Reviews: Europe, Coldrain, Moon Destroys, Rorcal (Matt Bladen, Jordan Griffiths, Rich Piva & Mateusz Stefanow)

Europe - Come This Madness (Silver Lining Music/Hell & Back) [Matt Bladen]

Come This Madness has been a long time coming, Swedish legends Europe last released a studio album in 2017, Walk The Earth came as part of latter period purple patch the started with 2009's Last Look At Eden. 

That record brought a resurgence in popularity for the band which has seen them reach the heady arena heights of the 80's.

Back then you couldn't listen to the radio without hearing their songs and while now you'll probably just hear these tracks on Planet Rock, Europe still have a very strong following and are more importantly they are still releasing some great music that has a lot less hairspray and pomp and a lot more bluesy hard rock that comes from Led Zeppelin, Whitesake and Deep Purple, here represented by the Title Track.

With album twelve it doesn't look like this is going to change, as One On One and The Cult Of Ignorance are both big rockers, drenched in the organs of Mic Michaeli, that blues base has become more melodic, as of the Europe of today are comfortable with merging their harder edge with the melodic rock beginnings, each track having big grooves from bassist John Levén and drummer Ian Haugland.

As the melodic side seems stronger on this record, showing off the always impressive vocals of Joey Tempest and killer guitar licks and solos from John Norum, while the album also showcases their legacy in the Swedish rock scene having Tobias Forge (Ghost) and Mikael Åkerfeldt (Opeth) on backing vocals for This Time Of Year and a couple of others.

Produced by Tom Dalgety at RMV Studios and mixed by veteran Mike Fraser, Come This Madness sees Europe return with new music after nearly a decade and brings another set of shining rock diamonds. 8/10

Coldrain - Optimise = Optdemise (Century Media Records) [Jordan Griffiths]

This review also encompasses the fact that this is my very first time experiencing Coldrain. This album, in my opinion, is such an expressive and explosive 12-track journey that completely encompasses you and holds you there, while at the same time, some of the tracks just straight up hit you in the face with their heavy instrumentals. 

The album itself, serves as a showcase of the sheer range that Coldrain possesses, not only as a band, but as the individuals that create the sound that builds the band itself.

There are songs that pull you out of it, and soothe you, but there are the ones that PUNCH you straight in the face! They are heavy, loud and unapologetic. 

Digitoll introduces you to this, while Free Fall delves further into the heavy nature of the album itself, and G.I.A.I.G absolutely RIPS into you. These tracks not only get your head going, but give you the surge of energy required to jump straight into the mosh pit.

Alongside the heavy tracks within the Optimise = Optdemise album, there’s also a number of slower, more heavy-rock-leaning tracks, such as Incomplete, which ends in a beautiful solo guitar riff, really complimenting the vibe of the entire track. 

Then there is Sing, coming in as the tenth track in the album, and it has a much more softer, more mellow vibe than the rest of the album, and really pulls you out of the headbanging, and in a sense helps you reflect on what you’ve already experienced.

While preparing you for the album finisher, being Saviour, Feat. Kenta Koie of Cross Faith, which hits you once again, for a final blow of heaviness, and it finishes this album off extremely well.

I personally feel that Poison and Picture Perfect Hell, while still being excellent additions into this already amazing album from Coldrain, leaves a little to be desired in comparison to the rest of the selection that you have been given. 

However, as someone who is brand new to the world of Coldrain, I found myself thoroughly enjoying this album across the 5-6 listens of this album, and will definitely be adding it into my rotation. 8/10

Moon Destroys - OMNI (Blues Funeral Recordings) [Rich Piva]

The first Moon Destroys record was pretty cool. It seemed to be missing just a little something, but how can you go wrong with anything that former Torche guitarist Juan Montoya is involved in? 

Well, the band certainly found what was missing, and so much more, with Zach Amster from the amazing Denver band Abrams, joining as lead singer and on rhythm guitar, with the results being the gigantic second record from the band, OMNI.

Amster has this next level energy in his singing and playing that has taken this band to the next level. That paired with Montoya’s signature sound and some pretty great songs, OMNI is a huge step up for the band. Some of these songs just rip it up, like the opener, Invasion, and the killer Motion Sickness. 

When the band slows it down a bit the real genius comes out. Kingdom, which you have no choice but to get serious Torche vibes from, is so great, with the chugging guitar and harmonized vocals, putting on full display some of what Amster brings to the table. The guitar effects add so much to the song as well. Killer stuff.

Sowing Stars is like a fuzzy Husker Du song, showing the band’s and Zach’s ability to make a perfect two minute fuzz punk track. But don’t worry, OMNI can be chunky too, like the riff on Missing Wish, which has some AIC grungy stuff and maybe a nod to Local H’s early stuff. Speaking of fuzzy, the riff on Nocturne shakes the room, while the spacy Lost Hearts shows how the band brings atmosphere into OMNI.

The closer gets me every time. It is not often that a cover is what seals the deal for me, but the band’s version of the early sixties song She Cried, inspired by the Birthday Party’s Rowland S. Howard’s version makes me want to cry every single time. 

This is one of the saddest songs I have heard in a while, with Zach's emotion pouring out over the drums and Montoya’s fuzzy tone, this is one of my closers of the year. Love it.

So sometimes a band is missing one thing, sometimes it is big, sometimes it is just a tweak. For Moon Destroys, bringing Zach into the fold and right up front has made all the difference. I love this record, and you will too. Go get OMNI. 

Oh, and also subscribe to the Blues Funeral PostWax series and you will have this amazing record in super cool limited vinyl to blast it throughout your neighborhood. 9/10

Rorcal - Mahre (Humus Records) [Mateusz Stefanow]

Watches, chocolate and banks are not the only notable exports from Switzerland, as Rorcal’s newest release MAHRE proves. Abandoning their former hardcore and drone influences in favour of crushing sludge and a descent into madness and deepening oppression under the weight of dread and darkness with each successive Movement.

Movement 1 has the longest run time at 12:46 minutes, making up just over a quarter of the total album time; this track remains fresh throughout, starting as a melodic track before introducing cavernous screams and growls in the latter 3rd. The guitarwork is grinding and abrasive, like a buzzsaw straight to the skull; the drumming is rhythmic and conjures mental images of heavy boot falls.

Falling deeper into Movement 2, the blackened blast beats are here to stay, and starts with soaring sweeps bringing an evangelical vibe, painting a far grander image; though this is fleeting as we are whisked into further depths.

Sludgy riffs are the name of Movement 3, as the desperation mounts; alternating between crushing fast paced sections, dropping the pace to a crawl, then speeding up again gives this movement that desperation that this album embodies so well.

Movement 4 is the beginning of the end, as all hell breaks loose, placing greater emphasis on the dissonance and breaking down the rhythms to double down on that crushing darkness.

Greater discordance, more broken percussive rhythms and sections of silence, broken by blood-curdling screams and growls crown the peak of MAHRE in Movement 5; the final stone to shatter us, and leave our remains scattered in the oppressive, uncaring darkness.

Overall, this album is a grim journey into a malicious, pounding void, held together by the almost charcoal-like cover art, preparing you for what is to come; don’t sleep on this album. 6/10

A View From The Back Of The Room: Ofnus, Domhain & Adfeilion (Matt Bladen)

Ofnus, Domhain & Adfeilion, The Bunkhouse, Swansea, 26.09.26



The third and final date of trio shows featuring Domhain and Adfeilion, it was the Swansea show that tickled my fancy the most as it also featured Ofnus as the headliner for the evening.

Three bands that dwell in the atmospheric realms of the metal genre, merging extremity with ambience perfectly it was poised to be a brilliant night of music so with the Geophony, playing it was Swansea/West Wales locals Adfeilion who started the evening with their theatrical sound, which now features flute and vocalisations on top of their already dense soundscapes.

We were told by the band that they would performing this particular story for the final time, so their fans gathered close to hear it's recital between the explosions of hybrid electronic post folk metal, it's a heady mix that drives through Rock, EDM, Metal and more, the spoken word passages taking you away to fantasy worlds inspired by Welsh folklore.

For those of us who have been there since the beginning of this saga, I've noticed that Matt (keys/spoken word) seems to become more mad with power with every show, as if the band is the conduit for his ascent to poetic super villainy. In fact the sonic expansion of the band has been an absolute joy to watch, each set adding something new, be it the flute, the vocals, the heavy industrial and even the dance moves!

What comes next I don't know but the next story is to be revealed soon and it will once again write the next chapter of Adfeilion.

Next it's a multi-guitar, dual-vocal driven metal mix from across the water in Northern Ireland as Domhain take to The Bunkhouse stage and fill the room with emotive sound immediately, drawing from their recent debut full length album In Perfect Stillness and it's EP predecessor Nimue, they cut an exceptional figure on stage, delivering some epic music.

For these recent shows Domhain has expanded their line up with Daniel Dempster and Kacper Lewandowski, joining Nathan Irvine to create a triple guitar attack that allows them to replicate their expansive blackgaze on stage the way it is on the record, the rhythm section of Andy Ennis (bass) and Anaïs Chareyre-Méjan (drums) guiding these sprawling songs through their genre fusing as they both provide the conflicting clean/harsh vocals that work in brilliant harmony, almost giving an idea of angle and demon.

I'd wanted to see Domhain since the release of their album and I was not disappointed in Swansea, the always top notch sound of the venue allowing them to deliver their complex style with ease. I hope it's not too long before they come back over the water again.

Speaking of complex, like Domhain, Cardiff's bringers of sad Ofnus also love to play epic song, it allows their atmospheric metal to explore all possible permutations of extreme metal backed by multi-layered string sections for added emotional power. After their last two shows featured Adfeilion's Ben deputising on guitar, Ofnus now had rhythm guitarist Alyn back in the fold.

I'm sure by the second song in their set he was alwaredy regretting the head down, legs wide stance as a new dad but black metal needs that posturing in order for the tremolos to be let loose. Besides Ofnus are such a tight unit that you wouldn't notice any issues unless you'd seen them countless times, and even then I'm not looking, as they shifted the set list around a little from Bristol Extreme Fest, but Ofnus never give a bad show in my opinion.

I've said it before but with Brendan on vocals they seem more savage, their older material having new life breathed into it on stage, matching the intensity it has on record, however the new songs The Last Flight Of Birds and Beddgelert, still sound better each time, as I find more nuance brought by guitarist James and bassist Rich, as you also stand awestruck by Ethan's drumming, which of course always blows the mind during Zenith Dolour.

A trio of the UK's best atmospheric acts all in one place, I definitely chose the right date on this tour, all three need to be seen, so next time they're in your town make the effort to watch them. 10/10

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

Exploring Birdsong & Maebe, Strange Brew, Bristol, 25.09.26

On the back of their AOTY candidate Every House We Built, Liverpool trio Exploring Birdsong (10) have been playing some quite intimate dates in support of their debut album, basically playing it in full with couple of tracks from their EP's.

Carrying over the 80's business aesthetic of that record to stage, after a pre-recorded welcome to Birdsong Property Development, they arrived in Strange Brew in brown and beige suits, surrounded by old school stage lights as they kickes off the set with Archipelago this slowly building cut had the audience captivated by Lynsey Ward's enchanting, crystalline vocals and introspective piano.

As it swelled Johnny Knight's bass started to crank out chunky djent-like grooves and drummer Matt Harrison began to lay down a masterclass in precision and pacing, the dedicated following for the band immediately animated and in love as they broke out into the funky 42, which ilicited another huge reaction, showcasing that as well as Exploring Birdsong do introspective prog, they do punchy pop just as well, if not better.

It was the string-laden love in that is I_You, through a throwback to The Collapse that brought Ward to the front of the stage for Arrhythmia, just her vocal and Knight on keys for something spine-tingling, after that a sample of John Farnham's You're The Voice played out, Knight trying to get the crowd involved which they dulty responded as Exploring Birdsong upped the funk with a staunch favourite of mine Spy In The House Of Love.

Watching the trio shift between these songs was effortless, virtuoso playing across the stage as the blend of keys, bass, drums and vocals, what was happening on stage was augmented by a backing track, but you know what, it's definitely to the benefit of a band like Exploring Birdsong who favour making everything sound as slick and close to the record as is it can be, but still showing the mastery of their instruments.

A special shout here to Maebe (8) whose triple guitar driven instrumental music opened the night at very short notice after the original tour support Hailaker had to pull out for medical reasons. The Bristol band made for an ideal beginning to the show, moving throughout their set by driving some great grooves and a flowing triple guitar attack.

Having recently opened Radar Festival Maebe have a kudos behind them and with this home town show they stepped up at the last minute to make sure there was a reward for anyone that turned up early, walking away with their own fans appeased and a lot of new one I'm sure.

As Exploring Birdsong stormed through the set the main set closers of You Like It Best When It Hurts and Every House We Built filled the room with reciprocal love, band and audience connected through the music, which made this gig feel intimate and special but also like an arena show in waiting, Birdsong Property Management will continue their corporate expansion after these shows, as tonight by the last notes of this set the Bristol market was ready invest all they had.

Reviews: Behemoth, Revel In Flesh, Slothrust, Terra Black (Yasmin Mason, Mateusz Stefanow, Spike & Rich Piva)

Behemoth - I, Scvlptor (Nuclear Blast) [Yasmin Mason]

Behemoth; probably Poland's most well known - and controversial - black metal export. I Scvlptor is the latest offering from the band and after seeing Nergal's outstanding performance of Sventevith with Myspyrming earlier this year, I was excited to hear this release.

First off is the title track, I Scvlptor and my favourite track out of the 3 reviewed here. 

A beautiful orchestral intro starts the track, before the guitars and drums join in, with the strings continuing to add atmosphere in the background. I enjoyed the slow, heavy guitar riffs used throughout the song. Repetitive but effective .

Next up is Lord Ov The Horizons. The juxtaposition between the clean and harsh vocals at the start of the track is nice, the former giving way to the latter as the song builds towards its crescendo. 

Riffs sounding like artillery fire (reminiscent of Metallica's One) pepper the second half of this song and the drums and guitars take centre stage as we reach the end of the track. I enjoyed this one.

Finally, Begotten. I've listened to this track multiple times now and I've struggled with what to say about it. It's not a bad track, there is just nothing that really stands out to me. Except the drums. In my opinion (as a non-drummer I hasten to add!) the drumming on this song is top notch. Everything else.... just is.

All in all, I Scvlptor is an enjoyable listen. But probably not worthy of a spot in my 'favourite albums of 2026' list. 7/10

Revel In Flesh- Flesh For The Kult Of Death (War Antjems Records) [Mateusz Stefanow]

Teutonic titans Revel In Flesh are back with an old-school death metal release, replacing their melo-death style to resurrect the sound of their original three albums in their sixth release, Flesh For The Kult Of Death, partly due to the band’s disbanding in 2024, and prompt reassembling.

I’m structuring this review differently to my other ones solely due to the incredible consistency between the tracks; the album is perfect for head-banging to, it has melodic sections, it has spoken word sections and bass solos, with the legendary Jonny Pettersson on bass guitar (ex-Massacre, ROTPIT and Wombbath amongst others). 

When I mentioned that this album resurrects their former sound, even that Boss HM-2 pedal sound is retained, once again indebted to Pettersson’s hectic guitar playing, and the brutality of the blast beats has your pulse going from the opening notes to the very last. 

The album cover is gorgeous with bold blues and reds, calling back to Dismember’s Like An Everflowing Stream, which this album sonically colludes to, they set out to produce an old-school death metal album, and by all hell they’ve done it. 

The melo-death period has not been forgotten however, as the few sections of melodic influences peek through at segments of the album, keeping your attention fixed, and with each track being so entertaining, without so much as a weaker song in sight, this is an easy task. 

The album ends with All I Had (I Gave), a tribute to Crowbar, which benefits from the HM-2 tone along with Erik Barthold on drums blasting away to ramp up the heaviness on an already heavy song.

This is a very strong contender for my album of the year, so go ahead and join the Kult of Death! 10/10

Slothrust – What They Grow In The Garden (Equal Vision Records) [Spike]

Slothrust have spent over a decade refusing to sit still. 

Moving from their gritty, jazz-inflected Boston DIY roots to sharper alternative rock, they've always had a knack for combining quirky, left-field humour with genuinely biting emotional weight. But heading into their sixth studio record, What They Grow In The Garden, the band found themselves at a crossroads, trimming down from a trio to a razor-sharp duo. 

If you thought losing a member would mean thinning out their sound, think again. This is easily the heaviest, punchiest, and most theatrical record Leah Wellbaum and Will Gorin have ever put to tape.

The band have been calling this record "dystopian theatre rock," and for once, a band-coined tag actually fits the bill. The whole record plays out like a stage show confronting the numbness of modern life, the screen addiction, late-capitalist burnout, and the general feeling that society is slowly rotting from the inside out. But rather than sounding like a dry political lecture, Wellbaum wraps those heavy themes in eccentric metaphors, big riffs, and massive, addictive hooks.

The album opens with Dissolve The Delusion, setting the stage with a solitary, sombre piano piece. It’s an understated, patient intro with no vocals at all, forcing you to slow down and dial into their frequency before the heavy artillery arrives. 

That restraint immediately shatters when Burn The Deck kicks in with a driving tempo, thick guitar fuzz, and a cynical, sharp-eyed look at the institutions designed to keep us pacified.

One of the standout moments on the record is Ring The Bell. Built around an infectious, twisting guitar riff, it moves like a rollercoaster, dropping into quiet, tension-filled verses before surging into a massive, explosive chorus. 

Lines about "dead doom dopamine" and cutting puppet strings hit with genuine bite, proving that Wellbaum's lyrical wit has only sharpened with age. Gorin’s drumming is relentless throughout, locking the rhythm down with the kind of kinetic force that makes you forget there are only two people in the room.

Elsewhere, the record leans into its stranger narrative impulses. On the lead single Hearst Castle, they frame wealth, isolation, and voyeurism through the lens of Patty Hearst and coastal elephant seals. 

It sounds completely bizarre on paper, but on record, it works like a charm thanks to a towering, arena-ready chorus. Meanwhile, 00101001 dives straight into digital dread with glitched, punchy urgency, and Twisted Paradise pulls back the curtain on their strange, dream-logic sensibilities.

By the time the sprawling, brooding closer Dystopian Cemetery wraps things up, you realize the duo has pulled off a serious balancing act. 

They've crafted an ambitious concept album that manages to confront modern anxiety head-on while keeping the music fun, unpredictable, and gloriously loud. What They Grow In The Garden is proof that leaning into your weirdest instincts can pay off in spades. 8/10

Terra Black - Mirage (Bonebag Records) [Rich Piva]

Gothenburg, Sweden psych doom is on the menu in the form of Mirage, the new record from Terra Black. Per the Bandcamp description, this record is “Steeped in ancient mystery and crushing atmosphere…”. I can get behind that, especially if it is as good as their earlier work.

Well, no worries there, because Mirage is better than anything this band has done. The opener alone, The Gathering, lives up to that brief description above (and the very long one on their Bandcamp page). Chunky, big riffs, siren song vocals, heavy psych elements, this one is straight up fire (occult fire? Is that a thing? Ritual fire?, I don’t know, but it sure is hot). 

Guayota continues this dark path, with a slow doom vibe but all sorts of middle-of-an-ancient-forest atmosphere to go along with it, which lead vocalist Ezgi provides her beautifully sung incantations with. Pareidolia is the beginning of the black mass, with some mind-bending guitar and a build to something beautifully evil. Slow and heavy with that voice is such a great combination.

I really like Maze, which picks up the pace with a nice gallop and more big riffing, this time with layered vocals that points this song more in the proto/occult side of the darkness than anything else, and whoa boy am I here for it. This one is probably my favorite on the record. Mirage speeds up (a tad) only to really slow down with In Stone, highlighted by some male/female harmonized vocals and some kills atmospheric doom when it really kicks in.  Another killer track.

I think the next one is even slower, as Ruins crawls along the forest floor but is anything but more of the same. The most atmospheric psych you get is from the closer, In Stars, which is like evil bluesy occult shoegaze that is just great. While I love the record as a whole, it is a bit long for this style, and a song like Thorn may have done well to be shortened, but I am nitpicking because this record is great.

Atmospheric occult psych doom with amazing vocals and excellent production. What more does one want? Terra Black brings it with Mirage, and a very worthy contender for your end of year lists. 8/10

A View From The Back Of The Room: Tungsten (Alice Doyle)

Tungsten, Butane Skies & Ruhnt, Gryphest Day 1, Gryphon, Bristol, 25.09.26

The first day of Gryphest 2026 saw a free show to begin the weekend.

Ruhnt (8) started on a very strong note, balancing growling - almost screaming - elements with funky math rock undertones. As the set went on we visited almost that early 2000s high school rock vibe, but much harder. Sadly they suffered from what I’d consider ‘technical difficulties’, rendering one of the microphones almost inaudible, which was a shame because all three of the vocalists seemed capable and harmonised well. I scribbled in my notes “these guys go home and play super meat boy”, which wasn’t a diss. They finished the set with a slower song, which wound up being my favourite of the set.

We made an initial note, that Butane Skies (6) seemed very “fresh out of music studies”; technically and theoretically sound, but somehow lacking creativity and passion. This time the main vocalist had some microphone complications, and throughout the first few songs I could barely hear them - which is a shame, because once we did hear them, they actually had a very beautiful voice. 

The band performed a good range of emotional, melancholic tunes narrated by a moody keyboard tune, later followed by a violin that was sadly drowned out by the drums - a fault I’ve noted in small venues in the past. Towards the end of the set we were presented with a cover track, which to me personally felt unnecessary, although it displayed their musical talents. I saw potential, but couldn’t grasp anything that made me want to personally see them again.

Tungsten (7) are a three piece powerhouse had a lot to prove after the first few acts, but would wind up being my second favourites for the evening. The set was heavy, but with elements of modern punk and the bass was bopping. Out of the three bands I had witnessed on the day these guys seemed the most comfortable on the stage, and in engaging the audience.

I felt that vocally they were not as strong as the last two groups, and as the set went on I noted that the genre was fluctuating a lot as if they hadn’t yet pinned down an identity. Nevertheless it was a strong finish to an excellent night of live music at the Gryphon, kicking off Gryphest with volume and THAT bass!

Reviews: Cloven Hoof, Violation, Killer, Watcher (Matt Bladen)

Cloven Hoof - Never A Prophet In Your Own Land (High Roller Records)

Never A Prophet In Your Own Land is perhaps a prophetic title for a Cloven Hoof record, in it's own way. You see though the band came from that fertile NWOBHM period, they have always been much more popular on mainland Europe than in their native country. There's something about leather and studs that revs the engines of the Germans and the Greeks who both have festivals dedicated to NWOBHM/Speed/Trad metal. 

The Greek link leads to recent changes in the Cloven Hoof camp as founding member/bassist Lee Payne managed to score Jag Panzer frontman Harry “The Tyrant” Conklin as their new front man, taking the mic over from the much kissed Russ North. Conklin was able to join as he is now based in Greece so as an American in Europe he's perfectly suited to belt out Cloven Hoof tracks at a Euro fest near you.

He made his debut on 2024's Heathen Cross, and the line up from that album is retained for Never A Prophet In Your Own Land, Payne and Conklin joined by guitarists Luke Hatton and Chris Coss and Ash Baker on drums for a varied, hard hitting record where there's a lot of changes of pace, pathos and drama.

From excellent mid-pace anthems such as the Title Track to the Rainbow chug of Gypsy Roller which showcases the keys of producer Chris Dando, as does the Neo-classical approach of Iron Mask, which unsurprisingly sounds like Iron Mask the band. There's also some classic NWOBHM gallops on tracks such as Conquistador and Phantom Chaser as Prodigal Son is a sleazy street rocker but no matter the style they approach these songs with, there's a lot to love on this record, you'll be nodding along.

You'll be singing the choruses after a couple of listens, however don't try to sing like The Tyrant as you may pull a muscle, he's just such a brilliant addition to Cloven Hoof, giving them a latter life injection of epic, that will hopefully see them play more shows in their native country soon. 8/10

Violation - The Anthology (Underground Metal Vault/Ripple Music)

It's not often I get to jump on something Ripple related before Mr Piva but my denim and leather credentials are perhaps a little stronger than his as I'm the one picking up The Anthology by Bay Area metal band Violation.

It's the debut release through Ripple Music's The Underground Metal Vault which like the Beneath The Ocean Floor series is trying to find and reissue classic have metal records and bands that are long out of print or have long since disappeared all together, from the 70's and 80's. Basically discovering the bands from all across the world that were swept up in the leather-clad NWOBHM sound but weren't from The Midlands or London where the real action was.

That said Violation were from the Bay Area and at that time you just know that there was probably a drummer named Lars Ulrich that would have trading their tapes as it's right in his wheelhouse, they even played shows with Metallica, Mötley Crüe and Quiet Riot as they themsleves take a lot of influence from Diamond Head and UFO.

The Anthology is collects all of their recorded output, including three demos too as Todd Severin is nothing but a completest. As these are the original recordings it means production and quality varies, no remastering or remixing, just rough and ready heavy metal. 

Heavy metal that caught the ear of Y&T drummer Leonard Haze who produced three of the tracks here, including Meet Me At Midnight, which is not a Saracen cover, while the double A Side in turn got them on Shrapnel Records US Metal Vol. 3 compilation, so there was a lot of potential but by 1982 they are no more.

There's a spark about Violation, yeah they can get sleazy and some of it still has quite simple riffs and lyrics but their music has an old school charm that does make you think, what if? Props to Todd and the team at Ripple for moving into the underground metal scene, I'm looking forward to what else he unearths. 8/10

Killer - The Grand Finale (High Roller Records)

Killer are a band who formed in 1980, right in the middle of the NWOBHM and they drew their influence form that raw, early heavy metal sound especially Motorhead, who were never NWOBHM, but really hit their succes at that time. They're aggressive speed metal, rumbling bass, biting guitars and gruff vocals, releasing three records in the 80's, then a string of breakups and reunions that has brought us to The Grand Finale, which is set to be the last album from Killer.

Dedicated to Lemmy, the record leans more toward Motorhead than any of their others as the trio of Paul “Shorty” Van Camp (guitars/vocals), Ian Anthony (bass) and Vanne (drums), run through some dirty rock n roll rangers and mid pace chugs. They even bring Lloyd the singer from Motorheadz to do some guest vocals on Roll The Dice and What You See Is What You Get, and while the album is good and fans will lap it up, it doesn't seem like a final record, just another record.

There's nothing too special about it, no sense of finality other than perhaps Killer have used up all the creativity as a track such as Hard Day Coming rips off a Sabbath riff. So not really a celebration but the last embers of a rock n roll legacy. 6/10

Watcher - Mistress Of Our Time (Dying Victims Productions)

Over to Sweden now and the only band here that wasn't formed in the 70's/80's but sounds like they were. Watcher are part of the NWOTHM, contemporary bands who want to play the traditional heavy metal sound which I've referenced more than a few times in this selection of reviews.

Having only been formed three years ago, as a solo project by Viktor Gustafsson, Watcher definitely have that old school ethos as this is already their second album and it keeps the heavy metal flame alive with fantasy inspired lyrics and energetic metal work outs where drama comes through the choruses on tracks such as Down From Skies Divine.

While this isn't thrashy speed metal, there's lots of galloping riffs to get you head nodding along, bands such as Enforcer, Cauldron and Haunt can be heard as modern day influences on what Watcher do along with your Maiden etc. There’s a lot to like on Mistress Of Our Time, from the old school nods fused with a modern day audio power, Watcher are cranking out quality for classic emtal fans. 7/10

Reviews: Crown Magnetar, Early Moods, Nail By Nail, Remote Viewing (Spike, Rich Piva, Joe Guatieri & Mateusz Stefanow)

Crown Magnetar – The Hollowing Of Godflesh (Unique Leader Records) [Spike]

When this landed on the desk tagged as "brutal deathcore," it didn't take long to realize it does exactly what it says on the tin. Bands love attaching sprawling, hyphenated labels to their sound, but here it’s completely accurate. This is a lethal mash-up of brutal death metal, blistering technical death metal, and modern deathcore weight. If you've got those ingredients in the pot and you know what you’re doing with them, the results are going to hit like a freight train.

Clocking in at a tight twenty-nine minutes, The Hollowing Of Godflesh has one massive advantage right out of the gate: zero filler. Too many bands in the modern heavy sphere feel the need to pad their albums out with ambient fluff or drawn-out interludes that kill momentum. Crown Magnetar don't bother with any of that nonsense. It’s an unbroken half-hour sprint of pure technical precision and unvarnished savagery.

The record opens with Gun Eater, which acts like a tense, creeping fuse before Desecrate Infinite completely detonates. The sheer velocity is breathtaking. Byron London’s drumming is practically superhuman, shifting between rapid-fire blast beats and bone-snapping half-time shifts without missing a single beat. Dan Tucker delivers the kind of throat-shredding performance that makes your own vocal cords ache in sympathy, bouncing effortlessly between cavernous lows and piercing shrieks.

What keeps this from turning into a blurry wall of unreadable noise is the technical craft behind the guitars. New recruit Rob Maramonte weaves in intricate, angular riffs that nod towards technical death metal stalwarts like Defeated Sanity and Suffocation, but he never lets the guitar gymnastics distract from the physical groove. Tracks like Domination and Impaled Genesis are anchored by massive, tectonic riffs that give the technical flash real, room-clearing weight.

The title track, The Hollowing Of Godflesh, is an absolute masterclass in pacing. It charges forward with dizzying speed before pulling the rug out from under you with an abrupt, neck-snapping breakdown. That live-wire energy carries straight into Godkiller, which feels purpose-built to turn a venue floor into an absolute war zone with its nasty tempo drops.

Down the back stretch, they keep their foot welded firmly to the floor. Shut Up And Bleed and Torture Engine deliver relentless, teeth-grinding brutality, while Sculptures Of Suffering brings in extra vocal venom to trade off with Tucker before the crushing finale of Dead Crown drags you over the finish line.

The Hollowing Of Godflesh doesn't pretend to be anything other than a ruthless, surgical beating. It’s concise, relentless, and played with jaw-dropping skill. If you want heavy music that strips away the radio-friendly posturing and just delivers raw devastation, this is an essential listen. 9/10

Early Moods - Ready For The Grave (RidingEasy Records) [Rich Piva]

Early Moods album number three is here and this guy is certainly happy. The Sabbath/proto loving Los Angeles band bring more riffs and evil on Ready For The Grave, but also sound like they are straight off one of those NWOBHM comps that we all love.

The title track is straight up NWOBHM worship. Like something Metallica would have covered on Garage Days when they were still cool, and by the way it is awesome. The middle part breaks down like Sabbath, but the first part is more Diamond Head than anything else. I am certainly not complaining. 

Inquisition gets back to the doomier side of the band, slowing it down and getting all black mass on our asses. Dig it. I love when the pace picks up and the back up vocals are included. I can’t help but to hear early Metallica vibes on this record. Not because they thrash it up, but more on how it sounds like something Lars would have tape traded for back in the day. Like Thy Eternal Grief, with the acoustic opening leading to the dual guitar attack. I mean they have a (killer) song called The Prowler too! It also happens to be one of Alberto Alcaraz’s best vocal performances till date. 

You want chunky doom with great guitar work? Fine, I present to you When Light Fades in all of its glory. But wait! That middle part! This is their metal ballad, and it works great. Her Wicked Spells is trademarked Early Moods; mid-tempo, doomy riffs, with a couple temp changes and cool vocals. The epic Ashes Of The Damned is their final quest. This is a big and sprawling proto doom track that ends the record nicely.

We are not breaking new ground with Ready For The Grave, but Early Moods brings us something new from them that is as enjoyable as their best work and a worthy addition to their discography. This record sounds great, the playing is a step up for them, and so is the songwriting. Another solid effort from a very cool band. 8/10

Nail By Nail - Internal Inferno (War Anthem Records) [Joe Guatieri]

Nail By Nail are a Black Metal band from Germany, only forming a few year ago in 2023. Since then they quickly put out their debut album, Embraced By Darkness in 2025. An album which was received positively by critics and metal fans alike. Now only a year later in 2026, they're putting out their second full-length with Internal Inferno. I went into this completely blind, only to see the light again…

Getting into the LP with track two, Katharsis, it brings emotional depth in every sense of the word. Starting with a soft introduction with a lone guitar that feels like the wind blowing on a dark cold night, only to be awakened by an explosion 40 seconds in.

It feels like the end already with what I can only describe as an epic riff which feels miraculous, it’s like you’ve just survived a near-death experience and are crawling away from it. The vocals are howled with such venom as the rhythm section pounds away until the blasting sets course on its intended target by 2:42.

The bass playing is especially breathtaking, Emmanuel puts his entire being into it, hitting those low notes like he’s carving into stone. Katharsis is beautiful and is no doubt my favourite song on the album. It stars Internal Inferno with its best foot forward which I find strange to comprehend with as it sounds so final, you can either go fall down a hole after this or ascend into heaven, there is no in-between.

I can’t really describe the rest of the record without repeating myself again and again, that goes the same with a lot of Black Metal for me. The difference here with what Nail By Nail has done here is that they’ve kept me engaged throughout despite similarities between tracks. I enjoy the way that the experience washes over my person, I could quite easily close my eyes and be drifted away into a different world by listening to this.

There is a certain type of melancholy here which I don’t get with a lot of music in this sphere, it makes me want to dig deeper. There is a force there which isn’t pushing you away or sitting alone, it needs to carry on and it doesn’t know how too. I would describe this feeling as suffering in public, it’s got no other choice.

Overall, Nail By Nail have wowed me not by scaring me which is what I usually look for with Black Metal, instead they’ve put me into a meditative which is the last thing that I expected. They take a lot of influence from Oathbreaker and channel attack into comprehending one's place in the world. Nail By Nail have definitely made a fan out of me with Internal Inferno, it’s an opera of the mind. 8/10

Remote Viewing - State Violence (Human Worth) [Mateusz Stefanow]

I’ve always had a soft spot for 80s slasher films, and this album indescribably gives me that exact vibe. The album cover contrasts between the dark outside and the steamy amber of the inside of the car foreshadow the astonishing smoothness of the tracks within.

#makemoneymakelovemakemoney is quintessential sludge metal, it’s thematically dark, groovy and the John Atkins’ bass is clear in the mix. Maybe I’m being placebo-effected by the title, but the spoken word section brings to mind powerviolence influences, which adds to the gritty atmosphere that we are being encompassed in. As we fade out of the first track, we effortlessly crossfade into Retrain As A Swan, Tom Fowler and James Bryant enchanting us with exquisite duo guitarwork as John Breslin rhythmically paves the way via his percussive skills.

Remote Viewing personally don’t Disrespect The Arts - crushing riffs that flow and ebb and are certain to please the ears of wandering Electric Wizard fans, and those Warning fans that desire some less emotions in their sludge. Ever heard a violin in a sludge metal song? If not, Human Right$ is a must-hear track. Far from a pseudo-artsy addition, this 4 stringed instrument blends seamlessly with the mournful vocals and guitars to nail home the weight of this albums message,

Birds Of A Feather Is On In 7 Minutes must be the most non-blatantly politically charged song ever- purely melodic, it builds in volume and intensity up to a crescendo, that peak of the wave before… fading, and fizzling out- just like our interest in the horrors of the social injustices around the world.

The album veers away from Remote Viewing’s older song-naming conventions, focusing more on the socio-political corruption present in our societies, as bassist Atkins eloquently put it ‘the world is currently a veritable shit show of epic proportions’. Be that as it may, but this album is most assuredly not partaking in that shitshow, for it is like floating down a river of basslines, pulled by the riff undercurrents, no paddling required, just the drums and vocals to guide you along. 7/10

A View From The Back Of The Room: I Prevail (Heather Louise Ash)

I Prevail, Polaris and Gore, Depot Cardiff, 23.09.26

A sold-out Depot welcomed I Prevail, Polaris and Gore. to Cardiff for a night of heavy music, sweaty bodies and a crowd that seemed to get more lively with every set. The music got heavier, the pits got bigger and by the end of the night things had got very, very sweaty.

Flashing lights surrounding the floor drew everyone's attention to the stage as Gore (8) opened with haunting vocals and strong screams, their darker atmospheric sound getting a sea of heads bopping almost in unison before the heavier moments got more bodies moving. 

The pit was still more of a gentle jostle at this point, people lightly pushing each other, arms going over shoulders and smiles all round, with someone's lost shoe eventually appearing above the crowd, being held in the air like a beacon. There was loads of energy on stage and phone torches appeared across the crowd during the slower moments, swaying above people's heads before disappearing again when things picked back up.

Between sets the pits disappeared and everyone gathered in little groups chatting and sharing stories. It's one of my favourite things about live music, one minute you're being shoved around by a complete stranger and five minutes later you're chatting away to them like you've known each other for years.

Polaris (9) came on noticeably heavier, but with enough melodic moments for people to sing along before it all got heavy again. The pits got bigger pretty quickly, circle pits opening up with more and more people piling in and the first beads of sweat starting to form on faces as The Depot got noticeably hotter.

Crowdsurfers also started to spawn above everyone's heads and I somehow kept finding myself directly in the spawning points, taking the occasional foot in passing before watching another person disappear over the crowd towards the barrier. Arms were up, bodies were bouncing and even those staying around the edges of the pits were no longer standing still.

Another break meant a chance for a drink, some air and more chatting before I Prevail (9) came out heavy and hard and things got very sweaty, very quickly with their set in support of A Violent Nature. The crowd were singing along to favourites one minute and throwing themselves around again the next, and those beads of sweat from earlier were basically puddles by this point.

After spending most of the night around the edges I decided it was finally time to brave my first pit. Lots of pushing, kicking, arms and legs everywhere and at some point I inevitably ended up on the floor in a game of human dominoes. I barely had time to register I'd face-planted the concrete before several hands appeared and pulled me straight back up. I came away with a grazed knee, carried on and then went back in because apparently once wasn't enough.

Walls of death started forming too, the crowd splitting before both sides ran at each other and collided in the middle, with bodies still flying overhead. As always though, the second somebody hit the floor there were hands reaching in to get them back up to safety. 

Things slowed down later for a cover of Taylor Swift's Blank Space, phone torches came back out and everyone got a much-needed chance to catch their breath before things picked up again.

That sense of community carried through the whole night. People spent the sets pushing each other around, catching strangers above their heads and picking each other up off the floor, then the music stopped and everyone went straight back to chatting and sharing stories.

I left The Depot sweaty, slightly battered, with a grazed knee and feeling it in pretty much every limb for the remainder of the week. It was worth every second.

Reviews: Sigh, Shakra, The Hu, Harlott (Will Bond, Keith Boswell, Jordan Griffiths & Mateusz Stefanow)

Sigh - Goh-Ka (Peaceville Records) [Will Bond]

Goh-Ka is the 14th studio album from Japan’s Sigh. Combing elements of black metal, thrash, prog and folk, it takes the listener on a journey over eleven tracks. With an hour of music it could have outstayed it’s welcome, but it flew by in a whirlwind of blast beats, folk interludes and huge riffs. 

The first thing that struck me was the wild array of instrumentation, with synths, strings, pianos and all manner of traditional oriental instruments. Production wise, this album is a feat of enormous magnitude. All elements are blended expertly so you don’t question it when you hear oriental flutes paired with guttural vocals and blasting drums.

The vocalist has a wide range, from clean singing to searing growls, and every syllable is intelligible. Often black metal vocals can become a wash of harsh noise, but here the rhythmic patterns of the vocals are crystal clear. The riffs are huge, with dual guitars and blistering solos, and the drums are played with incredible virtuosity. My head was thoroughly nodding to thrash drums and blast beats by track two. 

Track three brings the tempo down, switching between folk and huge riffs. Track six picks up the pace with a galloping riff, opening up into a huge chorus reminiscent of Wishbone Ash. Track eight is a blistering thrash masterpiece, erupting into blast beats before a huge chanted chorus. 

The final track of the album is a ten minute prog epic. A huge head banging riff with pained screams, going into a waltzed light refrain, then straight back to the riffs. The track builds until it morphs into symphonic orchestration, then dissolves into binary messages received from another dimension. It’s then reborn as a piano lullaby to close out the album. 

Goh-Ka rises and falls in tempo and mood at a natural pace, as if it’s a living breathing thing. Goh-Ka is a prog metal epic that should be consumed in full, taking you on a journey through multiple dimensions. 8/10

Shakra - Just Love Loud! (Frontier Records) [Keith Boswell]

Following on from their 2023 Invincible album the five piece from Bern in Switzerland Shakra, have just released their 15th album entitled Just Live Loud!

The album has 12 tracks is 56 minutes in duration and continues strongly in the melodic hard rock genre.

Shakra, with the gravely vocals of lead singer Mark Fox intermingled with the melodic shredding guitars and the very full and deep riffs make for a very interesting journey through the album. Notably there are many melodic and catchy hooks throughout which make it instantly attractive to listener.

The album opens up with an assault on the ears with songs including Let The Show Begin, Wasteland Warrior and Just Live Loud. All of which hit the very heavy rift laden heights that instantly warm you and get your feet tapping and head nodding. If this is the start of the album, I smile in anticipation of the further delights that await!

The fourth track Left Outside Alone is a cover of the of the Anastasia song of the 90s which features the superb voice of Seraina Telli. Fox's gravely low voice is an instant hit in collaboration with Telli’s excellent, pitch perfect haunting delivery. That linked with tremendous guitar work truly enhances the original in my humble view.

In the main, all the tracks within the album are of great standard unfortunately on the negative side a few of the offerings mid album tend to blur into one another which is a real shame.

However towards the conclusion of the album the track Higher Above The Storm starts slowly and builds to a crashing crescendo of drums and guitars solos which actually is very very good and I enjoyed thoroughly.

In conclusion, Shakra’s Just Live Loud! offers some great music and is crafted to a very high standard. It certainly lives up to the legacy and the quality of music that Shakra have built over their long career and it is certainly one for the newcomer, like myself, as well as the hardened fan.

The album has seen recent success in topping Swiss charts and continues to do well in Europe. 8/10

The Hu - Hun (Better Noise Music) [Jordan Griffiths]

The Mongolian folk-metal pioneers return with Hun, an album that demonstrates just how far their distinctive sound can go. Their traditional throat singing, Morin Khuur strings and pounding rock instrumentation remain at the heart of the band, and their sound.

However this time around, it seems that The Hu has leaned further into more accessible, area-sized songwriting. The result, creates an album, an 11 track run, of unmistakable Mongolian sound, traditional and authentic instrumentals, which leaves a mark that says “Yeah, they’re getting more comfortable with the modern metal world”.

Warrior Chant opens up this album and establishes its identity early. Deep, resonant vocals, with forceful percussion, and traditional instrumentation create a sense of.. Movement and ceremony, almost like a Mongolian army, marching and crossing the Mongolian Steppe. 

It is music with physical weight, the entire opener is built with a crowd in mind. To start the movement early, and prepare you for what’s to come. I feel that it does what it’s designed to do, very well.

As the album transitions into the song, The Men, the more up-beat, head nodding, dance worthy rhythm kicks in, making this track into a mid-tempo and catchy almost 4 minutes. 

Gradually throughout this song, the intensity picks up, and then peaks with the Morin Khuur solo, and then continues with its intensity for a short while, before gradually settling back into a more calmer, unified ending. Which I do enjoy, as opposed to sticking with the heaviness throughout.

Echoes Of My Father is the fourth track in this album, and serves, in my humble opinion, as more of a reflective, meditative track, as opposed to a heavy, hard hitting, bone trembling alternative. Which, I also personally really like, it’s the calm before the storm, a little rest stop, before the rest of the journey of sorts. This track really executes what it sets out to do, very well!

This is when the heavier side of the album starts to pick up, it starts first and foremost with track 5 - Shadow, while not the heaviest track on the album, it serves as the introduction to what The Hu has to offer you this time around. 

The heaviness on the album continues onto, and runs throughout Horsemen, The Real You, and Grey Hun. Creating a gradual increase of heaviness from the start of the album, reaching its height with the aforementioned songs, before coming back down and heading into Universe.

Greed sits as the 7th track, sitting between Horseman and The Real You, and while still being, heavy, of sorts, it sits as an outlier in terms of the heaviness of the above songs. It establishes itself as a more, darker, repetitive groove styled song, with the deep vocals, and the choice of guitars, it feels more like you’re a part of a ritual, than you are listening to a song.

Universe, what can I say about this one, it is by far, the band's longest song to date, coming in at 8 minutes 43 seconds, and it does not disappoint, it starts very atmospherically, before taking your hand and leading you through a story of history, philosophy, and pride. 

The vocals, all throughout are very expressive and intimate in a way that makes you feel like you’re a part of this journey with them. It does not overstay its welcome at all. This is less of a commercial metal hit song, and more of a cinematic story through the ages, and it feels that the album was built around, and lead up to this epic, and it did so amazingly.

I’ve saved this one for second to last, as I did not want to open on a semi - negative note, however, I feel that Lost Soul (Feat. Jonny Hawkins of Nothing More) was the weakest song within the album, overall. It starts off in a way that you would easily mistake the album you're listening to, for being a playlist that’s on shuffle. 

Then the vocals of The Hu come into play, and you realise the stark contrast between Jonny Hawkins’ higher tone, indie style voice, and the darker, deeper vocals of The Hu. Creating a track that, in my honest opinion, I was not a fan of.

Second Face, brings back the rhythmic, and more up beat tone of The Hu, for one final song It’s definitely a major contrast in vibe compared to the epic 9 minutes of Universe, but it's a welcome tempo change, and ends this album with an abrupt end, and a laugh.

In short, Hun is a very confident, deeply atmospheric release that, once again, proves these folk-metal pioneers can broaden their musical range without sacrificing the core beginnings and heritage that makes them so special. 

Even if a few choices don't quite hit the mark, blending the traditional Mongolian strings with rhythms and contemporary rock yields an offering that feels genuinely authentic and bold.

This record serves as an impressive next step for a group that is clearly growing more at home with the full scope of their global impact, and I look forward to hearing what they have to offer next! 7/10

Harlott - Exsequiis (Metal Blade Records) [Mateusz Stefanow]

As a longstanding Harlott fan, I’ve excitedly followed their journey since Proliferation released in 2015, and with the release of Exsequiis the Australian thrashers showcase their talents once again.

The whole album is peak thrash, with political lyrics that challenge the status quo, and the musicianship to create a scene for the messages to be conveyed through. 

This aggressive and powerful album is introduced via Incipiam, a melodic track which slowly builds in intensity before crashing into the straight-into-your-face aggression of Void, The Messiah Simplex and one of the two previously released singles of Trial By Liar.

Once our baptism by thrash has been sufficiently progressed, we are treated to The God That Knows No Name, a punchy, gritty track that builds up to a harsh pre-chorus before grinding down to the almost worship-like grating of the chorus. 

Featuring phenomenal lyricism such as ‘shed the blinding noose’ and ‘5 nails to hold you down, for the 5 sins that bought your crown, with the 5 thorns that pin your shame in place…’ provide a fresh twist on the iconic if not slightly overused 666 references in metal.

Then we are bombarded by Kleptogenesis, the most abrasive song on the album. This song may be considered the most thrash in the traditional sense, with its political messages, buzzsaw guitar work, great bassline and thundering drumming. 

A Still More Glorious Dawn Awaits is catchy, and the cleaner backing vocals on the chorus adds depth without cluttering the sound of the track.

The album is a must-listen to fans of Municipal Waste, Havok and Warbringer, through the featuring of call and response vocals on some of the choruses and frequent showcasing of technical guitar solos and classic style thrash riffs to make you want to headbang along, an excellent addition to the Harlott discography. 8/10

Reviews: Burner, Kongh, The Bleeding, Suffering Quota (Matt Bladen & Mark Young)

Burner - No One Is Coming To Save Us (Church Road Records) [Matt Bladen]

The nihilism never ends as Burner have always approached their music with a slash and burn style of incendiary rage. 

On their last record If It All Returns To Nothing, they looked outwards, on this album they turn the lens inwards, looking at us the human race and the violence, destruction and division that we seem to continually create throught history. However its also about hope, how individuals are often the cornerstone to change or recovery, how sacrifice so often reaps biggest rewards.

So Burner return with another set of 11 absolute face rippers, the fast rise of Burner leading to some high profile guests vocalists such as Matthew K. Heafy (Trivium), Josh Middleton (Sylosis) and Anthony Lucero (Cult Leader), joining this record that straddles numerous genres. Death metal, hardcore, post metal and even black metal (A Shattered Visage Lies) all create these punishing atmospheres inspired by bands as varied as Trap Them, Darkest Hour, Bolt Thrower and Converge.

With The Third Revelation, Burner build the tension and then release it with some bludgeoning metal force, never fully letting you take a breath What Will You Give and Blood River both assault the senses. Harry Nott and Josh Middleton sharing the fury on the former while Matthew K. Heafy brings his unmistakable voice to Sunrise, Parabellum closing out this death/thrash trio.

A Shattered Visage Lies moves back towards an atmospheric doom crush that showcases the dynamic playing of Nathan Harlow (guitar), Finn Gannon (bass) and Jack Bryant (drums), as does the resonant and introspective The Agony Of Peace. The multi-discipline sound of Burner meaning they can move between tracks with melodic intensity and the more furious cuts seamlessly, never letting their extreme approach weaken.

No One Is Coming To Save Us? Perhaps then we should use this album as a catalyst to save ourselves. 8/10

Kongh - Dissolved In Time (Trust No One Recordings) [Mark Young]

For many, Sweden's association with extreme metal points towards a particular sound, namely the melodic death metal of bands such as At The Gates and Dark Tranquillity, and I'm no different. I had no idea there were other distinct and unique voices at play, one of which is Kongh. Who have released their fourth full-length album, Dissolved In Time, which also represents their return after nearly a decade away. I know nothing about their previous output and, as a result, will be going into this with an open mind. Three tracks stretched across 39 minutes suggests something intense, but also something that could easily outstay its welcome.

Staining The Ether is this album's big piece. Starting with a repeating guitar line that provides the base for drums and bass to come in and join, both building and adding until it really takes flight at around the three-minute mark, its sound suddenly expanding. It's unhurried and evolves naturally, changing shape and arrangement while always finding its way back to its core. It's all discord and grit, with vocals from David Johansson (who also handles guitars, bass and electronics) stamping a dense authority across the track and effectively moulding it to suit his vision.

I didn't expect it to be as melodic as it is, despite being as heavy as it is. It's a pretty perfect build in all honesty; everything sounds A1 and you can pick up on the little nuances that occur throughout, making it far more than just a hammer-and-nail exercise. If you're worried that a near 19-minute opening track might be a bridge too far, think of it as a series of mini songs glued together, all of which offer something different to the sequence that preceded them. This isn't a traditional doom song where the same riff is repeated until you instinctively reach for the skip button. It has a lot going on and genuinely needs that full running time to reach its destination.

It's a monumental song and an incredibly bold move to open the album with it because of the benchmark it sets for everything that follows. Still, putting that to one side, just absorb this for the majesty that it possesses. Epic stuff.

Guided To The End wisely goes for a quicker resolution, well, kind of. Where Staining The Ether was about having room to breathe, there is no lingering this time as the pace immediately kicks up a gear. Nothing has changed in the execution on display, it's just been given a charge. It's still heavy, but Christ, you could dance to this. Suddenly the influence of the opening track pares back a little as this one rips along, mixing clean and guttural vocals with one of the lowest bass tones imaginable.

And that central riff? Forget about it. Just top class. It's spacey, full of movement and an all-round cracker.

Which leaves us with the title track, Dissolved In Time. It starts with a thick sound and I genuinely can't think of a better way to describe it. I mean, it's absolutely massive and would probably render you with some form of injury if you heard it live. It moves with the same energy as Guided To The End, with the drums doing exemplary work in providing that little bit of sparkle that lifts the entire piece.

And then they pull the whole thing down, slowing it to a crawl.

It's ruthless in its execution. This is Sludge Metal 101 and everyone should be taking notes. It's amazing to think that Kongh had anywhere left to go after that opener and yet Guided To The End and Dissolved In Time have the same kind of impact while offering entirely different perspectives. Each track leaves its mark in a different way.

What is this like compared to their earlier material? No idea.

All I can say is that it's a magnificent album, and if this return leads to more material of this quality, fans of the genre have a lot to look forward to. 9/10

The Bleeding - Godless Communion (Redefining Darkness Records) [Matt Bladen]

There's change in the house of The Bleeding, for over a decade the London death metal crew have been unleashing steamrolling, gore-soaked death thrash that's anchored in the underground. They've become more visible outside of their local scene with the release of last album Monokrator, gaining a following of death lovers across the UK and Europe. However long time vocalist Germ stepped down from the band during the recording process, with ex-De Profundis man Craig Land brought in behind the mic to continue the next chapter of The Bleeding.

In typical death metal fashion, to avoid the delays of having to re-record everything again, Craig's vocals joined the ones already recorded by Germ to bring an as yet untapped intensity to the music. It's almost like a celebratory release with a dual vocal assault bridging what is now and what came before as band founder/guitarist Tasos, bassist Guy and drummer Davide Marini deliver more ferocious death metal drawn from the inspiration of the most vile and vital bands in the genre.

Some are even homaged here as there's cover of Cannibal Corpses' Born In A Casket which features Ryan Howes of Sodomized Cadaver, as Adrie Kloosterwaardof Sinsuter appears on Bestial Bloodlust and original The Bleeding vocalist Themis K. appears on Death Eternal, making this the first record from the band with all three of their vocalists appearing.

You could consider Godless Communion to be a 15th anniversary release for The Bleeding and it's probably them with a renewed intensity and a return to their underground sound due to the line up shift, though it's an album with a lot of experience and craftsmanship behind it. UK death metal veterans that still kill the old way. 8/10

Suffering Quota - Sisyphean Life (7 Degrees Records/Tartarus Records) [Mark Young]

There is something strangely comforting about listening to what probably best described as a twelve track sonic kicking whilst watching Last Of the Summer Wine (And yes, there are rumpled stockings, a tin bath and three old age pensioners rolling down a hill in Yorkshire). 

This is their 4th album and is inspired by the myth of Sisyphus and the eternal struggle faced with repetition in life. In any event, should you be unclear in what they are about and how they do what they do, just press play and let the punishment begin. This is a hard record, and by its very nature a difficult one to review because they are not writing long, progressive music here. This is 18 minutes worth of blistering attack, of what you could call primal grindcore. This is stripped of anything that is unnecessary, each song hammered to its truest form.

It would be utterly pointless in trying to do a song by song deep dive on this. That would defeat the object and weaken its ultimate impact. This is supposed to be enjoyed (endured?) as a whole, not to dip in here and there. Strain opens and Striving closes and between there is no discernible drop in the fury that is at hand or in the standard of music provided here. I appreciate that won’t be a lot for someone to make a decision on, so I’ll narrow that focus slightly by saying that any fan of no-frills extreme grindcore will find Suffering Quota and their music to be a welcome blast of refined noise. 7/10