Reviews: Lords of Altamont, Stepmother, Stainless, Kate's Acid (Rich Piva & Matt Bladen)

Lords Of Altamont - Forever Loaded (Heavy Psych Sounds) [Rich Piva]

Jake Cavaliere is a busy guy. Last year, his new project, Black Honey Cult, his Velvet Underground/13th Floor Elevators/post punk band, had a top ten album of the year for me. Now Jake is back with the project most people know him for, Lords Of Altamont, who bring us their new record, Forever Loaded, via Heavy Psych Sounds. 

Record eight was recorded all over the world (most of his bandmates live in Europe, while Jake is in California) and continues to bring that punky, garage rock, kick out the jams energy that all of their other great records do, but with some subtle changes that makes Forever Loaded stand out a bit more than the others.

If you just heard the opener, Got A Hold On Me, you would know the Lords are back in full form, kicking down the garage door for the whole neighbourhood to hear their Blue Cheer/MC5 stylings in all their glory, and you would be right because it kicks ass. Fuzz and filled with wild energy, the opener declares The Lords are back in town. 

What’s Your Bag is some late 60’s garage punk greatness with the keys leading the way making this one even more killer. Devil Rides is next, and boy do I love this one, and also where you start to notice this record is way more keys forward than I am used to, with it behind the sound lifting it up and adding to a fuller Lords experience. The ripping solos are still around too. This one has it all!

Rusty Guns is so much fun. It reminds me of The Modern Lovers if Jonathan Richman would have been less lovesick and more into motorcycles. There is not a skip on Fully Loaded, but my favourites include Get Out Of My Head, which reminds me of The Cramps, Got You On The Run, which picks up the pace and rips it up, guitar and keys hand and hand, and Disconnected, which makes me handclap along with it. The closer, an almost seven minute epic (for them), is this punk, psych, krautrock journey that exists to bend your mind in multiple different directions. Trippy and so very cool.

I always feel like The Lords Of Altamont are a few steps away from imploding, and I hear that on Forever Loaded, which is probably why I love it so much. Garage/punk/psych/whatever, Forever Loaded rips, more synths and all. All hail the Lords Of Altamont, once again. 9/10

Stepmother - Absurdus Manifestus (Tee Pee Records) [Rich Piva]

The Australian band Stepmother may be on TeePee Records, but don’t think you are getting some riff heavy psych stoner band. This is straight up punk rock right from the garage. I loved their 2023 record and am psyched to see the band is back with Absurdus Manifestus, 13 more tracks that just rip the place up.

Stealing from their Bandcamp bio because I can’t say it better…

“Fusing high velocity Motor City proto punk with fuzz, feedback and electric psych…”

Yes, yes indeed. The trio turn on the engine, put it in drive, and floor it for 33 minutes or so. The first two tracks are all you need to know what’s going on, as the MC5/Blue Cheer ripping destroys your speakers and your ability to sit still. The interesting thing for me is I hear some power pop eeking through too. What’s New, while ripping it up Detroit punk style, also reminds me of Cheap Trick (really good thing). 

The guitar work on Gimmie Mine veers into AC/DC territory and I am here for it. I swear this is not because they are Australian. The trio ventures into that power pop territory nicely on Beast And Man as well. Some of my other go to tracks on Absurdus Manifestus include the early punk rock goodness of Sick Thoughts, Space Invaders, which would have fit perfectly on a Screeching Weasel record from the 90s, and the closer, Journey To The Center Of The Mind, that has amazing fuzzy guitar work that closes out this energy blast from Down Under perfectly. No skips here, just put it on repeat and let it blast for three times or so.

I am very happy Stepmother has a new record and I am extra happy (not surprised) that Absurdus Manifestus rips it up. If you are into pure garage punk energy with underlying pop sensibilities and fuzzy ripping guitar work then Absurdus Manifestus is for you. If not, go home and do your homework, square. 8/10

Stainless - Lady Of Lust & Steel (High Roller Records) [Matt Bladen]

Recorded as a trio but now expanded to a live five piece, Portland, Oregon band Stainless assault the sense with classic heavy metal with speed metal/thrash.

It makes for a snarling, galloping, muscular heavy metal that expands on their Nocturnal Racer EP with a "more accomplished sound" according to band leader Jamie Byrum who is primarily a guitarist but on the record plays everything except bass, and produces the record for that vintage cassette sound of the tape trading days.

Now I hinted that there's more than just classic metal here, with (Don't Cross Me) Fool they add a groove of Deep Purple Mark IV with Clifton Martin's bass ramping up the funk, Take A Listen Mama too dwells into the 70's with a bit of Scorpions-like atmosphere.

Stainless haven't totally gotten rid of that as the tile track and Restless An' Ready both have that vintage leather clad sound of Priest and Accept. The big draw are the gritty vocals of Larissa Cavacece who snarls, sneers and screams across the record, unleashing her most vicious vocals on thrashers such as Whorefrost and Danger In The Night.

Lady Of Lust & Steel is classic heavy metal with a wider brush to paint with, thrash and hard rock both come knocking on the door and Stainless welcome them on to create a retro metal showcase. 7/10

Kate's Acid - Hellbender (High Roller Records) [Matt Bladen]

In the history of European metal, there are few bands that can claim to be speed metal originators, but Belgian band Kate's Acid (then named Acid), can definitely be considered to be one of the first speed metal bands on Europe. Lars Ulrich probably loves them!

While they only burnt brightly for 3 years or so in 2019, vocalist Kate de Lombaert, decided to fire up the engines again with a new band behind her as Kate's Acid, returning to Keep It True (obviously) the wheels of this new machine hit the tarmac with the live record Blowing Your Ears Off culled from that set in 2024.

Hellbender sees a new version of the band featuring guitarist Geert Annys, drummer Ash and basist Camilo (Thunder Screamer) Ortega backing Kate for the first new material since the 80's, though you wouldn't think this a contemporary album as it's full of the power and the glory of those years when metal bands when it ruled the airwaves, wrapped up in modern production skill.

Kate's vocals still have plenty of power behind them with tracks such as Valkyrie and on Air Raid which is an unusual ballad from the band, closing the album on a reflective note, as Mate shows some fragility behind the bravado. With wheels firmly back on Kate's Acid, it's like they've never been away! Sit Down Lars! 7/10

Reviews: Abrams, Victorius, American Sharks, Catalysis (Rich Piva, Cherie Curtis, Mark Young & Matt Bladen)

Abrams - Loon (Blues Funeral Recordings) [Rich Piva]

When I interviewed Zach Amster from the Denver, Colorado band Abrams for the Rich and Turbo Heavy Half Hour about the band’s new record, Loon, Turbo commented that their fifth would be their “breakthrough” album. I could not agree more, as the band doubles down on what the folks of multiple generations seem to be really into these days; stuff that sounds like it is from the 1990s. 

Loon sounds more 90s than any of the Abrams records before it, but this is not the sound of some bullshit 4th wave grunge band. This is killer, post hardcore/grunge with frantic angry, scattered directions, and that hits all the right buttons to be a record that both sounds like it is from 2026 and 1993 at the same time.

Glass House kicks it off with this Quicksand/Nirvana hybrid thing going on, executed perfectly. I love how they just let it all go at the end of the track. The production on the record is perfect, with Andrew Schneider’s mix showing he really understands the band, the track White Walls showing this. This one also harkens to some of the Midwest “noise” rock bands, with maybe a touch of Jesus Lizard going on, even with those harmonies. How about Ryan DeWitt pulling out those double kick drums? Last Nail shows off how this band just gets melody. Rival Schools vibes all over the place. This would have been on the radio 30 years ago. 

The influence of Walter Schreifels is all over Loon (and really all over a lot of your favourite records, you may just not realize it). Said & Done stays around the Quicksand/Cave In realm of awesome and I am certainly here for it. I absolutely love Amster and Graham Zander’s guitar work on this one. Waves is certainly that same arena as well, as Amster’s vocals really show his growth as a singer. Abrams has always been a little shoegazey, and that lives on with A State Of Mind, bringing a kind of Swervedriver thing to the record. 

It fits in perfectly as it leads to more post hardcore goodness of A State Of Mind and Home, the latter showing off excellent the rhythm section of Taylor Iversen and the aforementioned DeWitt. Quicksand vibes are all over Remains, which has a complex melody and could be a Manic Compression b-side. Like any good 90s record, the longest song (under 5 minutes!), Sirens, is the perfect mix of all of the amazing stuff that came before it on Loon. The harmonized, layered vocals, the big chorus, the relentless guitar, the quiet loud quiet perfection. There could not have been a better way to close out Loon, reminding me of how Quicksand ended their second record with It Would Be Cooler if You Did.

Loon really is a breakthrough for Abrams. This may be what the band is truly meant to sound like. Loon is a 34 minute psychic blast that is here then gone just as quickly, but ready to be queued up and re-experienced immediately. There is so much happening and so fast; the energy captured by Loon could power the time machine that takes you back to the 90s to hear something that sounded even close to how awesome the new Abrams record truly is. 10/10

Victorius – World War Dinosaur (Perception) [Cherie Curtis]

Victorius brings us an inventive and highly creative, 12 track album. World War Dinosaur is high energy, wacky and uplifting with a strong sense of story and most importantly – Fun.

With this new album, Victorius shows us exactly what 22 years can do for a band as they are technically strong with viciously sharp and interesting riffs alongside racing drums bringing pure energy throughout. The tracks are anthemic and catchy with gloriously satisfying harmonies which makes for a very memorable power metal experience, because that’s what World War Dinosaur is – An experience. If you don’t want to make a nuisance out of yourself, you’ll have to try very hard to stop yourself from singing along, it's the kind of album you pick to score a an anime / cartoon series or an album you put on for drinks and late night karaoke.

Victorius as a band is on a similar level of humour and theatricality as bands such as Ghost and The Darkness. They lean into ‘Silliness’ and put so much, thought, care and energy it to their overall production, lyrics and sound that it really shines through, and you can tell just how much they love their career and creating exciting new stories through music.

Overall, it’s very well made, there’s nothing to critique here as it’s very well done. It’s safe to say that it isn't an album for me personally as I tend to play it safe when it comes to my everyday rotation, I feel like this one is a little too stylised and to speak plainly, mental, for myself but if you're looking for something new and fun and would also like a break from the everyday. Let these guys take you on an out of this world adventure. Go for it, give this one a listen as it’s joyous. 6/10

American Sharks - Not Dead Yet (Permanent Teeth Records) [Mark Young]

I always find it disappointing when I don’t get on with a release. I get moody, because I always hope to like everything I listen to and focus on the good things instead of just battering something because I just don’t like it. Today is that day with American Sharks and their latest Not Dead Yet.

The three piece from Texas has called in a plethora of heavy music ‘Who’s Who’ on this, ranging from GWAR to The Sword to Red Fang, so it gives you a bit of an insight into these songs are going to run out. If you imagine a pop/punk/metal hybrid, that should further clue you in and possibly attract you. Or repulse you, depending on where you sit.

It’s unfortunate that I sit in the ‘not my bag’ camp, the songs are as scuzzy and full of energy as you might expect but they just didn’t land with me at all. They kick straight in with Not Dead Yet, an in your face quick fire blast that comes from the school of get in, get out quickly and move onto the next one. Its admirable in that it does exactly that but does it without registering at all. Each of the tracks follow with varying changes in approach, moving from the manic to the sleazy and back again dependent on who has been enlisted to assist. 

Being honest the songs do work better when played at speed, Going Insane is an example of this, an urgent 3 minute bopper that you could dance to but that’s it. I find that I don’t have anything of real substance to say about the songs. They don’t elicit a strong reaction either way and I don’t want to say something just for the sake of saying anything. So let’s cut this short: If you like your guitar music to fall within the lighter side of heavy, with a dash of pop/punk then dig in. That’s about the strongest reaction I can give. 6/10

Catalysis - Serpentine (Self Released) [Matt Bladen]

Another chunk of Dundee based heaviness from Catalysis who are creeping up on their 10th anniversary as a band and while a lot of bands will have perhaps one or two releases in that period, these Scots have delivered two full length albums and five EP's.

Both of their albums have had critical acclaim and have featured guests from some high profile names from the groove/metalcore/modern thrash genres as well as some big slots on festivals and tours supporting recognised names.

However in 2024 they hit a big hurdle with their vocalist, guitarist and bassist exiting the band leaving just founders Drew Cochrane (lead guitar) and Calum Rennie (drums), to restart Catalysis from the ground up however only two months after this they returned to the stage with vocalist Andrew Downie, guitarist Jamie Paterson and bassist Robi Islam joining the band as Catalysis version 2.0.

Releasing another EP in 2025, they didn't slow down with tonnes more gigs and now their sixth EP Serpentine, which arrives with the hardcore driven Tremors and closes with the breakdown heavy Deathblow, filling the tracks in between with some loud but innately melodic amalgamation of groove, thrash and death.

The influences are notable but Catalysis craft them into their own style, from the dual vocal style of Trivium on Futile, or the savagery of Damocles which could be a Machine Head lost track, Catalysis are very firmly in their new era, as if the line up issues never even happened, it's all guns blazing with chapter two from one of Scotland's most prolific acts. 8/10

Reviews: Enter Shikari, Metal Church, Cryptworm, Melechesh (Matt Bladen, Rich Piva, Charlie Rogers & Mark Young)

Enter Shikari - Lose Yourself (So Recordings) [Matt Bladen]

I'm very much in favour of surprise releases, though perhaps a journalist trying to keep up with the mountain of new albums every month I shouldn't be, however I find bands who just drop an album to little fanfare seem to be the ones that really care about it. 

Frontman Rou Reynolds wanted people to hear this record "as a cohesive whole, no lead up, no singles, and no explanation." For Lose Yourself to be a full experience for their listener and for the band not "to be distracted by chart races, or accolades [just] music being presented in a natural way." 

All lofty sentiments but if the music isn't very good it's all bravado, however with Lose Yourself,  Enter Shikari enter their darkest, heaviest and most mature period with this new album, reflecting the very real sense of despair in the world at the moment, it's and album that has a thematic, dare I say, conceptual nature to it, perhaps Rou's stint with Jeff Wayne's War Of The Worlds has influenced him here? 

You need to start at the beginning and cling on right until the end, no picking and choosing tracks as a playlist but listening as complete album. Despite dealing with some pretty heavy topics, ones that Shikari have never been afraid to talk about, such as immigration, the government, desolation, poverty and just the outright futility that is rife through the planet. 

However with this stark realism there's always hope, always optimism, that little spark that things CAN change if YOU are the change. If you're a long time listener of Enter Shikari then you'll know politics and their ideology is at the core of what they do and you'll also know how dexterous their music can be blending electronics, metal, rock, emo and more, going deeper down the progressive rabbit hole here. 

Ambience builds into club ready beats for the title track, Rou's brilliant vocals adding to the anthemic dancy beginnings where the likes of Darude permeates through the chunky riffs. Those increased thematic elements mean the songs all segue into one another, Find Out The Hard Way is a jangly emotional rocker that shouts their ideology from the rooftops.

As the twitching electronics come back on the venomous Dead In The Water while they continue to link the tracks together as hope arrives on the D'n'B dreaminess of demons. I love how dense these songs are, the genres are all over the place, I can't keep my hands clean for instance has the rawness of RATM as it shifts towards the dreamy string driven it's OK, the lyrics on this one are particularly good and important in our current climate. 

Both of these songs are bookended by the two parts of The Flick Of A Switch, more of that 'classic' Enter Shikari approach which makes for an interest 'suite'. Speaking of suites the final three tracks are linked forming the full Spaceship Earth suite, introduced by the euphoric Shipwrecked! Spaceship Earth suite closes the record with a fantastic, cinematic, crescendo full of strings, passion and sheer brilliance, a sound of a band reaching a new nadir in their career with Lose Yourself.

If you think that they're the band with that "clap, clap, clap" song then I'd suggest pressing play on Lose Yourself and re-educating the way you think about Enter Shikari as they're perhaps the most innovative and impressive bands in the last 25 years. 10/10

Metal Church - Dead To Rights (Rat Pak Records) [Rich Piva]

A new Metal Church album. I think we are using the term “Metal Church” loosely here given the majority of the line up on the new record, Dead To Rights, has three members that joined only in 2025 (including Dave Ellefson and another new vocalist, Brian Allen), and besides original member and rhythm guitarist Kurdt Vanderhoof, the most tenured member of the band joined in 2008, far after the classic records that the band with the name above came out. 

So I am not going to compare this to anything to do with the old Metal Church that wrote one of the best metal songs of all time (Badlands) and put out some of the best metal records of the 80s, but we still have the main songwriter in the band who delivered some solid thrash songs for a record in 2026.

I am not sure the songs sound more like Metal Church or the latest incarnation of Overkill, but either way some of these songs rip. The opener, Brainwash Game, is killer. New drummer (new to MC, he has been around) Ken Mary shows how great he is on F.A.F.O and why he is a perfect fit for an old school metal band still ripping it up in 2026. 

Some of my other favourites include Feet To The Fire, which slows the tempo just a bit but still kicks ass, and My Wrath, which gives me the most old school Metal Church vibes on the record. I think the songs are a bit too one note, in that they pretty much all sound very, very similar. I am not sure I could tell the difference between any of them even after three listens. That is not saying they are bad, it is more that the songs all sound very much the same.

There is some good stuff on Dead To Rights, but all the songs sound way too much like the one before it and it does drag a bit because of it, but I love the fact, after all the years and the tragedy, that Metal Church still exists in 2026. Even if only a handful of the songs are memorable and stand out, and even if there is only one member who has been in the band for more than 25% of their existence. 6/10

Cryptworm - Infectious Pathological Waste (Me Saco Un Ojo Records) [Charlie Rogers]

Bristolian putrid gore merchants Cryptworm are back with a third full length offering, this one reeking of putrescence as much as those that came before. Punishing low tuned guitarwork, tectonic bass playing, and rapid style switching punchy drumming, all accompanying Tibor’s sewer burps - this lineup of Cryptworm saw their success from 2023’s Oozing Radioactive Vomition settled into their grooves and sought to replicate with aplomb.

The record is full of writhing, pulsating riffs that spew all over the fretboard, some tightly moving in sync with bass and drums, others left open for the guitar to run sawing tremolo leads while bass and drums hold the space. Not opting for over the top guitar gymnastics, but focusing on solid grooves that hook the listener in and demand your head bob along is what Cryptworm, and indeed much of Putrid Death Metal, opts for, and this record stays true to form. 

Manic up-tempo lines leading into mid paced stompy parts builds excitement before the payoff is delivered with a throbbing call to vibe. Some parts even decay into sludgy, mopes, drawing the corners of your mouth into that stinkface we all crave for - a great example of this is how the track Embedded With Parasitic Larvae feels like it bursts and falls apart from the mid-section running into the ending.

Tonally, it’s what you’d expect from bands of this ilk, with the guitars having a great balanced sound. The palm muted chugging chops just right, and the single note riffs dancing clearly over the rest of the band like a long legged aberration from The Thing. Bass is blended in so most of the time you just hear the bottom frequencies rumbling away under the guitarwork, but when the guitar dies away and we hear passages with just bass there’s a grating overdriven fuzz on the tone that holds it’s own. 

Drums are very clear, the snare especially is quite pingy and sounds fabulous. Jay’s balance of straight beats and manic fills are one of Cryptworm’s strengths and he really does the music justice here keeping the percussion dynamic and interesting. My biggest gripe is that there’s some harsh frequencies in the cymbal wash that cut a little to hard through, and listening at higher volumes can be a little painful when there’s a lot of overhead work. 

Vocals are generally going for sewer monster aesthetic, with giant frontman Tibor having some of the best burps in Britain currently. He varies it up with some choking, almost strangulation sounds on tracks such as Encephalic Feast that are downright stomach churning. Death metal should put you on edge, and pushing the vocal performance this way is certainly one way to do that.

Overall, this is a very strong record from one of the most exciting bands in the British underground right now, and any self respecting death metal fan should make it a priority to give it a spin at least 3 times. I’m looking forward to hurting my neck muscles seeing these tracks played live soon. 8/10

Melechesh - Sentinels Of Shamash (Reigning Pheonix Music) [Mark Young]

Sentinels of Shamash is the new EP from Melechesh, its release acting as a stop gap whilst they are working on their new full length album. The band themselves have noted that they have had a couple of setbacks on their trip but are not giving up. The EP itself has three songs, each one steeped in their own unique way of building things.

Melechesh take no time in going straight for the throat with The Seventh Verdict starting proceedings in grand fashion. Their bio announces them as Sumerian/Mesopotamian Metal, and those touches are evident from the off. There are rapid riff breaks, pummelling drums and a delightful fusion of black metal with their own unique stamp dominating every step. What they have is a strong opener, one that makes the most of this approach which makes sure that it satisfies the core requirements of our favoured music – fast, aggressive and intense. 

Personally, it is a little overlong but that is a personal opinion and one that is more than likely not shared elsewhere. With In Shadows, In Light they push this envelope further. I don’t mind long songs by any means as long as there is a substance behind them. If it’s a long song for the sake of it, then I’ll lose interest. They start it on that front foot again, moving it forward and mixing those traditional approaches in with the black metal. 

There is something to it in how they arrange it, its heavy without feeling bloated and the guitar tone is one that conveys the feeling of speed at every turn. Being honest, they could have trimmed this a little, but that is me. In their defence there is a structure to this, the game is to keep things moving forward at all times. It’s something that you can’t argue with as they don’t take the foot of the gas at any point.

Raptors Of Anzu channels the power cosmic in its opening passages, dropping into lightning fast black metal with an added twist. It’s definitely in keeping with the vibe that everything must be played as fast as we can, bringing a feeling of a train practically leaving the tracks. Its frenetic and for me is what you want to hear. As EP’s go, it’s a strong release that knows what it wants to do and how it’s going to get there. Riffs are front and centre and delivered with speed and skill and of course the drumming is exemplary, and there is very little to complain about. 

Personally, I’d have liked them to be a little more ruthless with the song lengths, but ultimately its their art and their endeavours. There is nothing here that is going to turn off existing fans, and certainly plenty to garner new ones. Its difficult to score because in effect there are no weak songs here from them. So, lets go with an 8/10

Reviews: Hardline, Starbenders, Glorious Bankrobbers, Fighter V (Matt Bladen)

Hardline - Shout (Steamhammer)

Hardline are a band now on their eighth album, though for frontman Johnny Gioeli, Shout is officially the 108th album he's been a part of.

In the current version of the band he's joined by keyboardist/producer Alessandro Del Vecchio, bassist Anna Portalupi, drummer Marco Di Salvia and guitarist Luca Princiotta who joined in 2023. Now Hardline have always been a band that have had a lot to live up to.

Their debut album, Double Eclipse featured the talents for Journey's Neal Schon and Deen Castronovo so they made a mark and established the band they wanted to be very early and while they have never again reached the heights of that record. They have been chugging away since then, their albums II and Danger Zone featuring an eclipse to celebrate the 10th and 20th anniversary of their debut, so it's always been a very significant part of their career.

In 2026 they again want to make music that has a connection to Double Eclipse, Gioeli going as far as saying “This band doesn’t want to reinvent its music." and with Shout they don't reinvent anything, this is an album that puts the retro with the modern.

With gloriously 80's rocking on the strutting Candy Love, Rise Up and It Owns You, while the title track, the emotive Welcome To The Thunder and the heavy Rise Above No Fear are all very contemporary.

There's of course balladry too with a cover of Scorpions' When You Came Into My Life, and Glow which is a song dedicated to the all the dogs Gioeli and Del Vecchio have had in their lives, the band even raise money for dog trust when they're on tour so it's something close to their hearts.

Ultimately Shout is a record of radio-friendly rocking that Hardline are known for and while they may never truly surpass Double Eclipse in terms of impact, they are still producing quality rock n roll for their fanbase and beyond. 8/10

Starbenders - The Beast Goes On (Sumerian Records)

Atlanta rockers Starbenders return with their fourth record of moody, glammy, synthy poppy punky, rock n roll. The Beast Goes On follows their 2023 record Take Back The Night, a record that put them more into the public consciousness but they don't play it safe with The Beast Goes On, writing music that feels right and will be picked up by mass media, not music that is explicitly written for it.

The Beast Goes On features new drummer Qi Wei joining band founders Kimi Shelter (vocals/guitar), Aaron Lecesne (bass) and Kriss Tokaji (lead guitar) for another blast of radio baiting riffs and shout along choruses that are sneered by Kimi over some bouncy riffage, twisty synth phases and a fusion of styles that create a sound that is both sexy but tinged with gothic danger.

Like the twisted cousin of Cheap Trick (Chantilly Boy and 21st Century Digital Boy), with a hint of Deep Purple on To Be Alright, they stick with the modern hybrid thrills of Palaye Royale and The Velveteers on Cold Silver, there's a post punk throb on Tokyo, Saturday borrows from The Cure while Forever Mine has the sexy gothics of Ghost, as Hello Goodbye dreamily shifts into 90's alt rock.

The Starbenders strut back onto the scene with guitars set to stun, beware the beast as it brings rock n roll. 7/10

Glorious Bankrobbers - Intruder (Wild Kingdom)

Swedish sleaze rockers Glorious Bankrobbers are legends in their native country. Their 1989 record Dynamite Sex Doze, became THE record in the Swedish sleaze/action rock scene, influential to bands such as Hardcore Superstar, Mustasch and The Hellacopters.

They broke into America with shows at CBGB'S and on Headbangers Ball. In a familiar story labels screwed them, band members changed and there was a split resulting in inactivity. They did return in 2007 but recently they have more adversity with drummer Oden passing away leading to another lengthy lay off.

However rock n roll never really dies and Glorious Bankrobbers come backed armed and dangerous with new album Intruder their third album since returning in 2023 following that years Back On The Road and 2024's Rock ’n Roll Church.

So GB are back, a meatier sound, veteran instincts and songs that bring sleaze, punk and bluesy rock n roll that will appeal to fans of The Quireboys, The Rolling Stones, AC/DC, Status Quo and The Ramones as they shove their attitude down your throat with rhythm blues on tracks such as the punchy Rabbit Hole and the rollicking Rollin' In Hollywood.

Signed to Wild Kingdom Records, Intruder has the band coming back, firing on all cylinders, rock that's as classic as it gets, inspired by sleaze, punk and proper rock n roll, Intruder will be a welcome guest in your house from these Swedish legends. 8/10

Fighter V - Déja Vu (Frontiers Music Srl)

Swiss 80's rock revivalists Fighter V return with their third album of music inspired by Journey, Survivor and Bon Jovi, imbued with a modern energy.

The title Déja Vu is perfect what they do as you'll feel like you may have time travelled back to those 80's glory days as soon as Raging Heartbeat pumps out of your speakers, you know just as Rocky gets ready to fight the big Russian, that sort of vibe.

Emerging with a debut album in 2019, it was on the follow up that they started to diversify catching their ear of Frontiers Music who picked them up for album three as Fighter V have that mix of nostalgia and modernity that Frontiers are known for.

From the glistening synths that are the lead instrument on Victory and Hold The Time, the clean guitar lines the strutting Stand By Your Side and For All This Time as there's huge vocal harmonies ala Def Leppard on Foolish Heart, the title track and let's face it throughout.

If retro AOR is your thing then Fighter V do it with flair and most importantly proper skill, grab your hairspray and get rocking. 7/10

Reviews: Holosoil, Golgotha, Gout, Resumption (Matt Bladen, Mark Young, Spike & Joe Guatieri)

Holosoil - Look Up EP (InsideOut Music) [Matt Bladen]

Holosoil FKA R3VO were fromers founded in 2019 but with a change of singer, Emelie Sederholm in, Eleonara Barbato out the remaining members of the band Victor Nissim (bass), Jan Kurfürst (guitar) and Altaïr Chagué (drums), thought changing the name and resetting as this new line up was better than continuing.

R3VO had been featured in Metal Hammer, performed at Euroblast Festival and supported Vukovi on tour, so Holosoil will be looking to achieve more under their new banner and the Finnish/German band come armed with a five track EP of inventive, explosive modern prog metal that spans multiple genres and influences.

Drawing comparisons to musical boundary pushers such as Björk, The Mars Volta, Muse and Tool, Look Up is based around the first single and opening track of the same name, about how insular humans are and that sometimes we need to look up, it's got janky, djenty guitar riffs, shimmering synth moments, propulsive analog/electronic drumbeats, off time grooves and vocals that have a lot of Anneke Van Giersbergen about them.

The inspiration of electronic metal comes through on the woozy Cracks, while Animal has a thumping pop metal motion to it, all very modern and very experimental, a track like Freakshow putting the intense vocals against bass grooves, ambient moments and flashes of riffage.

An intense, inventive EP from Holosoil and while the name has changed the musical adventuring continues. 8/10

Golgotha - Hubris (Abstract Emotions) [Mark Young]

Its always nice to be surprised, unless it’s a gas bill attached to an arrow, but generally it’s a positive. Such is the case with Golgotha and their latest release, Hubris. 

Once again, those pesky tags applied here don’t fully paint the picture of the band, and its sound noting it as being melodic doom/death metal. Its all of those, for sure but at the heart is the push/pull between those two singing styles demonstrated so well by Maria J Lladó and Andrew Espinosa. The cleans have that goth tinge, the sort that I grew up on and that was prevalent at metal nights.

It’s the kind that manages to convey so much without resorting to histrionics or unnecessary vocal gymnastics. Its pitched perfectly, so when the harsh vocals are deployed it’s a real shift. They get this rolling on the opening track A Simple Life, and lets not forget about the music behind, without a solid backing these vocals would be for naught. Its heavy in the right areas, melodic in others, as is The Weight Of The Weak where Maria dominates for the most part, but still it doesn’t forget the need for a heavy touch.

It sounds excellent too, the lows are low whilst staying clear, and a key example of this is Broken Toy, with a blackened start, bringing dense guitars into play before they bring Maria in once more. I appreciate that having the clean/harsh styles running through each song may be considered nothing new, but there is always room for bands who can do it well. 

Golgotha is one of these as they know how to arrange the music so it is all aligned. There is a sumptuous lead break here that comes in and flies without being overlong, and if anything could have been longer. As a statement, it’s a very strong one from them and considering that they are able to find new avenues to run down after being in existence since 1992 its no mean feat. 

There are moments of brutality here amongst the doomed beauty; Empty Minds with its ying/yang approach is immensely satisfying, as is Too Late with its lumbering early moments that roll over you. It’s an album that has a lot to say, and yes it uses the dual approach as its base it doesn’t repeat the same trick as it progresses. For fans of the band, and of this style of metal there is a lot to enjoy knowing that these will evolve once they play them live, especially the atmospherics of Blind which is made for the stage.

It’s a consistent affair, achieving a high level of quality early and then staying at that level right through. Its their approach to songcraft that makes the album so worthwhile, even to someone like me who leans into the more aggressive and quick forms of metal. There is a lot to recommend, so it’s a worthy 8/10

Gout – Actual Bastard (Independent) [Spike]

There is a certain type of noise that can only be manufactured in the shadow of a derelict industrial estate, somewhere between a broken intercom and a fistfight. Gout have managed to bottle that exact frequency on their debut EP, Actual Bastard. It’s a five-track jolt of street-level grit that refuses to be polite, trading the high-gloss sheen of the modern circuit for a sound that feels like it was recorded in a space where the ceiling is permanently sweating.

The EP hits the ground running with Inmate, and the intent is clear from the first vibration. This is pugnacious, low-end-heavy noise that feels like it’s been dragged through a hedge. It’s followed by Too Bleak, which lives up to its billing with a rhythmic instability that reminds me of that specific, early 80s industrial-punk friction, think the raw-nerve energy of The Birthday Party mashed into a modern, subterranean weight. It’s unpolished, honest, and possesses a level of "dirt under the fingernails" that makes most current metalcore look like it’s been through a car wash.

The absolute jewel in the crown here is track three: I Am A Beacon Of Health And Wellbeing. Beyond having arguably the best title I’ve seen on a track-list this year, it’s a masterclass in sarcasm-as-art. The vocals are delivered with a dry, caustic vitriol that perfectly punctures the self-help obsession of the modern age. Musically, it’s a slow-building monolith of tension that eventually explodes into a wall of noise.

The final stretch, Junk Sick and Tarmac doubles down on the attrition. Tarmac, in particular, feels like a literal representation of its name: hard, grey, and unforgiving. The production allows the guitars to scrape against each other with a surgical precision that hasn't been sanitized for radio safety. It sounds like a band playing in a room that is far too small for the ambition of the noise, which is exactly where this kind of music thrives.

Gout didn't come here to make friends or offer a "testament to resilience." They came here to document a very specific kind of urban rot, and Actual Bastard is the jagged, essential result. It’s a record that understands that the most vital art often comes from the people who have stopped trying to be liked and just started being loud. This is a reminder that the underground still knows exactly how to leave a mark. 8/10

Resumption - The Respite (Self Released) [Joe Guatieri]

Resumption is a one man Death Doom band made up of Wilhelm Lindh, who is known for being the guitarist in The Gardnerz. Previously he has also been involved in both Allamedah and Tristita, the latter band only broke up fairly recently in 2023. The man has been around the block, consistently putting out releases for years so it seems time for him to open up his solo account, how will he hold out on his own with The Respite.

The album opens with Self Reliance, it starts at a low frequency and puts you into a dark world, full of uncertainty. Scratchy guitars, plodding bass and pingy high hats make me dream up visions of staring up at a high tower in the rain. Everything feels at home being nestled underneath a blanket of Lo-fi production, as Wilhelm’s deep growl rumbles on for eternity.

Going into track three with Worship, it seems very familiar from the get-go. It starts with a call and response pattern that attempts to be evil. After some chugging, the guitars then go for a more hypnotic rhythm but it doesn’t capture what it sets out to do and sounds undercooked as a result. It refuses to let the song breathe and focus, simply by doing too much at once. The pace does pick up a bit at the back half but it doesn’t save the song, for me Worship is Death Doom 101.

Next is Leave It Alone, a track that marks a change of pace for the album, leaning into a more Death Metal style with drums that are so loud, they shout out into the void. The song is frantic throughout, like it’s running away from the unknown but that all comes to a crawl by 2:35 where we are presented with watery refrains. The bass shows it’s still alive, hitting after the guitars sing but then almost immediately after a seconds silence, we are thrown back into the same traffic again. The bulk of the song doesn’t change and that slow build up meant nothing.

Later on we’ve got track seven with Invest In Yourself. This sees a change from old habits as an idea is presented and built upon, sounding complete. The way that all of the instruments move together here has a really good sway to it, it’s like the hero in an action film, walking away from an explosion, it sounds regal. I think that there is a strong Crowbar influence here, it just cuts through you and this is complete with a Death Metal freak out by the end of the track, spider riffs for days! Definitely my favourite song on the record.

Despite Wilhelm Lindh’s evident prowess, this release remains uneventful. It might call out to classic Doom and Death acts, with a dash of New Orleans Sludge but it doesn’t act upon instinct, neither inventing something new. It commits a sin and that is doing something that most metal fans have heard before.

The whole experience of Resumption's The Respite is like stumbling on an apparent old metal demo on YouTube from the late eighties, or early Nineties that was recently uploaded. I am not impressed by this record. 4/10

Review: Crippled Black Phoenix - Sceaduhelm (Matt Bladen)

Crippled Black Phoenix - Sceaduhelm (Season Of Mist)



Another hour and a bit languishing in the "Macabre Rock" of Crippled Black Phoenix, a band who when we last met were reactivating old glories, offering not a celebration but a cementation that they are still here and still alive... just. 

It's that lingering just that inspires their latest creation Sceaduhelm, here Justin Greaves and his cohorts don't seek to bring grandeur and flash but rather look inward at the steady collapse of a human being as time progresses.

It's a theme of exhaustion, of unease, a collected set of works from a band who are not ok but can't do much else about it rather than just survive and live one day at a time. Sceaduhelm is their most emotional record in a long time.

While more recent works were filled with rage and outward hostility, here it's introspection and personal doubt that drives the overall narrative of the record, which was recorded sporadically, deliberately so, to make sure that the songs Greaves has written could remain fluid and adaptable until the time they were recorded with whichever vocalist was the best fit. 

As with all CBP records, it's a collaborative and while Greaves writes the music and plays a lot of the instruments, he is joined by co-conspirators and long time partners to flesh out his initial demos into the multi-faceted tracks you hear on the record, but there's very little grandeur this time around, it's an album of rawness and sparsity that makes for uneasy but compelling listening.

With songs that address topics like burnout, grief, surveillance, institutional violence, and damaged intimacy, there's lots to be scared of as time here is the enemy, and while they may have looked back momentarily on their last releases, they creep ever forward as individuals and as a unit, always looking to define CBP and their music as an exercise in persistence over anything else. 

In the liner notes there's a thank you to Converge's Kurt Ballou and with Sceaduhelm, CBP carry a flame for the US force of nature, particularly with that raw bite of the production. 

Beginning with One Man Wall Of Death (which is two men fewer than my last wall of death attempt), the record opens with a slow build, clean guitars set to samples for obscurity before the bass crashes in to make it a deafening start that fades off into some fret slides. 

Ravenettes locks into steady drumbeat from Greaves locked down by Wes Wasley's bass, who is the only other person to appear on every track, the guitars shimmer and glimmer with some post punk influence, Belinda Kordic's sneering vocals an ideal kick in the face to begin Sceaduhelm properly. 

The woozy Things Start To Fall Apart is the perfect debut for American artist/doom-punk Justin Storms to make his mark on the band, brings a psychedelic, blissed out quality to this post rock performance piece that thrives on conflicting atmospheres. 

For Ryan Patterson's first mark on the album, No Epitaph, we have the biggest 'band' yet Rene Misje and Andy Taylor joining for guitar as Iver Sandøy gives extra percussion with melotron and synths brought in to join the dulcet baritone of Patterson for an apocalyptic Western soundtrack. 

It wouldn't be a CBP album if there's wasn't a little borrowed from Pink Floyd and No Epitaph does so liberally in the middle, like the bastard son of Morricone and Waters as it segues into frantic The Precipice. 

Emotion is wrought here with shouts of "one step away from the void" as The Void brings more samples over instrumental dissonance, Lucy Marshall contributing the spectral synths, hanging around for off keel dirge of Hollows End, where you definitely understand that these songs were written by Greaves specifically to fit one of the trio of vocalists.

So much that it would sound odd if one of the others had sung it. The grungy Hollows End is followed by the grumbling, deep space, trip hop of Dropout where a Kaosolator is employed to make it properly fuzzy. 

I talked about Sceaduhelm not being as incendiary or grandiose, but that for me makes it a more interesting album, you can feel the humanity, in it, the passing of every second filled with pain and humility. Even when they get rocking, with tracks such as the gothy post punk of Vampire Grave, it's never over the top. 

Complexly arranged, Robin Tow adding percussion this time, but never too stately, rather grounded and fragile. Storms slithers back on Colder And Colder another slice of alt-Americana or maybe anti-Americana. Under The Eye, plays at being a ballad, although more of a Nick Cave murder ballad, instilling a sense of disquiet and distrust about our constant surveillance and how that can be exploited. 

The final two tracks on the record are two of the most potent. Tired To The Bone is one that resonates with me, right at the moment, it even moves at the same pace I currently do, as Belinda croons it's a song that "weighs heavy".

A dreamy apparition of a spectral load that covers your whole body, leading it's way into 8 and half minute closer Beautiful Destroyer which is the first proper duet. Though more of a confliction with Patterson and Kordic sharing the vocals on a brooding, bold, final moment, that paints a vivid picture of times ravages.

In addition to the 12 originals there's three covers on the special editions as they put their spin on A-Ha's Manhatten Skyline, False Prophet's Invisible People and That’s When I Reach For My Revolver from the film Mission Of Burma.

Maybe looking back to their first albums was a good thing as Sceaduhelm, feels like CBP pre Crafty Ape, an experimental collective of musicians creating personal, introspective music. Pink Floyd once mused "Hanging on in quiet desperation is the English way" and while CBP have always been a multinational outfit, and this record is not always quiet. 

Sceaduhelm dwells in that same sense of suffering in silence, that things may not always get better and if they do it won't be a change in itself just and acknowledgement of a change that is needed. 

I'm getting older, you are too, I've definitely been feeling it recently and god it's depressing, let Crippled Black Phoenix's Sceaduhelm be the soundtrack. 10/10

Reviews: Immolation, Archspire, Dying Realm, Hamarr (Matt Bladen)

Immolation - Descent (Nuclear Blast)

When death metal was in it's infancy there was a particularly fertile scene in New York City with bands such as Suffocation, Incantation and Immolation producing what would become genre classic albums and forging long careers destroying stages around the world.

37 years later and Immolation is still an absolute steamroller of a band, flattening everything in their path with ugly, ferocious death that pummels and punishes, occasionally giving you a moment of atmosphere, using orchestral moments or slow burns, to clear your head before the death machine fires up again.

Descent is their 12th studio album and it's wrapped up in all the dogma the gnostic teachings that the material world is actually hell and only with learning divine knowledge will humans be able to break free of it. So it has a sense of hopelessness about it that is easily captured by the crushing death charge of Immolation.

They're a band who have always moved in more cinematic/philosophical realms than their contemporaries, a testament to their stoic resiliance, they've never split, never aimed at the mainstream, never really had too many members change (a few drummers).

Mostly it's been Robert Vigna (lead guitar) and Ross Dolan (bass/vocals), driving Immolation forward with drummer Steve Shalaty on board since 2003 and guitarist Alex Bouks having been locking down the rhythm for a decade.

The disillusionment of the subject matter is brought through dynamic riffage, constantly switching pace, the melodic strains at the beginning of These Vengeful Winds soon destroyed by technical brutality, as they shift into full bore death on The Ephemeral Curse.

Thankfully as I've said they know when to slow down the pace a little drawing from doom on tracks such as Gods Last Breath and the rolling dissonance of Attrition, while the interlude Banished is a proper stop and movement to something else. These all help control the flow of the record, most still heavy and mechanical but it means that it's not just one blast fest from beginning to end.

Playing with dynamics and taking an intelligent approach to death metal has always been the way Immolation do things. So if you're new here and you love bands like Gorguts, Ulcerate and even Gojira, they all owe a debt to Immolation. 9/10

Archspire - Too Fast Too Die (Self Released)

There's a couple of ways you can describe Canadian band Archspire, they have dubbed themselves "the worlds fastest band", you can call them tech death but I suppose the most accurate would be absolutely f*cking ridiculous.

Their music is inhuman, right at the fringe of what extreme metal can be, virtuosity bleeding through every instrument with the most intense blast you'll ever hear, guitar solos and melodies that would scare Yngwie Malmsteen, bass playing that would require fingers made of steel and fry screams from Oliver Rae Aleron, that are often totally unclassifiable as sounds that can be made by the human throat.

This is their first album released independently, choosing to take the route of Kickstarter rather than a label due to royalties and cut labels make on bands records. It's also their debut with Spencer Moore behind the kit after winning a contest to be their drummer, though I'd demand a recount as he's clearly not a real person but some kind of percussion robot with sticks for hands and a jackhammer for feet.

His drumming is immense even when the riffs do slow into melodic chugs on Carrion Ladder, he's still going full pelt. However when every member of a band is playing at their highest level you need to be good, Dean Lamb (guitar), Tobi Morelli (guitar) and Jared Smith (bass) all fighting over who gets to play lead, shifting between technical carnage, classical acoustics and piano driven atmospheres.

Archspire are far Too Fast Too Die on album five, it's D.I.Y tech metal that will cause an aneurysm if you think about the complexity too much, exactly as it should be. 9/10

Dying Realm - Siege The Walls (Dry Cough Record/Cavernous Records)

Siege The Walls is the debut EP from Brummie death crew Dying Realm. Comprise of ex members of Iron Tomb, Bound By Blood and Nerve Agent, it's a four tracker that's an ode to the British death metal scene, which was so important to West Midlands back in the early 90's.

The ghost of Bolt Thrower coming on the mechanical chug of Grave Of Gods, while there's also inspiration from Carcass, Benediction, placing them firmly in the same group as Celestial Sanctuary and Cryptworm, as a new band playing an old school sound.

Villainous Incantations brings some harsher tones, inviting evil with pummelling blast beats and rapid grooving riffs. While the hardcore/grindcore influence comes with Mace Buried Deep, smashing you in the face with tremolo guitars and a lot of pit inciting.

Siege The Walls has all the UKDM/OSDM best hits across four tracks and as Abundant Mutilation keeps your head banging until it fades out. Dying Realm tell you exactly what they are with their debut EP, not big not clever but damn good death metal. 7/10

Hamarr - Necrotic Rituals (Iron Fortress Records)

It's called Necrotic Rituals, it's on Iron Fortress Records, it's got to be death metal right? Correct young grasshopper, Necrotic Rituals is the debut full length from Indianapolis duo Hamarr and it's going to be a must listen for those who love the buzzsaw riffs and occult darkness Entombed and Dismember.

This is raw, gnarly, d-beat driven death that has punk and grindcore moments of nastiness strewn through it. Languishing in the mid-pace crush with tracks such as Boneless II, Headstone, Necro and Wither, there's pinched harmonics, punishing hammer blow grooves and throat shredding shouts as they counteract these grinding marches with blasting on songs such as Mausoleum, Lich and Catacomb.

Chris Issac (vocals/guitar) and Nick Stephens (drums) bring the vulgar death display, as Caleb Lewis manipulates it to sound deafening (and gives it the low end). Joining them for extra clout are Alex Cloutier of Primal Horde and Kurtis Hall of 1 Body 6 Graves, resulting in debut album of HM-2 savagery. 7/10

Reviews: Crimson Glory, The Cosmic Dead, The Paradox Twin, Valyear (Matt Bladen)

Crimson Glory - Chasing The Hydra (BraveWords Records)

Whenever we're comparing a band to the US style of power/prog metal then we'll often refer to Queensyche, Fates Warning, Dream Theater and Crimson Glory. 

Having formed in 1983 they are seminal and influential band in the history of American progressive metal. As with many bands from this time there been gaps between records, the band pretty much ceasing activity on 2013 but with Chasing The Hydra, Crimson Glory return with their first new music in 26 years.

The band still features 3/5 of their classic line up with Jeff Lords (bass), Ben Jackson (rhythm guitar) and Dana Burnell (drums) still keeping the Crimson Glory flag flying with the off time grooves of Redden The Sun and Indelible Ashes, displaying that they've maintained their heaviness after all these years. However they aren't scared to play around as Beyond The Unknown puts Faith No More synths/bass drops with 80's street metal

Now while their last studio album features Wade Black (Leatherwolf) and they had Todd La Torre as touring singer since then, really it's original vocalist Midnight, who passed away in 2009, that any new vocalists will be compared too and Travis Wills is the perfect fit with that piercing histrionic high pitch that he shared with Midnight and Geoff Tate, adding the theatricality to Angel In My Nightmares and emotion to Broken Together.

Joining him as part new boys is lead guitarist Mark "Borgy" Borgmeyer who plays with that flair and fire you'd want from them on Armor Against Fate and the thrashy closer Triskaideka. With renewed energy but moulded by the same old hands, Chasing The Hydra, sounds like they haven't been away. Crimson Glory are legends, inspirations and still on top of their game! 9/10

The Cosmic Dead - Beyond The Beyond (Heavy Psych Sounds)

Prepare to fall into a trance with the 10th studio record from Glasgow band The Cosmic Dead. Like a musical Derren Brown, you will lose all notion of self and time when you press play as the band pull you into their black hole of psychedelic space rock to explore the furthest reaches of the universe.

Recommended when you have a slipped disc and are on strong pain killers like have been for the last few weeks, Beyond The Beyond, features four gargantuan slabs of riffage that gradually unfurls into mind bending brilliance. The urgency of their previous album is all but gone, replaced by slithering Middles Eastern rhythms that wouldn't be out of place in the Dune film series.

The wah is all over this record, every member playing it to create a cacophony of feedback and insistent riffage, it's especially prominent on the persistent blissed out grooves coming from Omar Aborida who handles bass and guitar, connecting both as the main rhythm muscle of this cosmic engine. Driven ever forward into a starless sky by the powerhouse percussion of Tommy Duffin.

Locked in and setting a course for uncharted territory they are the rudder of this psychedelic spaceship creating the foundations for Luigi Pasquini's swirling synth vortexes, making your head spin with their layers of electronic wonder as they make way for the lost ancient melodies of Calum Calderwood's fiddle, a superb addition to this huge noise cutting through with that tone that is often only heard in orchestras and folk bands.

Beyond The Beyond is a cacophonous record from a band who have no use for vocals, you're not supposed to understand it, you're supposed to feel it, a primal, bottom of your guts kind of sound that speaks to you like the earliest forms of tribal noise making. The Cosmic Dead go Beyond The Beyond with album 10, hitch a ride on their cosmic journey! 9/10

The Paradox Twin - A Romance Of Many Directions (White Star Records)

There's pretty decent odds that if an album comes via White Star Records, the label set up bud John Mitchell and Chris Hillman, I'll probably like it. Most of the time it'll be a band who languish in the modern emotive prog of the bands that Mitchell himself has been a part of, the kind where pop and prog mix for anthemic emotional choruses over technically minded melodic rocking.

The Paradox Twin have been on the label since it was founded and have released two albums previously to this gaining critical and fan acclaim. Their music is always conceptual, spring from the creative mind of Danny Sorrell (writer/vocals/guitars/keys) who approaches the progressive sound with darker style than most, inspired by 80's goth bands on Operator, as much as 70's prog dinosaurs with If Else.

There's a dark romance element to this album for sure, as the concept blurs the lines between real and digital worlds, strongly focussed on themes of isolation and the power of digital immersion, thus the synthwave moments on Null The System and My Main Function, but it's a record that comes from a very real place for Sorrell who has fought a lot of battles in the making of this record, channelling them into the most introspective album yet.

Joining Danny here are Graham Brown on drums and Sarah Bayley adding atmospheric co-lead vocals to counterpoint and collide, swelling out the cinematic elements of the band very well with John Mitchell's mix and master giving everything life while his bass playing locks the rhythms down on the heavier end of things such as Pixel Shader, though he can't resist a cheeky guitar solo on the final track.

A Romance Of Many Directions is yet another concept record from The Paradox Twin, a band who understand what a concept piece is and crates music unafraid of genre constraints to match the story they're trying to tell. Another hit for White Star Records. 9/10

Valyear - An Invitation To Chaos (SelfMadeRecords LLC)

Formed by Toronto based vocalist Chad Valyear, Valyear like many of the best alt metal bands take their name from the singer but are a fully fledged band featuring Geoff Wilson (guitars), Joe Petralia (bass), and Mane Rebeiro (drums) along with Chad.

So yeah I mentioned alt metal there and man, if you love Alice In Chains fused with some Faith No More, or Stone Temple Pilots joined by Godsmack then you'll want to accept this Invitation To Chaos, however be warned that Valyear sound an awful lot like these bands, mirroring the swagger. The riffs and the vocals phrasings at every moment possible, so if you have no time for that alt-metal/grunge sound you won't get much out of this second album.

Now as the band are based around their singer, it's his band basically, but I'm not the biggest fan of his voice if I'm honest, more so when he shouts, the sneering lows are decent, add to this that the riffs are just a little bit basic and don't do much for me either, Valyear are band I may not be returning too.

However like I said not much chance of losing the guy who formed the band so this is definitely my problem, so I suggest you give it a go if it sounds like your thing. 5/10

Reviews: Robben Ford, Anneke Van Giersbergen, Timeless Rage, Growth (Matt Bladen)

Robben Ford - Two Shades Of Blue (Provogue Records)

Down into the blues now with Robben Ford, the 74 year old veteran bluesman still delivering the goods on what I think is is thirteenth solo album, who who knows as he's been a sideman for some of the best, in multiple bands peeling off those sophisticated guitar licks with ease.

From playing with Jazzman Jimmy Witherspoon, folks songstress Joni Mitchell, the mighty Bonnie Raitt, the man himself Miles Davis and even a damn Beatle in George Harrison. He's five time Grammy nominated, constantly in flux, constantly hungry for something new and here he comes again with an eclectic new record.

Never wanting to repeat anything before, Two Shades Of Blue is an that spans the traditional funky blues on Make My Own Weather, some brass fuelled slickness on Black Night, while The Light Fandango and The Fire Flute, show off his six string skills, while a ballad like the title track is a tribute to his songwriting.

Ford's move to London giving him the idea to make an album that's a tribute to the legendary player Jeff Beck and it seems that Ford is very much channelling Beck on The Fire Flute especially, though there's also a cover of Jealous Guy from another UK music icon John Lennon.

With about half of the record being instrumental you get a glimpse of Ford's vocals but mostly it his guitar skills and the virtuosity of his band Ianto Thomas on drums, Jonny Henderson on keys, Robin Mullarkey on bass and a brass section of Paul Booth (saxophone), Ryan Quigley (trumpet) and Trevor Mires (trombone).

On their instrumentals there's guests in the shape of Rollling Stones bassist, Darryl Jones, keyboardist Larry Goldings and drummer Gary Husband, these collection of players bolstering just how good this record is, and how diverse and talented the pool of London UK musicians is.

After a 67 year career you may think an artist like Robben Ford may rest on his laurels, but with Two Shades Of Blue he's inspired by a whole country and a legendary artist to bring some of his best work. 9/10

Anneke Van Giersbergen - La Mort (Self Released)

The second part of Anneke Van Giersbergen's trilogy of EP's La Mort, which translates to 'the death' is another beautifully, introspective offering which follows the overall concept of love, loss, and grief.

The EP's are inspired by the passing of her parents within two months of each other, so these like the ones on La Vie some of her most personal songs and while not every song is about death, the atmospheric closing number Sail Towards The Sun, is about a boat her father built and how those journeys still hold a strong memory as part of the life of her father after his passing.

It's a beautiful closing piece but not a solitary one as Van Giersbergen's vocals are some of the most wonderful in the rock spectrum, they carry weight and fragility behind them, very like Dolores O'Riordan in terms of delivery and power, she's adaptable to any sort of genre, as anyone who has followed her career will know.

On La Mort you get a mixture of styles with Anneke and her large live band, which features strings and horns, playing everything very well indeed. Be it the reverb drenched guitars of Fade In Fade Out, the throbbing 808 drumbeat of Blondie-like Handle Me With Care, the punky, funky, groove of Red Sky.

With The Gathering reunion dates on the way, the third part maybe a bit more of a wait but with La Mort and La Vie before it, there's enough beauty and brilliance here to keep you excited for part three, if you can control your The Gathering fandom that is! 8/10

Timeless Rage - My Kingdom Come (Metalalpolis Records)

My Kingdom Come is the second record from German symphonic power metal band Timeless Rage. Their album Untold was reviewed here well but since then they have changed both their frontman and their bassist, but has this changed the band?

Nope not really, if anything it's made this second album have a much more theatrical edge to it. Good thing too as My Kingdom Come is a concept album where the band can really flex their creative muscles. Whether that's power metal, symphonic metal, melodic metal and any manner of gothic/mystical tones to it.

Be it when they draw inspiration from the likes of Kamelot and Myrath on the dramatic A Vampire's Legacy but also Helloween and Stratovarius as dramatic symphonic elements of Conquistadors merge with speedy neo-classical ones on The Devil's Masquerade.

The concept is driven by power, freedom, love, rebellion and more, the six piece the dual guitars switch between riffs and solos, blending with the keys which bring the symphonic moments as the rhythm section switch from galloping power metal on The Enemy Is You and thrashier We All Shall Fall.

My Kingdom Come is a glorious follow up to Untold, it's a more audacious, heroic offering than their debut from Timeless Rage. 8/10

Growth - Under The Under (Wild Thing Records)

Started in 2017 as a way for brothers Tristan (guitar/bass/artwork) and Nelson Barnes (drums) with vocalist LF, to explore trauma, mental illness and grief. The music they create is not just catharsis for them but to highlight the journey towards recovery to anyone who has felt the same, drawing it into the cold light of day without any trappings or sugar-coating. They were joined by Nick Rackham (bass) and Ben Boyle (guitar), their debut album was released in the height of the pandemic.

Six years later they unleash the second part of their trilogy Under The Under a brutal six tracker that bring about 50 minutes of technical death metal which brings the Avant Garde tendencies and crush of bands like Ulcerate and Gorguts. That start-stop battery begins on Remember Me As Fire, the technical death metal coming with a sledgehammer fist before it shifts tones with the title track, a nine minute movement though different styles of extremity as the massive grooves go into clean vocal doom at the end.

Under The Under is an album that continues where their debut left off, crawling up from rock bottom, to try and work out whether it's self destruction or self repair that is the answer to dealing with grief, every moment of hurt and and anguish comes through Slings That Shatter and Pain Is Never Far Away as they both undulate with shifting heaviness and thick extreme grooves.

Part two of this trilogy of albums has had a long but deliberate gestation, however it's now out in the world and ready to take you through a the immensity of their pain. 7/10

Reviews: Tedeschi Trucks Band, Nervosa, Void Of Light, Mallavora (Matt Bladen)

Tedeschi Trucks Band - Future Soul (Fantasy Records)

After their long awaited tribute concert to Leon Russell's Mad Dogs And Englishmen, one of Americana's foremost live acts Tedeschi Trucks Band return with their sixth studio album of original material, Future Soul.

The Grammy winning duo of Susan Tedeschi (vocals/guitar), her husband Derek Trucks (guitar) and their extensive band, have been releasing and performing music together as one entity since 2010, after being solo artists and band members before that, Derek in particular spent time in The Allman Brothers and lots of that collaborative Southern brilliance can be heard across every TTB album.

With Future Soul the eyes are fixed to the future but with one foot still in the melting pot of inspiration that is blues, soul, funk and the musical traditions of the USA, the writing team of Tedeschi, Trucks Mike Mattison (guitar/vocals), Gabe Dixon (keys/vocals), and Tyler Greenwell (drums/percussion) leading to the widest set of musical influences to date.

As they brush their canvas with punk rock, straight country and old school rock n roll, all delivered with Susan's impressive and honest vocals. However these new sounds come on a more focussed affair after their more conceptual 2022 record, Future Soul is a bit more laser guided and direct, as they run through the this album in 42 minutes.

Produced with modern embellishments by producer Mike Elizondo as Trucks co-produces to keep the analogue feel, executing his trademark guitar skills with pure skill, while doing some things that you may not have heard. Future Soul is Tedeschi Trucks Band lurching into the future without forgetting the past. 8/10

Nervosa - Slave Machine (Napalm Records)

Extreme thrashers Nervosa seem to get nastier with every album. Each release moves them closer to the megastars of the genre, doing so in their own unflinching, uncompromising way.

With founding member Prika Amaral now established as the vocalist of the band, having taken the role on Jailbreak, with Slave Machine she broadens her vocal abilities on tracks such as 30 Seconds and Crawling For Your Pride, adding cleans to her snarling growls to heightened the melodic and atmospheric moments of this record.

Amaral is of course part of the guitar duo along with Helena Kotina, the duo creating these torrents of molten metal where modern battery is joined by old school technicality. Whether they bleed into one another or counterpoint each other, the riffs are sharp and explode from the first moments of Impending Doom until the closing Speak In Fire.

The rhythm section coming with renewed power as Michaela Naydenova returns to the drumstool for plenty of blasts and bludgeoning, driving the ferocity of the while the bass is now shared between Hel Pyre and Emmelie Herwegh both locking down the speed and groove of these 10 killer cuts.

Slave Machine is a record that exudes confidence, the Devin Townsend-like moments on the title track, the thrashing Hate, the explosive Beast Of Burden or the hanging grooves of You Are Not A Hero and prog from The New Empire, all are the songs of a band who have secured their place at thrash's top table. 8/10

Void Of Light - Asymmetries (Ripcord Records)

For fans of: Cult of Luna, Isis, Neurosis, The Ocean etc etc. I think you can get a decent idea what Asymmetries the debut album from Glasgow six piece Void Of Light will sound like.

Although perhaps don't get too complacent as the bands I've name here do have a habit of shaking up the sound they are 'known for' with all of the experimentation that comes from the post-metal soundsphere, something which Void Of Light do with Asymmetries, taking from the influences but working in their own sound too, such as the grooving bass driven beginnings of Still The Night Skies.

Having released two EP's before this and honed their approach on stage (ArcTanGent is calling), they are a band who play with the dynamics the way all great post metal acts do. Delicate fragility of ambient structures swoop into massive cathartic, distorted heaviness, both sides unified by intensity but made different by volume.

Beginning with the immediacy of The Passing Hours, the album begins it's look at perspective, reflection and internal conflict, a journey through past trauma and future acceptance, just the kind of esoteric, introspective themes you want from post metal band with those influences. It's with this opening number, one of five, that Void Of Light's trio of guitar players prove their worth as layers of leads and melodies are built towards the end of the track when as the blast beats increase the tempo to a breathless conclusion.

With Ends though they manage display the other side of their skill with discordant riffs and those pained screams, as the album closes with the glistening chug of Mirrorings, a cinematic climax to this impressive debut album from Void Of Light, where the clean vocals work brilliantly to really capture the emotional release of this final number. While it may only be five tracks long, Asymmetries is a debut album that collects a huge body of music together, from the trenches of post-metal, Void Of Light shine like a beacon through the massive body of acts labelled 'ones to watch' with an impressive album one. 8/10

Mallavora - What If Better Never Comes? (Church Road Records)

Mallavora are a band with a message, seen by many to be one of the most exciting new bands doing the rounds they also strike me as one of the most important too.

Vocalist Jessica Douek not only has a mesmerising vocal range that encompasses growls, shrieks, screams, wails and almost operatic delivery as well. She and guitarist Larry Sobieraj both use their music as a therapy to do deal with chronic illness/disability they both suffer with and in Jessica's case vocally campaign about. They are a band with a moral fibre that's hard to maintain in the music world, only playing venues that offer accessibility for them and their audience as they create spaces for anyone who resonates with the music, the ideology or anything else Mallavora stand for.

Since arriving on the scene in 2020 they have been resolute in their goals and have achieved big things, but with their debut What If Better Never Comes? they have produced their manifesto for change, or at least their excuse to rage. A 'conceptual exploration of sickness - personal and societal', there's a a huge mass of emotions on this record, a catharsis for the band or anyone that identified with their struggles as they try to negotiate whether things do get better? Or will they be forever on the outside of what is considered "normality" (overrated in my opinion).

With Jessica's incredible vocals and Larry's incentive riffs, bassist Ellis James and drummer Sam Brownlow, round out this gritty alt rock quartet who play anthemic heavy music that includes R&B, soul and Jessica's Jewish-Middle Eastern ancestry in the mixture of wonderful noises that come on What If Better Never Comes? Mallavora's debut record is a very strong introduction for anyone who has not listened or seen them before. Genre spanning alt metal driven by frustration and the need for change. 8/10