous, if your love of music ended when bullet belts were traded for plaid shirts and guitar solos for emotional angst, then this throwback to simpler times will get you breaking out the air guitar. 7/10

A View From The Black Of The Room: Sophie Lloyd (Debby Myatt & Tony Gaskin)

Sophie Lloyd & BEX at KK’s Steel Mill, Wolverhampton, 30.01.26

After what seems like the longest winter break ever and an interminable long January, we’re finally back on the gig trail. Tonight we popped over to our favourite place, KK’s Steel Mill to catch guitar impresario Sophie Lloyd and she had brought along an explosive young star to support her.

BEX (9) are a three piece, but not in a traditional sense. BEX is also the front woman. BEX is BEX. BEX is two bass players and a drummer. BEX is punk. The music is ferocious, distorted, chaotic. Frontwoman BEX is a pocket dynamo that makes the most of the big stage here. Clad in a DIY bondage version of the infamous Ginger Spice dress, she is feisty and spicy, playing with the bemused audience which is made up of predominantly middle age classic rock fans.

The music may be ferocious, but it’s deeply personal. Songs like Tiptoe and Silence speak of the darker side of the subjugation of women and the need to stand up and speak out, a constant battle to be heard and not disregarded or discarded. Evoking memories of the Riotgrrrl movement of the 90s, comparisons will be made. Echoes of pioneering bands like Bikini Kill and Jack Off Jill who themselves took inspiration from bands such as The Runaways and X-Ray Spex, but the songs are definitely 21st century. It will be interesting to see how BEX develops from here. Can she/they keep their punk independence and ethos or will they be churned up by the big corporate music machine, time will tell.

A young woman who has gone down the more traditional path to rock stardom is guitarist Sophie Lloyd (8). For nigh on 15 years she has been building a reputation using the power of social media to showcase her prowess on the guitar, firstly by putting out Youtube videos doing covers and building up a strong fan base, then getting noticed by artists looking for a solid session and touring guitarist. Her big break came in 2022 when Machine Gun Kelly enlisted her for his tour, bringing her to a whole new audience.

With her Youtube channel boasting over a million subscribers and some of her videos getting 7 or 8 million views, getting some big names to be guest vocalists on her debut album Imposter Syndrome was made a whole lot easier. The likes of Nathan James (Inglorious), Chris Robertson (Black Stone Cherry), Lzzy Hale and even Michael Starr of Steel Panther were just a few of the artists that were happy to collaborate.

Unfortunately, Sophie doesn't have the clout or the big bucks to bring some of these artists on tour with her, so vocal duties fall to her good friend Marisa Rodriguez of Marisa And The Moths. The set comprises of a mixture of instrumental covers of rock and metal classics such as Thunderstruck, The Trooper and Enter Sandman, where Sophie gets to show off her shredding skills, and interspersed with tracks from her album.

Sophie’s skill on the six string is phenomenal, She’s a natural and puts everything into it, and she has around her a band that supports her with equally good musicianship. We’ve seen some fantastic guitar legends on the stage here at KK’s Steel Mill in recent years, Malmsteen, Uli Jon Roth, Lita and Schenker some of the most notable, and Sophie would not be out of place with any of those superstars.

So, for a first gig back and the first gig at KK’s for 2026, it was a blinder. It’s going to be interesting to see where BEX goes as the year develops, whereas Sophie has the rock world at her feet right now, two ends of the spectrum. What a great way to start the

A View From The Back Of The Room: Jinjer (Alex Tobias)

Jinjer, Unprocessed & Textures, O2 Institute, Birmingham, 30.01.26



My first time seeing all three bands this evening as Jinjer return to the UK on their Duel 2026 tour with support from Unprocessed and Textures on a wet and windy night in the UKs second capitol city Birmingham, lets get to it.

First up we have Textures (7) from Netherlands, after 2023's reunion and this years release of the bands new album Genotype, the band return to the UK, being this my first ever experience of this band live I was eager to witness the Math Metal madness up close. 

The O2 Institute must of been at least three quarters full by the time the band hit the stage and we get underway to a pretty quiet crowed to begin with. That does not last however, by the time the band finish the first song, Closer To The Unknown, a very hard hitting song from the bands latest album release. Some fantastic and very impressive singing and screaming from vocalist Daniël de Jongh, the energy and power oozes from all members but Daniël seems to have a presence about himself that resonates with me being a vocalist myself. Really hitting all the high notes perfectly and the growls really hit you in the guts. 

As we move through the set we get more from the latest album but also get some earlier songs like Awake from the bands 2008 album Silhouettes, a catchy sing along song that blesses your soul with a great melody and then smart sprinkles of that prog and slightly djent heavy breakdowns that switch your brain into mosh your head off mode very quickly. The band have a very good stage presence all being not having a lot of space on stage to go crazy due to the pile up of gear behind them for the upcoming bands. A very enjoyable experience and a dam good live band that will not fail to get your body moving and heart pounding, I would definitely see them again when they are next around, and so should you. 

After a short break we get our next band, the heavy German prog metallers Unprocessed (8), the band come to the stage after a long build up intro and we get straight into 111, the first track from the bands latest album from last year, Angel. This song really gets everyone going here tonight with its relentless pumping and bouncing bass slaps from bassist David John Levy and some really evil growls and screams from vocalist and guitarist Manuel Gardner Fernandes, who not only is a dam good guitarist but seems so at ease switching from earth breaking screams to Angelic like singing. 

A bit more room for Unprocessed to move about and get into the groove of this now fully packed hot and sweaty O2 Institute. The band go straight into the second song from the latest album, Sleeping With Ghosts, a very brutal heavy song that has a really insane bit of fast almost hardcore style lead but still has all the hallmarks of that technical prog style they are known for. Completing a great opening for the band with a quick guitar change for vocalist Manuel Gardner Fernandes we get the third song from the bands last album, Beyond Heavens Gate. This is a song that had me staring in amazement at the musicianship from all members and I highly recommend you have a listen to it if you haven't yet. 

We do get some older material in the rest of the set in the form of Thrash and Lore from the bands 2023 album And Everything In Between, Thrash being a song that will most certainly leave your gob wide open throughout the entire song with just pure amazement. The only thing for me that let this set down was the fact that it wasn't longer. My first time hearing and viewing Unprocessed and I was very very much impressed by what I saw and heard. 

For me this was going to be one hell of a set to top what I just saw and Jinjer (8) really didn't disappoint musically at all. The band hit the stage to roars of excitement and deafening cheers from the crowed, with all members coming to the stage to start the bands first song, the title track from the bands last album and tour name Duel, with vocalist Tatiana Shmayluk coming on a little later to a huge roar from everyone to give us her very impressive vocal range for the rest of the night. 

The Ukrainians are here to tear up Birmingham and from what I witnessed they most certainly did that, we plough straight on to the next song, a soul searching song called Green Serpent also from the band latest album release Duel. Dreamy singing turns to evil gut wrenching screams with ease and some really impressive footwork from drummer Vladislav Ulasevich on the half time break downs and perfect ghost notes on the snare that keep your body moving throughout. Jinjer have such a wide a varied range of songs it really helps to keep everyone engaged and always anticipating what songs will come next but whatever song that does come like Vortex from the bands 2021 album Wallflowers or the reggae influenced Judgement (& Punishment) from the bands 2019 album Macro they hit every beat and have such a spot on sound that its as close as it can be to listening to the band on record that you can get live. 

The end of the night comes around way to quick with the band ending on the critically adored song Pisces which has every single person apart from security and bar staff singing along, including myself. We get a encore after that with the awesome and brutal song Sit, Stay And Roll Over from the bands album King Of Everything which gets the crowed even more crazy than they have been all night with even more pits and circling around, all members on stage tonight have been so at ease and confident that its no surprise that when all is over we get a more more more chant from the crowed but unfortunately that is it for the night.

If I could some up Jinjer in one word for the live performance I just witnessed it I would have to go with WOW.

Bloodstock M2TM South Wales Interviews: Syndicate - East Heat #1 Green Rooms 07.02.26

Interview with Syndicate - East Heat #1 Green Rooms 07.02.26

1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band. 

Syndicate weaves a wide range of styles and emotional themes into their music. From their exhilarating dance number "It means the world" - which speaks on nuclear war (it works trust me). To the intense anthem "Sick of It" - which expresses the specific emotion that coincides being betrayed by those closest to you. Determined, Gritty, rap-metal that leaves the listener feeling empowered and ready for war.

2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your first time?

We have never participated in M2TM before but we are all super excited to establish new friendships and connections through each and every event that we participate in. We look forward to giving it our best shot and having the opportunity to earn a spot at the Bloodstock festival.

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

The local scene is so very important to the livelihoods and careers of not only aspiring musicians but to entire local economies. Local venues provide a platform for upcoming artists to display their hard work and to reach higher levels in the industry.

4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Green Rooms.  Have you played the venue before or is this your first time? Are you excited to get on those stages?

We have played at the Green Rooms before and were excited to play there once again as it’s a great and intimate environment where the listeners and the band can feel a real sense of connection. Big up Jonny.

5. What are your expectations from being a part of M2TM?

We’re mainly looking forward to meeting new people and having a great time playing music together.

6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?

We have never played a festival before so if we manage to get through and actually play Bloodstock then it would be a dream come true

7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?

Make sure not to miss Scratch One Grub as they’re incredible. The sheer stage presence and ripping tunes intertwined with great production make the experience of watching them play pretty unforgettable.

8. Tell us in five words why people should come and see your band?

Sure to blow you away

Reviews: Hermano, Predatory Void, Epimetheus, Phendrana (Rich Piva, Mark Young, Matt Bladen & Rick Eaglestone)

Hermano - Clisson, France: Live At Hellfest, 2016 (Ripple Music) [Rich Piva]

Some would call Hermano a supergroup. The guys in the band would call Hermano a group of friends who get together every now and then to play music and hang out with people they love. 

There is no real master plan for Hermano; when the moons align and the band can get together to play, they make it happen. Whenever that is, it is always magical for the fans of a band that is insanely influential to what the stoner rock scene is today.

I say no real plan, but with their recent signing to Ripple Music, Hermano has begun to empty the vaults as they say, with repressing's/remasters and a bit of new material that we have seen or will soon see via the best label in heavy rock. 

This includes Clisson, France, Hermano captured live at Hellfest in 2016. The guys all flew in from different parts of the US, had about two hours to practice after not playing with each other as a band for years, and proceeded to rip the place up and tear the place down with their blend of heavy blues stoner rock and roll.

Clisson, France is somehow a band hitting on all cylinders playing their first show in years. John Garcia is one of the best frontmen ever and he is in top form, both in voice and in banter (he’s not a huge banter guy, but whatever he says is always perfect for the vibe). The dual guitar attack of Mike Callahan and Dave Angstrom pair perfectly and destroy the 10,000 -plus crowd with a mountain-load of riffs. 

The rhythm second of Dandy Brown and Chris Leathers settled in like they have been playing on the regular daily, with the latter showing zero rust after not playing drums for something like eight years before the show. The songs on Clisson, France are a smattering from their three records from the 2000s, a pretty much perfect setlist for a Hermano fan to see them play at Hellfest. 

Opening with Left Side Bleeding and closing with Angry American is perfect, and my favourites, Senor Moreno's Plan, Alone Jeffe, and Cowboys Suck all being represented amongst the twelve tracks included on the vinyl, so, yeah, this rules.

Hermano is a unique band in all possible ways. Let’s all celebrate these guys by grabbing Clisson, France, turning it up, putting your pentagrams down, and rocking the fuck out. 9/10

Predatory Void - Atoned In Metamorphosis (Pelagic Records) [Mark Young]

And now here’s February, after what felt like the longest month in the history of the world, we say hello to a short but very sweet EP, courtesy of Predatory Void. It’s a 4 track EP that clocks in at just under 14 minutes but don’t let that fool you. They leave a mark.

It follows on from their debut album Seven Keys To The Discomfort Of Being, and this is being touted as a more focused and direct set of songs. Make Me Whole is their lead off track, starting with a stripped back sound, a repeated vocal line that expands, guitar stabs in the background. 

It’s the sort of song that could kick off any live show, that gradual build suddenly deploying itself and then spools into New Moon, this is more direct with melancholic cleans morphing into death growls. 

The tonal shift is welcome, with certain aspects changing shape but not the guitar. Rather than drop into standard territory, it keeps its eye on maintaining the melodic line. They blur the lines between the light and dark without sounding forced, and the music itself is brought together so well. The fall into discord in its final act doesn’t sound out of place with what has come before, and in all honesty its one of those songs that move between lanes with ease.

Peeling Cycle is a beautiful piece, Lina R’s vocals are haunting and weary, set perfectly against the jarring melody before burning up with a guttural attack that flips the coin once more. It doesn’t go for the traditional approaches, its subtle in its heavy moments but still hits hard. 

The final entry is Contemplation, and reminds me of gaze/grunge from the early 90’s. This is not a diss on their song at all, its more that the initial build just evokes that response in me, until they go on the attack once more. 

It's build is quality, an arrangement that doesn’t rely on having the most bottom end or double bass to move it along. It simply breathes, and by doing so moves at speed. In the space of those scant minutes, Predatory Void serve up 4 good songs and manage to say a lot more than some bands manage with 10 or more. 

Its driven by purpose, each song landing almost on top of the one before so that there is no time to settle. January was by and large a bit flat, with Predatory Void, February is looking better! 8/10

Epimetheus - Perseus 9 (Self Released) [Matt Bladen]

Throbbing, hypnotic, meditative and grooving are all words you can use to describe the music of Bristol trio Epiemtheus. In the accompanying blurb all is explained as Cillian Breathnach “plays a self-assembled baritone aluminium-neck guitar tuned to drop F” while Ben Price’s “bass is in C standard.”

Both facts are important when understanding the music of Epimetheus, it’s rare that a guitar is tuned lower than a bass but because the baritone guitar, often used in place of bass, gives the record a low end that lets them manoeuvre their way through corridors of sludgy distortion and experimental noise. 

All guided by the percussive rudder of drummer James Jackson. A band focussed on tone, their music undulates with repetition, a style that could only have been born in the accepting and encouraging Bristol artistic environment.

Few cities in the world would be tolerant of a band coming on with this sonic discordance, but if you’ve ever been to Bristol then you’ll know at any given moment you could have a harsh noise show, down the road from hardcore and across the way from dream pop. The baritone guitar bleeds into the bass and vice versa, both laden with effects to make a homogenous soundscape where cavernous riffage is the end goal.

Just check out the massive groove on the title track and you’ll get an ear ringing insight into Epimetheus, the lack of overdubs or additions keeping them true to how they perform live, their tracks crated to be performed by three players and all the limitations and benefits that has, recorded and engineered in one room along with Stan Braddock, they tapped Chris Fielding to master the record and he has given it his filthy overhaul. Incidentally Epimetheus will play an album launch show at Exchange in Bristol on 7th February, so I urge you to pick up this album before going to see if you can spot the difference.

Let’s talk about the record though and it’s inspired 70’s science fiction novels, where dystopia and grief are key themes (Terraform for instance), the loss of humanity or of loved ones all reflected through the soporific quality of their music. I defy you not to nod your head along to these tracks, Epimetheus have a way of swaddling you in their riffs, no matter how harsh of distorted they get, the reverbed vocals cutting through the circumvallation of sound, like a distant voice from beyond the stars. 

Few bands can sound this primal and progressive at the same time, but Epimetheus manage it on Perseus 9. Born in the fertile Bristol scene but poised to go further, Epimetheus should be on your heavy radar for 2026. 9/10

Phendrana - Cathexis - (Independent Release) [Rick Eaglestone]

There are moments in progressive metal that transcend the mere assemblage of notes and rhythms, where atmosphere becomes architecture and emotion becomes entity. Phendrana's Cathexis is one of those examples.

The album opens with Lamento, a haunting instrumental introduction that sets the tone for the entire journey. This atmospheric prelude weaves delicate piano melodies with subtle orchestration, creating an air of melancholic anticipation. 

It’s a bold choice to begin with such restraint, but it proves masterful – the track establishes the album’s emotional landscape before the storm arrives. Chamber music influences blend seamlessly with prog-rock sensibilities, hinting at the sonic diversity to come.

The title track explodes into being with visceral intensity. At over eight minutes, Cathexis showcases Phendrana operating at their most ambitious – the lyrics explore themes of arms eloping away and bodies suspended in time, painting vivid imagery of existential dread. Anuar Salum’s vocals shift effortlessly between soaring cleans and guttural roars, while the instrumental arrangement builds from delicate passages into crushing walls of sound.

Sentience represents the album’s emotional core, a nine-minute epic that explores the ominous presence of despair and listlessness. The lyrics are profoundly introspective – lines like “I am the emissary of despair, no matter the prayer, you’ll remain, forever marked with hidden stigmata under the cloth” reveal a songwriter unafraid to confront the darkest corners of the psyche. 

Musically, the track demonstrates incredible dynamics, moving from atmospheric keyboards and gentle acoustic passages to explosive progressive metal assaults. 

Mafoo’s lead guitar work shines throughout, delivering solos that feel both technically impressive and emotionally resonant. The interplay between Ana Bitrán’s ethereal female vocals and Salum’s harsh delivery adds another layer of complexity, creating a dialogue between hope and desperation. This is Phendrana at their most Opeth-like, channeling that band’s mastery of contrast while maintaining their own distinct voice.

The album concludes with its most ambitious statement yet. The Effigy & The Titan brings together all the threads woven throughout Cathexis – the chamber music elegance, the progressive metal intensity, and the raw emotional honesty. Daniel Droste of Ahab lends his distinctive doom-laden vocals to the track, adding gravitas and depth that perfectly complements Salum’s performance. 

Gabriel Bitrán’s piano solo provides a moment of stunning beauty amidst the chaos and as the final notes fade, there’s a profound sense of catharsis, as if we’ve completed a journey through the states of the soul that Phendrana promised to explore.

Born from the ashes of a long and painful process of introspection, Cathexis truly embodies the existential journey through the states of the soul. Phendrana has created an album where the mind becomes a battleground for oneself, exploring themes of despair, isolation, and the search for meaning with unflinching honesty. The musical evolution on display here is remarkable. Retaining the raw emotion and dynamism from their previous work.

Phendrana has crafted something rare – music that sounds like the work of seasoned veterans while maintaining the hunger and innovation of artists with everything to prove.

A sprawling and ambitious odyssey. 9/10