Reviews: Left To Die, Parker Barrow, Stormhammer, Tomb Slab (Mark Young, Matt Bladen, Cherie Curtis & Joe Guatieri)

Left To Die - Initium Mortis (Relapse Records) [Mark Young]

Ok, this has been one of the releases I’ve been tracking this year, a homage to one of the most influential acts ever to grace the extreme metal stage. 

If you haven’t heard of Death, or Chuck Schuldiner then I suggest you have a dive online and then come back in a bit. I need to also preface the review by pointing out that the band comprise those who were involved during the very early moments of the Florida death metal scene, and so it has a certain flavour to it. 

The songs here are early Death and Mantas tracks that have previously only been available as demo material, as far as I can see (happy to be proved wrong though!). The band themselves have some heavy weight metal credentials with Rick Rozz and Terry Butler onboard and have approached this with a serious intent. I know that there are those who might be looking at this as some form of cash grab, or worse using a legendary band as a leg-up. I think its dependent on how you approach it and if those involved have got something valid to say.

So rather than take you through each track which I think is largely irrelevant here. The music is built from a different time, when death metal was still finding its feet and trying to move beyond the thrash/speed style prevalent in the mid-80s. This isn’t the surgically precise material that would be released later in that decade, rather it takes the form of sonic bludgeoning, of riffs and arrangements that were densely packed and solid in effect.

The songs can be traced to the first two releases by Death, again where those involved were finding their feet musically and if you are fans of that period then this is for you. It sounds pretty good too, its brutal in the right moments and is like stepping back in time to when things were simple – your metal was heavy or it wasn’t. And if wasn’t, leave the hall.

Fans of ‘modern’ death metal might find this almost pedestrian in comparison, but I defy you not to be grabbed by Archangel (with a chilling vocal from Matt Harvey). Its material of its time, for sure but it’s a release that gets those early tracks out there in a legitimate way. It’s unknown if there are more albums planned from them, what that would look like. 

I guess it is dependent on where that material comes from, if its original or re-recorded. In any event, I think this is something that is worth checking out, not just for the die-hards but for those who want to hear how death metal sounded back then. 8/10

Parker Barrow - Hold The Mash (Self Released) [Matt Bladen]

If you're getting a feeling of Deja-Vu then you aren't as Nashville Southern Blues rockers have already released half of this record as the Hold The Mash EP back in 2025 before heading out on tour, however they've now released a full length with the same name as their sophomore full length.

Now all that's is cleared up we can get down to the nitty gritty of this band named for Bonnie and Clyde, which features it's own husband wife team of Megan Kane (vocals) and Dylan Turner (drums), however these two, along with their partner in music guitarist and musical Alex Bender, are less concerned with robbing banks, but prefer to steal the show with some big blues rock rhythms.

Build around the powerhouse percussion of Turner and the deep grooves driven by Kyle Priber's bass. Parker Barrow bring a lot to the table musically with blues, rock, southern, soul and gospel, the guitars of Bender and Will Tipton cranking out the Zep-like riffs on The Healer, and slinky solos on Novocaine or My Morning Song which borrows from The Allman Brothers.

Eric Safka adding the organs on tracks such as Nothing Left To Save, keys to the acoustic Olivia Lane and generally adding those sweet layers of honey over the main riffs. The vocals of Kane are soulful, sultry with a roughness that comes through on the strutting Make It (cowbell alert) and the spiritual feel of Glass Eyes which is very Black Crowes due to the organ and slide guitar.

Nashville rocking that just oozes with the musical history of that town, Hold The Mash sees Parker Barrow defining the band they want to be with this second record of honest southern blues rock. 8/10

Stormhammer – Wrath Of The Hammer (ROAR) [Cherie Curtis]

German metal band Stormhammer presents us with 10 tracks of pure power metal that’s fierce and burning with melodrama. Their newest album Wrath Of The Hammer, is their ninth full length album following a brief hiatus and a few lineup changes over the 30 odd years of their career and it’s another great one.

This album and their current line-up bring a fresher, sharper and much cleaner sound but remains true to their roots, though this album is less raw and gritty, Wrath Of The Hammer is still powerful, thumping and anthemic like lots of power metal pioneers. Stormhammer’s sound is very similar to power metal bands like Sabaton with an Iron Maiden spin. 

This album is very stylized and the word cinematic rings true to them as their lyrics are visual and the instrumentals are atmospheric and all together, they project the image that is Stormhammer. They could be excellent sci-fi fantasy film scorers in another life, the album itself comes together like a composition, and each track has a different feel but paint the same picture and maps out their narrative perfectly.

What’s good about this album is that they managed to showcase a fair amount of range, tracks like my personal favourite- Guardians Of The Night, balances balmy, breathless and sort of romantically powerful vocals with the slow thundering hammer of drums and bass which slowly builds tension with the added contrast fast springy riffs, there's not really a sickening breakdown, but the energy does build and crest like a wave would in a storm. Whereas Ashes Of The Throne comes in all guns blazing and stays burning hot throughout so there are tracks to get your blood pumping and tracks for when you'd like to reminisce.

The only nit picky criticism I do have, and it feels especially harsh considering that Stormhammer brings a new vocalist for this album is that the vocals itself does fall flat, it’s not bad at all and it does glide along powerfully but it does so within one range and without textured layers we’re used to when it comes to power metal, it doesn't have the kick or a gut punching feel other bands within this genre have. 

I do however feel like a lot of power metal lovers will get a good kick out of this album anyway and it’s something everyone can enjoy to a certain degree, but it's a hard one to love. Stormhammer doesn't bring anything unique and I feel like it’s an album I've heard many times over the years. They are talented and they know their instruments as well as the genre and they have produced some great work, but it doesn't really give you anything to write home about.

Overall, it's a decent album. It's well made, it's not a chore to listen to and it's well mixed and fun. If you feel like it's something you can enjoy, check it out but I feel like there’s something missing. 5/10

Tomb Slab - Tomb Slab (Road To Masochist) [Joe Guatieri]

Tomb Slab are a Blackened Sludge Metal out of Nottingham, only forming last year. They’ve seen a very quick turn around, after only being around for a few months, they’ve already played quite a few shows and recorded their debut self-titled EP which I’m talking about today.

Tomb Slab are not a complete unknown as they have a legend in their band, that being Kez Whelan as their drummer, someone who’s spread their wings across UK extreme music, playing in great bands such as Thumbsucker, FILTHxCOLLINS and Shrykull. This lends the band a whole lot of credibility with a talented person like this being present and also being released by one of England’s premier indie metal labels, Road To Masochist.

The album opens up with Kingdom Of Tyranny, presenting the beautiful sounds of screeching feedback within its opening seconds, something that I will never grow tired of. The main riff that takes up the bulk of this song is evil and heavy, moving like a snake.

The track is boosted with its raw production, especially noticeable in the drums and bass, seemingly pinging of the walls. By 3:15 the track goes from dwelling in the darkness into a three day bender, increasing the energy in a punk style. It’s giving Electric Wizard, Grief and Eyehategod. Kingdom Of Tyranny is a a good introduction and it is my favourite song on this EP!

Next we go into The Butcher which presents a more upbeat sound compared to the previous number. Whilst it has a great groove and is fun to listen to, the only thing that’s really Black Metal here at all here is found in the vocalist Dean Lettice’s screaming performance. 

I do enjoy his stylings a lot, he’s like a cross between Nocturno Culto of Darkthrone and Mike Williams of the aforementioned Eyehategod, also sounding similar to Russ Barr of the Bristol band Gnash. Maybe pulling out of a well of the same influences.

Track three is Rawhead. It brings out a more Black Sabbath flavour in Tomb Slab, you can imagine the singer clapping his hands wildly to the song as the melodic guitar phrases bring life out of old amplifiers.

Both this and the previous effort have established a pattern for me which continues throughout the entire listen.

This idea that though these pieces have rough edges and contain themes of the occult, catchiness is prioritised above all else, evidently the band wants people to have a good time with scenes coming to my mind of an audience drinking and enjoying themselves. This is where I think that Tomb Slab are coming across to me as a Party Sludge band. They don’t want to be put under this label, though they are very comparable to bands like Gurt and Battalions. Guys it’s nothing to be ashamed of and you don’t need to be dark and mysterious all the time!

Later on we get track five with Tomb Of Flesh. Again, I’m starting to sound like a broken record now but it’s very much in the vein of what we’ve heard before. It makes the listener want to headbang and it’s at a slower pace, it’s engaging enough but it finds itself hitting its head against the ceiling, refusing to bring anything new to the table.

Overall Tomb Slab’s first EP just barely gets over the first hurdle. It’s got great musicians, playing well and having fun together but it doesn’t have the staying power. It’s like arriving at a six band gig, late to the second band and you’re four drinks deep. Sure you’re having a good time but you’ll struggle to remember in the future what they’re name is. 5/10

Reviews: Wailin' Storms, Devildriver, Shadow Of Jupiter, Eva Under Fire (Rich Piva & Matt Bladen)

Wailin’ Storms - The Arsonist (Season Of Mist) [Rich Piva]

It is fitting that the new record from North Carolina band Wailin’ Storms is dropping the same month the band Solace also has a new release. 

Not because they sound anything alike, but because like Solace’s 2019 record The Brink, Rattle, the 2020 record from Justin Storms and crew, was one of a handful of records that really helped me understand that there is a musical heavy underground and catapulted me head first right into where we are today. 

Speaking of today, Wailin' Storms’ new record, The Arsonist, brought to us by Season of Mist, is awesome, taking their noisy Southern preacher on fire vibes and bringing even more heavy to their take on gothic noise rock.

Starting with the reverby guitar and rolling bass and drums on the opener, Dead End, you can feel the heat in the room where Justin Storms is singing from while the music burns all around him. You will hear 80s goth vibes on this record, but goth if Jesus Lizard somehow got involved. Dead End is so huge and the guitar work is so killer, but how about when it gets all creepy and quiet, like he found a way out of the building structure only to decide just to stay put and let everything burn around him anyway. 

Storms’ voice and ranges are on display throughout, and is used as effectively as any other instrument in setting the tone and the urgency of the tracks, like his high range on Heart Of Mine and his screams on Never Rest. These songs seem to always be building to something, whether that is an explosion or just enough to think it’s going to blow but the fuse is extinguished at the last second. You Never Answered is an onslaught, where I hear Steel Pole Bath Tub combined with Bauhaus which is not a formula I would have ever dreamed of. 

The title track is a full on sermon, with Storms captivating his congregation through the flames all around them. The back half of the record is as killer as the first, with Patient Night and The Wind bringing more of the heavier side of this record, setting up perfectly the closer, It's All Dark Now Where Your Eyes Used To Be, a stripped down, piano and voice driven minimalist track that has Storms looking down on the wreckage, surveying the damage, and deciding what is salvageable, if anything.

This record sounds amazing, and that is because The Arsonist was recorded by Matt Talbott of Hum in full analog. Enough said. Wailin’ Storms has and will always be an important band to me., which is why I am so happy to say The Arsonist is their best work yet, with an already killer discography. Dark, smart, urgent, meaningful, and beautiful all at the same time. This is the magic of Wailin’ Storms. 9/10

Devildriver - Strike And Kill (Napalm Records) [Matt Bladen]

After a double album that garnered rave reviews for the Santa Barbara groove metal crew fronted by Dez Farfara you may think that they would continue to make records that continue in that way but actually they've gone the other way back to their roots for a 13 track blast through all the facets of Devildriver.

From punishing groove on the Title Track and industrial punch of Headed For The Fall to the melodeath technicality on Dead In The Water and In The Moonlight. There's an almost black metal atmosphere on Sanctified In Scars as the blistering Ride Or Die is outright ferocity and punishing tech groove of Shut The Silence Out.

Every track featuring that unmistakable snarl of Dez who offers up a varied vocals throughout to match whatever stylistic change this record plows through. Alex Lee and Gabe Mangold shred like absolute bastards on every track ferocious riffs and breakneck solos/leads coming throughout.

Davier Ortega Perez kicking the life out of his kit on tracks such as Never Coming Home (written for the England football team?), while returning founding bassist Jon Miller drops right back in for the bottom end power, even when there's a slight pause for Summoning Shadows and You're Just A Ghost, where more melodic strain appears before more battery.

Focused and feral, Strike And Kill sees Devildriver armed to the teeth and ready to wage war. 8/10

Shadow Of Jupiter - Bones (Ripple Music) [Rich Piva]

Chicago’s Shadow Of Jupiter’s second record, and first for Ripple Music is a triumph of heavy, melodic songs that stick with you and crush you at the same time. Bones has the band and the peak of their powers, a group who have figured out how to both play together as a fourpiece and how to get the most out of the songs that they put down for this record. The results are obvious, and will have you have this record on repeat, spinning in your mind even when it is not on the turntable.

The opening title track is all you need to understand what I am talking about with Bones. Colin’s riffs and playing, John’s vocals, which have grown into him being one of the best singers in the scene, Scott’s bass high up in the mix keeping it all together, while Adam does his thing on the drums (more on Adam later). This slow burn has so much atmosphere, and that along with Colin’s psych-leaning guitar work make this track a song of the year candidate. 

SoJ gets tracking and pace, because that slow burn moves to the ripper Whatever God You Fear that has both a grunge and thrashy kind of thing going on that balances that seven-plus minute opener perfectly. Speaking of grungy, Ugly On The Inside is that, giving off Soundgarden vibes a plenty, but showing the band’s mastery of the tempo change. There is so much going on musically on this track, but I have to call out the double take I did while listening to Adam’s drumming. The dude is a monster. I had to stop everything I was doing to just focus on his work on the back half of this song. Amazing stuff. 

The atmospheric aspect of this record is throughout Bones, like on Echo Chamber, a song that also shows that these guys get melody as much as they get the heavy riffs they are constantly delivering. My favourite track (currently at least) is Rumblestrip, with its killer vocal melody and John’s excellent singing performance. I hear Fireball Ministry vibes in this one, and there is not much higher of a compliment than that. 

These guys are not just bringing the heavy and riffs, they are storytellers too. Just check out Riotdogs to see what I mean. The closer, For Heaven Above, has all of the great stuff I have mentioned: the atmospheric psych guitar work, the heavy riff, the vocals, but also has an emotion to it that grabs on and will not let you go.

Bones is a triumph for a band who play together because they love to do it and enjoy doing it with each other. All four members of Shadow Of Jupiter are represented in this 41 minutes of music, as the band has figured out their strengths and doubled down on what works for them, and more importantly, what they feel is them, as a band, on wax. Bones is an amazing record that everyone should check out. Album of the year candidate for sure. 9/10

Eva Under Fire - Villainous (Better Noise Music) [Matt Bladen]

Eva Under Fire is the musical arm of vocalist Amanda Lyberg's work as a therapist, emerging from her own demons they debuted in 2022 with cathartic lyrics that are there to emotionally connect with audience and even male them reflect to choose themselves over everything else.

After completing her studies her father died of a fentanyl overdose and her mother nearly died from the same, now sober, these events have inspired Amanda on her work as psychiatrist dealing with trauma, grief, loss, and addiction which was turned into a documentary and featured her bands music throught, Eva Under Fire another outlet for her therapy work.

The Detroit band now follow up that debut album with their second full length release called Villainous which brings more massive hooks, metallic stomps and electronic thumps, creating music to get you moving but with lyrics that make you think and perhaps even re-evaluate as there's an inherent catchiness to this music but on repeated listening the impact of the lyrics gets stronger.

As if Amanda's powerful vocals weren't enough she's joined by Maria Brink of In This Moment on the industrial tinged Title Track, as ITM are clearly a big influence on Eva Under Fire. From the massive chorus of Awakening, through the Nu-Metal groove of Survive My Scars, the synthwave vibes of Dark Soul, the glitchy anthemic Don't Say I'm OK or the radio ready Hello Hollow.

Villainous is a modern metal record that packs an emotive punch. 8/10

Reviews: Black Sites, Holystone, Ruthless, Mothertomb (Matt Bladen)

Black Sites - For Eternity (Independent)

As Iced Earth's founder continues to defile the legacy of the band he started by being a complete MAGA mentalist, there are plenty of bands willing to fill that void, delivering the potent US power thrash riffs, progressive touches and massive vocals that were all part of IE appeal for me.

One such band is Black Sites whose previous albums have all scored highly with me due to their similarities to Iced Earth and that whole US scene but unlike Mr Schaffer they seem to have more of steady head on their shoulders with tracks such as Aquarius Betrayed taking aim at previous generations who "reaped the benefits of a socially liberated and progressive era, then quickly turned their back on them when they became inconvenient."

Vocalist/guitarist Mark Sugar has been joined by a totally updated line up of Lee Smith (guitar), Chris Black (drums) and José Salazar (drums) on this record and this injection of new blood has again shifted the influences of Black Sites as their classic heavy metal foundation is built upon by goth, doom, thrash and more, it's a broader range of sounds that come on For Eternity without abandoning the heavy metal heart.

This fifth album also spreads it's lyrical inspiration widely with UFO cults in their native Chicago (Cosmic Circle Of Fellowship), through to those dealing with mental health battles on Silent Wars, inspired by Robin Williams and anyone who struggles with their mind being their worst enemy.

A revamped line up, some more additions to their traditional metal sound as they build on the prog from their last record but Black Sites still fly the flag of heavy metal on For Eternity. 8/10

Holystone - Accepting Omega (Self Released)

Desert doom from Down Under now with the second album from hypnotic rockers Holystone. Despite only releasing their debut in 2024, the trio of Wolfe Peterson (guitar/vocals), Madison Morris (bass/vocals) and Jonny Pickvance (drums) have built up quite a formidable musical history in their native country with other bands.

As Holystone the have been taking to stages across Australia in support of Brant Bjork Trio, Yawning Man and Witchskull, along with numerous big riff festivals. There's a depth to Holystone that a lot of bands could really pay attention too. On the surface it's doom and psych that are the major points of reference but Holystone make their music makes you feel uneasy, it's brooding and ominous.

Ritualistic in their stage performance this transfers into their music as the vocals of Wolfe and Madison, blend together in union against the often discordant, rhythmically repetitive riffs. Within this mind bending psych doom there's also garage, grunge fuzz and even some dark Americana.

Holystone create sounds befitting the cinematic style of Alejandro Jodorowsky or The Stand by Stephen King, both having a strong impression on Accepting Omega a record where themes of existentialism, morality and depression are paramount, as it's an album about accepting the end and only then ultimately knowing who you are as a person.

I could describe all the songs on this record but it's one of those you need to listen to front to back, let is enter your psyche and work it's black magic on you. Accepting Omega is Holystone at their most apocalyptic yet. 7/10

Ruthless - Curse Of The Beast (Fireflash Records)

Heavy metal never dies and Ruthless are one of those bands who have taken a familiar path in the heavy metal world.

Formed in the 80's to reasonable success, they broke up only to reform again in the 2010's. Since then they've released three studio albums, the last one, The Fallen, on Fireflash Records and now with their fifth record Curse Of The Beast they return to Fireflash for more heavy metal mania.

Ruthless play US heavy metal, in the style of Jag Panzer, Metal Church and Exciter, owing inspiration to Accept and Judas Priest, they've even thrown in a cover of Metal Gods on this album. Their own tracks though are tough, heavy metal slabs, the American way with heavier riffs and rougher vocals than many of their European neighbours.

Speed metal often bowls over into thrash, for example the double shot of the Title Track and Raging Violence, however it's not all intensity as Blood Coalition opens with melodic guitars and heavy chug, continued on Killed By Fate but the majority of Curse Of The Beast puts it's foot on the gas and doesn't ease off until the very end.

Ruthless by name, Ruthless by nature, Curse Of The Beast is more thrashing heavy metal from these US veterans. 7/10

Mothertomb - Dying To Live (Death Box Records)

A band from Michigan singing about Welsh folklore? Well sign me up as it worked for Fleetwood Mac, however unlike 'The Mac' Mothertomb are a much heavier and formidable group of forest dwellers formed after a colossal ice storm in 2025.

Cut off from the outside world with just music, the spirits and their own psyche for company Mothertomb crafted this debut record of transcendental occult doom, where hypnotic riffs, stoner fuzz, gothic atmospheres and glacial movements are all used to capture the attention and keep your head banging.

Dying To Live as I've said takes inspiration from Welsh Folklore but also more tangible issues such as suffering, the struggle between dark and light and the fight with inner demons rather than those that come from hell. Inspirations come from Sabbath obviously, but also Pentagram, Windhand and Acid King, combining various flavours of the doom world without running too far from low and slow.

Alton Minor (bass) and Mike Benitez (drums) create a black hole of a groove, the drumming expressive, with double kicks taking you by surprise and lots of cymbal work for ambience on Cythraul. The bass is the thundering bottom end, but adds the psychedelic grooves to Mountain Hag and the title track.

The bass lingers beneath the guitar of Chance Gawlinski, who can conjure mind warping passages with reverb and echo and fuzzy/distorted riffage from doom 101. Mothertomb is fronted by the brilliant vocal power of Alice Gawlinski who sails between ghostly wails and demonic snarls adding more dynamics to these already by casting the vocal spells.

Mothertomb may be Dying To Live but this debut kicks open their frozen tomb with some heavy occult psych doom. 7/10

Reviews: Deafkids, Pride Of Lions, Smoking Snakes, Nunslaughter (Mark Young & Matt Bladen)

DeafKids - Cicatrizes Do Futuro (Neurot Recordings) [Mark Young]

Sometimes the boss likes to throw me a curve ball just to see what would happen. I think he does it because too much death metal is not healthy, and sometimes you need to listen to something else. In these moments of musical time-out, I reach for Carl Perkins, or possibly the Dave Clark Five, in the hope that batteries will be recharged and words will flow.

This month’s curveball comes courtesy of the Brazilian duo Deafkids and their latest Cicatrizes Do Futuro (Scars of the Future).

And you know what? As a change of pace and style, I loved it. The album itself, well I guess you could describe it as avant-garde/experimental/dance music. Well, I’m going to describe it as that because that is what I took from it. It reminded of metal nights a long time ago when bands started to lean into remixes that would allow them to throw maybe more industrial aspects into their music and as a result get people moving. 

Any student night would be playing Ministry, Nine Inch Nails (specifically Head Like A Hole/Broken/Downward Spiral) whilst ploughing through The Future Sound Of London amongst others because you would dance to it. Especially if you were off your face. This is music that wants you to move, no more and no less. The way that they put these together brings in those Latin America sounds melded with dance club beats. 

That is about as far as my knowledge of dance goes; In the early 90’s if you liked metal you didn’t go to places that played music like this unless it was a special club (Jilly’s in Manchester, Maximes in Wigan to name two, both are gone now) who also catered for drunk students who couldn’t get in anywhere else. Throwing industrial and the harder edged dance together caused all sorts of mayhem, which in a way is presented here, almost by osmosis. Its relentless and whilst tempo varies, the overall feeling doesn’t change.

It’s strange actually trying to write this review, because I’m drawn more memories of those days that are gone, that this album is somehow triggering. I won’t try to tell you which track is the best or is the relative high point because that would be missing the point. They themselves have called this a ‘visceral diagnosis of a world intoxicated by its own fictions of power’ and I’ll be honest, if I hadn’t had read that online, I’d would have said that they just want to make music that moves you. I guess what you take from this depends on what you like in your music. If any sort of dance music is a hard no, then I suggest you keep moving.

However, if there is just the slightest, and I mean the smallest possibility that you might listen to this without smashing your listening device to bits, then give it a go. It could open some doors for you. 9/10

Pride Of Lions - Unbridled (Frontiers Music Srl) [Matt Bladen]

It's been a while since Jim Peterik traded in Eye Of The Tiger for Pride Of Lions, but since 2003 he and vocalist Toby Hitchcock have become one of the leading lights in the post Millennium melodic rock scene. Unbridled is their eighth stupid record and it's another 12 track record of slick, emotive melodic rock with songs of resilience, power and devotion, from Jim to his wife Karen.

Jim's keys and guitars are at the heart of all these songs, his innate sensibility for what melodic rock is evident from track one. When you've penned some of the biggest hits in the genre, this all comes easy, so Unbridled is brimming with skill and gives no real shift from what Pride Of Lions have been doing since 2003.

Ed Breckenfeld is behind the kit, Mike Aquino brings the lead guitar skills, doing some EVH on the title track and Bob Lizik is on bass, but Pride Of Lions is Peterik and Hitchcock's baby, as they both perform lead vocals singularly and in unison for some rich vocal harmonies that are a key feature of melodic rock/AOR.

Another record of huge hooks from Pride Of Lions on Unbridled, AOR done with veteran experience and skill. 7/10

Smoking Snakes - All Lights On (Frontiers Music Srl) [Matt Bladen]

Swedish sleaze metal now from Smoking Snakes who introduce this new record with their own radio promo before they take you to the Sunset Strip and the sounds of Skid Row, Ratt and W.A.S.P along with the dense Swedish scene too. The attitude is there, the riffs are there and gritty vocals are there so All Lights On is a throwback to when hairspray destroying the atmosphere.

However it's a throwback with a modern identity to it, but the 12 songs on this album, such as Screaming For More, will definitely take you back to the 80's, as will the strutting Broken Heart, the big drums of Turn On The Lights while Nasty...Wild has choppy guitars and Trick Or Treat is a track that could very well fit on The Last Command.

You can hear that this four piece live for the stage with their music, written to be performed live, the tracks here are there to capture a band who still defining themselves as this is their second full length record, so it's got some more dynamic offerings, that bring melody and balladry to the sleaze metal style.

All Lights On is a throwback that's carries the danger of that scene in the 21st Century. 7/10

Nunslaughter - Satanic Chaos Legions (BLKIIBLK Records) [Mark Young]

I so desperately wanted to love this. In terms of producing art, especially art that provokes a reaction anything called Nunslaughter (and I assume its slaughter, not Nuns laughing which actually might be a better fit) should by rights cause certain members of society to spontaneously combust. And yet, this feels ultimately like a missed opportunity or maybe something that should have been presented in a smaller (EP) sized chunk. Incredibly, I’d never come across these before, and their discography is something to be believed in a career that started in 1987 (as Death Sentence) before settling on Nunslaughter. 

Getting back to Satanic Chaos Legions I expected this to set my skin on fire, to be the darkest of the dark and we got 14 songs of varying quality, depending on your how you take your death metal. Opening with the title track, Satanic Chaos Legions speeds along as you would expect with a suitably grindy guitar tone. Its fine, to be fair but just fine. I expected more than what I got and I don’t know if that is because of my unfair expectations or that I’m just being a bit of a twat with them. 

In any event, they deploy another 13 songs that veer from short sharp shocks such as Jesus Fucking Dies and you think is this more for a certain catchment who like their metal with lots of swearing in it. If so, more power to them. Elsewhere, their songs keep around sub-three minutes in order to keep things fresh and this is admirable. 

You cannot fault their energy but by the time you are getting past track 10 of what is largely the same thing, you wonder how long you have before it wraps up. I’ve complained about doom bands who are in desperate need of being ruthless in the studio and its no different here. They could have trimmed three or more songs and I wouldn’t have noticed.

Ultimately, they have their audience, and to be honest I don’t think that they will be disappointed by this. Personally, I couldn’t find anything here that gripped me in a way where I wanted to tell you about good this is. I appreciate that this is a relatively short review of this album, but in my defence I couldn’t find an awful lot I wanted to say about it. 5/10

Reviews: Hawxx, Still Remains, Arise From Worms, Winter In Eden (Matt Bladen)

HAWXX - The World Splits Open (Self Released)

"Yes, It's Fucking Political!" to quote Skunk Anasie and HAWXX are one of the most political bands of recent times, raging feminist, queer, counterculture punk metal that's inspired and disgusted by the state of the world all at once. With their debut full length they were mad, with album two, the trio are filled with an unbridled rage, which has manifested itself into these 10 songs of defiance.

Kicking off with Resistance Is Justified, HAWXX begin this next era with the crashing riffs and fierce vocals of Skunk Anasie as Annouli screams "Free Palestine" as part of their on going, long time opposition of what is taking place there, which lets be honest is a genocide.

Inspired by The Filton 24 which includes a friend of the band, it's definitely political but then so much music described as punk today is afraid to take these sort of stances, it's extremely pleasing to hear songs of true rebellion that are unafraid to take a stance.

Stripped back to really capture their live ferocity the band spent three weeks living at Middlefarm Studios in Devon with producer Pete Miles, recording all together simply and without much of technology that is so prominent in music, these days, the idea was for the music to be as organic as possible, this creative outlet the only true way to save souls broken by the horrors of everyday.

From resistance of tyranny, celebrations of queer love, rejections of Macho Bullshit, manifestations of pagan ritual, the destruction of the environment (We Are Nature), animal liberation (Arm The Animals) and more causes that the band proactively support The World Splits Open is catharsis for a band who care deeply about what they are writing.

Delivering it with ferocious performances all round as Annouli's impassioned, operatic vocals shout, scream, whisper and soar. Annoluli combines with Hannah, as part of the HAWXX guitar duo expanding the sonic assault with some incentive playing, kicking out the alt metal grooves meets punk rock aggression, throwing in industrial crunch to the riffage, on tracks such as the intense Bind.

No army marches without it's beat and with Jess they have the percussive heartbeat to their raging rituals, potent when going full battery on Arm The Animals, adding huge crashes to the colossal Be That Whore as well as bringing the complex beat to Sacred Water which has inspiration of Greek traditional music.

Yes, it's fucking political but it always has been for HAWXX, the world is horrible place right now and we need more bands who want conscientious catharsis over cancel culture, bands that are unafraid to speak their truth no matter the detriment that may come their way.

HAWXX's second full length is instilled with a set of beliefs that are resolute and should be fought for and shouted about, they've told us The World Splits Open but which side of history will you be on? 9/10

Still Remains - Spirit Breaker EP (Arson Theory)

It maybe over 10 years and only 5 songs but Michigan metalcore icons Still Remains finally drop some new material, their first since 2013's Ceasing To Breathe. One of the defining bands in that NWOAHM/metalcore explosion of the early 2000's Still Remains have a cult following that is still strong to this day.

Like bands such as contemporaries such as Bleeding Through and latter Betraying The Martyrs, Still Remains employ keys alongside their breakdown heavy metalcore assault to give them an extra dimension as a band. This use of synths has become pretty standard now in the genre and it's many offshoots, enforcing the importance Still Remains had and still has as a band.

Produced by and co-writeen with Lee Albrecht, their influential nature is not lost on the band as vocalist T.J Miller says "we tried to stay true to the sound that our fans have grown to love, but also evolve a bit and add some more modern influences", so Spirit Breaker is the Still Remains of old but with the trappings that have become so engrained into metalcore today.

This intense and personal EP starts with The Wound And The Weapon, swirling synths, a guitar build and then it's off to the races from that first speedy riff and volatile scream, Guy Kozowyk of The Red Chord joins on vocals as the band bring those modern sounds on the EDM beats of the title track.

Two tracks in and those more recent changes in the metalcore are prominent but as the EP continues Eclipse and Waste Of Breath return to where Still Remains come from. What's notable is that both sides work together, so if these first new songs in over decade signal the way ahead then any new material will please fans new and old. 7/10

Arise From Worms - A Bleeding Tree Hanging Self Destruction (Church Road Records)

You can definitely call Arise From Worms a supergroup. Crested by guitarist Sonny Lombardozzi (ex-

Incantation), he conceived it while on tour with Morbid Angel, telling MA frontman Steve Tucker about how he wanted to make a death metal album that pushes the boundaries of what the genre can be.

More extreme, more aggressive, more complex, Arise From Worms is a band not for the faint hearted, taking from Strapping Young Lad, Death, Cynic and any of the progressive extreme metal crowd, Lombardozzi and Tucker are joined by Flo Mounier (Cryptopsy) on drums and Derek Sherinian (ex-Dream Theater) on keys.

Their EP began this project as they meant to go on and now with this full length they bring a 34 minute assault to the ears where the guitars and keys duel for supremacy, the songs coming at you with intensity and energy, comprised of tonnes of start-stop riffs, technical guitar leads, keyboard/synth melodies, violin stabs, finger style bass and furious blast beats.

This is death metal inspired by jazz fusion, double harmonics and incredibly odd time signatures, the music as complex and volatile even without Tuckers snarls and growls, instrumentals such as Nine Walls and Laolongtou are just as extreme as any of the tracks with vocals, but also the closet ones to 'traditional' progressive metal.

Arise From Worms' debut is a supergroup with superhuman ability performing progressive death metal that genre fanatics can get all nerdy over! 8/10

Winter In Eden - Never Untold (Self Released)

Formed by Vicky (vocals) and Steve (keys) Johnson, Winter In Eden have been making progressive, symphonic rock for a while now evolving a little with each release and now there duo are joined by a new line up for their fifth record Never Untold.

Album five features Owen Alec on drums and Arun Kamath on guitar, this new dynamic allowing them to play with their sound a bit more expanding, evolving and generally adding to their overall approach as a band, as they have a definitive influence from Within Temptation, Epica and After Forever.

Ruud Jolie of Within Temptation adds guitar to four tracks while mixing comes from Jos Driessen and Joost van den Broek who are both veterans of the symphonic Dutch scene, so you can sort of guess what Winter In Eden sound like even if you haven't heard any of their previous four albums.

Kicking off with the three part Sleepwalk, Winter In Eden set out their stall quickly, dramatic orchestrations, big modern riffs and those powerful vocals as these three opening tracks combine into one piece to get this record off to a fine but perhaps unexpected start, before they dial up the drama with Nobody and My Imagination, both with huge orchestral manoeuvres.

You can hear the experience of this band coming through on Never Untold, a UK band with all the mastery over the symphonic genre that the European counterparts have. Progressive, heavy and atmospheric, Winter In Eden continue to impress. 8/10

Reviews: Phantom, Mace N Chain, Iron Slaught, Axemaster (Matt Bladen)

Phantom - Not Midnight Yet (High Roller Records)

It's been quite a good year or so for Mexico's Phantom, signing to High Roller Records, they have opened up their back catalogue to a wider audience with reissues and now they are poised to let loose their speed metal assault for the first time on the label.

Not Midnight Yet is a moment in time inspired by that mid to late 80's speed/thrash sound where everything was faster than everything else. Twin axe harmonies everywhere as the guitars collide and combine through rough riffage and firework display solo.

The rhythms are relentless, inhuman drumming, with bass gallops like the four horsemen and screamed/shouted vocals torn from the bowels of hell. These comparisons are all deliberate by the way as Phantom are primarily all horror or occult themed in their lyrics, inspired by Mercyful Fate, Razor and Venom.

Phantom are right at that point where thrash meets black metal, making the NWOBHM style more dangerous and aggressive, however on their third album Phantom also increase the complexity, with some prog rock textures, clean guitars and event clean vocals, but these add to rather than overpower, as Phantom so don't throw out your leather and chains and it's Not Midnight Yet for this Mexican metal machine. 7/10

Mace N Chain - Crowned In Grey Skies (No Remorse Records)

I think you could make quite a good Venn Diagram about how many members of death metal bands end up forming classic heavy metal outfits.

Sweden's David Nilsson is the singer in Feral as death metal band but in 2023 he debuted Mace N Chain with Among The Ancient Pillars, a swords and sorcery inspired solo project that brought out his sword and armour gleaming in the sun, with music inspired by Manilla Road and Manowar.

On the debut he wrote and played everything but with this sophomore record, Crowned In Grey Skies, he's joined by drummer Joey Mancaruso (Fortress/Gravesword) this time around but still plays; acoustic and electric guitar, 4- and 8-string bass, acoustic bass and also sings.

Though a few solos on this record come from special guests in bands such as Smoulder, Vintersorg and Feral. With a drummer now involved Mace N Chain does feel a bit less like a "studio project" there's a more organic flow though the songs and the writing has become diversified due to not having to write to a computer but a real drummer.

Crowned In Grey Skies offers new variations on a theme but never moved too far from classic heavy metal. 7/10

Iron Slaught - Metallic Torments (Gates Of Hell Records)

More classic heavy metal speed from France now as Gates Of Hell Records bring us the second album from Iron Slaught. Formed in South West France in 2011, Iron Slaught are old school, hitting the accelerator with opening instrumental Harbinger Of Afflictions, which gallops like Maiden track.

Increasing speed again on Ghastly Obsession where the thrash and black metal inspiration comes in through the intense blast beats, razor sharp guitar sound and raw vocal shouts, though these move towards more traditional vocals on Soldier Of Fortune.

It's been 11 years since their debut record and in that time Iron Slaught have matured their underground metal approach with advanced melodies, excellent guitar harmonies and a more cinematic atmosphere, all refined well by the two members with tales of medieval battles, witchcraft and more.

The bass leads the charge, and while the drum programming does sound a little artificial, Iron Slaught deliver lighting quick classic metal in both English and their native French on this second record, but they never scrimp on the speed, all of these songs gallop, full speed ahead and nothing less.

Is it worth an 11 year wait? Well yes, but, at the moment this is good studio project that is crying out to get on the road to reach full potential. 7/10

Axemaster - Of Beasts And Plagues (Cosmic Fire Records)

Enough of all this heavy metal revival stuff. Axemaster are the real deal.

Formed in the US Of A in the 1980's they're as authentic as you'll get as with most bands from this era there's been line up changes, periods of inactivity, reformations but always carrying the heavy metal flame is founding guitarist Joe Sims.

Of Beasts And Plagues sees an almost fully revamped line up with vocalist Geoff McGraw the only carry over from their last record in 2017. His voice is gruff but suits the style Axemaster bring to the table as classic metal meets thrash and doom, most of their tracks sit in that mid-pace chug.

The gloomy atmosphere of the doom/occultism influence shifting to slower and rawer moments while they can get fast when they need to, bringing aggression on Dealers and Danse Macabre, and while the production style does vary quite a lot on the record, it's still a good collection of authentic 80's heavy metal. 6/10

Reviews: Solace, Muse, Haserot, Soulburn (Rich Piva, Matt Bladen, Cherie Curtis & Mark Young)

Solace - Fading Failing Ruin (Magnetic Eye Records) [Rich Piva]

Solace will forever have a place in my heart, not just because Tommy and Justin are some of the best dudes you will ever meet, but because their 2019 record The Brink was a pivotal point in my music listening life. 

The record opened up this whole heavy rock underground thing I had been ignorant to for so many years, and got me knee deep into what is one of my favorite times to be a heavy music lover. 

So here we are in 2026. Solace is a different band then they were 30 or so years ago when they began, and 25 or so years from when they dropped their other classic, Further. 

A lot has happened since then as a band and as humans, so it makes sense that their new record, Fading Failing Ruin, is Solace but sounds so much different than Solace at the same time. It also is perfect.

Why, you say? Because Solace rules. You want more details? OK, sure. First off the guitar work on Fading Failing Ruin can only be described as killer. Tommy and Justin have more riffs they have forgotten then most people have put on to tape, and some of those best ones show up on Fading Failing Ruin. 

That’s not surprising to anyone who has been a fan of the band. What has really made this band move into the direction they have is lead singer and primary lyric writer Justin Goins, who has injected both these deep lyrical themes and a sense of melody that was always lurking, on The Brink (see what I did there), but show up loud and clear on Fading Failing Ruin. 

The amount of earworms on this record was the biggest surprise for me. Solace songs that stick in your brain and you can hum along to while still being filthy dirty? I love 2026 (for the music, at least). 

Don’t get me wrong, Solace has not gone all Cheap Trick on us (I love Cheap Trick) but this is by far the most melodic output we have heard from these guys, and I love it so much. 

While the keys are still there, they are way more behind the scenes, less a driving force and more an atmosphere builder, and it works perfectly with these songs. Also Solace is still fucking heavy, while perfectly incorporating the melody I have been blabbing on about. Also, Solace rules.

Look, me going song by song on Fading Failing Ruin is not going to do this record any kind of justice. Dive in and immerse yourself in it. Heavy, melodic, riff filled, killer stuff over nine tracks by dudes who have been at it forever, seen and been through it all, and are here still to tell us all about it through their music.

I love Solace and I love this record. 10/10

Muse - The Wow! Signal (Warner/Helium-3) [Matt Bladen]

Named after the 1977 narrowband radio signal that was purported to prove the existence of extraterrestrial life, epic cosmic rockers Muse return with more space operas, after spending time delving into dystopian nightmares. 

Recently Muse have been able to consolidate all of their previous style experiments into one album, creating a jukebox of everything that's great about the band.

The Wow! Signal continues in this vein with the epic orchestras/choirs of the terrific The Dark Forest along with church organs coming on the mega ballad on Be With You. 

There's the electro dance of Nightshift Superstar, Hexagons and Unravelling, forcing you into some awkward prog dance moves as Chris Wolstenholme's grooving bass the major rhythm of the Muse sound as with tracks such as Hush, which features Ellie Goulding.

Dominic Howard I feel is always underrated as a drummer, but he's such a huge part of the Muse sound. His ability to blend the acoustic and electronic drum styles, comes from the same school as Phil Collins, his symbiotic relationship with co-producer, co-writer, live member Dan Lancaster, is why these shifts in genre are just so seamless.

Matt Bellamy though is a true rockstar, his vocals are so unique and recognisable but with The Wow! Signal his guitar playing takes a lot of credit as Cryogen throws it right back to Origin Of Symmetry/Absolution, while The Sickness In You & I could be the heaviest Muse have ever been.

Inspired by scientific mysteries and by Bellamy's unexpected split with partner Elle Evans, The Wow! Signal is a personal and powerful musical statement from Muse. 9/10

Haserot – Advent Of Suffering (Redefining Darkness Records) [Cherie Curtis]

Haserot has been around since 2020. That's around 6 years of gigs and experience on the scene but they’re still considered to be relatively new. 

With just one other album, their newest- Advent Of Suffering brings us some dark and bitter death metal. This one is brooding, mysterious and very atmospheric with mythical and twisted themes and a strong sense of story. 

This does mean it's not going to be an album for everybody but if it happens to be a genre or style you like then you will love it.

On the first listen I was surprised to find that these guys are relatively new to the scene because they sound so refined. 

They clearly know their stuff and execute it well, each track is thick with texture, we have layers of riffs and different vocal inflexions and subtleties to create a dense level of richness that can be hard to catch at first on the first listen but as you work your way through it, you’ll pick up on some amazing stuff. 

What’s great about Haserot is that they don’t pull punches, they build slowly before delivering sheer ferocity. They’re passionate and demanding but not daunting.

The breakdowns are well timed and meticulous and the riffs are creative and feel quite classic in an Iron Maiden sort of way; very sharp, scribbly and anthemic but the vocals are harsh and raw and often incoherent, so it blends uniquely and works well. 

To me it comes across as very well researched, they have an audience in mind and they're playing to them.

This album serves to amp you up and knock you down, it's impactful but fun. You don't find yourself getting bored which can be easy to do with 10 tracks, the run times are standard 4 to 5 minutes for their longer more pivotal songs like Advent Of Suffering and Tears In Bethlehem and then 3 minutes for the rest, it’s a blast throughout. 

Overall, they are worth the listen, they’re very professional and memorable. The mixing is great and the cover looks good, if it was in a shop or on a market stall you will pick it up and have a look. 

It’s a lot of fun which I feel like is very important even though it does come across as dark and gritty, it’s not it’s not a downer. 

You can hear from how well that they play that they work hard and that they are well practised and it shines through. 6/10

Soulburn - Quantifying Cosmic Doom (Testimony Records) [Mark Young]

Now, this intrigued me. The title hinted at the great wonder of the unknown, coupled with a bit of the old ultra-apocalypse (that could just be me). Album art looked suitably wondrous, and the song titles themselves suggested that this was going to be a cracker.

It didn’t quite tun out like that. Quantifying Cosmic Doom is their 5th album, from a band that has, in one form or another been in existence since the mid 90’s. 

It is an album that on the whole disappointed me, to the point where I was ready to tap out and say no more, I’ve reached saturation within extreme music and I’m off to listen to 60’s psychedelia. I didn’t, but that disappointment remains. 

I’ll start with the most niggling aspect of this, the album length. I am firmly of the belief that they could have introduced the editing scissors to the songs here and made it a more immediate and impacting release than what we have got here. 

There’s 11 songs that seem to stretch time itself and I found myself wondering when it would end. I appreciate that this sounds undeniably sarky, and I’m not normally like this but a combination of the hot weather and the ice cream running out at the local shop has left me in a foul mood.

I’ve mentioned previously that I do a lot of my reviewing in the car. The commute is long enough to get an album or two in and for a lot of cases there’s time for a repeat listen. 

It’s a useful barometer because if I won’t listen to it in the car, I’m 99% not likely to listen to it anywhere. It starts off with blasts, and frenetic guitars on The Braveheart Of Nightmares, so far, it’s doing its thing. Melodic lines are there, but the backbone is what I’d come to expect. The guitars sound mint and then clean singing comes in and kills it dead. 

Now, I want to make something clear here: I am not against cleans in death metal, or in extreme metal. Its not preferable to me (that is my opinion, hopefully yours will vary from mine) but I can see the validity in it, especially as a counterpoint to the standard harsh tones. 

The style here doesn’t work for me, but as soon as the guttural kicks in its like ‘game on’. The harsh vocals suit this down to the ground, the cleans do not. I’m so annoyed that I cannot get past it and I ended up skipping to the next track. 

On the second play through, I didn’t skip forward, but I didn’t change my mind. The music side of things is exemplary, everything is just right; the heavy parts are monstrous, the gentle parts around the 4 minute 30 mark and onwards are great, it’s the singing style that has done me. 

Powehi, The Embellished Dark Source Of Unending Creation starts on that positive, moving forward style and then bang – it happens again. 

Same as track one; the extreme vocals are just locked in with this music, the cleans are not. In a lot of ways, this shares a similar build as track one, and its just as frustrating.

Moving through the songs, as I’ve said you cannot take anything away from the music that is on display here. They show great control of how things should be put together, knowing just when to ease back on the heavy side and when to step it up. 

The extreme side flies along and is as good as anything in that blackened style you might have heard this year. They marry the melodic to the brutal really well, and when it’s the harsh vocals things move. As good as this music is, its hamstrung by a reliance on the cleans and by having one or two songs too many on here. 

What I would say is this: if you lean into your extreme music with a healthy respect for clean singing sharing the stage with the harsh, then give this a go. There are some stunning moments on here, of heaviness and of gentle refrain. 

For me, the die was cast on the first song and I never recovered, no matter how hard I tried. 6/10

Reviews: August Burns Red, Guilt Trip, Child, Okay You Win (Spike & Rich Piva)

August Burns Red  – Season Of Surrender (Fearless Records) [Spike]

You pretty much know what you’re getting with August Burns Red at this point. This is their tenth album, and they aren't trying to reinvent the wheel. Honestly, they shouldn't. If it isn't broke, don't fix it. 

This record delivers exactly what we've come to expect over the last two decades: massive breakdowns, complex guitar leads, and a lot of energy. For a band that has been doing this for so long, the consistency is actually pretty impressive.

Opening with Legions, featuring Mike Hranica from The Devil Wears Prada, the album starts with a lot of momentum. It’s heavy, fast, and has that classic mid-2000s metalcore feel. Jake Luhrs' vocals are front and centre, sounding as powerful as ever. 

It’s followed by The Nameless and Behemoth, which keep the pace moving without giving you much time to catch your breath. JB Brubaker’s lead guitar work on Behemoth is particularly sharp, showing that they can still write technical parts that don't feel like they're just showing off.

One thing I really liked on this release was the guest features. Jamie Hails from Polaris shows up on Sonic Salvation, adding some great contrast to the vocal delivery. Later on, Make Them Suffer bring a different flavour to Cerebral Malfunction. 

It’s a good way to shake things up on a ten-album-deep discography without losing the core identity of the band. It keeps the middle of the album from feeling like a repeat of what came before.

Even the shorter moments work well here. Tear Of The Clouds is a brief, atmospheric breather that clocks in at under a minute, but it sets up Whispers Like Splinters perfectly. 

That track, along with S.O.S., keeps the intensity high as the album heads toward the finish line. Dustie Waring’s rhythm guitars sound massive throughout this entire stretch, giving the breakdowns a lot of physical weight.

The standout track for me is the closer, Forged By Failure. It’s nearly seven minutes long and shows how the band can still build a great, atmospheric build-up before hitting you with a massive breakdown. 

It’s a great way to close out the record and feels like it’ll go down incredibly well live. You can already picture the crowd reaction when that final section kicks in.

At the end of the day, Season Of Surrender doesn’t rewrite the metalcore rulebook, but it doesn’t need to. It’s a solid, reliable, and incredibly heavy record from a band that still knows exactly how to write a great riff. If you've liked them before, you'll like this. 8/10

Guilt Trip – Armour Of Angels (Roadrunner Records) [Spike]

Manchester has a way of producing bands that just know how to graft. But while the Gallagher brothers made a career out of sneering in parkas.

Guilt Trip have spent the last decade building something infinitely heavier. This is their third full-length record, Armour Of Angels, and it is a massive, metallic hardcore steamroller.

You might have seen the headlines about their recent Adidas collaboration. Oasis did the three-stripes thing too, but you can bet Guilt Trip’s version of it comes with a lot more bruises. 

This is a band that has stayed entirely true to the heavy, metal-worshipping strain of hardcore that got them out of sweaty basements and onto massive festival stages.

The album kicks off with One By One and immediately sets a bruising pace. This isn't just standard hardcore; it's a massive, riff-heavy blend that feels like the tough-guy stomp of 90s New York metalcore mixed with the razor-sharp guitar tone of classic Pantera. When vocalist Jay Valentine yells "Go!" on the opener, you know exactly what kind of ride you’re in for.

The guitar work from Jak Maden and Sam Baker is the real star of the show here. Tracks like Cut From God and Burn are absolutely festooned with squealing harmonics, chugging breakdowns, and solos that actually feel like they belong there rather than just showing off. 

The second half of Burn is a total fretboard workout that is going to test the chops of a lot of bedroom players.

They also aren't afraid to stretch their legs a bit. On Dirt, they introduce some clean vocals that actually work without robbing the track of its grit. Veins is another standout, a sprawling, multi-layered highlight that builds into a massive, heavy-handed wall of sound.

And then you’ve got Resurrected, which features Sonny Sandoval from P.O.D. on guest vocals. It’s a wild, late-90s crossover that has absolutely no right to work as well as it does, but the contrast between the vocals is brilliant and it absolutely rips.

There’s an intermission in the middle to let you catch your breath, but otherwise, this is a relentless, front-to-back beating. It’s the kind of record that makes you want to throw a pint across a crowded room.

Guilt Trip have delivered a massive step forward from their last record, Severance. It’s heavy, honest, and proudly Northern. If you’re into big riffs, massive pits, and zero compromise, this is going to be on your turntable for a very long time. 9/10

Child - Rebirth (Heavy Psych Sounds) [Rich Piva]

I am not sure there could be a better name for the fourth album from the band Child. Rebirth sees the Australian band get a bit more down and dirty in the blues and get even deeper lyrically then before, creating one of the blues rock records of the year so far.

Heavy Psych Sounds did us all a favor by repressing the previous releases from Child, that are all excellent, with Rebirth being a perfect addition to their already amazing discography. 

Woman Like You is pure blues rock beauty, both vocally and with that filthy guitar tone, and of course a woman who left and left him very, very damaged. 

The pace picks up on Forgot How To Love with a riff that leans into the stoner rock territory but those vocals and the melody is some vintage Child blues goodness. Heavy Load has a Southern Harmony Black Crowes mixed with Skynyrd thing going on, which is obviously awesome. 

Damned Heart’s riff lets you know you are in for some heartbreak which is confirmed when the vocals kick in. Rebirth has a very clear production value to it that in some spots if you turned up the clean more it would be a bit too much, but they never do go over the edge. 

I mentioned “Child blues goodness” earlier, and here we are again with I Tried, which fits right in that slowed down Skynyrd territory. The most blues of the blues is on the closer, Cold Shoulder, which wraps up this, what I am hearing at least, bluesy concept record on love and loss and filthy riffs.

Actually, that is how I will describe Rebirth in one line. A record filled with love, loss, and filthy riffs. More killer blues rock from Child, a band that has perfected it, all the way from Down Under. 9/10

Okay You Win - End Of Days (Blues Funeral Recordings) [Rich Piva]

The guys in UK’s Okay You Win have been kicking around London’s underground rock scene for years now, honing their craft in various bands, waiting for the right time and combination in a band for them to really make their mark and take all their hard work to the next level. 

This is what you hear from their debut record, End Of Days, brought to us by Blues Funeral. End Of Days doesn’t sound like your ordinary debut album. What it sounds like is four guys who totally get it, and gelling to make an excellently executed and brilliantly written banger with zero skips, killer riffs, and next level lyrics.

Just take the opener, Smoke. There is this grunge meets stoner thing that on paper may sound like you have heard it before, but between the guitar tone, the vocals, and how expertly recording it is, Smoke stands out as one of the killer tracks of the year. 

I love the way the guitar chugs on The Greatest Lie, and how the band expertly changes speed and vibes on Beat Me Down. This Damned Place has this smokey stoner blues thing with some of my favorite lyrics on the record, while the title track is here to simply rip up the place via that riff and my favorite vocal performance by Dave Kirk on the record. 

Speaking of ripping it up, Red Flag does just that, kind of reminding me of Soundgarden’s Kickstand. Ryan O'Hare’s guitar work here is next level stuff and both floats and punches you in the face. The grungiest track is Ten Year Trip, where the band is on full display, with the rhythm section of Rodrigo Barradas and Antonio Peci absolutely locked in. 

The seven minute closer, Own It, ends the debut perfectly, hitting on all the high notes mentioned, with Kirk’s vocals and lyrics once again standing out.

If you didn’t know any better you would not think this could be a band’s debut, but End Of Days skips the part about the promise of a new band or a good start. Okay You Win are here right from day one in the big leagues, fitting in perfectly and leaving us all wanting more. 9/10

Reviews: Solitary Sabred, Night Spectre, Ringlorn, Automaton (Matt Bladen)

Solitary Sabred - The Return Of Heroes, Monsters And Myths (Alone Records)

Nicosia's premier epic metal act Solitary Sabred are back with their fifth album, having been on a bit of a run of new releases since 2020, though their story begins in 2000 right at the time when fantasy inspired power metal was delivering some of its best work, in the face of grunge/nu metal and the NWOAHM.

Releasing their debut record in 2009, Solitary Sabred have never strayed from the path of the true warrior inspired by the American style of power metal.

There's clear influences of Manowar, Sanctuary, Helstar and from the European side King Diamond, in the glass shattering voice of Petros Leptos especially, as he has a range that is fit for the King, Mr Adams and the much missed Mr Dane.

The Return Of Heroes, Monsters And Myths as I said is their fifth album and it doesn't mess with the formula, giving you 10 tracks of anthemic heavy metal that is build on a muscular foundation of fist-in-the-air riffs which move between hard rock, heavy metal and thrash sometimes all within one song.

This album tells ancient tales of Greek mythology, Egyptian legend, traditional fantasy and the mighty Conan and if you're a bit of fantasy metal nerd you're going to love it.

They have also recorded a song called Solitary Sabred which is inspired by the sword they take their name from and it's so good they've even recorded it in Spanish! So let it not be said that power metal is stupid as it's at least got a linguistics degree!

The Return Of Heroes, Monsters And Myths continues this strong set of recent releases from Solitary Sabred with more might metal power. 8/10

Night Spectre - Night Spectre (Dying Victims Productions)

It's UK might Vs US muscle on the debut from Greek speed metal freaks Night Spectre. Sitting in that gap between NWOBHM and thrash this relatively new band lock into the old school sound immediately with razor sharp guitars and some sneering vocals

Fittingly opening with sound of gunshots and motorbike, Death Contact opens the record with propulsive 'action rock' that Raven would be proud of, retro as it comes but this lean machine is souped up with the latest production methods to make it glisten and gleam without losing that working class, from-the-streets, grit that was at the heart of both the NWOBHM and thrash movements.

For me the guitar playing is what standouts here, given the left channel/right channel treatment the interplay is incendiary, peeling off riffs and solos like mad, but then adding the drama on the chugging, epic middle track To Die In The Ancient Fire and on the adventurous romp that is Crossing The Abyss.

Steeped in tradition but forging their own steel Night Spectre apperate with a petrol powered debut of heavy metal worship! 8/10

Ringlorn - The Queen Of Wildred (Self Released)

Back to Greece now but with more epic power metal from the mind of Gabriel Kouliakis, the Crete based musician formed Ringlorn in 2022 and The Queen Of Wildred is his second full length record for what he calls Teutonic power metal.

Teutonic of course because yes it does sound very German with Blind Guardian an obvious comparison to what they do, as is Primal Fear but I'd say they owe a lot Warlord as well due to the sheer amount of riffs on this record. Gabriel wrote all the music and lyrics on this conceptual offering driving the pace with his bass playing as the foundation of Ringlorn.

The other members have changed from release to release but here he has Spiros Rizos taking all the guitars and Mark J Dexter behind the mic, but that's it pretty much everything else is Gabriel programming, drums/keys/orchestrations, so this is still a studio project not a live one.

Unlike a lot of studio projects though this one is very professional, full production values, well composed and performed songs, dedication to making the most impressive arcane metal they can rich in Carpathian mythology and blood. 7/10

Automaton - Labyrinth (Self Released)

Strap in for this one as like the legendary maze it is named after this is one long complex journey where each song is a monolithic slab of psychdelic doom/post-black metal, ranging from slow burning, introspective atmospheres of tracks such as Black Sails and the rage filled blasts of extremity that come on Minotaur.

Formed in 2012, the Athenian band play the sort of headache inducing paranoia filled progressive sludge of Neurosis and Yob, down-tuned and despondent this third album uses the Greek myth of the Minoan Labyrinth as and allegory for modern life and how it is often a confusing and terrifying place all at the same time.

Automaton's music does well to reflect this inspitstion as it can be disorientating, dirgey and down right devastating, each guitar riff, drum beat, bass thump and growl arranged in a way to create the sort of atmosphere they want to smother you with, which may leave listeners who are not overly familiar with this downbeat and elongated style feels a little overwhelmed.

The major tracks clock in well over 5 minutes, with Black Sails at 12, and while you get breaks from the depressive crush they don't last too long, so unless this music is up your street then it may trample rather than envelope you, enter the Labyrinth of Automaton if you dare. 7/10

A View From Around The Room: Sammy Hagar (Debby Myatt & Tony Gaskin)

Sammy Hagar - The Best Of All Worlds, The Halls, Wolverhampton, 06.07.26

 

Can you believe it’s been 30 odd years since the Red Rocker performed some headline dates in the UK? At 78 this is probably going to be his last tour over here as well, so we were excited to see what he would bring to this show, which was being billed as a career spanning show.

Unfortunately we missed local lads Jayler who continue on their upward spiral with this latest guest slot. Hopefully we’ll catch them soon to see how they’ve progressed.

Hagar has recruited some big hitters to bring this tour to the UK, on bass is his long time collaborator Michael Anthony (Van Halen, Chickenfoot), drummer Kenny Aronoff (John Fogarty, John Mellancamp), keyboard player Nathan Mercado and the guitar maestro Joe Satriani. 

Following the bands residency in Las Vegas, a live album “Sammy Hagar & The Best Of All Worlds Band - The Residency” was released, 18 tracks from Hagar's 50 year career. It was going to be interesting to see what we got tonight as he did say he would be mixing the sets up throughout the short run of dates.

Unfortunately there was no pit access for the photographers tonight so Tony headed off to try and get a vantage point from the crowd and it was pretty much bang on 9pm when the band came out and straight off the bat he hit us with his anthem There’s Only One Way To Rock and we knew instantly we were in for a great night. 

Hagar sounded bang on form, the band were tight, which given the talent on show, was to be expected. This was quickly followed by Top Of The World then the first really big sing-a-long Runaround. By now, the room was packed, everyone was singing the band were having fun. Satriani literally glowed like some heavenly being with his full on bling Ibanez, you can see why he wears those shades! But seriously the guy is a guitar god. 

On the other wing, Anthony was just as equally having a great time, often the “forgotten” member of VH, he is revelling in the spotlight tonight, his bass tone was pure and clean and drove the pace along. And what a pace it was. Hagar showed no signs of his nearly 8 decades as he covered every inch of the stage, never missing a beat or a note. 

A few songs in and we get Bad Motor Scooter shockingly the only Montrose song tonight. It was heavy, fast and loud. Chickenfoot was also only represented by one track, Big Foot. So yeah, the bulk of the set was VH, no surprise really, they even snuck in an David Lee Roth era track with Anthony singing on Somebody Get Me A Doctor.

Big surprise was Joe Satriani performing his masterpiece Surfing With The Alien a particular favourite of mine and we’ll forgive them not playing Space Station No 5!

A nice touch was on during the song Mas Tequila, Hagar handed out tequila shots to fans at the front, I hope he checked their ID!

We wondered if there would be any ref to EVH tonight, and last but one track, the big video screen showed an old clip of him walking away with his signature guitar and the band played Hagar’s latest song Encore- Thank You, Goodnight 

Which he said he wrote after EVH came to him in a dream.

Well, how do you follow that show up? You invite a local lad up to play drums on a cover of Led Zeppelin’s Rock And Roll, that local lad being Jason Bonham! Hagar also invited young James Bartholomew of Jayler up onto stage to share vocal duties, a wow moment for the young lad no doubt.

An amazing night and one we were glad we got to see. Will he be back again? Who knows, he looked fit and the voice was strong, so fingers crossed, and maybe next time he’ll slip in Space Station No 5! 10/10