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

Solence, Dream State & Written By Wolves, The Fleece, Bristol, 28.04.26



I popped over the bridge tonight to catch Swedish metal band Solence on their Angels Calling UK tour as it rolled into Bristol. With support from Wales’ own Dream State and New Zealand rockers Written by Wolves, the weather was good and the queue was already stretching around the building—always a promising sign. Let’s get inside and see how it all went down.

First up were Written By Wolves (7). I’d never seen or even heard of this band before, but that definitely won’t be the case going forward. The venue wasn’t at full capacity yet, but the crowd that had arrived gave them a warm welcome as they launched straight into their set. Right away, I was struck by a sound that was pure fun—groovy, energetic, and infectious.

There’s a clear nu-metal influence, especially in the big, singalong choruses, but the band bring a lot more depth than that. Expect big rock riffs, heavy breakdowns, and plenty of variety. Vocalist Michael Murphy shows off an impressive range, shifting effortlessly between powerful screams and clean vocals that sit perfectly in the mix. Between songs, he shares how grateful they are to be playing their first-ever UK show: “We’ve been a band for 14 years—this proves hard work pays off.” The crowd responds with loud appreciation.

A standout track was Genius from their 2025 album The Archives—a song that’s almost impossible not to move to. It’s packed with catchy hooks and gives off hints of Fall Out Boy in the chorus. There’s something special about seeing a band for the first time live without any expectations, and Written by Wolves absolutely delivered. A fantastic way to kick off the night.

After a short break, it was time for Dream State (7). This was my second time seeing them—the first being on a massive stage at Cardiff Castle—and I’d been keen to see how their sound translated to a smaller, more intimate venue. I’m happy to say it worked just as well, if not better.

From the opening song, the pit was alive. Dream State wasted no time getting the crowd moving. Jessie Powell’s vocals are a highlight once again, blending aggression and melody seamlessly. Even after revealing mid-set that she’s battling flu, there’s no drop in energy—she powers through impressively, and the band match her intensity throughout.

Still Dreaming, from their 2024 album of the same name, was a standout moment. It perfectly captures what the band are about: chunky riffs, atmospheric melodies, crushing screams, and beats that hit hard enough to keep the pit going strong. Dream State are a tight, talented group who clearly love what they do, and it shows in every second of their performance.

After the sweat and chaos of that set, a bit of fresh air was needed. As everyone caught their breath, the atmosphere shifted—lights dimmed, and the crowd belted out Dancing Queen at full volume before Solence (8) took the stage to huge cheers.

They kicked things off with Angels Calling and immediately followed it with Good Fkin Music, setting the tone with relentless energy. The crowd responded in kind, with pits opening up across the floor. The band’s chemistry is obvious—they’re clearly having a great time on stage. Guitarist David Strääf frequently interacts with the front row, fist-bumping fans between riffs, while vocalist Markus Videsäter keeps the energy high and thanks the crowd for bringing it all night.

There were plenty of standout moments. Death Do Us Part delivered a powerful mid-section that sent chills through the room, while “Heaven”—a track I’ve had on repeat lately—was even better live, packed with energy and passion. The crowd clearly agreed, singing along loudly.

The set also featured a solid cover of Imagine Dragons’ Warriors, before wrapping up with Animal In Me. The encore, Who You Gonna Call (Solence), sent everyone home buzzing. After a band photo, hugs, and fist bumps, the night closed out with ABBA’s Mamma Mia playing over the speakers—an oddly perfect ending.

Solence proved exactly why they’re gaining momentum: high energy, catchy songs, and a performance that guarantees a good time. 

A View From The Back Of The Room: Tyketto (Debby Myatt & Tony Gaskin)

Tyketto, Warrior Soul & Collateral, KK’s Steel Mill, Wolverhampton, 25.04.26



For the second night on the bounce we're at KK's in Wolverhampton and tonight sees a packed main room show for US melodic rock legends Tyketto as they finish off their tour promoting their latest album “Closer to the Sun”, their first full studio album in ten years and it sees the bands return to form with their trademark melodic heavy rock.

It was a triple header tonight with three very different bands all bringing their own twist on classic rock and first up were the young guns, Collateral (9). This young outfit have been making waves on the British rock scene for a few years now and never fail to put on a high octane show. 

Front man Angelo Tristan is a natural, he makes use of every inch of the big stage here at KK’s, barely stopping for a breath. It’s a short, but polished set that includes the tracks Midnight Queen, Merry Go Round, and the highlight for me, the closing track Big Shot.

Tonight's show solidified their place at the forefront of the new wave of classic rock in the UK at the moment and certainly won a lot of new fans.

From young guns to The Maverick, and the enigma that is Kory Clarke. No spit or polish here, it’s all punk infused rawness and spontaneity when Warrior Soul (9) hit town!

Clarke is the epitome of a R ‘n’ R frontman, resplendent in his gold sequined jacket and trousers, easily outshining everyone tonight! If you mashed up Mick Jagger, John Lydon and Kurt Cobain, then out would pop Kory Clarke. One minute bouncing, the next a glare and a sneer, or you might get a look of melancholy, he does it all and the songs are equally as schizophrenic.

Opening up with a cover of the Joy Division dystopian post punk classic Interzone to be followed by the balls to the wall sleaze bomb Back On The Lash. It was a swift one two that had the crowd reeling and Clarke knew it as he blitzkrieged his way through the set. A voice that speaks of decades of cigarettes and alcohol that perfectly suits songs like Love Destruction and Losers.

They close out with Danny Vaughn joining them on stage for Wasteland to diametrically opposite singers but it didn’t matter, it was utterly brilliant and a great way to end a manic and chaotic set.

Nearly 40 years ago, some friends started out, as many did, dreaming of rock stardom. Tyketto (10) was born and 1991 saw the release of their debut album (seriously one of the best debut rock albums ever) Don’t Come Easy, and 35 years since that release they receive an award on stage to celebrate them reaching No.1 in the UK Rock Charts with their latest release, Closer To The Sun, the line-up may have changed over the years, the usual ups and downs, but the music and front man Danny Vaughn remain as slick as ever.

They open up with the huge anthem Rescue Me which gets the packed room singing from the get go, and they immediately follow that up with the massive hit Wings which gets a huge response from the crowd. Tyketto were back and in great form.

The set continued with tracks from their nearly 4 decades of material, a career that Vaughn is thankful for, and thankful for the support from the loyal fans. The UK has pretty much been their second home and always get great crowds, so they respond with a flawless set that included big hitters like Burning Down Inside, Seasons and Standing Alone, plus the equally massive songs of the new album Higher Than High, We Rise and the powerfully emotional The Brave, a song that Vaughn dedicates to all the NHS workers, the emergency workers, the care workers.

The band leave the stage after that song, but instead of us waiting for the inevitable encore, Planet Rock DJ Ian Danter runs on stage and calls the band back to surprise them with their award for the No.1 album, such a great moment, and of course they then go straight into the classic Forever Young, a sentiment that we all try to adhere to, but Danny Vaughn seems to be doing it better than most.

Tonight we had three very different bands, but it was a night of three very different front men, each unique. Tristan is young and energetic, a great future ahead. Clarke, cynical, cheeky and road worn, but still fighting, and Vaughn, still loving every moment and still capable of banging out those tunes.

Another great night of live music at the wonderful KK’s Steel Mill!

Reviews: Yoth Iria, Battleroar, From The Blackness, Fullmoon Cult (Matt Bladen)

Yoth Iria - Gone With The Devil (Metal Blade Records)

Yoth Iria embrace their heritage more than ever with their new album, with extensive use of traditional Greek instruments such as clarinet on the classic metal anthem Dare To Rebel and fiddle on Give 'Em My Beautiful Hell, sitting beneath the blasts of Satanic yet melodic black metal. There's also Greek language chants on The Blind Eye Of Antichrist, making for a cinematic third album from this rapidly rising Hellenic Black metal act formed by legendary bass player Jim Mutilator.

Combining the approaches from their previous two albums, they also look to add more density to their sound with these traditional soundscapes such as ancient instruments and chants, used to counter their often Christian message and take things back to pagan beginnings. Flipping dogma on its head with Lucifer as the light bringer, while those that follow the book strictly often create their own hell, telling others about sin but being the most sinful of all, this power used to execute control.

This message of breaking free of the dogma is throughout the album linking all the songs thematically, the spiritualism, the freedom and to coin a phrase the 'non serviam' of Hellenic black metal the overpowering influence on these songs. Musically though they don't limit themselves to black metal, there's the classic heavy metal power of the NWOBHM, particularly Venom, Tank, Angel Witch, the ones that are on the darker side of things, as the evil vocals from He barks, screams and snarls.

Guitarists Nikolas Perlepe and Naberius in bright melodic union as they switch between leads and riffs, the thunderous bottom end of The Mutilator and drummer Vongaar dictating the pace, from blasting black metal, through early thrash, traditional heavy metal groove.

Gone With The Devil is a tonic for the world as it is today, dark music for dark times. Avé Satanas, Avé Yoth Iria. 9/10

Battleroar - Petrichor (No Remorse Records)

One of Greece's longest lasting and most notable bringers of Epic Metal, Battleroar return with album number 6, Petrichor, opening with a spoken word which promises that these songs once spoken "belong to the listener and the storm", we immediately head on the search for The Missing Note, epic heavy metal from first chord as Battleroar are definitely back.

The anthemic inspiration of Manilla Road, Omen, Crith Ungol, Savatage and Manowar are all recognisable from those first huge muscular riffs of Zack Kotsikis and Kostas Tzortzis. Undercut by the chest beating thunder from bassist Lukas Libertos as the velocity is dictated by drummer George Tsinanis. From the first song it gives you exactly what you have been waiting for since 2018.

It's bold, baroque and proper macho heavy metal with fantasy elements writ large across it, as The Earth Remembers highlights Battleroar at their core. With all the massive guitar riff, galloping bass, steel on steel drumming, it's the violin of Alex Papadiamantis that is one of the main 'lead' instruments here. It's used brilliantly to add folky moments on Atē, Hybris, Nemesis, Chaosbane and the battle balladry of What Is Best In Life? taking many of the solos in addition to the guitars.

Petrichor features the vocals of new singer Michael Karasoulis and his voice is dramatic, theatrical but have the gritty snarl when the tracks like Legacy Of Suffering invite evil with gothic and thrash elements ala Iced Earth.

For 26 years Battleroar have fought hard to be in the position they are today, standing as the generals of the Hellenic epic metal scene. With Petrichor they remind anyone who may have forgotten that they are the mightiest of the Greek warriors. 9/10

From The Blackness - Conjuring Power (Self Released)

From The Blackness is the musical creation of Sokratis, founded during the pandemic, the music and lyrics are written by Sokratis and he also performs everything, guitar/bass/keys/drum programming and even backing vocals. Though he brings in some guests to play the guitar solos, mainly George Lazaridis and Riccardo Benedini while the vocals are performed by Finnish session singer Eric Castiglia.

There seems to be something of an unwritten rule about one man projects that they tend to be ok if they're classic/power metal but not as much if they're black metal, no one seems to get annoyed when it's all cool leads and fist pumping but they do when it's about Satan and being evil. I digress but it's interesting as I pressed play I wondered had Sokratis conjured a great debut album?

Well yes and no, musically he's got it spot on, rampaging rhythms, great riffs that have influences from Sanctuary/Nevermore, Iced Earth and Manowar, all bands I love. There's solos that love to just appear and blow the roof off and vocals that are varied and aggressive. It's a great mix of old school heavy metal, thrash and power metal. However the overall impact is let down by the production as it does sound a rather flat and unnatural, the keys and drums especially.

Whether this was a stylistic decision to make it sound retro or just maybe limitations I don't know however it does have quite the punch you'd want. However you have to keep in mind that this a self written, self performed, self produced debut album and there's a lot skill here. With a full band of real players and a bigger production, From The Blackness could be hot on the heels of the big boys on the Greek scene.

As it stands Conjuring Power, has all the potential but the execution let's it down a little. 6/10

Fullmoon Cult - Unleash The Wolves Of War (Khaoszophy Productions)

Back to the more familiar realms of Hellenic black metal and the rough, tremolo riffage of Great Plea To The Realm Of Most which opens the debut full length from trio Fullmoon Cult. The trio go under pseudonyms with Chaos Kommando on drums, Askalaphos on guitar/bass and Alastor on vocals, standard black metal shenanigans really and you can say that about the music as well.

It's full on 35 minutes of frigid blasts, lycan war cries and production that makes it sound like the mics were in another room when they recorded it. Now this is clearly a stylistic choice as it's sort of what black metal should sound like especially that 2nd wave when it was new and dangerous, rejecting the over production.

Now that still doesn't mean I'm hip to it, I much prefer a lot of the black metal bands that fleshed out their sound, however a little bit of this goes a long way and Fullmoon Cult capture that feeling of 2nd wave intensity so if you like it then come howl with their pack. 7/10

Reviews: Rob Harrison, Lili Refrain, Akem Manah, Mines (Matt Bladen & Mark Young)

Rob Harrison - Overflow (Ragged Ocean Records) [Matt Bladen]

I think music always needs to be a bit weird, a bit experimental, bands who are in the prog genre especially have always embraced the oddness.

Be it acts like Gong, Cardiacs, Gentle Giant or the crossover brilliance of Zappa, Captain Beefheart, any Krautrock and of course the proggiest of the prog bands King Crimson. 

Performing and composing music that is experimental and against the norm has always been their raison-d'etre and they have left a legacy behind them of artists who are unafraid to follow in their oddly timed footsteps.

From South Wales Rob Harrison is just that sort of weirdo, when he's not blasting the sax in instrumental prog rockers Z Machine or Mascot Moth, he's making his own left of centre noises as a solo artist. 

His debut Explode My Head was applauded in these pages, but I am a sucker for quirky, prog rock that features, irregular time signatures, jazz percussion, large instrumental sections and of course a brass and wind section.

With his head exploded, the Overflow is next, these creative ideas spilling out on to a Vinyl/CD/Digital Sphere as eight tracks of tightly packed genius where Rob shows off his multi-instrumental artistry as well as his claymation skills with in the visual media aspects of this project that are just important as the music. 

Rob plays sax and flute here but he's also responsible for the throbbing basslines, intricate guitars, synth swirls and even some glass bottle/water percussion just to make sure it's not what you would expect from a prog rock record.

The latter is important as Overflow is a loose concept album about the nature of water, as Bruce Lee once said "be like water my friend" and if there's a record that flows freely and fills any space it comes into contact with it's the freeform nature of this album. 

Tributaries drawing from various streams to make a consistent whole, adding the harp of Rhodri Davies (of Hen Ogledd), glockenspiel of Giordano Maselli and xylophone of Oso G, for a sound I can only liken to that of water.

Elsewhere Bioluminescence feels like those bright blue invertebrates just floating in the sea all the different colours coming on each individual section, like swimming though multicoloured hallucination. 

The constant switching is a kept moving by the drumming of Eliseo Salverri, the groovy, funk-like sections of Upstream and Downstream which are the same song played in reverse of each other, I told you it was weird!

The final trio of Pools Of Glass, featuring violin for Julia of Who Knows Sound, Azure Veins and Delirium, all vary wildly between in approach, connected by the water theme, though on Delirium, I came to the realisation that really the only other person doing this currently is Matt Berry.

Rob Harrison has the same deep love and appreciation of this music and with Overflow he again perfectly pitches the absurd with the divine. 9/10

Lili Refrain - Nagalite (Subsound Records) [Matt Bladen]

Nagalite is the sixth solo album from Rome based musician Lili Refrain and you probably all know how much I like music with layers, especially when they're done without computers using loop stations, building in to huge dynamic pieces of often repeating rhythms that make for hypnotic listening.

It's Mike Oldfield, it's Radiohead, it's David Ford, it's Robert Fripp, Steven Wilson, Peter Gabriel and The Anchoress, if you want to get into the prog side of things which loop artists very quickly do. 

It's music for musos, often the realm of solo multi-instrumentalists who can compose and play everything for a full creative control and a singular vision.

Lili Refrain fits that bill, a solo multi-instrumentalist who blends genres in real time creating songs that are extensions of her technical wizardry. 

Pulsating synths, real and electronic drums/percussion pads, electric guitar shimmers, bass thumps, keyboards bringing melody and shamanic vocals, these are expressions of raw emotion that are shaped through music.

She's performed at Roaburn (obviously) Desertfest and more, joining a wide range of artists such as Mehsuggah, Napalm Death, Lingua Ignota, Author And Punisher, Gojira and The Cult on stage and this sixth record is inspired by a stone totem of rebirth, it's a record about metamorphosis, reflecting the times with live in with resilience.

Nagalite is an album that words can only do so much for. It's an existential piece that you need to listen to fully and be consumed by, the highest level of skill formed into a dense journey of hypnotic rhythms. 9/10

Akem Manah - Threnodies (Black Lion Records) [Mark Young]

There are often albums that for one reason or another slip through the net when it comes to having a review ready for the day of release. 

I have a few this month, starting here with the Doom/Death/Gothic metal Akem Manah, who drop their latest via Black Lion Records for your perusal. I hope the band forgives me for quoting their own words here, but in terms of providing a description its way better than I could conjure up:

‘Threnodies is a cycle of human unravelling in ten dirges for those who sought the truth behind the world and found only the abyssal chaos staring back’.

So, taking that statement to heart and having that as this albums letter of intent they start off with The Inevitable Fate Of Francis Cobb (Intro) a short instrumental that acts to settle us in for the tales to be told. 

Suitably gothic, it does exactly what you expect it would do prior to The End Of Earnest Hollow arriving in that slow and unhurried manner. 

Straight away, it nails its colour to the mast by announcing that they are going to take their time with this, moving in different directions within the song in a way that attempts to keep you unbalanced whilst staying true to itself. 

If they can find a way of shoehorning strings into this, they do in an effort to make this as expansive as possible. I don’t have a problem with bands that try this, but for it to work it needs something that grabs the listener and keeps them with you. 

The song itself, the singing style develops as expected, from the cleans into the harsh and back again. You can see what they are trying here, but it feels overlong. 

As noted, it lays the groundwork for how the rest of the songs will unfold, each of them a specific tale of woe; The Mystery Of Mosef Mehul uses the strings to great effect, here they add a certain gravitas to proceedings and aren’t reduced to being a bit player. 

The riffs here are on it, and there is a feeling of malevolence about it and as a piece of work it’s a belter. The shorter runtime gives it a more focused energy to get from A – B and there is less repetition of ideas. The thing is that from my perspective, they look to make every song an epic, and this doesn’t always work.

I’m not against them doing it, it’s their art and only they can decide how these songs should sound, but Christ they should be aware of the golden rule of metal: Make it exciting. 

This is at the core of every classic metal album ever. It has to excite you, even in a doom setting. Let me confirm that the songs here are massive, all chock full of ideas that fit this style to a tee. The trouble is that they are dull. 

The Burning Of John Briggs, is too long, and it drags to the point I want to skip forward. I’m using that as an example because it fits for each song on here and yet each song is a masterwork in how to approach this genre. 

There is a disconnect between them and me, because I know that if someone else was reviewing this, they would be giving this all the plaudits but I can’t find it within me. I appreciate it for how it sounds, and I appreciate it for the way they have approached it for telling a story but I cannot forgive it for being so boring.

From a scoring standpoint, it sounds amazing, it really does. Its crisp, clear and they have a clear vision of what they wanted it to sound like. However, from an emotional one, it left me cold and I believe that those who love this genre will champion this, but for me it’s a 6/10

Mines - Nous (Mosaic Music) [Mark Young]

And now a short blaster of an EP from Mines with Nous and it’s the weirdest thing. Its like Matt Bellamy has taken leave of absence from Museand decided to go heavier. Which, according to my lad is not to far from the truth. 

From That Which Lies Beneath leads us off, and it sits in that space where heavy guitars and traditional clean singing lives, as a starting point its heading in the right direction and engages you in staying with them.

It succeeds in achieving what its needs to in a short space of time, there aren’t any elongated introductions or swelling instrumentals, its straight in and is refreshing because of this. 

The Doctrine, once the narrative wraps drops in, and once again I’m drawn to comparisons with Muse (I’m apologising now for the capitals, and I’d like to point out that this is a positive comparison, just in case) in the way its built.

Its interesting and you feel that played live it has that snap to it that will make people move. Thrones, Asunder acts as the palate cleanser into Vice Of Kings which has a storming riff set to it, its technical with heart as opposed to just an empty display of talent. 

Like The Doctrine, it has that build where there is so much happening and from a guitar standpoint it’s the kind of song you would have a lot of fun playing. This is the key here, they write music that you want to play, isn’t that the reason we get in bands in the first place? From that perspective if they can do that now, its surely puts them in a great position for the future. 

Design Divide is the closer and behaves in the same way that From That Which Lies Beneath does, it concludes this EP on a strong footing, four tracks that are pretty strong and show that there is a quite a bit to come from them, based on this. 

I appreciate that as an EP, you get to put your best on it and in that case, Nous works incredibly well. There was no skipping forward here, each song came in and built on the one before and in the case of Design Divide, it provides that classic end song that every release needs.

It’s a release that I would recommend to those who love a little bit of the technical whilst having the emotional heft behind it. If you can, get hold of this and support what could be your next favourite band 8/10

A View From The Back Of The Room: Fury & King Kraken (Debby Myatt & Tony Gaskin)

Fury, King Kraken & Rites To Ruin, KK's Steelmill Wolverhampton, 24.04.26

After a short hiatus with gigs, we’re back at KK’s tonight for the first of three gigs in quick succession.

Tonight's entertainment is courtesy of a Fury and King Kraken double header and they’ve bought Welsh metal outfit Rites To Ruin (9) who are promoting their debut album Daughter Of Hatred.

The Anglo-Welsh quintet take to the stage as the early crowd start to fill the smaller room here at the Steel Mill, but it doesn’t take long for them to impress those present with their brand of British Heavy Metal with a Power/Symphonic twist. 

Vocalist Krissie Kirby is well known through her tenure as front woman for Bloodstock veterans Triaxis, a link she’s continued with her current bands appearance there as well. Her powerful voice dominates the room as the band showcases songs from the new album. Stand out songs include the title track plus In Memoriam, For The Love Of Gold and the utterly brilliant Prevail. 

The twin guitar assault of Matt and Lee provides a multi layered epicness to each song. Paul on bass gives the tunes the depth, whilst the drums of Zak drive it all along at pace. By the end of their set the room is packed and an enthusiastic crowd gives you the sense that this band is going on to bigger stages. 

For tonight's show, it’s King Kraken (9) who takes to the stage first and they kick off their 60 minutes with the anthemic Call To War, a rallying cry to the masses, and those masses have surely grown off the back of their triumphant appearances at Stonedead Festival and Bloodstock Winter Gathering.

Front man Mark Donoghue is in fine fettle, orchestrating the crowd. The big hitters are all bought out tonight, El Giganto, Berserker and Man-Made Monster the pick of the bunch, but they’ve taken it up a notch with the killer (no pun intended) new song, Second Skin. An ode to Buffalo Bill, the infamous serial killer from Silence Of The Lambs. The groove is infectious and sits nicely in the bands repertoire.

And before you know it, Donoghue announces the final track, March Of The Gods, the title track off that brilliant album. The Kraken is well and truly awake and ready for world domination in 2026! 

What can we say about Fury (10) that we haven’t already said? The bands on stage chemistry, the fun, the sheer joy of watching a band create something special with consummate ease? Yeah, we’ve said it all before, but we never get tired of saying it.

 JJ is a superb musician, vocalist, song writer etc and years of hard work and bloody mindedness have resulted in this boss level of Fury. Everything just gels, from JJ’s wit and banter, Nyah’s infectious fun through to the incredible skills of Becky and Matt and the man at the back Tom, you don't see many bands these days who work so hard but just love doing it.

They open up with the title track of last years 10/10 album, Interceptor followed by the epic Prince Of Darkness and the rock n roll anthem “It’s Rock “n” Roll three punches from the top drawer. Dipping into their extensive back catalogue, this headline set enables them to play some great tunes like Star Trippin , Burnout and Road Warrior but as fun as they can be, JJ can bring it down a notch when required and tonight he was visibly emotional as he paid tribute to the late Phil Campbell and dedicated the song Walk Away to him, a real goose bump moment.

 They end their set with the epic If You Get To Hell First and once again we are sat there with a big grin on our faces. If you’ve never seen Fury live, then I encourage you to do so as soon as possible, surely one of the finest live bands on the UK circuit at the moment, and definitely one of the hardest working. Proper rock “n” roll by a band that loves what they do.

Reviews: Throwing Bricks & Ontaard, Powerrage, Olympus, Avon (Spike, Matt Bladen, Cherie Curtis & Joe Guatieri)

Throwing Bricks And Ontaard – Something To Lose (Live at Roadburn 2025) (Independent/Roadburn Records) [Spike]

You can practically feel the condensation dripping from the ceiling of the Engine Room before the first chord even tears through the static. It’s almost possible to think of that moment where the crowd’s collective breath holds just long enough for the needle to find the groove and drop you headfirst into the front-row of this experience. 

When Walter (Roadburn’s creative director) commissioned Utrecht’s Throwing Bricks and Ontaard to collaborate for the 2025 edition, he wasn't just asking for a shared set; he was inviting a collision. The result, Something to Lose, is a live document that sounds like a collective panic attack being slowly converted into a desperate, beautiful act of resistance.

I’ve been spinning this recording on repeat, and the sense of "fragility" the bands talk about is nearly palpable. It’s a sound built in the shadow of a world that feels like it’s breaking apart, rising fascism, climate collapse, the general weight of existence and you can hear that anxiety vibrating in the plumbing of the music. It’s a marriage of sludge-heavy grit and blackened post-metal despair that feels entirely earned, recorded on a Friday afternoon that clearly pushed both units to their absolute limit.

The set opens with Basal Hope, a seven-minute slow-burn that establishes the atmospheric threshold. It’s dense, claustrophobic, and moves with a tectonic weight that reminds me of that specific, early Neurosis trick of making a riff feel like a physical burden you're forced to carry. By the time they hit On The Verge Of Something Unnerving, the friction between the two bands has fused into a singular, massive engine of noise.

The absolute pivot point of the performance for me is Acid To Fascists. That spoken word intro is a masterstroke; it provides a moment of chilling, intellectual clarity amidst the gloom, acting as a fuse that slowly burns toward an inevitable explosion. 

When the band finally cuts loose into that wall of rage, it’s not just "heavy", it’s a visceral, seriously angry confrontation with the "never-ending despair" mentioned in their manifesto. It’s a masterclass in the build-up, proving that a scream only carries its full weight if the audience understands exactly why the lungs are being emptied in the first place.

The back half, Solitude and Mislay, allows the record to stretch into more cinematic, eleven-minute territory. The production avoids the "bootleg" pitfalls of many live releases, maintaining a level of clarity that lets you hear the distinct voices of the collaborators while keeping the "live" grit of being their to witness this.

When the final screech of feedback on Mislay eventually dissolves into the roar of the Tilburg crowd, you don’t feel like you’ve just finished a record; you feel like you’ve survived a wake. Something to Lose is a pained, honest jolt of reality that proves fragility isn't a flaw, it's the fuel. It’s the sound of a group of friends holding onto each other while the world outside burns, and honestly, it’s one of the most vital, properly noisy bits of live music I’ve ever had the pleasure of listening to. 

I mean why speak truth to power when you can scream into their face? 9/10

Powerrage - Beast (High Roller Records) [Matt Bladen]

Two former members of Canadian speed metal veterans Exciter? Yeah count me in! Guitarist John Ricci and vocalist Jacques Bélanger have both been members of Exciter, Ricci on the first three albums, then more recently when the original line up reformed, while Jacques sang on albums between 1997 and 2004.

However both now are back with Powerrage adding bassist Todd Pilon (ex-Witchkiller) and drummer Lucas Dery for some classic, dare I say exciting? Heavy metal riffage. Get the leather and chains out for this one as Beast is 34 minutes of heavy metal but it's not a clone of Exciter, everything has been built from the ground up, new riffs, new attitude, never trying to rehash what's come before.

Rather descending down a darker route favoured by Mercyful Fate, Accept and even Celtic Frost in parts, that supreme riff writing of Ricci still there but now distorted and gnarled through death and doom phrases, resulting in some of the heaviest music he's been a part of with tracks like Haunted Hell, The Devil Is Screaming, I Torture I Kill and Damned And Cursed all have evil intentions, sinister, rusty guitar riffs and vocals that snarl and shriek.

It's probably why Dan Swanö was tapped to give it his mix and master treatment, resulting in a extremely nasty sounding record. If you're expecting Exciter think again, this is heavier, and more bloodsoaked than they ever were. 8/10

Olympus – Knowing It Shall Wake (Self Released) [Cherie Curits]

Olympus brings us their magnetic debut EP; Knowing It Shall Wake. Though there are only 4 tracks to speak of, each is gloomy and mysterious and crammed full of glorious texture. The instrumentals are powerful and gripping from the start, creating a loud and passionate atmosphere. It’s rushing, melodramatic and the harsh, raspy metal vocals contrast the radiant pitch of the riffs and pulls the narrative into a more pacing and oppressive feel that makes an impact.

There’s a lot being conveyed in this one, which is great for a debut. Emperor And Revenant is downright neck breaking and would undoubtedly liven up a venue, which is juxtaposed by Out Of Reach and self-titled Knowing It Shall Wake. These two are stunning tracks leaning towards melancholy and gentle with a focus on tension building before a breakdown utilising snappy pre - choruses and backing vocals which is a unique spin on genre norms. We are being shown a dynamic range of skill both instrumentally and in the vocal range and delivery. 

After years of planning and refinement as well as gigs around the south of England and Wales, Olympus has a well-established style and a firm stamp within Melodeath and local scenes which makes for a great set up for bigger things to come.

Overall, it's a great listen its very well thought out and the energy is relentless and I'm a sucker for a sickening build over a breakdown. It’s well produced and each track other than the outro runs on the longer side without dragging. It's a good fit for your everyday rotation, long drives and moody Sunday afternoons but perhaps it’s best not to play it at your Nan’s birthday BBQ. 7/10

Avon - Black On Sunshine (Go Down Records) [Joe Guatieri]

Avon are a Stoner Rock band from California that formed in 2015. The three-piece are made up out of James Childs on guitar and vocals, formerly in Airbus, bassist June Kato, who played with Black On Sunshine and the legendary drummer Alfredo Hernandez who was in Kyuss and Queens Of The Stone Age. They’ve released two albums and some singles, their last release was Dave’s Dungeon which came out in 2018.

I’ve previously seen them live in Bristol before, at The Louisiana on the 28th November 2023. They played a fantastic set, moving flawlessly from their own material into covers of Kyuss and Queens Of The Stone Age deep cuts. I remember screaming loudly when they started playing The Bronze, I was in awe as I never thought in a million years that I would see one of my favourite songs get played live. Now in 2026 they bring us their third album, Black On Sunshine. How does their new material look, we’ll find out now.

The record opens with the self-titled track and immediately we’re introduced to Alfredo’s classic gigantic pounding. The guitar and bass slide in so smoothly into a bright groove, making me feel like summer has just begun. The vocals sound natural and chilled out, having incredibly catchy moments, you can tell that the band are enjoying what they’re doing. There is also a great tapping solo which is calling out to the altar of Van Halen.

Directly following on from that we have Awkwardness, a song presents something that is way more busy in its style, shown by the start stop riffing. The instrumental starts off by feeling very separated and evident ghost notes are played by the bass, feeling spontaneous, it leaves a lot of room to play with and jam on in a live setting. Going into the chorus the song comes together like a puzzle, connecting with the guitar playing this lovely single note rhythm, it feels resolved.

Spacebar is next, which puts a smile on my face as it amps up the weirdness factor considerably with an alien-like approach to its flow. The song is a flower in bloom and opens up to reveal more of itself more as it shows the record at its heaviest point. The instruments going from sounding calm to angry, it’s a fantastic dynamic change and I’m left wondering how Avon achieved that. 

Spacebar has more experimentation going on for it with synths colouring in pockets towards the end of the song, a welcome surprise. All of this combined with joyful doo-ops that come out of nowhere are a big salute to the self-titled Queens Of The Stone Age debut. Robot Rock is taken in a more melodic direction, this is no doubt my favourite song on Black On Sunshine.

It’s very unfortunate that frolicking through flowers in the heat comes to an end by track six with Nineteen Bruises. The riff in the song attempts to emulate Black Sabbath but it has no weight or bite behind it. The choruses here are more subdued and are too much of a departure from what the track is trying to do, it’s uneven and at worst generic.

This annoyance the deeper we get into the album with track eight, Doorway. It’s such a bore as the guitar meanders through the song, yeah it might be fuzzy but it just lacks personality. It’s odd for such a talented band, it’s as if they’re painting by numbers through the lens of Garage Rock, sadly it’s nothing but filler.

With Black On Sunshine, Avon goes from headbanging in the sun to complaining about them sweating in one fell swoop. The first three tracks are brilliant and fun but that is outweighed by a few songs which are directionless and a handful that are teeth-grindingly dull, they make me want to take a long nap midday.

Black On Sunshine speaks to me like the band rolled out the boat on the record and tried to get it out quickly because as they had a tour booked, more time was needed at the drawing board. Maybe a live album to keep fans engaged would have been a better choice.

Overall, Avon have delivered some wonderful albums over the years but this new release isn’t a part of that same esteemed class. Black On Sunshine is all over the place in terms of quality and flow and feels unfocused as a result. You’ll get some enjoyment out of this but I think that more often than not people will end up scratching their heads thinking is that it? 

I was very excited for this album but sadly I’m left with being disappointed by it. 5/10

Reviews: At The Gates, Sepultura, Draken, White Tundra (Mark Young & Matt Bladen)

At The Gates - The Ghost Of A Future Dead (Century Media) [Mark Young]

The Ghost Of A Future Dead is the kind of album where the sum of its parts come together and just click. Returning members and a renewed sense of energy meant that this had so much going for it. And then, life does something unexpected and incredibly wicked, Tomas Lindbergh was taken prior to its release.

Now, please bear in mind that At The Gates wrote the book on what melodic death metal should sound like. In the same way that The Bleeding by Cannibal Corpse is considered a pinnacle that others aspire to, Slaughter Of The Soul is the same and I don’t think its ever been topped. Can I say that this is my truth, and if you want to tell me I’m wrong, go right ahead.

This is a tightly wrapped 42 minute belter, where they have come together and wrote music that lives up to their legacy whilst not copying their past endeavours. This isn’t something that is governed by the laws of diminishing returns. They bounce through these songs with a vigour and energy that is true to them. The Fever Mask kicks off in grand style, unmistakable in its arrangement and its sound. In all of the melodic death I’ve reviewed, all have tried to write like these without getting what makes it tick and sets the rest of the album up nicely. 

Its backed up by The Dissonant Void, it follows that ATG blueprint of staying on the front foot at all times and we are two for two. It’s the kind of start that I love, give me the energy, take those risks and go for the throat. Its not all brutality as they bring the melodic arms to bear, and rightly so. Its that attention to what made them the way they are, it’s the tools at their disposal and the way that they put things together. Its heavy, but doesn’t rely on one method to beat you up.

What’s more, they don’t take forever to do it neither, with one eye on the clock as they charge through the tracks, and as noted they do switch things around, such as In Dark Distortion which takes a restrained path before it gets loud. I appreciate that is an old trick, but in doing it places Tomas’s vocals in the centre, and why not? The album is paced tremendously; latter tracks come in and whip you up to ensure that you aren’t skipping forward (clue – you don’t) with Tomb Of Heaven deploying that patented sound to great effect. Other bands should look to this as the way to go, and it’s the kind of music that inspires you to pick up a guitar and play.

Unfortunately, it has to end. Black Hole Emission pulls the curtain down on the album, and on this incarnation of At The Gates. It reminds me of their back catalogue, bringing the melodic touches into play with a restrained lead break. And then that’s it, all done. I’ve no idea of what the future holds now for them, but if this is their last album then they should be rightfully proud of it because this is not a nostalgia release of a band desperately seeking past glories. 

This is a band who shows they can still do, are still valid and worthy of your attention. 9/10

Sepultura - The Cloud Of Unknowing (Nuclear Blast) [Mark Young]

Sepultura sign off with a 4 track EP, one that sums up their material post Max. I think its only fair to consider this material against their music released since that parting of the ways because it would be far too easy to hold this up against Beneath The Remains or Arise and then dismiss it out of hand. Too easy, and unfair.

I think if you have stayed with them, culminating in Machine Messiah and Quadra as their most recent long players, the material here won’t bring any surprises to you. In some ways, its for the best they dropped an EP this way, there is no expectation on them now to deliver a world beater and just think how outraged you would have been if it had been a live release of Max material. 

All Souls Rising is blistering enough, a punch to the face delivered over 3 and half minutes, it’s a welcome start, all venom and fury with some A-Level fretwork courtesy of Mr Kisser. Like the rest of the songs here, its played to suit them, no longer having to live up to something they have no hope of doing. Beyond The Dream, is fine, coming through as a version of classic rock played through a number of distorted filters. You can’t fault their endeavours, and it’s the sort of song that live would miss a second guitar to fill out that sound. 

Sacred Books reverts back to an abrasive edge, and then almost halts itself as a chunky beast. It’s ok as a makeweight, with The Place bringing the EP to an end. If there was ever a song which has an attitude of ‘we will do whatever we want’ its this. Had this band just been Derrick’s I think we would be kinder to them. As their last will and testament, it is in keeping with what Sepultura sounds like now. A band that tried to push itself forward and was desperate not to be shackled to those classic albums. The Place ends with a frenzied attack, one that they could have done with more of.

In any respect, its incredible to think that this is it from them, and I hope that once this mammoth goodbye tour wraps then that is it. Personally, I think that it’s a suitable adios from them with this and your enjoyment will mostly derive from where you sit on the whole ‘No Max, No Sepultura’ fence. For me, I never cared for Roots, sorry and whilst the studio stuff since then had some crackers, live they missed that second guitar and nothing will change my mind on that. Check this out so you can make comments about it online, and in doing so you might actually like their final transmission. 7/10

Draken - Here Be Draken (Dark Essence Records) [Matt Bladen]

The Great Deceiver, the opening track from Draken's album Here Be Draken, can be described as Ozzy Worship over Sabbath Worship as it has more than hint of Perry Mason about it. But you know if you're going to borrow someone then why not The Prince Of Darkness.

Formed in Oslo in 2019, Draken call themselves True Norwegian Hard Rock and with influences from Grand Magus, High On Fire and Motorhead (on Wrath and Shit Show), I'm not going to correct them.

This is their third album, debut on Dark Essence Records and the trio of Even Hermansen (guitars/vocals), Hallvard Gaardløs (bass/vocals), and André Drage (drums), are belting out the biggest riffs yet on Here Be Draken.

Well biggest and most volatile as Jólablót adds some harsh shouts and grooves as Saturday Night Head Removal bows at the altar of Dimebag (though Damageplan over Pantera), the acoustics begin Crimson Sun as the crushing sludge continues to punish.

Then without warning there's some power rocking on It Serves You Right that gets the fist pumping again, Draken moving between the myriad of genres with ease; as they bring organs on Shirts Of Black (F.O.A.D), hardcore bounce on Demise And Men while Endtyme brings more apocalyptic doom.

Heavy, groovy, rocky and raging, Here Be Draken . 7/10

White Tundra - Stories From The Dark (Octopus Rising/Argonauta Records) [Matt Bladen]

Over to Norway again for the fat riffs of White Tundra, inspired by their native folklore and the huge stoner doom grooves of Red Fang, The Sword, 1000mods, the band have been to levelling ice covered mountains since 2023, driven by fuzzy grooves and psychedelic atmosphere, their second album Stories From The Dark is the sound of a band who have had to rebuild.

However with lead guitarist Kjell Andres Nilsen and bassist Øyvind Persvik joining the band and giving White Tundra a more sprawling sound, as the bass grooves locking everything down with the drums, guitar bringing the desert rock chops, sung by a vocalist with rawness in his throat.

It's a record linked to their debut with lyrics a about exploring the unknown, going into the wilds away from the rat race and their music has enough heads down determination and wide-screen escapism to reflect the inspirations in the lyrics. The double opener of Healer and Huset crank up the volume early as the psychedelic doom lumbers in on Riderless Horse.

Slowing things down in the middle works well as it means that a track like The Lake which is a bluesy and grungy doesn't feel odd as the pace has shifted, towards the epic closer White Tundra where all the skills are on display. If you wondered what The Sword would sound like with Andrew W.K on vocals, or if your just a fan of big Scandi riffs then check out Stories From The Dark. 7/10

Reviews: John Corabi, Degreed, Creye, Generation Radio (Matt Bladen)

John Corabi - New Day (Frontiers Music s.r.l.)

I'll have to admit I really thought in such a long career that John Corabi would have released a solo album but apparently not, the rock n roll journeyman has featured on a lot of albums with a lot of big bands but New Day is his first solo record ever.

Recorded in Nashville with Marti Frederiksen, it's an album inspired by Corabi's musical diet growing up, as well as the heritage of Nashville's incredible music scene. Perhaps unsurprisingly it's swaddled in 70s rock, soul, and blues. Inspired by bands like CCR (1969), Free (That Memory), Tom Petty (Laurel) and any of those that blend honest blue collar lyrics with the American music traditions, plus a Sly & The Family Stone cover to close the album.

Featuring two previous released singles and another 9 original tracks, New Day is Corabi delivering rock n roll that is authentic, soulful and steeped in bright retro vibes. Corabi's vocals are warm and feel like this is the type of music he should have always been making and while I've never been a fan of Dead Daisies or his time in Crue, I do love The Scream and Union and I love this record too.

Behind Corabi's great vocals which blend Paul Stanley with Gene Simmons, Martin and Evan Fredriksen who play guitar, piano, drums, bass, B3 and mandolin between them, perfectly capturing that 70's rock vibe this album needs. The addition of Richard Fortus (Guns N’ Roses) on lead guitar and Charlie Starr (Blackberry Smoke) with guitar solos, are also a perfect fit for the overall down-home, southern/blues style of the record, with Paul Taylor (Winger, Steve Perry) playing most of keys based instruments.

Track wise Faith, Hope And Love, is exactly what you expect it to be, similarly with the nostalgic When I Was Young, but there's some gospel coming through Good To Be Back Here, as Cosi' Bella takes on some power pop

New Day moves Corabi into 'elder statesman' territory, the years of rebel rousing are behind him, he's got a good thing going on in Dead Daisies, however this album is the music he wants to make, influenced by his nautical loves but all of his own. 8/10

Degreed - Curtain Calls (Frontiers Music s.r.l.)

Frontman Robin Eriksson says that Broken Dreams, the dramatic first single from Curtain Calls shows "a darker and deeper side of Degreed", as they bring more personal elements to this album than any previously. Robin especially highlights his journey away from addiction. It's these personal stories that make Curtain Calls a vital new entry into Degreed's discography, the maturity of the anthemic songwriting and the emotive nature of the lyrics.

Curtain Calls has got some arena ready slickness (Matter Of The Heart) with big backing vocals on the choruses, some driving rocking (One Helluva Ride), plenty of polish and energetic performances that draw from more than just AOR heroes, as Degreed have always courted the heavier edge.

The modern production and approach means that heavier side is more pronounced in the riffs (Guiding Light), aiming for the classic and modern rock charts with this album, armed with 10 tracks that can easily compete with any bands on a similar ilk European melodic metal on the title track, a nod to country and Johnny Cash on The Rambler.

Curtain Calls adds a flair for the theatrical, you can trace some of these songs to the likes of Kamelot and while melodic rock or heavy rock is still the foundation, there's much more to Degreed than that on album eight. 7/10

Creye - IV Aftermath (Frontiers Music s.r.l.)

IV Aftermath is conveniently the fourth album from Swedish hard rockers Creye, you could call it 'retro future AOR' driven by Andreas Gullstrand's guitar/songwriting. IV Aftermath gives the sounds of 80's rock a modern overhaul that sits right there with the contemporary melodic rock bands that come from their home country.

Tracks like Don't Want To Talk About It are probably too modern for some ears, but then who wants a band rehashing old ideas from 40 years ago right, even if this song does sound like a Eurovision entry. Again Andreas is joined by Fredrik Joakimsson on rhythm guitars, Denny Karlsson on bass, and Vidar Savbrant on drums, the band not changed since the last record. Though there's a new voice behind the mic as Simon Böös infuses the album with a new soul, his voice reminding me of Joseph Williams on Through The Window and Only You. 

From the ballads, to the heavy riffers and pop rockers, Creye have come back with an album that sees their creative fingers in a lot of different pies, but what they've done well is successfully blend the old melodic rock style of the 80's with what the genre is in 2026. 7/10

Generation Radio - Take Two (Frontiers Music s.r.l.)

Generation Radio are your classic Frontiers 'supergroup' and if you've ever wanted to hear the duo of Jay DeMarcus of Rascal Flatts and Jason Scheff, ex-Chicago and their 'all-star' band, play a covers of Whitesnake's Here I Go Again, Kenny Loggins I'm Alright?

Then you are in luck as all of these feature on Take Two the follow up from Generation Radio. The band is comprised of made up of drummer Steve Ferrone (Tom Petty & the Heartbreakers), Tom Yankton (guitar, vocals) and Chris Rodriguez (guitar, vocals) and they also throw in Chicago's You're The Inspiration and Rascal Flatts' These Days as extras if you're really missing out on covers.

Which to be honest are the best bits about this record for me as Generation Radio is called "AOR/West Coast rock infused with the Nashville sound" but I'd call most of the originals here modern country, all about lost love and drinking whiskey and sleepy small towns.

Now ok there's brief moments of slick AOR (Hate This Heart), but unless you're a fan of modern country you won't get much out the album. The production especially is extremely modern and destroys any soul these overly saccharine songs may have gained. It even makes Here I Go Again feel more 80's than it ever did (and it is the 80's version they cover).

You may like Take Two, I found it to be lifeless, sappy, modern country that doesn't have enough AOR to be classed as such. 4/10

Reviews: Spirit Adrift, Slomosa, Demons My Friends, Occult Hand Order (Rich Piva)

Spirit Adrift - Infinite Illumination (20 Buck Spin)

I can be certain that I am reviewing the final album from a band with this one…

Spirit Adrift “surprised” dropped their sixth and final record, Infinite Illumination, confirming that it will be the last trek in the journey of the beloved Texas metal band. Let’s not get into why, let’s just bask in the glory that is the swansong for a band who has pretty much done no wrong in their recording career. This continues with the eight killer tracks that make up Infinite Illumination.

There is both an urgency and a sadness to Infinite Illumination. Those who know some of the stuff surrounding Nathan Garrett may have some idea why. There is also a light of hope as well that comes through on these songs, creating a contrast that puts this record on another plane. Of course the riffs are there, like on the opening title track, which also has a killer mid tempo gallop to it, seemingly referencing all of the classics in under eight minutes. 

The layered vocals when the pace slows stops you in your tracks, as the emotion coming from this one is palpable. More riffs start Widow Within, keeping the tempo the same but bringing more ferocity in the guitar and the vocals. There is a grungy feel to this one, paired with the dual metal guitars, creating this excellent mash up of genres that does not always work, but sure does here. 

The vocals stand out on You Will Never Hold The Key, as the urgency/anguish comes through hard. We know Garrett is a big Type O fan, and it is pretty evident with this song. Riffs come spilling out of Born In A Bad Way, a three minute stomp that may be my favourite track on the record. Buried In The Shadow Of The Cross has my favourite riff on the record and is the most trad doom track on her, executed perfectly. 

White Death has this cool, old school thrash metal feel to it, in vibe if not in velocity, while I Am Sustained continues the Type O/trad doom approach that works so well on Infinite Illumination. Then there is Where Once There Was An Ocean to close out the journey of Spirit Adrift. Big, heavy, emotional, and exactly the way this record and this band should have come to an end.

A lot of people will miss Spirit Adrift. I know I will. Sometimes life brings things more important than what us fans care about, but for Garrett and company to go out giving us the gift of Infinite Illumination is more than anyone could ask for. 9/10

Slomosa - Live In Bergen (Apollon Records) [Rich Piva]

We don’t get enough good live records these days. Norwegian Tundra Rock band Slomosa is here to change that, with an exclusive Record Store Day release of Live In Bergren, a double live album capturing the band’s sold-out hometown show in December 2024 at Verftet in all of their wonderful, heavy, and harmonious glory.

Slomosa is one of the real breakout bands in the “heavy underground rock” arena, which here in the USA is not so easy to do for “stoner rock” or whatever you want to call it. But some cool opening tour spots, like the trek they did with Helmet, gave the band some next level exposure that has them quite the trendy name to mention in certain circles. They deserve it too, because their two studio records are both awesome, and they sure do bring the energy live if Live In Bergen is what they deliver in that setting.

We get 15 great songs from Slomosa, which is most of their catalog, considering they have only been a band for a short amount of time, relatively speaking. The band sounds great, seem happy to be playing to their hometown crowd, and really brings it across the 15 tracks. Highlights include Psykonaut, Red Thundra, and a seven-plus minute version of Scavengers, which closes out the set perfectly, but really the whole thing is killer and absolutely worth your time.

I have not been lucky enough to see Slomosa live, but if Live In Bergen is any indication, I really need to figure out a way to ASAP. Go order the limited vinyl and blast some live Tundra Rock to keep cool during the upcoming summer months. Don’t tell me there are no good live albums when we have Live In Bergen. 8/10

Demons My Friends - Survive/Yourself (Ripple Music)

Ripple Music picked up the debut record from Austin/Mexico City band Demons My Friends and gave it a much warranted and appreciated wider release, given the debut from the band is a killer blend of stoner, grunge, doom, and some other heavy surprises, Todd was left with no choice but to bring it to more ears. Not long after, we get the new record from DMF, titled Survive/Yourself, where the band doubles down on leveraging the 90s Seattle sound combined with their own interpretation of heavy, which comes across great over the eight tracks.

The opener, The Theory Of Change, has all of that above including the riffs, the layered, AIC styled vocals, and even a creepy child at the end of the track to keep up the Demon vibe. There is a messy quality to DMF which is meant as a complement. They seem to not strive for the perfect sound or take, but for the one that feels the best. I hear that on Last Dance, where you get some 90s, dark alt rock with harmonized vocals and a big Rain When I Die kind of bridge. Cool stuff. 

 The opening riff rules on Star Child, and I love the addition of the aggressive vocals to the mix. There is an STP but heavier vibe to this one. Kalorma doubles down on the layered, harmonized vocals, creating their biggest sounding song on the album, and probably my favourite. Starting off slow then getting chunky, We All End Up Here is another stand out on this one. 

Brain Holographics is an interesting one, that shows you can be heavy, catchy, have harmonized whoos, then break into a black mental scream from hell while the band rips it up around you. Smile is Soundgarden worship to start, think Face Pollution, until you get dragged to hell, then pop your head back up. This one is all over the place and that is fine by me. Isolate closes with another killer riff and is a dark heavy rocker that fits its name and closes out the record nicely.

Demons My Friends seem to really be starting to get their sound, Big riffs, harmonized vocals, Seattle worship, and some parts that bring the ultra heavy when you least expect it. Survive/Yourself is an excellent sophomore effort that shows even more promise from the band. 8/10

Occult Hand Order - Meaningless Monuments (Totem Cat Records)

Heavy, atmospheric post rock psych is what the new record from Occult Hand Order is about. There are stoner and grunge elements as well, but the first word I think of when I hear Meaningless Monuments is big. The Second is atmospheric. The third is excellent.

Over the five tracks, you get excellent vocals, killer, wall of sound, heavy shoegaze guitar, and a super tight rhythm section that drives the songs. Błędów, the opener, is all of this, and even some screams from hell about half way through, before everything chills out again. This one goes in a bunch of directions, with surprises around every turn. 

Brno starts out menacingly, like a horror movie where, at some point, someone is getting murdered, but just not yet. The vocals are great and the build up to the heavy is excellent. OHO understands the build, that is for sure. Lots of twists and turns in the one too, which is a theme for Meaningless Monuments. I like how it gets chunky at the end and that post rock guitar kicks in. 

The quiet to loud build rules the day on Mollerussa, and they certainly get it, saving that killer psych guitar and heaviest parts for the back end of the track. Novo Mesto continues the overall vibe, but the post rock heaviness and screams are a bit more prevalent. Also when they almost go all black metal on us, just for a minute though. Gerlach is the closer, and the most straightforward (for them) track on the record, but there is nothing predictable about Occult Hand Order, so you know it still has some cool twists and turns.

The songs are long and not so straight forward, so be in for a journey on the new Occult Hand Order album. If you do, you will be rewarded with a tight sounding, soft to heavy, quiet to loud and back again experience driven by great vocals and killer psych/shoegaze guitar work. Meaningless Monuments takes you all over but never anywhere you don’t want to be. 8/10

A View From The Back Of The Room: Creeper (Alex Swift)

Creeper - The Globe, Cardiff, 14.04.2026

Creeper have been on an intriguing journey over their ten year existence. The tongue-in-cheek metal aesthetics of the musicians on stage tonight at the Globe are unrecognizable, from those of the band that broke on to the scene in the mid-2010’s!

For the uninitiated, Will Gould, Hannah Greenwood and co. first emerged onto the scene with Eternity, In Your Arms - an excellent album that combined raucous punk energy and bombastic glam-rock swagger! They have always drawn from an incredibly wide array of influences from My Chemical Romance to Bowie, yet have altered their sound with each subsequent release. 

Creeper's relentless appeal comes from their skill as songwriters, and their ability to inject humour into deeply respectful homages to the genres they tackle! Whether you see Creeper's albums as pieces of parody, or love letters, they are always expertly crafted, and lots of fun!

This brings us to the Sangui-Tour. A series of shows drawing to a close the band's “vampire” era! The two Sanguivore albums were an ambitious feat, chronicling the history of Satan-inspired metal. Consequently, there are a wide array of sounds represented tonight from the vaudeville theatrics of Razor Wire, to the Jim Steinmen-esque ambitiousness of Further Than Forever. 

This is testament to the versatility of the band's sound, and their skill as musicians. Few acts could make the folk-adjacent Ballad Of Spook And Mercy sound completely natural when placed against the raucous theatrics of anthems in the vein of Lovers Led Astray, but then few punk bands have made the leap to metal quite so convincingly!

Vital to what makes this show so enticing is the band's stage presence. Will Gould struts around the stage, as if he's in command of a ritual! Moments such as Parasite and Cry To Heaven inspire everyone in the crowd to sing the words back at our performers, whilst Chapel Gates and Headstones cause circle pits to ensue!

Observed from my position on the balcony of The Globe, the concert seemed to become a celebration both of our vampiric performers, and of the many decades of gothic rock music that has given life to their songs!

With this era of Creeper at an end, (as inferred by the closing narration on Sanguivore II) I am curious where they progress from here. On the one hand it's tempting to say they won't be in any rush to give up the fans they have made in the metal sphere. However, it's through daring stylistic leaps that they have achieved their current level of notoriety. In that sense, whether the future for them looks familiar or distinct, shows like this will surely ensure their longevity for many years to come! 10/10