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

Sikth, Heriot & Ted Maul, O2 Academy 3, Manchester, 26.02.26

After a drive that anyone in the UK would think is long and more than likely need a little break in between I do, understand that most of the rest of the world scoffs at three hours 40 minutes for a long journey but you don't drive on our roads and, that's all I will say about that. 

A trip that I have been looking forward to making though for a while being that I would be seeing one of my favourite bands perform in its entirety one of my favourite albums from start to finish due to it being 20 years old this year, 2006s Death Of A Dead Day by Sikth.

Arriving early at the venue I had time to see the build up of excitement from indoors and out of the Academy 3, the ques are long and the room fills up fairly soon in time for our first band of the night, Ted Maul (8) The band toured with Sikth way back in 2007 and tonight reunite in celebration for this tour. Featuring current Red Method members, vocalist Jeremy Gomez and drummer James Perry, Ted Maul come to the stage to a good reception from this packed out audience while Jeremy paces back and forth in the pit area with us photographers until we kick into the first song. 

The band only released one album, 2007s White Label but if this was your first time seeing them you would certainly not know it, from listening to the band live and then deep diving into the album more I was left wanting exactly that, more. Heavy to the core with a angry smash of screams and brutal prog and metal mash up from guitars to the superb drum breaks and fills, there is a nice splice of industrial intros and samples sprinkled throughout the set which sets a tone and everyone on the same level type of buzz the band create on stage. A great start to the night and like I said I just wanted more.

A short pause of only twenty minutes and we are back to darkness to welcome our next band, Heriot (8). Swindon natives formed back in 2014 but it wasn't until guitars and vocalist Debbie Gough joined in 2019 that they finally are the band and sound they are today. The band from song one get everyone here spinning and pitting right away, the floor opens up and we get a huge sink hole of body's going round like Nascar. Heriot though are loving it and are in full on bounce mode. 

I am loving the double mic set up from Debbie to switch to the soft melody parts throughout the set that really bring in that dark atmospheric sound that the band are known for, almost demonic screams and half times pulse you face many times but that great metalcore feeling is there for plenty more movement of the pitting calibre. Heriot have really good stage presence and never looked lost or unsure of themselves, a pretty commanding set which featured many songs from the bands awesome last album, 2024s Devoured By The Mouth Of Hell, I fully recommend for any metal fan. Live though Heriot are a pleasure to witness, you can really feel the need to lose control of yourself and get your mosh on.

First time discovering the headliners I was instantly hooked into what I still think now is a perfect blend of the crazy and groove that not many bands achieve ever, the Primus of the metal world the very underrated and under appreciated, in my opinion, Sikth (9). We are here in Manchester to celebrate the 20 years since the release of the bands second album, Death Of A Dead Day. We get straight into it with the first track, Bland Street Bloom, and what a start it is, surfers suddenly appear from nowhere and the band are straight into the swing of things with vocalists Justin Hill and Mikee Goodman switching places frantically and bouncing off anyone near them. 

We swing back and forth between a soothing catchy chorus and then smashing into the double kick onslaught that's linked to the strobe light which has combined peeked everyone's senses to the max already. I have been to a few gigs last year where I got to witness a band playing one of their albums from start to finish but this was hands down the best, so many songs that have never been played live before ever like the hypnotic song In This Light which Justin Hill dedicates to anyone contemplating mortality at the moment, the backdrop screens showing raising of body's while we go through the beautiful melody's of the duel guitar solo towards the end and a crashing up tempo repeat of the chorus, all of which are spot on sound wise here in Manchester tonight for all bands. 

That was pleasure to witness and we are only on song 5, we go through more classics from the album Part Of The Friction and Where Do We Fall? and before you know it the album playthrough is on the last song, the epic As The Earth Spins Round, if there is ever a song that sums up this band for new comers its this masterpiece of a song and to see it live again was great, the band never miss a beat and still have this audience in the palm of their hands with commands of circle pits and the surfers by now are making the security really earn the pay check tonight. 

Not finishing out rings out after the applauds and roars for the album playthrough we get the chaotic classic Pussyfoot and to end the night Skies Of Millennium Night which almost blows the roof off as the intense bouncing and groove of this song sends every one here home very happy. I enjoyed this so much I really couldn't stop smiling for at least two hours into my nearly four hour drive home, so very much worth every single mile to witness this special night.

Reviews: Black Lung, Prong, Leaves Eyes, Lost Society (Rich Piva, Mark Young, Cherie Curtis & Matt Bladen)

Black Lung - Forever Beyond (Magentic Eye Records) [Rich Piva]

I have been a big fan of Baltimore’s Black Lung for a few years and a few albums now. I am excited to have the band back. They are both back and pissed off at the state of this world, and not afraid to show it, with Forever Beyond being their darkest and angriest record yet, and they do angry very well.

Traveler starts us off, and right off the bat you hear this 90s thing going on, but also with a bleakness that gives me post punk vibes as well. Like a darker Catherine Wheel, which is flat out excellent. This is some of Dave Cavalier’s best vocal work, as he really nails it on this track. The band has mastered the layering of sound all throughout their songs, with synths bringing a song like Death & Co. to the next level. I love the drums on this one too. My Catherine Wheel but darker comparison stands on this one as well. 

When I had the guys on the Rich & Turbo Heavy Half Hour, I gave my opinion of Radiohead, which as big fans I hope they forgive me for. I bring this up because Savior has this underlying Radiohead thing going on, and it is wonderful. Follow doesn’t pull any punches lyrically while musically keeping that dark 90s, wall of soundish vibe. The riffs rule this one. These guys get catchy and melodic too, with Forever Beyond Me giving off Therapy? and later-period Alice In Chains vibes in the best kind of way. 

The two angriest tracks were saved for last, with the atmospheric Border Hoarder showing you don’t have to have the heaviest song musically be the angriest, even though this one certainly kicks in and rips it up too, and the eight-minute closer, Scum, which is their state of the world address set to some killer, dark chunky riffs and atmospheric bridges as Cavalier tells everyone what’s what.

A dark, heavy, 90s post punk inspired state of the world address emanating from pretty much ground zero of where it is all happening. This record is built for 2026, where Black Lung has their finger on the pulse of what’s going down, brought to you in the form of the seven killer tracks that make up Forever Beyond. Black Lung knows that things are bad, but there is still hope underneath it all, which is what I hear and love about this record. 9/10

Prong - Live And Uncleansed (Steamhammer) [Mark Young]

Recorded live over a number of nights in 2025, Live And Uncleansed represents a worthwhile document showcasing a band that is still capable of squashing live audiences when called upon. 

For me, they were a staple of metal nights with Snap Your Fingers, Snap Your Neck which continues to be popular today. Their songs always had that innate ability to land like a punch to the face and contained here are 14 examples of this. From a review perspective, talking about each song here would be a little redundant on my part as you would expect them to represent their best or at least most balanced live set.

Each song is delivered with a thudding authority, the band sounding tight and on point as they rip through the set, starting straight into it without any drawn-out introductions with Revenge...Best Served Cold setting the tone. Straight away you can hear their influence on a ton of bands that followed and received the plaudits that probably should have been theirs. This is a debate for elsewhere, but you cannot argue with how good it sounds, and how good they sound. 

They keep the between song patter to a minimum, concentrating on the performance as opposed to banter (which is always welcome) but the problem is that the songs miss that link between them. This is a minor point on my behalf and given that they were recorded over a number of nights then I suppose they wouldn’t do that anyway. But when you have The Descent crashing in like thunder, those riffs landing like a rock-fall any thoughts about anything other than the performance become secondary.

Of course they play Snap Your Fingers, coming in slightly faster than I remember but no less of an early 90’s core anthem. That riff build is still razor sharp and here is delivered at pace whilst still sounding heavy. It’s a song that still sounds better than a lot of material that is out today and live, Tommy Victor is in top form here, sounding like a man demented in its delivery. 

What is surprising is that Whose Fist Is It Anyway is presented as a bonus track, the last one and like Snap Your Fingers it is imperious. Live releases can be hit and miss with so many things affecting how they are received. From set list to how the band sounds being key, on here they manage to get it right and in its own right it’s a belter, one that will satisfy long standing fans and hopefully garner some new ones. 8/10

Leaves Eyes – Songs Of Darkness (RPM) [Cherie Curtis]

Leaves Eyes brings us Songs Of Darkness, and it’s exactly what it says on the tin; it’s symphonic and powerful, and theatrically heavy. Leaves Eyes prioritises grandeur and layers over raw aggression. The music packs a punch as it's larger than life and extremely cinematic; it's not going to be starting any mosh pits, but it will have you stop and listen. If given the chance, I'd love to see Leaves Eyes play live.

Songs Of Darkness is dark and moody with lead vocals by Elina Siirala, whose vocals are silky, bright and vivid. She brings a romantic and almost operatic melody amplified by subtle, yet beautiful backing vocals all rooted down into the haunting themes by the fierce and bitter metal vocals Alexander Krull. They use the classic ‘beauty and the beast’ trope similar to bands such as Cradle Of Filth and Nightwish but more symphonic and create a stunningly bewitching and powerful dynamic.

The whole album is simmering with energy. There are boundless repetitive drums, distorted riffs and a steady rhythm to serve as a strong, slow burning undercurrent that builds tension before delivering a satisfying vocal payoff. In Songs Of Darkness, instead of fighting for spotlight, the instrumentals show restraint and give a driving pulse so the vocals can have more of an impact.

Overall, I really enjoyed myself as I’m a fan of this genre and style so I may be biased but there’s nothing not to like. It’s mixed well and the production value is top notch. There’s dark grittiness contrasted by sophisticated grace and theatrical power so even the black metal elitists will find something to enjoy but it won’t be something they’ll choose to have on their rotation as especially in the beginning, the tracks can be a little too soft. 

Though only four track and the run time is relatively short, there is so much soul and effort, and Leaves Eyes has proven here that less is more. 9/10

Lost Society - Hell Is A State Of Mind (Nuclear Blast) [Matt Bladen]

What happened to this band? Maybe I'm the old curmudgeon but for a while there Finns Lost Society seemed to be the saviours of thrash metal, but overtime they've become just another band playing "modern metal" and even that is not a particularly descriptive title. I'd say more that they have become an Avenged Sevenfold clone with a bit of Bring Me The Horizon added for the radio.

I wasn't too enamoured with their last couple of albums, (though I was in the minority for the press core) and Hell Is A State Of Mind does even less for me. I think comparing yourselves to the likes of Children Of Bodom and H.I.M when you produce music that is just a clone of countless metalcore bands, but especially A7X who they have moved the closest too here.

With electronics, hip-hop beats and some woeful gothic nu metal lyrics, tracks names such as Dead People Scare Me (But The Living Make Me Sick) just feel a bit like the sort of thing you'd see emblazoned on a t-shirt in Blue Banana. A very unsubtle move towards radio play and popularity. Now I'm not shooting down the band they’re talented performers and there’s a great use of strings with the 40-piece Babelsberg Film Orchestra the standout of the album but don’t save it for me. 

Lost Society seem like they will stick with this direction for the foreseeable, but for me Hell Is A State Of Mind is listening to hell. 4/10

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

Crowbar, Legions Of Doom & Silverburn, Tramshed, Cardiff 25.02.26

Crowbar roll into the Welsh capitol once again to play at Tramshed and bring Legions of Doom and Wales own Silverburn with them, lets get inside and check out what went down.

First up we have Silverburn (7), a band I have seen before and was very impressed with, this performance cemented that judgement for me as spot on just like the band tonight. Tramshed is rammed already before Silverburn even take the stage and you can clearly see why this gig has been upgraded many times to bigger venues all over the UK not just here in Cardiff, there is no late people just walking in and everyone is packed in to witness the powerful blasts from the first band tonight.

Silverburn formed just after the pandemic by vocalist James Isaac as a solo project that has bloomed into so much more, the talent this man has at commanding an audience is great. The band rip through songs from the only album release they have so far, 2023s Self Induced Transcendental Annihilation, which sends the people here into pits and head smashing mayhem from the off.

Musically every song gets you right in the mood to stomp around and get your mosh on uncontrollably and that's matched by the band on stage who are very rarely not moving about but as said previously have a command of the crowed in a way that everyone here is feeding off well. A sweaty and dirty feast of metal that was as raw and real as you will see from this excellent band.

A brief but calm chat with the next bands vocalist Karl Agell, from Chicago's own Legions Of Doom (7), to me and a few other photographers tells us that he and the band are in such good mood about this tour and that they have received nothing but love from the UK fans explaining to us that he is so humble to be on this tour and cant believe the love and appreciation that the band has had from everyone. 

This being the bands first gig in Wales as Legions Of Doom which only formed in 2022 but has members from The Skull and Corrosion Of Conformity they know all about touring around the world including previously playing in the UK. This being my first time seeing them I am blown away by the enjoyment I had watching up close at first doing my photo thing but also afterwards I found myself just lost in the groove and guitarwork that went on throughout the whole set. 

Drummer Henry Vasquez is a human version of animal from the muppets but a very precise and groovy alternate. Song after song gets everyone here bouncing and we get our first surfers of the night, the energy and groove coming from the stage is infectious and you cant help but feed the band with claps and head bangs whenever you can.

A nice sprinkle of some Thin Lizzy riffage as a break point in the set is a nice surprise but its all about the bands great stage presence and interactions with the crowd that is impressive, the sound here at the Tramshed is really decent so we have no worries about that tonight but Legions of Doom are much more than just that. 

We end the set with a classic Corrosion of Conformity song, Dance Of The Dead, which Agell dedicates to former CoC bandmate and drummer Reed Mullin, a very entertaining set and that is shown in the roars of joy displayed by everyone here tonight, very impressed by the music and relaxed stage presence by all.

"Lets do this Shit" starts of the set from the legends that are Crowbar (8) tonight after a little break, the band get on to stage and fine tuned everything before we get vocalist Kirk Windstein telling it like it is, and we are a go straight into …And Suffer As One, from the bands 1998 album Odd Fellows Rest, a song that hits you in that edgy doom metal urge that everyone here has been dying to itch all night, from note one to end of song the photo pit is ablaze with surfing madness and a sway and push from the crowed that gets the security hard at work right away. 

No messing about tonight from the Louisiana men as we go from classic to classic like To Build A Man, Cemetery, Repulsive and Planets Collide. The experience of seeing a band 20 years after you first saw them is a very crazy experience for me as I was young sprout and would of been in amongst the pit and just living in the moment of the music.

This time I am in the moment of the music and live performance appreciation and this is a very commanding performance from the veterans who tell everyone here that they are blown away by the new support and explains how this is the bands most successful tour ever which is well over due in my opinion. 

We close the night with All I Had (I Gave) which sends everyone here home very happy and sweaty. A excellent set and performance from a band that has been the bar setters in the doom scene for a very long time.

A View From The Back Of The Room: Black Honey (Spike)

Black Honey & Girl Group – Norwich Arts Centre, 24.02.2026



There is a specific, sacred energy to the Norwich Arts Centre when it’s at its 300-capacity limit. It’s a space that doesn't allow for half-measures; if you’re on that stage, you’re close enough to the front row to smell the adrenaline and the lager. 

Last week, it played host to a collision of styles that, on paper, shouldn't have felt this cohesive, yet by the time the final feedback loop faded, it felt like the only way a Tuesday night in February should ever end.

The evening began with Girl Group (9), and frankly, it was a masterclass in the "velvet glove" approach to songwriting. They are a band that seems to have spent a lot of time internalising the 80s indie-pop lexicon, there are undeniable echoes of The Primitives and the crystalline, harmonic clarity of Voice of the Beehive but to label them as mere revivalists is to miss the point entirely.

Musically, they are exceptionally polished, but there is a real, jagged rage lurking beneath those perfectly harmonised sugary pop melodies. It’s "bubblegum punk" for lack of a better term; clever, witty, and delivered with a level of technical talent that makes the transition from a major-key hook to a snarling bit of social commentary feel effortless. They didn't just support the headliners; they set a high bar for musicality that demanded the room’s total attention.

By the time Black Honey (9) took the stage, the NAC was properly swamped. Headliners usually spend the first three songs trying to find their feet, but Izzy Phillips and her lot started hard and stayed there. It was a blistering, high-velocity set that refused to offer the usual mid-set respite.

What was most striking, however, was the silence between the songs. Izzy mentioned briefly that she was struggling to talk between songs on this tour, something which could have caused a disconnect or a diminished performance. Instead, Black Honey turned the limitation into a weapon. By letting the music do the talking, they stripped away the "theatre" of the indie-rock show and replaced it with a raw, unvarnished intensity.

The setlist was a relentless march through their catalogue from the cinematic, Morricone-tinged grit of Charlie Bronson to the feedback-saturated roar of Hello Hello. Without the distraction of stage banter, the tracks felt more like a single, continuous transmission of urban defiance. The guitars were thick and fuzzy, the rhythm section moved with a mechanical, motorik strut, and Phillips’ vocals remained a crystalline anchor amidst the noise.

In an era where too many bands rely on "personality" to fill the gaps in their songwriting, seeing a headliner let the riffs carry the weight was a refreshing bit of reality. For those of us packed into the Arts Centre, it was the definitive proof that sometimes, the best dialogue is the one where nobody speaks at all.

Review: Gjenferd - Black Smoke Rising (Rich Piva)

Gjenferd - Black Smoke Rising (Apollon Records)

I have said it before whenever it shows up in what I review; I just love when bands incorporate organ into their music. It could be on a one off song or a band like Mount Atlas who have Hammond as a lead instrument. That is one of the main reasons I loved the Norwegian band Gjenferd’s self-titled debt record from 2024. 

It was one of the surprises of the year for me, landing at number 18 on my AOTY list. It was not just the organ, it was the overall vibe of the record and how they leveraged 70s rock with some more modern stoner to bring forth six killer tracks. The band is now back with album number two, titled Black Smoke Rising, where they continue down the same organ-fuelled path with an even stronger record than the debut, which is saying a lot.

A few things overall about Black Smoke Rising that takes it to the next level. The production and overall sound is a step up. Not much, but just enough to make a difference. The songwriting is even better than the first record. This album has ten tracks compared to six from the first, none of which are skips. There is a step up lyrically as well. 

Mostly though, this guy is happy because we get more organ. Right off the bat on Crimson Rain the organ/guitar partnership is on full display, along with the band’s solid understanding of melody, with some harmonized vocals to go with it. Oh, and an organ solo, so, you know, the song is perfect. I don’t want to understate the killer guitar work here on this one either, brought to us by Vegard Bachmann Strand. 

Bound To Fail starts from a psych point of view, with some synths, a cool bass line, and swirling guitars. Once it kicks in and Jakob Særvoll hammers that organ, you know this is going to be killer. The rhythm section of Samuel Robson Gardner on bass and Sivert Kleiven Larsen really shine here as well. Gjenferd continues to be catchy as hell, and the vocals really make a difference compared to other bands out there today. 

Black Smoke is a perfect example of all of this. There is this like 60s psych thing going on with the slow burn Calling Your Name, which executes quiet-loud-quiet flawlessly. The organ and the guitar meld on this one is so wonderful and the underlying psych bits make this one of my favourite tracks on a record full of them. I love the frantic ending with the ooooohs to go along with it. I love it. 

A brief dirge interlude brings us to The Thrill, which is like Leslie West playing in Deep Purple doing a Zeppelin song. This track is hypnotic, dark, heavy, and just killer. Stillferd is an acoustic interlude that breaks up the heavy just for a bit until the guitar/organ attack of The Silence kicks in, and does nothing to live up to its name but does everything to be awesome. 

The slow burn shows off the vocal range and when everything kicks in it’s like a tidal wave hitting you, until the sea calms down again, but you know something else is coming. The last two tracks on Black Smoke Rising are the longest, with Ride On being the best song from the 70s that didn’t exist in that time period, and Like Wildfire, driven by keys but incorporating all that makes Gjenferd special.

Gjenferd is a band that seems built for what I love. Deep 70s vibes but brought into the present. A band that understands melody and has all sorts of pop sensibilities while leveraging harmonized vocals. A musically gifted group, especially with the killer guitar work, all driven by organ. Black Smoke Rising has all this plus a darker more enhanced level of songwriting and a band that seems to be operating at the next level. Black Smoke Rising is Gjenferd’s perfect sophomore release. 10/10

Reviews: Distorted Reflection, Triumpher, Phasma, Oath (Matt Bladen)

Distorted Reflection - Doom Zone (Iron Shield Records)

Kostas Salomidis is a renowned in Greek doom scene. He is a founding member of Sorrows Path but in 2022, after a few shenanigans Kostas found himself in the position of starting again. Working under a mystique away from the public eye, he launched Distorted Reflection with Doom Rules Eternally, the album coming through German label Iron Shield Records. It was a record that heralded the return of this Greek doom icon and was highly rated by much of the music press including ourselves.

In 2026 Kostas once again fires up the doom engine for another Distorted Reflection album. It's with this sophomore album we return to the Doom Zone, beginning with 3000 AD which features a guitar solo by Jack Starr (Jack Starr's Burning Star/Virgin Steele). He's a great special guest but these songs hail to the riff with Salomidis on guitar cranking them out across eleven tracks, with the influence of Sabbath and Candlemass looming like a spectre, especially in his vocals. Behind him is the grooving bass and occult synths of Vangelis Yalamas (Fragile Vastness), and the percussive thump of drummer Thomas Zen.

Distorted Reflection then is a heavy rocking doom trio, the production skill of Vangelis at Fragile Studio giving it an analogue sound that bristles with warmth and that crackle of a vinyl LP. Doom Zone is an epic doom metal record that continues the musical legacy of Salomidis, tracks such as the gothic Gates Of Paranoia, the crushing Love On Earth and Diminished go back to his early works while Asphyxiating and Certain Death bring thrash and sludge.

Nothing hangs around, this Doom Zone distils epic doom metal into four minute blasts of riffage, Doom Still Rules Eternally for Distorted Reflection. 9/10

Triumpher - Piercing The Heart Of The World (No Remorse Records)

You can call Triumpher a lot of things but lazy isn't one of them, debuting with an album in 2023, they quickly followed up with another in 2024 and now only a year and but later they are on their third. Another word you could use is consistent, as the mighty metal blade of Triumpher swings again with another record of epic steel forged from heavy metal traditions.

Taking as much influence from Manowar and Cirith Ungol as they do Celtic Frost and Mercyful Fate. Since their second record they've found themselves on some high profile stages and this has massively affected the scope of Piercing The Heart Of The World, from the tolling bell and orchestrations of Black Blood, it sounds bigger, that Manowar influence large and on charge in Mars Triumph's massive vocal range and the high-in-the-mix bass of Stelios Zoumis.

Classic metal fans will get tingles down their spine from the first track as this is a Sign Of The Hammer, Hail To England level record, with even the production/mix/master of Achilleas Kalantzis emulating those classic records. The Mountain Throne gallops along on Agis Tzoukopoulos and some traditional instruments, weaving a story through it's progressive changes of pace, where the black metal sound comes in with blast beats underscoring a bass solo!

Of course epic metal is nothing without riffs and guitarists Christopher Tsakiropoulos and Mario Ñ Peters have a bag full of them, from the melodic balladry of Ithaca (Return Of The Eternal King) and Vaults Of Immortals through the chunky The Flaming Sword and the thrashy Erinyes. There's a reduction of the black metal style on this third album but Triumpher continue to provide substance with their muscular consistency. 9/10

Phasma - Purgatory (Transcending Obscurity Records)

Time to get gnarly now with Purgatory the new album from Phasma, their third overall but their debut for Transcending Obscurity Records. In the for fans of section bands such as Dying Fetus and Psycroptic are named and you can definitely hear why as soon as you press play the first track I (each track is just the Roman Numeral for that number) that this is a rather complex but punishing sound.

Sitting smack bang in the middle of black and death metal, both sides of the extreme spectrum collide in a volatile explosion of mechanised brutality, industrial moments, groove metal breakdowns, blast beats and vocals that put screams with growls create a disharmony, that lends itself to the layered style of Phasma.

Purgatory is not a an easy listen it, there's a lot happening and none of it ever shies away from trying to be more extreme than the last track. It's a collection of improvisations where one track flows into another, drawing in these different styles for maximum impact. You have to love extreme music to get the most out of Purgatory, however you won't hear much this volatile this year. 7/10

Oath - Unteach (Self Released)

Some unashamed Iommi worship from Athens now as Oath crank up the fuzz for their debut full length Unteach. This Greek power trio play doom, heavy, fuzzy Sabbath worshipping, doom, recorded entirely live in their studio, this is a paean to the occult, lyrically driven by B-movie horror, witchcraft and the dogma of religion, the songs cut through with

Terrorcraft launches the record with echoed vocals, hallucinogenic riffs and lots of groove ala The Sword, Uncle Acid And The Deadbeats and Vol 4 Sabbath. It's got pace while My Second Life brings the tormented dissonance of Electric Wizard. They dedicate Evergreen Fields to Ozzy, while the bluesy Dies Capri features some guest vocals from Olia Fileri.

Sat under the tree of Sabbath, Oath fill their debut record with distorted riffs and haunted vocals, Unteach delivers on its promise of being a homage to Osbourne, Iommi, Butler and Ward, pledge an Oath to Sabbath. 8/10

Reviews: Desert Storm, Axe Dragger, Clouds Taste Satanic, Froglord (Matt Bladen & Rich Piva)

Desert Storm - Buried Under The Weight Of Reason (Heavy Psych Sounds) [Matt Bladen]

For 19 years Desert Storm have been cranking out the riffs and establishing themselves as the kings of Oxford metal scene. There aren't too many bands who can say they've played with some absolute legends while maintaining pretty much the line up since their inception (those pesky bassists) and consistently releasing new material every couple of years without being pigeonholed as "that band with the riffs."

Every record from Desert Storm brings variation on a theme, moving from stoner, to doom, through psych, sludge and post metal with every album, some heavier, some lighter but always finished with that Brit metal grit and clever lyricism. Their seventh album Buried Under The Weight Of Reason, is their first on Heavy Psych Sounds after years as a part of APF, but both labels know what makes riff fans tick so it's a perfect for for Desert Storm.

It's also advantageous for the label as Desert Storm are coming off a run of top class records, so they a very deeply in the purple patch, recorded in their studios in Oxfordshire and mixed/mastered by Joe Clayton of Pijn, the four piece of brothers Ryan (guitar) and Elliot (drums) Cole, bassist Andrew Keyzor and vocalist Matthew Ryan, begin album seven with the slow burning atmospheres of Newfound Respect.

Kicking into Mastodon grooves it draws you into the Desert Storm sound without having to beat you around the head. It's loud but intricate, complex but easy to headbang to, the band shifting style again when it comes to the hypnotic Shamanic Echoes, more Mastodon/Baroness here with the blues in the middle as they take a sonic flight.

From here it's acoustic tones on Woodsman and prog that comes through on Cut Your Teeth and the colossal crush of Rot To Ruin brings huge doom swaggering. Carry The Weight is an introspective intro into the punk fury of Dripback. The final duo of Law Unto Myself and Twelve Seasons, are the two tracks here that are most likely Desert Storm of old.

However that description never really feels apt with Desert Storm as they bring so many different elements. If ever there was a band that deserved to be crowned as the UK's biggest riffers in the wake of Orange Goblin's demise then it's Desert Storm. All Hail! 9/10

Axe Dragger - Axe Dragger (Ripple Music) [Rich Piva]

So you are telling me that you have a band with Bob Balch on guitar, Petagram Pete on drums, and Dark Funeral bassist Fredrik Isaksson in a band together? Wait, they play 80s style classic metal like Priest, Maiden, and Dio? That’s crazy? How can this get any better? Well, how about getting the original Pantera vocalist Terry Glaze to sing? Insanity, right? Yes. Reality? Also right, as Ripple Music brings us Axe Dragger, the self titled debut from these four legends of heavy music.

Axe Dragger, from the album Axe Dragger, from the band Axe Dragger…of course this is going to rule, and it does. Priest worship with an amazing solo and Glaze’s vocals that sound like he is in his prime form. What more can you want? How about a track that gives off Armored Saint vibes with Give You Rope, with Balch destroying everything with his guitar work. The dude can do anything with a guitar style-wise, with this record cementing him as one of the absolute greats. 

Fight Another Day would have been a first hour Headbanger’s Ball staple back in the day, with Balch confirming his guitar God status next to the giants of the time. The record is chock filled with true 80s metal worship. With some more of my favourites being Eat Me From The Inside, which starts with drums like it is a cover of Strutter until the filthy riff kicks in and the pace slows and gives me this very early Fates Warning vibe, but if they sang about man-eating alligators. 

I also love El Toro, which is a two-headed, three minute Dio/Priest hybrid monster here to destroy us all. I also love the chunky riff on Death Is Calling My Name, a song that also highlights the killer vocal performance of Glaze perfectly.

I wonder if anyone involved in the Axe Dragger project could imagine that this record could have come out so great. Yeah, Balch rules, the rhythm section is killer, Glaze has the pipes, etc., but the final outcome of this Axe Dragger certainly exceeded my expectations. If you love classic 80s metal, then there is no reason why Axe Dragger will not be one of your favourite records of the year. 9/10

Clouds Taste Satanic - Berlin 2023 (Kinda Like Music) [Rich Piva]

I love a good album series. I also love the NYC instrumental band Clouds Taste Satanic. So if I am doing the math right I should automatically love the new release from the band, Berlin 2023. 

Berlin 2023 is the second in a series of “Live in Studio” records the band is doing where they record at studios all over the world. The first in the series, Birmingham 2024, was, of course, killer, and I am pretty sure the Berlin entry is going to be right up there…

…and it is. You get four classic CTS tracks in their rawest form, sometimes with some subtle and sometimes not so subtle differences, but always true to their original vibe of the song. Second Site, from the 2019 album of the same name, is still one of my favourite CTS songs as it is, but this version takes the already classic to a new level in all of its 21-minute glory. 

You get about half of the amazing track Sun Death Ritual, from 2023’s amazing Tales Of Demonic Possession, which is a very cool and new way to hear the song. From that same record you get Part IV of the epic track Spirits Of The Green Desert. 

I love how the band splits these songs up and makes them their own new thing, like they do on this one, which at four minutes could be their radio hit!!! The closer takes us way back to 2015’s Your Doom Has Come with the classic Beast From The Sea which seems to be sped up just a bit, but still hangs with the original with all of its live-in-the-studio rawness the series and the songs involved brings.

I am here for as many of these records as Clouds Taste Satanic does. There is so much great source material to work with, to deconstruct, to reimagine, to just play live; the possibilities are endless, and if number two in the series, Berlin 2023, is just the beginning, CTS fans should rejoice. I have said it before and I will say it again, I don’t always listen to instrumental rock, but when I do, my first choice is usually Clouds Taste Satanic, with Berlin 2023 now in that rotation as well. 8/10

Froglord - Lower & Slower (Self Released) [Matt Bladen]

If there's ever a title that screams, "does what it says on the tin" it's Lower & Slower the sixth album from Bristol's Amphibian merchants of slime soaked doom Froglord. It's a record that doesn't continue the ongoing narrative concepts the band have been showcasing on their previous albums, this intermezzo stalls that for a good cause.

100% of digital proceeds and 50% of physical and merch profits will be donated to the Waterfowl & Wetland Trust (WWT). Froglord turning their advocacy into action by creating an album of reimagined tracks and cover in a style that is rawer, louder, longer and heavier.

Record live in a single take these seven songs have been played in their ugliest, earliest formation, down tuned to all hell and performed at a sludgy pace, they aren't as much transformed as they are adapted into their primal form, as if emerging for the first time from the swamp, gnarly and bewildered before they evolve into a much more advanced form.

There's influences from NOLA sludge and funeral doom on this record so if you know Froglord then it may come as a surprise but I think this record is a look at the creative process, the songs here feel like rough drafts, a frog march at a slower and deliberate pace culminating in an ear bleeding rendition of Iron Man just to remind you of their influences. Heavy music for a good cause? Hop over to their bandcamp to pick up Lower & Slower and play extra loud. 8/10

Bloodstock M2TM South Wales Interviews: Virology West Heat #4 The Bunkhouse, 08.03.26

Interview With Virology West Heat #4 The Bunkhouse, 08.03.26



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

We are Virology, we are a two (along with our favourite robotic drummer) piece death metal band from Cardiff. We've been playing together since around 2023. After an arduous search for a drummer we decided to subject the general public to our home brand of tech death with just the two of us.

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?

Our vocalist James is a veteran of the competition with his previous band Blind Divide, It will be Bunny's first experience of M2TM. From previous experience the competition allows for lots of different groups to come together and experience all different styles of metal and we are hopeful to pick up a few new fans along the way!

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

Our local scene is incredibly important to us, we are keen to strengthen the scene by linking with other bands and getting on more shows after the competition is done

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?

It will be our first time playing at The Bunkhouse after attending various shows there. We are excited to take to the stage!

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

We are hoping to meet some really cool bands and fans and look to get on shows together after the competition is finished. We are also hoping to release our first album this year and hope to promote this throughout the competition if we are lucky enough to make it to the later rounds!

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

It would be a hell of a fucking party, having seen what previous years finals looked like (and they were bonkers) if we are lucky enough to play the Day of Wreckoning or indeed Bloodstock, rest assured we will go apeshit

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 played with Exaust and Paroxism before and we're keen to see what they're going to bring to these shows!

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

Orrible wall of death metal.

Insta: @virology_official

FB: https://www.facebook.com/virologyofficial

Bloodstock M2TM South Wales Interviews: White Leather West Heat #4 The Bunkhouse, 08.03.26

Interview With White Leather West Heat #4 The Bunkhouse, 08.03.26

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

We are White Leather. We are a young, Female Fronted Rock Band from Swansea, South Wales. We have slowly gained notoriety around our local area and have amassed a decent social media presence, with over 5000 followers across all platforms, along with millions of views. You may have caught us opening the Main Stage at Margam’s In It Together Festival in 2025! Since this, we have been incredibly motivated and determined to continue our journey and spread our love for music to a wider audience, and bring back the golden age of Rock and Metal!

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 competed in M2TM last year, winning the crowd vote in Heat One, but unfortunately our journey ended there. Bloodstock has always been a goal of ours as a band due to its scale and dedication to supporting up-and-coming acts, aswell as being a haven for preserving the timeless music that is Rock and Metal. We appreciate the method Bloodstock use for this process, as it allows bands from all over the place to connect, experience and share each other’s music, which makes it a memorable experience!

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

The local music scene is arguably the most important aspect of modern bands. It’s where you grow your very first fan base and actually get to play your music. Especially in the modern day where running a grassroots venue is extremely challenging, the ones still operating are that much more valuable to flourishing bands. Our local scene in particular has been invaluable, allowing us to perform in multiple venues, make connections and play 2 successful headline shows at The Bunkhouse.

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

We are very familiar with our venue: The Bunkhouse. We have performed there on many occasions, including headlining twice. We’re so glad they’ve been chosen to host the heats again this year as it can hopefully bring them some much deserved success as a venue. As always, we’re excited to perform on that kick-ass stage!

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

Playing at Bloodstock would be a dream come true, but we’ve got to be realistic! Being part of M2TM is more than that, it’s about meeting people of all ages, demographics and tastes, and building connections with people we may not have otherwise met. Who knows where those connections could take you. It gives the Rock and Metal community a chance to appreciate the art together, so let’s make the most of it!

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

If we were lucky enough to reach the Day of Wreckoning final, and somehow play Bloodstock…well we’d be lost for words! To play such a massive festival would not only be a dream come true, but a huge opportunity to further our journey as a band. It would be the ultimate way to get our music heard by people who could appreciate and enjoy it the most.

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’re incredibly excited to see Judasnail perform at our heat. Their song ‘How Prettily’ takes many different twists and turns, so we’re interested to see something so creative performed live. We obviously recommend our fans watch all the bands, because we think you’d be missing out by missing any of them!

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

Exciting, thrilling and ever lasting.

Bloodstock M2TM South Wales Interviews: Convoy - East Heat #3 Green Rooms, 06.03.26

Interview With Convoy - East Heat #3 Green Rooms, 06.03.26

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

Hailing from across South Wales, Convoy is a Post-Metalcore/Hardcore Collective that has surfaced very recently. Our sound is a calculated collision; it’s a soundscape that moves from ethereal choral sections to the visceral shock of cut-throat guitars and synth-trap verses, reflecting the fractured reality of modern times. Every performance is a designed experience, curated to fully immerse you in all that we have produced.

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?

Although we have only recently launched, hearing about Metal to the Masses via the local scene pushed us to put in an application. It’s a privilege to be included on this year’s roster and we are here to bring our absolute best. This is our opportunity to finally share what has been produced in secret for multiple years!

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

As a band, we have huge respect for the local scene. Members of our band actively contribute to and support local venues. An example of this is our singer, Cal, who provided support in completely re-patching and rebuilding the Green Rooms' lighting rig, going further to provide lighting support at various shows there!

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?

Having exposure to the Green Rooms via previous bands and a launch gig for our current setlist, it’s quite exciting to move from behind the lights to behind the microphone, exposing our sound to a much wider audience. The new lighting rig and the sound of the room are incredible. Whether it’s M2TM or a Saturday show, the work that has gone in to provide bands with the "large stage" experience is fantastic. To reflect with the investment into our new set, it’s going to be exciting to share this with the wider world!

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

A major part of joining Metal to the Masses is experience. Having the opportunity to share what has been a major part of our lives with a wider audience is fantastic. M2TM serves as an opportunity to grow our fanbase; since we have so recently launched, this is a key detail for us. Personally, M2TM acts as the opportunity to test our skillset not just from a performance perspective; we want to prove that we can deliver a high-quality show, handle promotion, and nail our changeovers on a tight schedule.

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

Absolutely the world. If the crowd believes we are at a point deserving of playing Day of Wreckoning and Bloodstock Festival, it would exceed all our expectations. It would validate the work we have put into the music and show us the possibilities of pure commitment to the art we produce.

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 played with Avicide previously, that is a set that we won’t be missing! On the opposite end of the framework, I(Cal) aim to catch every set that hits the Green Rooms. The venue has a special place in my heart and I want to see every band that is performing for M2TM. Some would say it's to suss out the competition; I’d say that I just have a soft spot for the local music scene!

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

"A visceral, calculated, immersive collision."

https://convoy.band/
https://www.instagram.com/convoy.band
https://www.facebook.com/profile.php?id=61568395907471
https://www.youtube.com/@convoy-band