Reviews: Left To Suffer, Leper Colony, Steak, Hell-Born (Jordan Griffiths, Mark Young, Joe Guatieri & Yasmin Mason)

Left To Suffer - Unwelcome Guest (Hopeless Records) [Jordan Griffiths]

This marks the third band in a row for which this review serves as my first listening experience. 

I am a big fan of heavy music that gets your head going, and this album does not disappoint, from the first second of the very first track, on this 11-track album, simply named Track One, just HITS you. Deep, rhythmic chugs, accompanied by the squeal of a guitar that kicks you into the main depth of the song.

STFU, starts off with a snippet from a reviewer stating how Left to Suffer is too much and takes away from their enjoyment of music, before the band promptly responds with the title itself. 

What follows is essentially a diss track aimed at their critics, and the band’s lack of care, they will do what they want to do, and it works remarkably well, turning the outside criticism into fuel for one of the album's most confrontational moments.

While the album itself is very chug and breakdown heavy, it utilises very well timed melodic sections in a few of the songs, which really helps you take a step back and think “Oh okay.” These moments really do add the much-needed separation between the heavier sections, preventing the album becoming overly repetitive

I feel that Taylor Barber's vocals need proper attention too, they're incredibly strong, and come with a hell of a lot of range, shifting almost flawlessly between deep, guttural lows and the higher fry screams, with almost effortless consistency.

One of the largest issues with an album this heavily rooted in breakdowns and chugs, is how quickly it can devolve in repetitiveness, however, unwelcome guest, in my opinion, avoids this trap. 

While the core sound remains heavy, and chuggified, the changes in pace, melody, and overall approach in the songs, gives it enough of its own identity to keep you interested all the way through.

For a band that I had never listened to before this, Unwelcome Guest has honestly made an impression. There is enough going on underneath the top layer of heavy brutality, that makes me want to return, again and again, in which, I am going to! 

This was truly a great listening experience. 8/10

Leper Colony - Back To Primal Sludge (Testimony Records) [Mark Young]

I love that some bands just cannot help having their influences front and centre in their sound. I think it shows that, at heart, they are fans like the rest of us, only a little more motivated to do something mental like form a band.

Leper Colony are that kind of band, delighting in building a hybrid American/Scandinavian sound that borrows proudly from the old-school classics they are attempting to usurp. 

In their favour is a healthy approach to the form: discordant lead breaks, tempos that shift to suit the moment, and a razor-sharp production where nothing is missed. It also works against them in some respects, but we will get to that.

Madness Is A Kingdom sets the table nicely, serving up that hybrid approach straight away. What follows is a track that motors along, changing pace and direction as required, particularly during the chorus. 

There is a strong At The Gates presence throughout, although that is hardly unusual in melodic death metal, and it is certainly no bad thing. 

What it does suggest, however, is that the band may lean a little too heavily into that sphere, to the point where their own identity occasionally fades into the background. Even so, it contains a crushing section that tees up the final minute perfectly.

Any band that samples Zombie Flesh Eaters gets a thumbs up from me. Possibly they missed a trick by not having a song called Ocular Trauma, but still, These Blades follows and delivers a short, rough burst of aggression that brings a touch of punk to proceedings. 

One thing that becomes increasingly apparent as Dead Soul Consortium kicks off is that they have a preferred set of tricks and moments that they return to repeatedly. It is not that they are not very good at what they do, or that they are not heavy, because they absolutely are. It is just that I do not find it especially exciting.

If you read our reviews with any regularity, and you are unfortunate enough to encounter one of mine, you may have noticed I occasionally mention my commute being the time when I review music. If an album does not sustain that journey, it gets relegated to the "OK" pile. That is what happens here. 

Each track arrives feeling like a variation on a limited formula. From Thrown To The Pigs, which mixes melody with something slightly off kilter, through to Flesh Grater, the songs are perfectly serviceable. There is nothing wrong with them at all, but I struggle to think of them as being anything more than workmanlike.

Beneath The Fat And Gristle closes things out and sees the album finish much the same way it started. It moves with a swagger, changing speed whenever necessary and delivering exactly what it promises. Again, it is fine at what it does, which is something that can be applied to the album as a whole.

In all honesty, I am probably being a bit harsh on it. There is an energy running through these songs, one fuelled by the fact that the band are obviously massive fans of the style themselves.  That enthusiasm is infectious, even if the album never quite breaks free of the influences that define it. And possibly for some that will be just what they want.

After all there is no messing on here with stretched out beginnings or overlong songs. They just do what they need to do and then on to the next one. 7/10

Steak - Steak (Stickman Records) [Joe Guatieri]

Steak are a long-running Stoner Rock band from London, England, forming back in 2010. The band have a storied discography of plenty of EPs and records to their name, including a well-regarded joint-single with famed Swedish band Greenleaf, being released as part of the DesertFest series in 2017.

I have known about Steak for a good while now, my first exposure to them was in 2023 when I saw them open up for Slomosa and Elder at The Fleece. They really impressed me that night with their heavy driving grooves, taking their songs to interesting places. Now after that it seems fitting for me to review their latest self-titled effort in 2026.

The record opens with Cometh, a song that feels oddly familiar to me upon first listen with its fuzzy guitars which try to cover up the sky, drawing an image of a car driving through a desert at a high speed, forming a big sandstorm behind it which is definitive to Stoner Rock as a genre. It keeps heaviness as a constant with an atmospheric approach, it doesn’t try to bury you in its groove, more so float things in patiently until they sit with you comfortably.

Track two, presents us with Luxury Junk, starting with a spacey touch of guitar, searching for a known mystery, being reminiscent of Odyssey by Kyuss. You don’t find anything as of yet but you’re still sure that there was something around, you keep that thought with you as you return to your car and rev it up again. Luxury Junk provides excitement throughout for me, the instrumental accentuates this bubbling up before stretching out its hand. The best bass playing across the entire album is also provided here as its rumbling tone sticks out like a sore thumb, leading the charge with thumping drums.

The song then moves to another level as after reflection, by 4:01 there is a fabulous drum break as the world starts to dance, everything comes back together and we are left with our face melted going into the sunset. Steak takes a page out of the Slomosa book Luxury Junk and channels a sense of victoriousness into a lovely song, definitely my favourite from the LP.

Later on we go into track six with Infinite which is the poster child of the album as a whole. It takes the vocalist and places them front and centre, crafting the tune around them, prioritising melody. It leads to an effect where Infinite washes over me, it leaves me in a place where I think to myself, it’s alright for a head band when interesting patterns and riffs pass by but it doesn’t capture me or put me into its own world, it’s just there.

Again, a lot of this record I have similar feelings to this where it's uniquely misplaced, a lot of the more progressive Stoner Rock bands out there play with my expectations where I can’t wait to see what’s next, where as with Steak here, I find myself tapping my foot and looking at my watch. It appears to me that they are big fans of Alice In Chains, especially in the vocals where they join together but it doesn’t exercise an emotional depth to me. It comes across as being more for show then something that is needed in order to bring the exclamation point to a high point, it’s like climbing up a diving board and refusing to dive off of it.

Overall, this Steak album hasn’t spoilt the band for me. There is still a lot that I like about them, they know how to bring out enjoyment in me and there is no doubt in my mind that they are fabulous musicians. I just wanted more grit here and above all else, for Steak to be loud and proud. 6/10

Hell-Born - VII (Deformeathing Production) [Yasmin Mason]

VII is the latest offering from Poland's Hell-Born who are led by ex-Behemoth drummer Baal.

The album opens with Therion Calls, an ode to the apocalypse. "Apocolypse is here!" shouts Baal over ferocious drums and guitars. His vocals are giving vibes of something I can't quite place - but there's a definite old school feel to them. Chaotic Entities continues the ferocity with an excellent guitar solo providing a melodic reprieve towards the end of the track.

In Scarlet And Death brings the tempo down a little while continuing to showcase those melodic guitar riffs, while Blood In Stone hits us with blast beats from the start. The remaining three tracks continue in the same vein with a smattering of keyboards adding extra atmosphere to Funeral Of All.

My main critique of this album is that - for me - there isn't enough variety. Each song is structured similarly (atmospheric intro, in your face riffs, melodic guitar solo, repeat) and part way through the album I find my attention starting to wander. While I enjoy Baal's vocals, it would be nice to hear him experiment with something a little different at times.

However, if you enjoy old school melodic black/death metal, this album is certainly worth a listen. 6/10

A View From The Back Of The Room: Amon Amarth

Amon Amarth, Orbit Culture & Soilwork, Eventim Apollo, London, 10.10.26



Evetim Apollo,also known as the Hammersmith Apollo or back then the Hammersmith Odeon, a venue most known for its music and comedy performances notably also used for Motorhead's live album No Sleep Till Hammersmith. Tonight though it's the London stop for the Allfather Awakens tour named after their new album. Bringing fellow Swedish bands Soilwork and Orbit Culture, with them, 

Soilwork (5) kick things off you hear the sounds of a music box as a baby would hear while resting in their cradle, then the band approaches the stage, shouts hello to London audience gets them to raise there fists and cheer before even the first song starts. 

A few songs later, blood red light shines on the front set of the audience, playing a few more hits here and there while keeping the audience in communication, a good fair opening act for the gigs London show. 

Next up Orbit Culture (9) relentlessly with their non stop touring over the world and also a year in for their last album Death Above Life. Fast raw and of course the savage vocalisation gives a very powerful performance.

You can see why Amon Amarth picked them, aura, pure, raw, aura and their songs? Well they're pure Orbit Culture. You can tell which element, sub genre it leans to each song examples Tales Of War and Hydra sounds like it came fresh from the doom game soundtrack. 

Alienated has got that black metal nostalgia like you hear from behemoth and of course Red Fog is full of thrash, all these lovely mixes from this one band playing hopefully on headline UK tours in the future.

Now even if you're not into Viking history/culture/mythology or theatrics, but you like their music that's absolutely fine, but if you enjoy all of that just mentioned then you're in for a treat when Amon Amarth (10)

When the band does a headline performance obviously they go in full Berserker for visual spectacle full of display models, moving pictures, renactors, even the Norse trickster god Loki himself. 

An introduction backing track which is course Iron Maiden's Run To The Hills, yes of course they're gonna play, Raise Your Horns, Shield Wall, Guardians Of Asgard, as well as stuff from the Great Heathen Army album.

However with new album the Allfather Awakens, comes new songs such as the title track, Eight Legs Of Thunder and of course We Rule The Waves. Jonah passionately calls the audience fellow Vikings and a enjoyable campfire acoustic set of Upphaf which was so ambient and soothing a nice calm break from all the headbanging. 

Hammersmith was blessed by the gods cause a song they don't play live much Saxons And Viking with Biff from Saxon on the video screen singing his part of the song.

Finishing up with their hammer hitting hit (literally) Twilight Of The Thundergods and as the hammer goes down, the stage goes boom and the music roars like cracks of thunder. 

In the smoke and light Amon Amarth show thankfulness and gratitude towards the fans which is strongly reciprocated by the London audience.

A View From The Back Of The Room: Fear Factory (Paul Hutchings)

Fear Factory, Crystal Lake, Hate, The Nocturnal Affair Prospect Building Bristol, 08.10.26

They have become regular visitors to the city of Bristol in recent years, with tonight’s show their third appearance in three years. The Cybernetic Domination tour is an eclectic package with four differing genres. It’s also a punishing schedule; one glance at the dates on this run confirms that being on the road is gruelling, with the bands have traversed other parts of England, Ireland and Scotland ahead of this show. No breaks, no rest days, just relentless shows. Kudos to all four for bringing such energy.

There are few hands in the air when lead singer Brendan Shane asks who has seen The Nocturnal Affair (7) before. It’s a surprise to me that there are any, but the band have been reasonably active in the UK since 2024 with performances across the country. This appears from what I can see to be their first show in Bristol, and they certainly bring the energy early doors despite a slowly growing audience.

They are a curious bunch. Dressed in casual suits or jackets with what appeared to be lounge loafers, they drench the audience with backlight and abuse them aurally with a set that weighs heavily on emotional content. I’ve seen influences including Type O Negative, HIM and NIN cited, and I don’t think I can add much to that. 

They have a short set, but Shane in particular, is keen to get a reaction. Energy wise, the band match their touring buddies; musically I struggle a little. They open with Cross Me Out which is high tempo, and finish with a bouncing cover of Haddaway’s What is Love. Make of that what you will! It works though, for metal fans love a pop singalong and tonight is no exception.

No question what Polish blackened death masters Hate (8) have had for tea as they absolutely crush the venue with a display of impressive power. Most recently seen in Bristol at the Fleece in April 2025, they relish the larger stage. It’s set up in true demonic manner, skulls, cauldrons and a huge backdrop, all bathed in blood red that doesn’t change throughout their blistering 40-minutes.

Intimidating in many ways, this is a wall of abuse that slams into you and knocks you over. The pit slowly wakes as Hate rage into opener Bellum Regiis. From here on it’s time to hold onto something solid as everything not nailed down begins to move. Only Adam "ATF Sinner" Buszko remains these days from the original line-up that tore across the lands all those years ago. That doesn’t seem to matter as there is limited interplay with the audience. Instead, it’s explosive song after explosive song that is as punishing as it is intense and as they leave the stage after six songs, the reception is impressive.

It appears that Tokyo’s Crystal Lake (8) carry no original members. Formed in 2002, I’m blown away with their sheer aggression, if not their music. Thumping breakdowns, massive riffs, and the ferocity of the diminutive frontman PK, it’s a huge switch of style for the second time. And the crowd responds with some intense pit action and a couple of crowd surfers. PK is particualry impressive given the short length of time that he’s been with the band.

There’s something in the band’s firepower that makes them quite mesmerising, and although metalcore isn’t my bag, they have groove and enough visceral energy to keep the attention. Six Feet Under is massive, whilst penultimate song The Weight Of Sound sees them switch to a sound more akin with Linkin Park before a savage finale of Apollo crushes one final time. For me, the surprise package of the evening.

The setting is appropriate for the industrial sounds of Fear Factory (8). Bare girders and steel beams create the coldness that is needed for Dino Cazares’ world-famous riffs. But there is nothing but heat as Cazares, bassist Tony Campos, drummer Pete Webber and vocalist Milo Silvestro generate over the next hour.

This is a band with a box full of classic tracks and they oblige with a set that stands the test of time. Acres Of Skin builds the intensity after a hero’s welcome, and by the time they’ve hit Edgecrusher, complete with PK’s return to add his voice to Silvestro’s, the hardcore fans are in heaven.

Silvestro is improving on every viewing, and even though he is still using some tools for vocal enhancements, he’s generally on point. When Buszko joins him for Martyr, the contrast is startling. He’s handling everything well, and I don’t think his presence is even an issue for those enjoying the likes of Zero Signal and Demanufacture. New song Roboticist is promising, and Dino looks like a man still happy in work.

As they roll into the finale of Replica, Resurrection and a reintroduced Cars, it’s impossible not to think about how seminal this band remain. Sure, they are never going to be as dominant as they were three decades ago, but whilst they can still fill a venue of this size, I think it is reasonable to anticipate them visiting a few more times yet.

A View From The Back Of The Room: Creeper (Misfit Jax)

Creeper, Calva Louise & Starbenders, Tramshed, Cardiff, 08.10.26

The Tramshed a venue near Cardiff City center it has been used for many different types of music and many different artists and bands, it's even been used for a wedding receptions, raves, sometimes comedy acts or talks but tonight it is for the band from Southampton with their off with their heads tour kicking off in Cardiff to start their UK tour.

Before the openers, the inside the stage set alluringly haunting, the audience full of people top and bottom while still people approaching to get a good spot. The crowd looking at their absolute best dress or their most casual, some get their hands on merch, all priced to suit all budgets, and queue when waiting to come here and enjoy a band they are all fond of. Bless their black hearts waiting in the rain and cold of this gig while hoping some people attending don't loose the face paint they put on to go with the bands motif.

The opening band, Starbenders (8) come all the way from across the pond specifically Atlanta, Georgia, Requiem Overture Of O Forutna plays as their intro, lights go black, hype builds up band approaches the stage the look of the band very nostalgic like a band you saw playing in the background of a club scene in an 80s/90s movie, the stage lights move and flash on the band classically with colours changing primarily but to for the mood of the songs. 

Kimi Shelter looking very Cher's Witches Of Eastwick meets Hearts Ann Wilson gives her performance in both vocalist and guitarists and uses the stage to her advantage. The songs for example like Tokyo and Summon My Heart, give that hard rock flow and cadence with the music vibe, similar to bands like Joan Jett, Heart, with the rest of the band in the moment with such a dark setting, a win over performance with cheers and applause.

Next up Calva Louise (7) who brings a multinational band and focusing more on a gothic/synth John Carpenter esq intro, which is followed by modern synth with narrative heard in the background that for me unfortunately cannot not be made out due to the drums starting off. 

Calva Louise are a different style, a different type of performance than Starbenders, with metal being main concept with elements of salsa, samba, synth, industrial even edges classical music from hundreds of years ago. It's music that just wants to pull you in rather than feel the flow, using the keyboard draw in and out when needed in use for the songs and performance and also the music being bilingual tracks bringing power passion and statement while closing and leaving the show with a track of old Latin salsa being played.

Now of course the main event, while leading up to the main event, the band put on their fictional radio station and played some 80s hits closing with Meatloaf's Bat Out Of Hell. Then as the white sheet was up a shadowy figure appears behind it pretending to be a certain figure of censor authority. Saying that the show will now be more PG than what is his known by its reputation. Mistress Of Death aka the Axe Lady of the band, then came out and behind the white sheet and starts chopping, slashing and killing the bossy bureaucrat as the sheet drop reveals Creeper (10).

Starting with Blood Magic (It's A Ritual) the aura, intensity and such passionate enthusiasm make it a must watch fromt he opening moments. Musically the band definitely bring and embrace the gothic element visually. The songs have either or both Master Gould and Mistress Greenwood singing as we enjoy new and old  tracks they fill their set with. They put on a theatrical show the stage filled with a throne of skulls, a guillotine, a jet black casket and of course a phone call from Garcia there Vampire Familiar. 

Between all the theatrics, giving us song's such as Parasite, Prey For The Night, More Than Death, all to an audience filled with passion and face paint, hanging on every word, when the band stops playing and the audience sing with the band. Behind their facepaint and black hearts Creeper seem completely touched by such support and devotion of the Cardiff crowd making for a thrilling start to their UK tour!

A View From NWOCR Fest: NWOCR Fest 2026 (Debby Myatt & Tony Gaskin)

NWOCR 5, KK’s Steel Mill, Wolverhmapton, 25-27.09.26

There is a bittersweet tinge to entering KK’s Steel Mill for this milestone 5th anniversary edition of NWOCR LiveFest. Over the last five years, this weekend has grown into a cornerstone gathering for UK grass-roots rock, but with whispers around the venue that this landmark fifth outing marks the end of the festival in its current format, every riff carried a little extra weight. 

​Friday - 25.09.26: The Warm-Up Party

Kickstarting Friday night’s sold-out launch, Kim Jennett (8) hit the stage with raw, untamed vocal power, commanding the early crowd immediately. Her fiery, relentless presence set the bar remarkably high for the rest of the weekend. 

Injecting a heavy dose of soulful southern swagger, Bad Touch (9) brought classic blues-rock hooks that had the Steel Mill singing along. They effortlessly primed the room, proving once again why they remain fan favourites on the UK circuit.

Headlining the Friday party, The Dust Coda (8) delivered a slick, soaring performance brimming with arena-sized attitude. Andrew Knightly’s vocals cut cleanly through a wall of huge guitar riffs, locking in a triumphant finish to night one. 

​Saturday - 26.09.26

Opening the main weekend marathon, Revenant (7) blew away any early-afternoon hangovers with a sharp, aggressive set of modern hard rock. Next the all-female outfit, Joanovarc (7) brought tight musicianship and undeniable energy, keeping the crowd on their feet with melodic, hard-hitting anthems. Clearly the ladies enjoy being up on a big stage and make the most of it.

Delivering pure 70s-infused rock ‘n’ roll chaos, Sweet Electric (9) brought glitter, strut, and infectious hooks that turned the hall into a giant dance floor. There is nothing quite like Sweet Electric around at the moment, the German band are fronted by former Massive member Brad Marr who brings his manic Aussie antic to the party. Following that with stunning dual vocals and pristine blues-rock arrangements, Brave Rival (7) provided a masterclass in tone, passion, and soul.

Injecting a shot of pure 80s glam metal nostalgia, Midnite City (8) delivered soaring solos, huge choruses, and unashamedly fun rock-and-roll theater. Heavy, groove-laden, and thick with thick-toned riffs, Doomsday Outlaw (9) brought a darker, heavier punch to the late afternoon. 

Taking the sub-headline slot, Hollowstar (9) proved why they belong at the top of the bill. Joe Bonson’s gravelly, emotionally charged vocals soared across KK's, while the band locked into a muscular groove that had the room roaring. Despite a minor technical glitch mid-set, they powered through with signature warmth and grit, debuting fresh material alongside fan favourites that hit like a hammer blow. 

Australia’s favorite export, The Lazys (10) delivered an absolute hurricane of a headlining set. Leon Harrison is a front-man possessed, charging across the stage while Matty Morris unleashed pure, blistering lead-guitar fury. Their high-octane punk-infused hard rock left the Steel Mill exhausted, sweaty, and utterly electrified—a masterclass in unadulterated live performance. 

​Sunday - 27.09.26

Kicking off the final day, Alabama Crow (8) set a gritty, southern-tinted tone early on with low-slung riffs and gravel-throat vocals. Blending rootsy blues-rock with sharp pop sensibilities, ​Eddie & The Wolves (8) delivered a tight, engaging early-afternoon slot. The electricity between the husband and wife team of Eddie and Char is palpable echoing that of other current blues outfits like When Rivers Meet and Beaux Gris Gris, must be something in the air!

A local favourite who always deliver, the heavy Black Country roots of Red By Night (7) shone through with a hard-hitting, riff-heavy set, and they kept their cool when there were issues with the bass, just kept going as if nothing was wrong! Delivering bags of charm and soaring choruses, Thieves Of Liberty (7) kept the afternoon momentum surging forward. The band have broken out from their North Eastern stronghold and are a popular festival addition.

Packed with bite and fast-paced energy, Fangslinger (7) brought a sharper, metallic edge to the early evening crowd. Their dark country rock style and stage get up set’s them apart from others this weekend. Melodic, polished, and full of heart, This House We Built (9) delivered rich vocal harmonies and arena-ready rock hooks. Having been endorsed by Tyketto frontman Danny Vaughn they have pushed themselves to the forefront of the NWOCR movement this past couple of years.

Stepping into the sub-headline slot, the Birmingham trio, ​Blue Nation (10) brought an emotional, soul-infused rock sound that completely captivated the venue. Luke Weston’s driving bass rhythms and Neil Murdoch’s expressive vocal delivery created a massive, atmospheric sound wall. Their connection with the local Midlands crowd was palpable, delivering one of the most poignant sets of the entire weekend. How we have managed to miss these guys for ten years I don’t know!

Closing out the 5th anniversary festival fell to Fury (10), and they didn't disappoint, unleashing a grandiose, heavy metal spectacle that shook the rafters. Julian Jenkins led the charge with soaring dual-guitar harmonies and theatrical flair, backed by a rhythm section that pounded through the Steel Mill. Nyah provides a sultry muse to Julian's gruffer delivery and it’s a great partnership. 

Hot off her dynamic sessions with Black Sabbath legend Tony Iommi, bass player Becky Baldwin gives the songs a power boost along with Tom’s pounding drums It was a fitting, defiant, and gloriously loud curtain call for the festival's current chapter—ending five years of NWOCR LiveFest on the ultimate high note. Latest addition Matt Fletcher has slotted in seamlessly and the set is fast, heavy and furious!

It will be sad if this is the last NWOCR weekenders, fingers crossed someone will take up the mantle and bring it back in some form, we can only wait and see.

Reviews: The Pineapple Thief, Graveyard, Werewolves, Tenebra (Paul Hutchings, Matt Bladen, Mark Young & Keith Boswell)

The Pineapple Thief – Far And Wide (InsideOutMusic) [Paul Hutchings]

It’s been a while since I spent some time with these progressive masters. I’m no stranger to their music though; in a world of ever-increasing releases, sometimes albums slip past the net. You earmark them for later listening and then get distracted by something equally shiny.

The reassurance about the West County outfit is that wherever you pick up, you are guaranteed to listen to high-quality musicianship which takes time to absorb and enjoy. But technical excellence doesn’t always mean that the songs are also as good. 

Thankfully, Bruce Soord, Gavin Harrison, John Sykes and Steve Kitch are as tight a unit in so many ways that this is a home banker from the moment the music starts.

Newly signed to InsideOut Records, Far And Wide demonstrates that unity. With Harrison now nearly a decade in with the band, and the remaining members with well over twenty years’ service under their belts, there is a chemistry and organic quality that can only grow from years working together.

Soord’s vocals are still gentle, calm, almost dreamlike but with an incisive enunciation that delivers the message with crystal clarity. Harrison’s drums are focused, precise, and unpretentious. And there is a settled, more relaxed feel to the album. 

Opener New World Order is the immediate example. It’s instantly The Pineapple Thief, yet there is a simplicity to the song which suggests that there’s been some inner reflection. “We realised, for instance, that you don't need more than two guitar parts at any one time,” frontman/founder Bruce Soord says. 

“You know, ’why have we got four or five guitars? Why have we got six-part harmonies when there's only three of us singing?’ We deliberately created those constraints, because we thought, ‘we're a rock band, there's five of us on stage, this is what we should be about in the studio.’”

And whilst we always associate The Pineapple Thief with measured precision, the punch that comes in first single Hold the Ashes may even surprise a little. Informed by his time spent with his father in his last days in hospital, the track contains one of the most sinister edges that the band has ever delivered.

No acoustic guitars feature here either; something the band has never done before and whilst Soord often reveals a bit of imposter syndrome in his six-string playing, he clearly has been egged into doing a fine job by his bandmates. There are hidden depths still being revealed here, despite it being number 16.

Still Living is melancholic, temperate and balanced despite elements of it crossing a range of emotions and styles whilst there is a grunge feel to God Knows. Like most albums by this superlative band, there is plenty to enjoy and explore.

All with commentary and observations that span each member of the band’s interpretations on personal experience and worldwide events and situations. Scattering Like Flies for example, simply screams with social commentary whilst holding firm on the band’s typical textured and skilful delivery.

16 albums in and The Pineapple Thief continue to surprise, delight and reflect the world around us. Dive deep or slim it superficially, either works. What is sure is that by the time you get to closing track No Exceptions, you’ll want to press play again, for this is a band in their glorious prime, even after all this time. 10/10

Graveyard - Fever (Nuclear Blast Records) [Matt Bladen]

As we all know if you have a fever the only cure is chicken soup (or more cowbell) and rock n roll fever is spreading fast on Swedish retro rockers Graveyard's seventh studio album Fever. 

Coming three years after things took an introspective turn with Six, Fever sees them entering the fuzz boogie wonderland be it Saturday night or not! Fever is Graveyard doing it for themselves, no outside producer, no fancy tricks, no maudlin, just direct rocking that challenges the hopelessness in the world with a c'est la vie attitude and bag full of riffs.

Entrusting the mixing and mastering to Pelle Gunnerfeldt and Robin Schmidt respectively, this record captures Graveyard as they would be live, dripping with fuzzy, blues soaked riffs, some southern swamp swagger and Sabbath worship, the influence of Ozzy, Tony, Geezer and Bill strong on A Better Cut (Note To Self).

Elsewhere in this absolute ranger of a record, Tongued Tied will bring you back from the dead with its deafening dose of garage rock, Year Of The Horse pushes CCR and Grand Funk together while Time To Tell slows down into a claustrophobic trip ala The Doors, before the pace picks back up on the left right punch of Don't Shoot and Room Tempered, both running hot and riffing hard.

Off the back of a more emotive, insular sixth record, with album number seven, Graveyard are letting it all hang loose with a nine tracks of chicken soup for the soul. Come catch a Fever from Graveyard. 9/10

Werewolves - You’re Weak And You Know You’re Weak (Back On Black) [Mark Young]

I’m not sure at what point they decided to embark on this mad journey of releasing one new full length album a year for a ten-year period. Just to recap that is the release of:

One fresh, brand spanking collection of new material.

Of prime death metal.

Death metal that must tick a certain set of admittedly narrowly focused ideals.

And: must absolutely not.slow.down.

Ever.

I reviewed their last one, 2025’s The Ugliest Of All, and scored them an 8. I think then, I wondered about how they are managing to pull this together and release what is a high level of extreme metal when it takes some bands years between releases who walk in the same lanes as these guys. 

Ok, by now if you have listened to any of the previous albums, you should know what you are going to get with this. It is going to be delivered without any airs or graces, without acoustic refrains or ‘heartfelt’ moments of reflection. 

This is going to be extreme metal delivered at speed with intensity to match. It may be termed (perhaps unfairly) as Caveman metal because of how direct it is. It has a purpose, and it won’t be shaken from that but there is nothing prehistoric about the riffola on display here. Its tight, sometimes technical, often brutal but never boring.

And that is the key here. Each song hurtles along and drags you with it, a relentless barrage that just boots the door in with Uroboric Fuckwit and decides its going to run at you until the Title Track drops in as the album closer. 

Its ferocious and at times self-deprecating, but then that should be expected, especially if you have listened to any of their previous albums, you should know what you are going to get. 

If anything for me, they have developed a sound that is like Morbid Angel hopped up on speed, with Sam Bean coming in like David Vincent. This is meant as high praise, Morbid Angel are one of my favourite bands.

So, this is a release for those who adore death metal played like it’s the end of the world. Fast, unrelenting and above all heavy. Its album number 7 in the bag for them, with no sign of fatigue or that they are running out of steam or ideas. 

Again, lets be honest here; the music won’t sit well with those that associate a certain production/sound and approach. This is stripped back of any emotive material, of anything that does not add to the end result. This is as straightforward as it gets. 8/10

Tenebra – Death Chant (New Heavy Sounds) [Keith Boswell]

Tenebra, originating from Bologna Italy will be releasing their new EP entitled Death Chant through the London located New Heavy Sounds Label. The EP consisting of three tracks with a combined length of 13:55 is framed by the band as a small taster from a new album due in 2027.

Previous work from Tenebra is most certainly fuller in intense, heavy guitar led loveliness. 

However, Death Chant is most certainly different and very avante garde in its approach on this occasion, seemingly tied into the telling of a story based upon the premise of finding a way through grieving for someone or something with each of the three songs providing a different route through the process.

Chapter One: The Death Chant, provides a musical descriptor of that moment immediately after death. 

I listened to this track many times and the arrangement never cease to amaze me in its quality and its musicality. The baseline is constantly moving and offering something different in tandem with the melodic support from guitars and keyboards floating in the track giving it the air of individuality.

Chapter Two: Drugs Are Overrated, provides a brief portrayal of what the confusion and sadness that one may feel following the of death could look like. 

This track is a lot grittier that the first and far more psychedelic, it’s almost a piece delivering a transition between one plane to another. Heavier guitars and considerable keyboards are very prominent and carry the track along to its conclusion.

Chapter Three: Tell Me What You See, follows the communication of the acceptance of loss and that the presence of scars is inevitable and ever present moving forward. The first song on the album with vocals sees the band really elevate their music to a different level of intensity following the first two chapters.

The quality of this EP is certainly of a high standard, if this is snapshot of a new direction for Tenebra then I look forward very much to the album in 2027. 9/10

Reviews: Temic, Sari Schorr, Speed Stroke, Axty (Matt Bladen, Keith Boswell, Rob Spark & GC)

Temic - Ceiba (Season Of Mist) [Matt Bladen]

Temic's debut album Terror Management Theory garnered a near perfect score from me when it was released in 2023, but that's with good reason as Temic is something of a prog supergroup.

Founded by keyboardist Diego Tejeida and guitarist Eric Gillette, who were both in Mike Portnoy's Shattered Fortress at the time but have played with many other prog band including Haken and Devin Townsend, they recruited drummer Simen Sandnes and Norwegian Idol contestant Fredrik Klemp and Temic was born as a homage to epic, emotive prog metal.

Inspired by Dream Theater (See; Myself), Devin Townsend, Pain Of Salvation and on this follow up, acts such as Evergrey (Broken) and Leprous (Ceased To Be), the introspection of these bands permeating through this follow up record and it's focus on mortality, with songs about loss, pain, anger, fear, blame, silence and ultimately resilience.

This concept record travels into proggier territory than their debut, though it never allows the virtuosity to take over from the entertainment value, each member contributed to the album, including new bassist Miguel Pereira, who makes his mark with some top level bass prowess, adding a lower end technically to what is already a virtuoso group.

Ceiba has Temic, easing into themselves as a band, allowing for more emotional resonance to sit behind the musical brilliance, it's an hour of music that has the balance between loss and acceptance at its heart and continues to see Temic evolve into one of prog metals shining stars. 9/10

Sari Schorr - Running Wild (Provogue Records) [Keith Boswell]

Sari Schorr's third album Running Wild, drops October, throughout the album Schorr displays a gritty down-to-earth vocal style that is supported by a blend of jazzy rock themes with a soft metal undertone.

This current offering opens up with hard hitting and catchy Mr. In The Middle which builds upon the sound of her previous album Never Say Never 2018. The song really embodies this album for me providing the listener with a very bluesy arrangement complete with an almost intimate vocal which really hits the spot.

More of the same is delivered over the next few tracks without never being repetitive or letting the listener down in anyway with tracks such as Running Wild and Monday Morning. Dropping in intensity Schorr shows her vocal versatility with a toe tapping Man On Fire and Better Day. Variety is indeed very apparent with the way in which guitar riffs are blended to deliver further songs such as Elevate and Finding My Way.

All in all, a good piece of work from Sari Schorr with great vocals and musicality to match, is a decent listen and thoroughly recommended. 7/10

Speed Stroke - Damage Control (Scarlet Records) [Rob Spark]

Speed Stroke's fourth album is a hard-rock record with Mötley Crüe in its genes. The Italian band look the part, and the label pitches it as Scandinavian sleaze meets 80s street metal, "all killers, no fillers". The mix by Erik Mårtensson of Eclipse is excellent. The songs are a more mixed experience.

Glorious Breakdown is Crüe with double-kick drums clicking away like a Duracell bunny on amphetamine, but it's far too repetitive. Heart Of The City bored me to sleep, an album track from Europe. The title track uses a plane crash as a metaphor for panic, which suits the cover, but with its close harmonies and Top Gun feel it's generic pop rock. State Of Shock builds into guitar noise before the chorus drowns in backing vocals, though its solo took me back to 1988.

Italian Coglione opens in Italian ("Who is this person, sorry?") and is then achingly slow and drab. As someone with Sicilian heritage, I know coglione is far ruder than "idiot", and the song doesn't live up to its insult. In Flames keeps trying to go somewhere but has no ticket for the bus ride.

Blessed By Misery is where the album finds its feet. Guest vocalist Giorgia Colleluori sounds divine, the harmonies are lush and the shredding finally fits. It's a great song that grows with every listen. All For The Weak End is slower hair metal, Skid Row meets Mötley Crüe, and Crüe fans might like it. Its swipe at gurus and ice-bath hustle culture is the album's sharpest lyric. Walls, a song about vampires, bored me. I lived through the 80s and it was awful, and this made me regress, badly.

Then Chain Reaction surprises. I feared Diana Ross in the 80s, but got plain, honest rock music that had me shaking my head and tapping my foot. Where has this been all album? An amazing ending. The mix is excellent, but in places the production is 80s-generic, the stock rock-radio sheen of the era the band are chasing.

Damage Control sounds great but plays it too safe. A guest vocal that shines, a song that grows with each listen and a cracking finale lift it above generic, and Crüe devotees will find enough to enjoy. The polish is there; the songs now need to match it. 6/10

Axty - The Pain Made Me Who I Am (Napalm Records) [GC]

It’s been a good while since I reviewed anything, so thought it might be best to ease myself back in with something familiar, metalcore, the description nowadays could mean anything as the way the sound has changed and morphed over the years is mind boggling, I have to say most of it has been for the worst with the odd shinning light making you not want to completely give up on the genre, so, is Axty’s new album The Pain Made Me Who I Am an new high or a new low??

It all gets going with Pain Made Me, which is an overly long intro really, and from this I am not getting metalcore, I’m getting if Slipknot started their career now, they would probably sound like this type of vibe, lots of electronics and scratching and a few riffs thrown onto for no good reason and its bit of a shit start if I am honest?! 

Who I Am has the full on nu-metal bounce within the structure of the guitars and has scatty electronics and weird atmospherics that just aren’t very good to listen to at all, the one thing I do like are the vocals, they have all the necessary anger when needed and a beautiful harmony when singing clean, which he should do more often as its certainly the highlight so far. 

Dismay does nothing different and sound like anything of any mid 00’s Roadrunner release you would care to think of, they try their best to be heavier that they are but it never really pays off, the lighter parts are always better and stand out a lot better for me. Selfish is really just a complete mess and just has no real body to it its just feels like a jumble of sounds mashed together and all fighting for the spotlight and nothing actually wins overall, certainly not my ears! 

Everything Is Beautiful is just dull and uninspiring as ever and has no selling points or memorable hooks that make you want to go back to it, everything is flat and boring, this vocalist REALLY deserves better because he is 100% the best bit of this band, shame. All I Love drags me past halfway and I’m still yet to really pick anything noteworthy out of this collection of random noises apart from the clean vocals which are superb as ever on this track and if there was the music to back it up this review could be so much different, but there isn’t so what can I do? 

Closer makes my eyes roll back so hard in my head they almost come out of my mouth, it has the hallmarks that made the second wave on nu-metal complete dogshit, stupid rapping, heavy electronics, scattergun vocals with chug chug guitars that have no feeling and then obligatory big verse that can’t save this mess, Fragile has me hanging on for dear life but not in a good way, in a more, is this still going and how many more track do I have to put up with sort of way! 

Every track has had the same sort of sound just in frequently messier ways, this just does nothing for me, it all feels so painfully misguided and un-sincere. Break ushers in the losing acts of the album and guess what? You could pick any of the other tracks and struggle to tell the difference between them, the one tone sound of this record is wearing on my last nerve now, I’m not sure how you can record an album of 12 tracks and everyone sounds completely alike? SIGH!! 

Of the last 3 tracks Nothing But Pain, With Me and End This, absoultley nothing changed, tired chugging guitars smashed together with noisy and annoying electronics and the pattern of the song always stays the same, chugg, noisy bit angry vocals, squeak squeak electro bit shout shout, quiet bit to lull you in, more chugg chugg, end.

I tried as long as I could but in the end The Pain Made Me Who I Am just wore me down, I didn’t like and of the music or how it was structured, the only saving grace were the vocals and even they wore off towards the end. If you liked nu-metal and think it has a place being revived in 2026 this is the record for you if you don’t, I wouldn’t bother with this. 3/10

Reviews: A Night In Texas, To The Grave, Untitled With Drums, Dissimulator (GC & Mateusz Stefanow)

A Night In Texas - The Darkest Side Of Humanity (Unique Leader Records) [GC]

Deathcore, death metal and hardcore mixed together, what is not to like? Well, sometimes a whole lot actually! When it’s done right its unrelenting and brutal as you could ever want but when it done wrong it just sounds boring and unnecessary, there really is a fine line between great and total dogshit, I’m a sucker for punishment so I’m about to find out where the latest A Night In Texas release, The Darkest Side Of Humanity fits into the picture!

It starts staggeringly well on Oblivions Dominion an ominous build up explodes into full blown carnage with drums smashing your skull into tiny pieces and guitars stabbing and pounding you in to shapes a human shouldn’t be able to make, you want to throw yourself around and destroy everything within a ten foot radius of you the second this hits, it is intense, brutally heavy and absolutely fucking glorious, one track in and I am sold! 

They have something for a little build up to brace yourself because it’s done again here and when Rot From Within kicks of in every way possible you just need to sit and take it all in, the guitars are punishing and non-stop violence with a side of horribleness for good measure to describe the drummer as inhuman seems unfair but the way they just keep crashing around and all over everything is just unbelievable really and the vocals are just fucking nasty, pure bile and viciousness.

Fed To Death isn’t obviously changing anything or re-writing any rulebooks and do I care? Not one bit, this is how real deathcore sounds, it never stops or slows down, never takes any prisoners and there is absolutely no room for any melody of any sort and honestly more bands should take note of this because its probably one of the best things I have heard this year, UN-FUCKING-BELIEVABLY good! 

The punishment just keeps coming with Metastatic Misery which has a whiff of Soul Of A New Machine Fear Factory thrown in and this is not a slight in anyway, this is a compliment of the highest order, they don’t copy though they evolve and crush the sound and bring it directly into 2026 with such brutal force you almost feels sorry for any other deathcore bands who might want to release an album this year!! 

Evolved From Hate reminds me a little too much of a Whitechapel song, which again isn’t a bad thing in a way but as soon as I saw the title and heard the track I though hang on? Look, its fucking crushing still and pisses on a lot of stuff just needs to vary a little bit more maybe? 

As soon as I come up with one slight issue it is smashed away with When The Sun Burns Out remember that dirty word, I used before, melody? Wel here we have it in bucket loads, the first part is slow and tantalizingly beautiful but obviously this doesn’t last long before were back to business as usual and they also manage to shoehorn the melody back in without compromising the brutality and I’m all for it! 

A Primal Conditioning is a swift and disgusting reminder that when yes, we can do melody and all that type of stuff, but THIS is what we are about, pure, unbridled, disgusting heaviness, don’t like it? Oh well, go listen to Miss May I or whatever metalcore band is popular now! Sometimes if something just constantly pushes one type of sound it could get tedious or boring, not here, it just keeps improving and getting better!

The Chronicles Of Nihilism is just chaos is music form, everything comes at you from a different attack point and all hit at the same time in a wave of blistering savagery that never lets up, once you’re in, you are IN! the manage to drop in some keyboards again here but not in the melodic breakdown way in the background of the beating sort of way another breathtaking track! 

I feel like I am almost out of ways to explain how much I love this record, but then The Infinite Maw rockets into my skull with the subtlety of an elephant standing on your bollocks, twice! More furious drumming and sludgey, disgusting riffs that mix all the best bits of death meatal with the tones and drops of hardcore and a vocal performance that is nothing short of amazing, this is truly on another level.

So, It’s onto the final track of the album and The Darkest Side Of Humanity does not end on a whimper or let you down, they sum up the album in one last blast of perfection, they do that melody stuff again but its subtly layered underneath the brutality that is the trademark sound, it doesn’t let up and never stops building towards one last destructive drop, the differing styles are on show and it all shapes up to the perfect ending to this horrible bastard of a record.

Well, well, well!?? What an unbelievable record The Darkest Side Of Humanity is! So far, I can only think of one record I have heard this year that best this (you can wait till the AOTY lists to see what it is). 

If you want to be stamped on, kicked about an then pummeled into a bloody puddle, this is the record for you, if you don’t and you just want fucking banger of a record, this is also for you, if you just want to hear something that is fucking awesome this is also for you” Look, whatever you want, just listen to this record, you will not regret it. 10/10

To The Grave - Liberation Front (BLKIIBLK) [Mateusz Stefanow]

Personally, I find a lot of deathcore follows a copy-paste scheme where a lot of bands fall flat just on account of trying too hard to emulate another band. I am happy to say that To The Grave does not subscribe to this, as Liberation Front is sheer brutality from start to finish/

A thrilling misanthropic trip into vegan deathcore. This album is crushing, with oppressive blast beats utilising a good imbalance between toms and cymbals, leaning more towards the former to add a depth and chunkiness to the tracks, and rhythmically they remind me of Anaal Nathrakh, which is a definite boon.

Meat The Humans hits the ground running, or blasting if you prefer. From the start you can tell this album is going to be gritty and in your face, with animalistic growls and judiciously selected horror-esque samples that blend beautifully with the harsh guitar tones.

Nail Mary could be lyrically taken for a black metal song, with their blasphemy, but that is not all this song excels at. From my earlier reviews it may show that I am a fan of well placed silent breaks, and this song showcases just how well this can work, with these being tactfully inserted in between sections of brutal beatdowns that gives the track an organic feel.

The pressure does not let up by Torture Porn, however the introduction of screams to the by now well known growls, giving this song a unique identity compared to the previous songs. Our eardrums can finally breathe a sigh of relief by the time we reach Terrorfire, only to realise that the first 2/3 were an interlude to build up for the latter 1/3, and The World Is A Slaughterhouse.

Check out this album for sure if you’re into heavy music, because it promises and delivers on all counts! 8/10

Untitled With Drums - Made Flesh (Season Of Mist) [GC]

Reading over the promo material for Untitled With Drums, there are a lot of brave references, comparing them to Quicksand, Deftones and Cave In is by any means bold but as mentioned very brave, those bands are hailed as trendsetters and icons, you have to have a heavy belief in yourself to write you are their (and I quote) ‘’worthy heir’’, I guess there is only one way to see of this is indeed worth the hype or if it’s just complete PR waffle.

Above My Head does have a purpose about it and has the grandiose atmosphere you would want and expect, the guitars are understated heavy and also beautifully melodic, the vocals when they are there are wonderfully light and airy and help with the mystique, the song builds to a wonderful crescendo and flows perfectly into Shame which has a bit more directness to it,.

There is more of an alt-rock-ness to this but it doesn’t take long for the more spaced out and mesmeric parts to begin taking the focal point but they mange to meld them together really well and create what feels like it should be a 7-8 minute track and condense it into just under 3:30, sterling work! 

Matter has a sparse yet melodic build up, there is nothing lacking in the music and it expertly done to make you really pay attention to what is being played, the vocals once again are beautifully done with a restraint and measure behind everything as you feel that this could easily be one of those were a vocalist would want to take over but its all mixed together with such precision, an exquisite track in every way. 

Gray is one of those track that makes you just want to put your headphones on close your eyes and just listen, it’s another lesson in restraint but also manages to pack the required much needed to not make you think that it’s just a nice track, it has bark and beauty in equal measure and in all honestly you would be happy if it was another couple of minutes longer as it builds and builds towards the end you just feel like you need more of it! 

Space does its best to follow on and while its does a decent enough job it doesn’t really feel as involving as some of the other tracks, is a decent enough track and has a huge mid verse/chorus combo but I just feel that there is just something holding it back, I have mentioned the restraint previously and its worked but feel a bit of an unleashing would make this a much better track. 

Change For You takes just that little bit too long to get into gear but when it does it really does, the laid back build up explodes into a melodic explosion that is just as quickly paired back into the spare build up of that fist verse and it’s a back and forth that really needs to be heard to be appreciated, its wonderfully emotional but also has the right amount of heavy to really push on and stick in the mind another inspired track. 

I think that Oblivious is my favorite track, it sounds like Alice in Chains mixed with Isis and here I am throwing out names now, but honestly it’s that good, it has the grungy riffage to start then breaks down into a spacey and flowing parts with some amazing vocals to top everything off, the way they can remind you of bands this good but still make this sound like them is testament to how good Untitled With Drums actually are! 

Parasitic is another more straightforward song that has a lot of simple guitar riffs to draw you in then breaks down and insists you pay attention then subtly draws you along before dropping back into the more riff heavy parts and this repeats in a hypnotic pattern till the end and usually this formula may be a bit boring a repetitive but not here, here its done with complete ease! 

Been So High is a strange one, it stars slowly and acoustically and then when it does come to life, I just don’t connect with it at all, I listened back to it another time and still can’t really seem to get a feel for the track? Maybe it will come in time but a slight miss on this one.

Cry gets us back to the more familiar sound and it’s a welcome return to what has made this album such a good listen, they paid back the guitars but not with acoustic tones, they are still as heavy as they need to be but they let the vocals breath and layer together with a breathtaking beauty that has summed up the vast majority of this record, the highs and lows of the song are all there and all sound glorious and it’s a fitting ending to this majestic album

Now, I doubted that Untitled With Drums sounded like some of the bands they were compared to and that because they don’t really, they have touched of them but really sound like themselves and that’s the best thing you can really ever want from a band, right? Made Flesh is a beautiful, sorrow filled, triumphant stormer of a record and definitely deserves your time, because who knows where they could go from here?? 9/10

Dissimulator - Artifice Dissolves (20 Buck Spin) [Mateusz Stefanow]

Sci-fi technical death-thrash is quite the mouthful, and that core ideal of being difficult to pin down pervades every aspect of Dissimulator’s newest release, Artifice Dissolves. 

Featuring all the members of Chthe’ilist, Philippe Boucher, the human metronome also known from Beyond Creation, Antoine Daigneault also known from Exxûl and Atramentus, a band he is joined in by the last member, Claude Leduc. This history of interconnectedness highlights the phenomenal chemistry that this trio has.

This album leans further towards thrash than death metal, but not as we know it- blistering riffs with chugging basslines and blast beats that feel like being crushed underfoot in a robotic invasion. Apophenic Rage features some back-up vocals by Leduc himself, pitch shifted into a robotic vocal style that I personally am not a huge fan of but this could definitely be a strength for another listener.

Artifice Dissolves, Alloyed and Proprioceptor all feature the backup vocals of Chthe’ilist vocalist Laurent Bellemare, adding yet another layer of complexity to the magical arpeggios and palm muted chugs that Daigneault is smashing out consistently as Boucher switches up time signatures more than the average person changes socks.

For everything this album does well, I fear some things don’t work out completely for me, namely the 45 minute runtime. I found my multiple listens to this review to be rather same-ish and I found the tracks to be mildly interchangeable to an extent, which sadly does dock them a few points in my eyes. 

Despite this, the death metal grooves along with masterful technical complexities inject vitality into the thrash DNA of this album, breaking away from the 80s reenactors. 7/10

Reviews: These Wicked Rivers, Black Water Redemption, Scorpion Milk, POHL & Ogives Big Band (Matt Bladen)

These Wicked Rivers - Fire And Folklore (Fat Earth Records)

Everywhere I see genre tags for These Wicked Rivers, I see stoner and I just don't hear it, southern rock on tracks like Horse To Water? Absolutely, this maybe a mistake on the internets part but it's doing These Wicked Rivers a disservice.

They have an authenticity with their southern blues rocking, despite they come from Belper in Derbyshire, which is about as far from the Delta as you can be, but there's no dirty stoner riffs to be found on Fire & Folklore, there's lots of anthemic stadium rocking, with soul which is what they do very well.

Consisting of John Hartwell (lead vocals/rhythm guitar), Arran Day (lead guitar/backing vocals), Adam Brewell (bass), Dan Southall (drums) and Rich Wilson (multi-instrumentalist) they've been spreading their soulful rock music around the country and beyond since 2014.

However with album number three they return home, recording the album in Belper alongside Andy Sneap and Colin Richardson, who need no introduction, but have an impact on the British rock and metal scene that is undeniable,

These close links to their hometown makes Fire And Folklore sounds like These Wicked Rivers at their most honest, from the emotive Brother Oh Brother to the organ drenched Love To Love, there's honesty in this songwriting as The Healing has a heavy blues rock strut and Woodland Queen has the twin harmonies of The Allman Brothers or Black Stone Cherry.

It's the sound of These Wicked Rivers exploring new routes with their 'Wizard Blues' but never starting too far from the band they started in 2014, take for instance Better Man, which is a soaring ballad that will gain them massive radio play, as barstool anthem Sing Another Song brings crossover appeal as fellow Derbyshire performer Kezia Gill adds her sublime country vocals.

Returning home has given These Wicked Rivers a chance to write a more personal record that experiments with their core style adding to it very well, these are the songs of Fire And Folklore, with These Wicked Rivers the perfect storytellers. 8/10

Black Water Redemption - Black Water Redemption (Self Released)

Rockers Black Water Redemption, emerge from the depths of Southampton with their self titled debut album.

Don't think that they're some upstart band of yoofs as they were formed by former members of Western Sand, so the musicians involved in this band having been road dogs for many years, making Black Water Redemption a new band but with veteran experience.

You can hear that from the opening riff of Stand For Something, as Black Water Redemption play big swaggering riffs that have massive grooves, a modern muscle and the attitude of grunge, shedding some of their Southern style from their previous life into a heavier style overall.

Reminding me of Stone Temple Pilots meets Guns N Roses, (so Velvet Revolver) they also have some Skid Row and the current crop of NWOCR included too, but BWC vary their approach on this record. From the melodic radio cuts, to the heavier guitar workouts, there's piano balladry on Fly Like The Crow which feels like Black Label Society playing Mr Big.

With arena ready grooves from Dan de Vries (bass) and Chris Allen (drums), modern rock riffs/solos from Tyler Hains and gritty vocals from Adam Chambers, Black Water Redemption's debut record is strong opening statement from these experienced rockers. 7/10

Scorpion Milk - Flesh Masks For Skulls (Peaceville)

The recently launched new project from Beastmilk, Grave Pleasures, Hexvessel and Dødheimsgard man Mat McNerney.

Scorpion Milk continues the trend of delving into the 'Apocalyptic Post-Punk' he's been creating with Beastmilk and Grave Pleasures, but leaning more towards the former as he adds more of his black metal background to Scorpion Milk, making for post punk that sits at a darker place.

Following up the debut album Slime Of The Times comes this new EP Flesh Masks For Skulls, consisting of three new songs, two covers and remix of a track from the debut, so let's deal with the remix first and Norwegian virtuoso collective Ulver have totally reinvented All Snakes No Ladders from the debut.

Metamorphosing it into a lost Depeche Mode track, the relentless electronic drum patterns matched by the acoustic ones for propulsion straight out of the 80's as Ulver make the track their own with Scorpion Milk mastermind Mat McNerney's voclas shifting to something more frenzied at the climax.

The covers are ingenious versions of new wave oddities Devo and post punk legends Gang Of Four as What We All Want gets a distorted make over that puts some haunting black metal put into it while Gut Feeling goes through a post punk echoplex and some jagged melodies.

As for the three new tracks Dreaming Skulls is raw opener, dissonant Crushed Under The Weight is the heaviest cut while Guilty By Default has a propulsive jangle straight out of 1984, as it seems there plenty to come from Scorpion Milk, welcome the apocalypse. 8/10

POHL & Ogives Big Band - Split (Ripcord Records)

Sheffield noise and Bristol riffs collide as POHL and Ogives Big Band combine their powers for this Spilt album with Ripcord Records the force bringing them together in some ear bleeding union.

This is the underground scene of the UK and you'll need earplugs as though we've covered the Big Band here before, in a couple of forms actually, and we've also covered POHL, so having both in one place on this spilt may attract one to the other. The first four tracks are from Ogives Big Band and the last one is a 17 minute monster from POHL.

The four tracks are just what you want from Ogives Big Band, psychedelic sludge with obtuse riffage and frenzied vocals, never really sticking at one style for long, with I'm Glad You Exist raging like a lost Mastodon track, as The Patron Saint Of Lost Causes blends Opeth with At The Drive In, that mathy angular explosivity continuing through Dragging The Plates.

This is more direct Ogives Big Band, the psych elements on the fringes as the technical riffage takes over, it retains their unique quirks with sprirt of Deftones coming on Read Us The Book Of The Names Of The Dead, but overall these four tracks show a band with a new aggression and pace.

Pace being something that POHL really make their own, this psychedelic noise trio are unpredictable, as the sprawling Flayed Lord Prayer showcases to close this spilt. An epic cut where first section though is oppressive atmospheric doom, which crawls and grasps at the dying light before it truly kicks off.

An expulsion of percussive psych rock, that features saxophone blasts, like a demented jazz act, which often accompanies some anthemic alt rock catharsis, huge walls of guitars, extra fuzzy bass and some delicious drumming keeps your mind active to what's going on as 17 minutes flies by before the lats notes of dying sax finish this spilt.

Showing the talents of two of the UK's most interesting underground bands, if you're new to them start here and get acquainted with Ogives Big Band and POHL. 8/10

Reviews: Eternal, Exile Of Heaven, Thy Legacy, Apöcalypse A.D. (Matt Bladen)

Eternal - Conspiracy Of Warheads (Floga Records)

Conspiracy Of Warheads, now that's an album title Dave Mustaine, Scott Ian and Dan Lilker are kicking themselves they didn't think of. I honestly think it's probably the best thrash album title since the 80's and Athens based band Eternal play the sort of classic thrash metal from that period.

Throughout Conspiracy Of Warheads there's nods to Megadeth, Anthrax, Metallica, Nuclear Assault and more. You can feel that Eternal are a band with a very strong love of the thrash metal greats, this foursome Nick Pogas (vocals/guitar), Spiros Pexos (guitar), Nick Tsaousis (bass) and Alex Archaniotis (drums), shred up a storm with some politically charged thrash metal.

From the fierce kick off of My Way Or No Way, the record brings the best elements of thrash metal together, the technical inteplay of the guitarists is razor sharp, while the drums and bass come at breathless pace on a track such as Adrenaline Rush. Man Down (In The Front Row) is a track full of gang vocals and pit starting riffage as Bloodspill takes them furiously into the 21st Century.

The production balances that old school feel and a modern touch, mainly due to Costas “Naberius” Papadopoulos tight mix and Nasos Nomikos' slick master as they welcome you to the Theatre Of Thrash, with the song of the same name before really letting loose with their speed and aggression on the title track, giving both old and new thrashers a record they can get behind.

Even me who is not the world's biggest thrash fan, found this record an exhilarating exhibition of the genre. 9/10

Exile Of Heaven - Tides Of Destiny (Hellenic Metal World)

Founded in 2010, Exile Of Heaven released their debut The Illusion Of Randomity in 2016, it's been a decade but now they return with the sophomore album Tides Of Destiny.

The Kozani based group play a style of heavy metal that is very prevelant amongst Greek metal bands, drawing from the US style of muscular heavy power metal, influenced by Manowar, Jag Panzer with nods to the German sounds of Grave Digger and Running Wild due to the nautical themes. Building their tracks around muscular rhythm guitars that carry the sound of thrash, influences from NWOBHM in the groove side, especially the bass on Tortuga and powerful vocals that sit on the deeper end, adding some snarls on Oracle Of Death.

However they have a flair for the dramatic and melodic on Water And Sand before their heavy metal returns on Poseidon's Fury, the production of the record making sound real rather than over produced and after ten years Exile Of Heaven are still a great heavy metal band so get lost in the Tides Of Destiny. 8/10

Thy Legacy - The Call (Nameless Grave Records)

Formed by current and ex members of Chthonic Rites, Axeon and Yoth Iria, Thy Legacy are a heavy metal from Crete who do things the old school way. With Kerkermeister on bass, Rythm Hawk on drums, A.D. Guillotine on rhythm guitars and Retaliatör on lead guitars and vocals.

This foursome play songs about metal, heavy metal, with Heavy Metal Rising and Metal Legion, paying homage to our favourite genre but there's also horror and fantasy influences coming in on the cinematic interlude The Amulet, the galloping Chasing Glory and Seven Witches. All the songs on The Call delivered by Thy Legacy with a slightly darker and rawer edge due to the members of this band having backgrounds in black metal, so they bring the evil tendencies of that style into this classic metal record.

If you love heavy/speedy metal with some evil intentions answer The Call from Thy Legacy. 7/10

Apöcalypse A.D - Prototype: Zero Hour (Self Released)

Apöcalypse A.D is a one man project from Thessaloniki, it cites thrash and heavy metal but I'd say there's also a lot of goth and post punk influences on Chris Gkioursanis' debut EP, with Second To None and Out Of Control really shifting towards this style, with post apocalyptic soundscapes the influence behind these songs, Prototype: Zero Hour has a lot of dark cinematic overtones to it.

Though a hybrid style of metal that brings with synths at the beginning of Blink Of An Eye, a moody chug on Little Angel (She Fades Away) and while the thrash can be heard on Manchild Syndrome and Big Bang (Heart Attack), but for me it's not the major sound here. For Prototype: Zero Hour, Chris shows off his skill as a writer and player, and while the vocals are the weakest thing here, it's a decent debut EP from Apöcalypse A.D. 6/10