Review: Urzah - A Tranquil Void (Matt Bladen)

Urzah – A Tranquil Void (APF Records)

We’ve been following the career of Bristol based noisemakers Urzah since their inception in early 2020, battling through a pandemic, they released two EP’s which honed them as a studio acts before they even got on a stage together. On stage they’re a primeval force of heaviness, progressive sludge that dwells at the fringes of both, drawing in hardcore, post metal, punk, classic metal and more like a sonic black hole. 

They finally released their debut album The Scorching Gaze on APF records in 2024 and this was the first ‘proper’ chapter of their story, the self-actualisation that Urzah could become the next mega force in this genre the same way as bands such as Urne and DVNE have exploded in recent years.

Sharing similar influences such as Neurosis, Mastodon and any band that blends sludge with more atmospheric and progressive tones, their debut album was rumination on the human experience, the cycles of life death and more. It took them to bigger stages and higher profile shows, with the momentum not slowing even in the face of replacing their bassist. 

Dan Bradley took up the low end in November 2024 and they decamped to Josh Gallop’s Stage 2 Studios in Bath again to record the follow up to The Scorching Gaze, as Josh has very solid, sonic acumen for music of this style. 

That follow up is A Tranquil Void, another conceptually and philosophically driven record that joins its predecessor and a thematic diptych, the debut burning red with fire and rage while this one a calmer, reflective blue where the aftermath is examined, so keeping the same producer is a must if both albums are two sides of sonic coin. Though you shouldn’t expect Urzah to have mellowed, there’s little in the way of happy-clappy realisation, flashes of introspection and ambience yes but Urzah are still a band who reach catharsis and closure through heavy riffs, they’re still a progressive sludge band. 

However with A Tranquil Void they broaden their sonic display through folk influences, broader spatial exploration, wider complexity in the songwriting and collaborations with guest vocalists of the Bristol music scene including, Dave Cook (Empire Of Dust), Chris Wilson (Row of Ashes) and Victoria Bourne (The Spark’s Desire), reinforcing their place and their pride as prominent members of the Bristol/South West scene. 

Beginning with the insistent an ominous At The Mouth Of The Cave, they immediately break new ground as acoustics fluidly play the melodies over concrete stabs of heaviness, as if approaching a terrifying new phase of living. It does a lot to build up the dissonance and rage, which is unleashed on second track The Call Beneath. A tech metal showpiece that, really gets the record started in the way you’d want from Urzah. It’s a track about overcoming grief, it does so with gifted guitar interplay between Ed Fairman and Tom McElveen, set against and industrial dirge, and it’s a song which starts and stops like a mechanism for rage. Their vocals are just as intertwined as their guitar playing is, sharing riffs, melodies and leads, the density is just as potent as the complexity. 

From here the pace increases on Infernal Star I, those Mastodon influences that are mentioned, are here if you’ve been looking for them. Though they are more pronounced on Infernal Star II, which continues this two part sludge suite by dialling up the heaviness, driven by the impressive drum work of James Brown and the guttural bass of Dan Bradley, as the last moments erupting into solo section, which will see many air guitar heroes following along. This is the fantastic sound of Urzah at its most refined. 

Four tracks through and you can hear that Urzah are reaching for something much more intense and emotionally expressive than on their debut. It’s on the last four tracks though where the band push the experimental personality of their work. 

Side B begins with the woozy tribal beat of Bark & Branches, folksy and meditative, you may think it’s Heilung, but as In The Mouth Of The Wolf hits, this short rest bite is destroyed by more fierce technical aggression, again the guitar playing features plenty of thunderous brutality, the riffs contradicting and conjoining as it shifts towards the longest solo section on the record, taking the track and the band into classic heavy metal anthemia. Beneath all of these movements the rhythm section stays thick and crushing.

Getting heavier and louder as we move into another massive sludge beating on Hunter In The Veil. It’s here that the Neurosis sound comparison hits home, deafening drones of guitar and cello from Luke Clemenger, anchored around the, off time drumming, sprawling lead bass and raging vocal. 

A Tranquil Void is an opus, no mistake about that, any notion of a “difficult second album” blown away in the first half of the record, while on side two they settle into a new soundscapes, framing themselves as not just a riff heavy beast but a band who can play with nuance and intelligence. 

A Tranquil Void culminates in the 11 minute closer; Entwined, Twisted Roots Of Chaos, beginning with a dissonant slow burn and ghostly female vocals, it’s a track that builds, as if signalling the final chapter of this dual album journey, the constant increase of volume, emotion and atmosphere, never fully bursts like you may want it too, but it does just enough to give the felling of acceptance and appeasement that this album is trying to epitomize. 

It just caps off what is an incredible album number two from Urzah. The Scorching Gaze lit the fire, but A Tranquil Void has turned Urzah into an inferno of creative brilliance. You need this album! 10/10

Reviews: Evergrey, Ditheist, Kid Feral, Sleepbomb (Simon Black, Mark Young, GC & Adz Redpath)

Evergrey - Architects Of A New Weave (Napalm Records) [Simon Black]

Evergrey are another act absolutely in my sweet spot but to whom I only came upon fairly late in the day a couple of albums back. Architects Of A New Weave is, believe it or not, their fifteenth studio recording. The line-up may have ebbed and flowed a lot in that time (and indeed quite a lot recently), but the consistency and quality have not, and I remain surprised that this unique and prolific act have not achieved more success than they have, because it’s surely deserved.

This new opus does not buck the trend.

A conceptual piece thematically (something Evergrey are no strangers to) the album starts a little clunkily with a narrative opening, which frankly serves little purpose other than to give the band 90 seconds to get on stage when playing live. At first I’m a little disorientated by the slightly jumbled opening bars of the opener proper - The Shadow Self, although once it gets going it delivers exactly the kind of catchy, mood and haunting vocal chorus hook that makes this band so distinctive.

The title track then proceeds to knock things out of the park, along with any of my concerns. Whilst clearly the strongest track of the crop, it’s also probably one of their best songs to date, and one I suspect is going to be in the set live for some time.

The record continues mostly in the darkly melodic, progressive-tinged vein that they are such masters at, but the pitch and tone do head into faster and more upbeat terrify from time to time, varying the pace at just the moment when things could get repetitive. There’s a slightly different and edgy vibe to this disk as well, and perhaps the line up fluctuations have been therapeutic as well, because at this stage in their careers it would be easy to just stick to what you know, but overall this feel like a positive step in a slightly different direction without losing the key sound which makes them so recognisably unique. 9/10

Ditheist - Cosmic Liar (Heathen Tribes) [Mark Young]

Ditheist, hailing from Chicago come in and drop what is essentially a decent bit of Death/Grind for their second full length release, Cosmic Liar. What you get is 8 songs that stick to a plan with little deviation in how each of the tracks deploy. There are moments where they spread their approach wider, such as the middle eastern tinge to Nyarlathotep but I’m getting ahead of myself by not starting at the beginning. 

It’s an odd one as the opening trio of Cosmic Liar, Evil To Live and Kill The Priest are relatively ok and represent a fairly strong start. Each of these take the core requirements for extreme music and apply generously like they are spending someone else’s money. For me, they don’t do enough to grab and to be honest I thought that this would be the general theme running through it. 

When we get to Nyarlathotep suddenly you sit up and take notice. This is a grand moment, carrying an epic feel to it where everything clicks into place. Riffs are huge with a cracking pace to them that drops in and out to suit. Throw in a lead break that does a lot in quick time and we are off with renewed interest. 

Apoplectic Delirium follows and keeps that intent steady, the band returning to a more traditional death metal sound which for me is a shame but this is still a strong track. One of the things that does punch through is the feeling that they are consciously being a little loose instead of being rigidly fixed to time. As a result of this you have a more organic touch to it. In any event its two for two. This upward swing continues with Covenant Ov Torture, a furious stab at old school goodness that Vader would be happy with.

The closing act consists of Mouth Of Hell and Singularity and its great to hear and acknowledge that they don’t drop the ball at the end. Mouth Of Hell is rapid, full of razor sharp riffs and that unswerving looseness. Its like a cart trying to come off the rails, tipping to one side before they manage to pull it back to relatively safety. It’s a strict combination of speed and brutality, a straightforward kick to the skull that is sure to scratch the itch of anyone looking for new death metal. 

Of course it has to come to an end and Singularity holds that position. This takes another turn, mixing in a wicked groove to the head kicking arrangements they have been dropping here. I go on about how the last song can really make or break an album and be the reason for future listens. Singularity builds on the good work that started with Nyarlathotep and provides a strong finish that I really wasn’t expecting earlier.

It is a literal album of two halves, one that starts slowly and finishes on a high. In terms of extreme music, its certainly worth a listen and I would have loved to have heard more like Nyarlathotep because they did it so well. It certainly represents the moment where things picked up but ultimately you have a decent bit of death metal. 7/10

Kid, Feral - 2019 (Backpack Records) [GC]

When you see the writing process for this record began all the way back in 2018, you wonder what has taken them so long to get it released, apparently parts of the songs have been re-written several time and they wanted to really take time to make sur everything was on point!? 8 years is a long time to spend on an album by anyone’s standards, so is 2019 worth the wait?

It gets going with Funeral In A Grocery Store which is a bit of a whirlwind it has the essence of a great screamo track but the way it dips in then mixes the jagged Dillinger Escape Plan style guitars in there but it feels a little short, maybe I’m missing something but the build-up feels like it needs to be more dramatic to have the full affect they are aiming for? 

Stop ‘N Go is a blur of noise over it 54 second run time and it feel like there is something there and I appreciate a short track more than most people but here the drama just seems to get lost, Substance is a bit more what I am looking for, the song has a bit more body to it and allows for a build-up and the emotion gets to really take the lead and the chaotic-ness of it all really takes it up to another level. 

Medieval Poetry again has the same sort of stylistic vibe and carries the emotion forward on a seething wave of anger, which grabs the attention and makes you really invest into the sound a bit more its melds the unpredictable and the heartfelt nature that is needed and you can really feel the energy through the whole track and it ends in a gloriously batshit way as well which is always a bonus.

Pothead Archaeologist is a blink and you will miss it 51 second blast of unhinged noise that arrives, kick you in the teeth and then just leaves, no nuanced soft sections or emotional tug, just pure unbridled savagery which is nicely done and mixed in after a couple or more though provoking tracks.

With Memories From A Stamp Collection you can just picture a shitty practice room somewhere in the mid 00’s with 4 guys with t-shirts that are 3 sizes too small, skinny jeans, Converse and black Romulan haircuts just chucking their instruments about and diving all over each other and hoping a song comes out of it and it sort of does in a way, again the main word that comes back to me is chaotic and honestly I’m not sure if that’s in a good or bad way? 

I Want To Be Your Canopy then of course just veers off in a totally new direction and throw in some black metal, just because, you know why not they have tried everything else so they may as well give this a bit of a go and honestly? It works it adds more drama to the overall sound of the song and gives it an interesting backdrop against the more emo-y sections an unexpected and savage mix of styles that compliment each other well. 

Puddle Jumper is the last track to give us one last weird pummelling, it smashes together the emo soft bits with more unwillingly bonkers mathcore which is the basis of screamo and they absolutely nail it here.

Reading over the PR for this I wasn’t 100% sure what I was expecting really, what I got was lots of chaos and emotion, sometimes mixed together really well, sometimes they allowed their intrusive thoughts take over and let them get too involved and the sound got a bit too much and didn’t make much sense but overall, I enjoyed what I heard and would be interested to see where they go from here in the future. 7/10

Sleepbomb - Songs In The Key Of Conan (Koolarrow records) [Adz Redpath]

After over a decade of fluctuating lineups with a stable core of 3 members this San Francisco Horror/Doom metal band provides here their interpretation of what the original Conan movie from 1982 should have had as a soundtrack. This is an intriguing and attractive concept to a movie buff such as myself and seeing their prior influences on past releases including the mighty George Romero I was excited to broach this and hear what vision this band was going to put forth. as a whole.

The production work on show is very solid here and undulates with atmosphere throughout, balanced and well mixed with a great use of instrumentation on show here although nothing of any particular prowess or technicality and with a lot of repetitive themes and time signatures. At times it does feel like a click was never used although that only serves to give the album a more organic feel and does not detract from what's on show here. Musically the tracks flow well although it's hard to find any stand outs amongst this release as it truly does feel more akin to a movie soundtrack than an album of songs that you will want to repeatedly listen to.

This could be epitomised as great background music with truly solid production and some really spacious undertones and musical soundscapes, but feels like an overly contrived concept that in all honesty I will be unlikely to check again unfortunately and was quite a slog for a newcomer to the group to get through. They fulfil what is a very niche vision that within the movie industry may do well but for the average fan of doom or metal is unlikely to garner much interest .

I don't like to go full Dave Portnoy but it does seem to be my way with reviews and this although well constructed fails to deliver more than a conceptual idea. 5/10

Reviews: Pro-Pain, Monolord, Shooting Daggers, Gurt (GC, Matt Bladen. Mark Young & Cherie Curtis)

Pro-Pain - Stone Cold Anger (Napalm Records) [GC]

When it comes to names that stick out in a scene, Pro-Pain are one of those in the hardcore world, one that has been around forever and are seemingly still fighting the good cause for the hardcore scene. 

From what I can se this is their SIXTEENTH album!! Now that is an incredible number of releases for anyone, so, where does Stone Cold Anger fit into today’s scene?

It is as expected on opener Oceans Of Blood with some fast paced hardcore that has the unashamed punk element threaded into the sound the comparisons to other bands is a bit pointless as these guys were there at the beginning with them all anyway so are bound to mix in other sounds but its clear that 35 years of experience has let them form a solid sound that will not be changing anytime soon! 

Stone Cold Anger has a bit more of the metal-ness sprinkled across the song and is more beatdown in nature but not the stupidness of today’s beatdown bands, it’s the more nuanced sound of the early NYC hardcore and it’s a glorious and violent throwback to a sound that never gets old or tired.

March Of The Giants then finds a bit of a middle ground, as again its more on the metal side of things but has a stomp and swagger that comes with the years or writing and touring, it allows them to cater to what they know is going to hit well with existing fans but also will bring new fans in, it has old school charm with a new school cutting edge. 

Uncle Sam Wants You! throws back into the punk element and is a riotous and snotty fuck you to the corrupt system in the US and how they treat their armed forces, its direct and angry and sums up how it must feel to be a part of that whole unpleasant situation when it arises.

Demonic Intervention opens up the sound to the groove-metal world, its stomps and pounds around well enough and its all nicely done but it just feels a little too mid-paced and it never really picks up the pace and just sort of meanders all the way through, it’s not boring as such just lacking that killer edge needed to really make it shine and stand out. 

Luckily on Rinse & Repeat they sort of pick up the pace again, but also don’t at the same time which if this sounds weird to read it sounds weirder to actually hear! It has gone back to the more standard hardcore sound, but it feels again like something is being held back and the song never really seems to get going enough.

It’s all decent enough but just missing something, thankfully Hell Or High Water kicks back into gear and really shows what they are capable of when they just let go of the reigns, metal clashes with hardcore and punk dips it toes in as well. 

It’s an adrenaline rush of a song that just makes you want to get up and start a mosh pit wherever you are, rousing, reinvigorating and sorely needed to pick the mod back up! Scorched Earth then mixes a bit of the holding everything back style with some more hardcore punk parts and the mix is good but that’s about it, you’re never entirely sure what style you should expect, and it affects the flow of the track massively! 

After this Jonestown Punch sounds immense, they again just throw off all the shackles and go straight for the kill, sharp and precise riffing mixes everything together and the groove elements is huge all the way through.

You just wish more of this had been on the record this continues into Sky’s The Limit which is probably the most anthemic song on the album and a savvy closer as it will get people moshing and singing along in the live setting and leaves you with an energetic rush to finish things.

It’s clear to see that Pro-Pain are here to stay and they don’t care if you like that or not, 35 years of writing, recording and releasing records is no mean feat and Stone Cold Anger will slip into their huge back catalogue and not get lost or forgotten, its bold, brash and angry as only hardcore can be and is well worth a listen. 7/10

Monolord - Neverending (Relapse Records) [Matt Bladen]

After an enforced break due to mental health struggles, during which their frontman released some ambient records, the the trio of guitarist/vocalist Thomas Jäger, drummer Esben Willems and bassist Mika Häkki reconvene under the Monolord banner, for their first full length since 2021.

On Neverending they reach further into the a galaxy of riffs than ever before, inviting the ambient movements of Jäger's solo work to further deepen the sonic hypnosis of Monolord. The colossal riffs of Inside A Collider are just what Monolord fans will want slipping into Crystal Bridge where that massive heaviness moves into psychadelic atmospheres.

Behind the producer chair Sylvia Massy (Tool/SOAD) gives Neverending a more contemporary slicker sound than some fans may be used to, the fuzzy repeating riffs are getting their edges sanded, to create an album that defines the band they have become after 13 years.

Fear not though as it doesn't mean Monolord have gone soft they've still got the volume and repetition to lock you into steady head nodding groove but with their most personal lyrics coming from recent history, Neverending has a taste to the maudlin, or the introspective which allows them play more with their identity.

No track highlights that more than the steamrolling doom dirge of It's Neverending which features Jörgen Sandström (formerly of Entombed) delivering snarling death vocals, the first time Thomas hasn't sung in a Monolord song.

The band and hopefully, it's audience, are more comfortable with each other after this time, as if there's and expectation to shake things up a little as you near big milestone years, Neverending is loud return for for Monolord but with a refined attitude to who they are. 9/10

Shooting Daggers - The Real Life Thing (New Heavy Sounds) [Mark Young]

Sometimes we just need simple things. Something that is unfettered with having to squeeze a million notes in and just wants you to dance. 

The Real Life Thing is in their own words a ‘mini album’ and is 7 tracks of punk/hardcore/melodic infused guitar driven music that makes no attempt to stay in one lane. 

And why should they? Adrenaline is a cracker, one of those songs which could make anyone dance (even me). With that sub three minute run time it’s a perfect example of what an opening track should be about.

It’s when they launch into My Oh My which changes their sound completely, going from the bounce to a more restrained and thoughtful approach its plain to see that they can make great music and still contain a message of hope. 

They know how to build songs and how to deploy them to great effect. That positive undercurrent runs through this, underscoring it. T.R.L.T. picks up the pace once again, providing that bouncing momentum that Adrenaline started with. Its purpose built for an audience that wants to move, to just enjoy a night out.

After the 28 second We Just Wanna Play, they roll out Loud Mouths (ft The Menstrual Cramps) and it’s a blast. If someone asked me to describe what Punk sounded like I’d probably point them in this direction. 

It feels that with this, a lot of the posturing that I associate with Punk/Hardcore and generally puts me off is missing and I love it. 

As mentioned, they don’t sit still going from that classic punk sound to the beauty of Le Soleil. This variety makes this release such a great one as they move effortlessly between these different lanes. 

GLOW (ft Dennis Lyxzén) wraps things up for the three piece. The guest vocals fits in so well without overshadowing Sal. Taking the release as a whole, there is a lot to appreciate here, and if I had to pick any one song as a jumping on point, I would be hard pressed to do so. 

They don’t do the same thing every time, they just do what they think is right and you either like it or you don’t . What you can’t escape is how good these songs are, and I hope that they make their way north for a gig or two. Give them a go, they could be your new favourite band. 7/10

Gurt – Survival Of The Shittest EP (Self Released) [Cherie Curtis]

Survival Of The Shittest is definitely a fun one. Gurt brings three ruthless and hellraising floor fillers. This EP consists of two original tracks, Live Nation, Dead Scene and the title track Survival Of The Shittest which are both punchy and ruthless with an Imposing atmosphere. 

The vocals are scathing and unruly in the best way, complimented by repetitive and sludgy riffs that may have gotten boring if they weren’t executed with effortless and raw intensity; simple composition but very effective in building tension and maintaining it for an entire track that’s all buzz and no chill. 

These tracks are great energizers and it’s easy to listen to, but the obvious star of the show here is their cover of 2 Unlimited’s 90’s club classic, No Limit.

Gurt’s cover of No Limit has what it says on the tin, no limit. It starts out burning hot and like the other two tracks on the album, it just stays there (which I'm starting to gather is one of Gurt’s main attributes). 

This cover is bouncy with classic prickly riffs to mock the Synths from the original which amps us up and knocks us down with the signature beat we all know and love. 

It’s exactly what you need after a couple drinks on a night out but it can be a little off putting at first if you're a fan original, but after the dust settles you do realize (if your anything like me) it's a good song made better because its aligned with your taste. 

Gurt adds what the original couldn’t provide; what we all didn't know we needed - blood pumping metal. 

I can safely say i would pay good money to have this played in a club and to hear this played live would be so unexpected it would have me losing my mind, it's almost a shame i heard it here first and not for the first time at a gig.

On the whole this one is solid; it's a well-rounded riot and listening to it was a breeze. It’s mixed well and the band clearly have a knack for their art and more importantly, especially to me, it was fun. Listening to this one was an immediate mood booster, but it didn’t give a lot to think about, but it doesn’t need to. 

The EP was over and done with before i finished my coffee which works and makes you want to revisit it a few more times and every time you do it hits even harder. 7/10.

Review: Converge - Hum Of Hurt (GC)

Converge - Hum Of Hurt (Epitaph Records/Death wish Inc) 

At the beginning of this year, we got a new Converge record, the phenomenal Love Is Not Enough and everything felt right in the world, then seemingly out of nowhere they went and announced there would be another album released in June THIS YEAR!! What the fuck?? 

How does this happen? Are these all new songs or just cast offs from previous sessions that didn’t make the album? And the main question will it be able to equal the impact of L.I.N.E, or just dull it down with a sub-par release?

As we get going with Slip The Noose, I need to be 100% honest and say it’s exactly what I wanted for an opening track, it has got all the hallmarks of Converge, savage vocals and an unholy racket that musically backs it all up! 

After this, following that could be difficult but on Doom In Bloom there is a different style with the way it slowly builds and creeps and manages to shows another side of Converge that many people probably wouldn’t associate with them, it’s slower and more measured than people may expect but still a great track.

It Only Gets Worse then explodes into life with a cacophony of jagged noise, the guitars cut and jab, the bass flows and carries the beat of the drums and its all cloaked in a vocal display that brings a tear to the eye, wonderfully brutal but it still feels like there is more coming! 

Then the curve ball is thrown and Detonator feels like a bit of an odd one, with a title like this you expect it explode out of the blocks but it really doesn’t, it’s a bass lead, slow drag of a track with sections that do of course come alive and grab hold of you but this may take a couple more listens to really land properly for me.

I Won’t Let You Go kicks everything back into gear, once again its not a full throttle attack, it starts off slowly and then just drops into an all out attack on the senses, the music weaves in and out and keeps you on your toes. 

It never drops from the unrelenting barrage that you want and enjoy and the way Jacob Bannon throws his vocals around always make everything sound 1000 times heavier than is should.

On Its Not Up to Us you get a real pattern of the flow of the album, its not trying to sound like L.I.N.E in anyway, that was just straight up heavy and brutal whereas here its still heavy but it has a more measured approach, the songs are slower and attach more atmosphere and have a lot more uneasy moments, which is a great juxtaposition from what you may have wanted to hear.

Dream Debris is the perfect example of the slower approach there is nothing but bass for the first minute or so and then when the drums come in it all stays at one steady pace.

The guitars add layers in places but never fully take control and the vocals just gently lay on top of it all until they unleash everything for short sharp blats of contrast before then dropping back into the slower pace again, its uncomfortable and expertly done. 

It Used To Matter is just 2 minutes of ambient guitar noise that sort of floats about and doesn’t really do very much at all and in all honestly, I’m not really sure of the point of this? 

Anyway, Hum Of Hurt then feels like the most familiar track on the record, it has a huge sound to it that is full of off kilter guitars that track with a big meaty riff throughout and they crash and clash with each other from start to end. 

The thud and throb of the bass and drums coats the track and really gives it a massive feel and of course once again the vocals just deliver the emotional gut punch you need. A really good choice of song for the title track.

Nothing Is Over sound like 2001 Mastodon have highjacked the recording studio, it’s a wonderfully executed piece of music that is always stabbing at you but keeps managing to drag its heels at the same time but not in a way that you don’t enjoy.

In a way that you almost want it to end because it feels so painful to listen to but when it does end you aren’t happy about it your just left on a heap in the floor, majestic.

6 months into the year and 2 Converge records, does the 2nd one match up to the first, well no because it is a completely different approach so doesn’t really need to be compared and I feel stupid for thinking they would release a cut and paste of Love Is Not Enough as they have never been a band that rest on there laurels and play it safe.

They are always evolving and changing as they please, not to make you or me happy but to stay true to their beliefs of how there music should sound, don’t like it? 

I don’t think Converge give one flying fuck and that is what makes them the outstanding band they are and it’s what makes them constantly release albums as good as Hum Of Hurt and long may this continue. 9/10

Reviews: Beyond Salvation, Seven Crowns, Dark Divine, On Borrowed Time (Matt Bladen)

Beyond Salvation - The Final Nail (Self Released)

Manchester thrash/groove act Beyond Salvation deliver The Final Nail with their debut album.

If you're a fan of Machine Head, Sylosis, Trivium or Hatebreed then you'll be banging your head the instance Descending Into Darkness gets going with the technically impressive, bludgeoning modern thrash metal, inspired by the sounds of the US mid-2000's scene.

With three EP's under their belts, The Final Nail is their debut full length and it's a real bruiser of a debut, the blistering Incarcerate, exactly the sort of track that will go down a storm live, speed, precision and power that will get pits moving for sure, while the Title Track has a stomping groove to it that shifts to atmospheric realms.

Their skill should not be a surprise as Jon Pedley (vocals/rhythm), Arun Kamath (lead), Luke Entwistle (bass), and Owen Ashworth (drums), have been moulding their technical thrash/death/groove hybrid for a few years now, a very D.I.Y unit all the band members has a had in producing the album, which sounds meaty and aggressive from the first seconds, but its also slick and polished as Lee Calpee handles the mastering.

Gaining new followers and thrashers with each show, be it Bloodstock or supporting Shrapnel and Krysthla, they have been taking the UK by storm and have translated a lot of this live ferocity into their debut, as rapid pace riffs on tracks such as the melodeath-like Cleansing or the hardcore punch of Scorned, soon switch gear into neck wrecking breakdowns on Broken Reflections, the drumming always intense, the riffs burly and the solos a widdly as you want.

While not a concept album there is a loose theme to the album charting "an individual’s journey of self-reflection" which leads to some emotionally driven vocal shouts the choice to leave off the clean vocals that so many bands bring now, a positive move as it would dilute the power of the record in my opinion.

Beyond Salvation's album may be called The Final Nail but its just the beginning of the story for this impressive UK metal outfit. 8/10

Seven Crowns - Haunted Head (Pale Wizard Records)

20 years ago a punk band from Bath played their first ever show in New York City in support of Subhumans. Since then they have circumnavigated the globe with some of hardcore punks best and loudest, but rarely set foot on a stage in their native country, perhaps because the music scene in Europe and South America still has that D.I.Y ethos, and punk as genre is all about rebellion, so will be much better appreciated inside a Venezuelan toilet venue than any Live Nation branded enormo-dome.

Haunted Head is their fourth album and it comes from a place of immense sadness, born out a time where many of the bands loved ones passed away, they recorded the album with Josh Gallop in Stage 2 Studios in Bath, returning home to convalesce in the loudest way they can to create a way to work through their grief with some music they call “heavy as fuck psychedelic punk” now that seems a weird description but it is very accurate to what Seven Crowns deliver here.

The industrial synthesisers bubbling up at the beginning of the title track, the sludgy, heavy groove riffs, dragging their self to life, as the raw throated screams come it to exorcise those demons and celebrate their lost loved ones. Seven Crowns also celebrate musical diversity; their music is inventive using instrumentation that is a lot more expressive and interesting than many hardcore punk acts. Latin rhythms come on the drums and bass via NWOBHM gallops on Headstone, Side Effects goes from a shouty bounce into bass-driven industrial weirdness and angular guitars.

Ways To Be Gone and Acts Of Mindless are more like it if you’re a hardcore punk fan, as both have got that drive that will bring the spin kicks. However, Ways To Be Gone goes all desert rock in the middle to keep you guessing, Seven Crowns end this chapter with Some Are Broken, Some Are Lost as song that turns everything before around, a cathartic pseudo-ballad, it’s this punk collective releasing these feelings of grief for the final time. Haunted Head is not just a punk album, it’s a punk album from a band, who lay their hat abroad, coming home to celebrate family with music that never feels restrictive or reductive.

Seven Crowns’ fourth album and their collaboration with Pale Wizard Records, may just introduce a new listeners to punk music that can be, antagonistic and uncompromising while also being inventive and emotional. 9/10

Dark Divine - Undead Melody (Thriller Records)

There's been an upsurge in bands recently blending goth aesthetics, horror movie clichés and industrial driven metalcore. Brutal music, big breakdowns, fizzing electronics and a cinematic style that is obsessed with slashers and the undead.

Motionless In White, Ice Nine Kills and Mister Misery are all a part of this "spooky core" scene and now coming out of a Halloween Horror Night at Universal Studios it's Orlando band Dark Divine. They've recently been across the UK with Smash It To Pieces and it's on stage where they really show what they can do through an immersive live experience that is sure to please their fanghouls and fanghosts.

How does it translate to album though? Well on Undead Melody they don't have their visual elements so they're reliant on their music alone, which is good, I mean it's not groundbreaking but there's a much broader sound than you may expect from the emotional angst and processed beats of the title track to the brutality and breakdowns of Midnight Masquerade.

It's an album that draws from metalcore, post-hardcore and nu metal to create a hybrid sound that is very on trend right now. Undead Melody invites you to enter Dark Divine's Black Magic Kingdom. 7/10

On Borrowed Time - In The Dark Before The Dawn (Omen Records)

Melodic hardcore from Dorset now, as On Borrowed Time deliver their debut album In The Dark Before The Dawn, through Omen Records. Formed in 2018 they've been refining a style of melodic hardcore that is emotional and aggressive, richly layered in clean guitar lines, anything post-haedcore choruses and a gritty mix of hardcore and punk. 

On Borrowed Time are a band where all of the members are veterans of their scene having played in various bands before merging their talents here. It's this experience and understanding of their sound that means that this debut album arrives with a band instantly showing you who the band are. 

Preceded by several singles (all about them streams baby), In The Dark Before The Dawn begins with Twilight an instrumental intro that sets the tone for the whole album, it feels anthemic and insistent, from the snap of the snare, to the distorted riffs merging with melodic leads, it's a build into Burden which explodes like a track firmly plucked from the 90's skate scene, punk rock speed which breaks down into shoving aggression. 

They've been compared to Have Heart and Comeback Kid, these comparisons are hard to disagree with. For every punchy riff and shouty verse there's an ambient moment and an introspective chorus that's designed to be shouted back, the raw emotion distilled and put friendly breakdowns distilled with complexity in the compositions. 

If like and me and I assume them you were fed a diet of Kerrang/Scuzz TV and Tony Hawks Pro Skater growing up, then there will be a sense of nostalgia to this record but let me be clear, the style is reminiscent on In The Dark Before The Dawn but On Borrowed Time make sure their debut is contemporary and cathartic. 7/10

A View From Uprising 9 (Debby Myatt & Tony Gaskin)

Uprising 9, O2 Academy Leicester, 23.05.26

Over a decade ago, the seeds were sown when founder and guitarist of Leicestershire base grunge outfit Resin started putting on gigs under the name of Resin Events. He hooked up with proprietor of Firebug in Leicester, Matt Kirk, and after promoting the regions M2TM competition, they hatched a madcap plan to hold an all day event at the iconic De Montfort Hall in Leicester, and Uprising was born. 

It was an instant hit with Midlands metal and rock fans and apart from the obvious gap year, it’s now in it’s 9th edition. But this ten year anniversary is bitter sweet with the future of the event uncertain as the ownership of the current site of the festival, the O2 Academy, is being handed back to the Uni and it’s not clear yet what will happen with the site. We had a chat with Simon and he says talks are underway with a number of venues, so fingers crossed they can get somewhere sorted,

As for Uprising 9, the usual eclectic mix of rock and metal lay in wait for hundreds of metalhead from all over the country. There was going to be 17 bands over 2 stages and about 11 hours of head banging, and we managed to catch them all!

Very Metal Art Stage  

First up lets look at the Very Metal Art Stage that was located in the Academy 2 room and despite having the doors open to the patio area outside, it was already a sweat pit on one of the hottest days of the year!

Opening up were Break Them (7) who laid down some heavy hard core grooves with punishing intent, whilst straight after them rising stars Pryma (8) brought a confident stage presence and relentless energy that only served to increase the temperature in the already sweltering room.

As is the nature with Uprising we are completely flipped with the next band, Crowley (9), who despite a few tech issues with sound pummelled us with some gloriously dark gothic doom. From the darkly beautiful to the beautifully ferocious. Maatkare (9) bring us monumental death metal that brings the ancient world of the Egyptians alive with brutal riffs, guttural vocals and hypnotic rhythms.

Survivalist (6) had a band hand dealt to them with a long delay again with tech issues. They bravely laughed it off, but it was a long uncomfortable wait and seemed to knock the wind out of them, but hopefully we’ll see a different Survivalist when we catch them at Call Of The Wild.

Crowd favourites Gurt (9) were up next and the sludge lords happily picked the pace up again with an intensely groove laden set that got the room bouncing, we’d been going 5 hours now and barely time to catch a breath! It was the turn of Hawxx (8) to get the claws into our minds next, Punk tinged, alt rock is the best way to describe them. Powerfully emotive, unapologetically confrontational and no holds barred fury. A slick set justifying their place on this line up.

After a few hours of some very intense performances across both stages, it was good to just have a laugh and you’re guaranteed that with everyone's favourite punky thrashheads Lawnmover Deth (8) who brought the unique brand of humour to lighten the mood, it was a welcome dose of hilarity, before closing out the VMA stage with hard core legends Stampin’ Ground (10) who tipped the room over the boiling point with the old school hard core fury and aggression, it was literally raining sweat as the veterans showed that they still have the vim & vigour to mix it up with the youngsters, a brilliant end to a pretty full on day on this second stage.

Main Stage

Whilst the VMA stage was boiling over the Main Stage at the O2 was a tad cooler, but the bands would still have that fiery intensity, and first up were techy prog meisters Fractions (9) who got things going with a sublime set. The local lads have been quiet of late but were bang on form today with their complex layers of soaring vocals, intricate riffs and mesmerising drum and bass beats.

They were followed by another local legend, Tom Reynolds, otherwise known as Foul Body Autopsy (8), a one man death metal machine. A phenomenal guitarist who creates a cataclysmic wall of sound with his guitar, pedals, loops and backing tracks. At least the rider will be small! But seriously he’s one talented guy with an impressive catalogue of material.

There was a big emphasis on atmospheric and visual acts on the main stage today and Mayfire (8) have both in abundance. Monumental soundscapes and moody stage presence are the order of the day with this atmospheric black metal band from Norway who describe themselves as “cinematic” which we totally get, very Scandi Noir.

For visuals and performance there are not many around at the moment who can match Ward XVI (9). The stage setup is impressive and and the performance is straight out of the Alice Cooper book of rock theatrics. The maniacal minds of this dark horror band create a whole world and it’s grisly stories with which to entertain us, the big stage here is perfect for their show and even though they only have a half hour slot they cram so much in.

From the blood and gore of the asylum we are taken into a much darker place. An atmospheric gloom descends on the crowd as The Suns Journey Through The Night (10) creep into the darkest recesses of our senses. A complex wall of sound, raw and ritualistic from this black metal band, it has a dark beauty that will take your soul and leave you emotionally bereft. This sort of extreme metal is not for everyone, but get past the tags and pigeon holing and listen to the music that is being created, simply stunning.

From soul crushing black metal to heart wrenching flamenco and North African inspired alt rock in the form of Gibraltars greatest musical export Breed 77 (9). Their heavy rock incorporates the musical melting pot of their homeland making for a unique sound that is unmistakable and add in the soulful vocals of frontman Paul Isola overlaying those haunting guitar riffs and it makes for a beautifully heavy mix.

Another veteran band from the late 90’s early 00’s that has made a comeback in recent years are Essex boys InMe(8). They exploded onto the scene with their highly acclaimed albums Overgrown Eden and White Butterfly and soon had a strong loyal fan base. Frontman Dave McPherson wears his heart on his sleeve, his songwriting is powerfully emotive, full of angst, anger and hope. His vocals are unmistakable, a style that help them stand out from the crowd.

And finally, after a very long and very hot day, the culmination of a brilliantly curated day of rock and metal sees the return of a much loved, and you might even say greatly underrated industrial stalwarts Pitchshifter (10). They have achieved an almost cult status amongst their die hard fans and they treat us to a hour long set of their best tunes. 

You know it’s going to be a full on set when they kick off with Triad and Microwave two of their heaviest hitters! They finish off with a triple whammy of W.Y.S.I.W.Y.G., Please Sir and Genius the floor is bedlam, the crowd is hot, sweaty and very happy. That was a mad cap ride of pure chaos!

If this is to be the last Uprising then what a way to bow out, but at the time of writing these last few lines, Uprising have posted a couple of cryptic updates on their page, including a logo saying Uprising X and the date “10-04-2027”, so I guess the Uprising will continue. Metalheads assemble! We just don’t know where yet!!

Reviews: The Ghoulstars, Hysterese, Embrace Of Souls, Hellforce (Matt Bladen)

The Ghoulstars - The Dark Overlords Of The Universe (Season Of Mist)

Some Finnish horror metal/punk now with The Dark Overlords Of The Universe, from The Ghoulstars. Influenced by The Misfits, White Zombie and Murderdolls, there's a certain expectation coming into the record that is cemented with opener Too Ghoul For School thundering with schlock horror lyrics, wavy melodic guitars, big drum sound and gang vocals it's creepy, kooky, woozy and spooky. 

Emerging from the grave in 2021, they're something of a Finnish supergroup featuring members from Kuolemanlaakso, Hooded Menace and Thermate, their experience is second only to their fandom as The Dead In Purgatory is Morricone meets Volbeat as Zombie Apocalypse goes full Mr Only & Co. 

Inspired by an 80's VHS B-Movie aesthetic every song is brimming with retro gold lyrically there's more to it than just catchy references to 40 year old media, a few of the songs deal with personal and emotional issues but mostly this album is about fun and if ghoulish, horror punk rock gets you bouncing and wanting to paint a skull on your face then you'll get a lot out of The Dark Overlords Of The Universe. 7/10

Hysterese - Hysterese V (This Charming Man Records)

Hysterese have been cranking out riffs since 2009 which explains why this other the cult metal acts fifth album. 

They're a band who do things very D.I.Y, punk, metal, hardcore fan base the whole thing, the dual vocals and guitars of Helen Runge-Kehle (guitars/vocals) and Moritz Kehle (guitar/vocals) rage and roar, with the rhythm section of Lukas Anderer (bass/vocals) and Kai Hirt (drums) thunder with a raw pace that emerged from the garage. 

With album five though the band have done a bit of refining to their rough sound, with 80's sounding melodies on Love Hurts, sleaze on No Dreams, post punk on Nightfall, classic metal on Obsidian and even cover of Necropolis by Manilla Road, switching up their garage punk with the leather and studs of heavy metal. 

It's an album that stalks, struts and strikes, punk and metal in a noisy unison, Hysterese still do it raw, loud and heavy. 7/10

Embrace Of Souls - The Battle Of The Dead (Rockshots Records)

It's fair to say that after two records Italian band Embrace Of Souls know their sound. Dual vocal symphonic power metal, richly produced with orchestrations augmenting more tradibal European power metal gallops. 

The vocal interplay between Giacomo Rossi's powerful heavy metal voice against Martina Mazzeo soaring soprano tell these conceptual stories of "medieval world consumed by a mysterious plague that corrupts human souls" well as the records narrators, letting the band made up of Valerio Edward De Rosa (guitars), Xavier Rota (bass), Davide Baldelli (keys) and band founder Michele Olmi (drums) create the cinematic, music to accompany them. 

Be it muscular power metal gallops on the opening Title Track, the neo-classical Spine, the dramatic Betrayal, the powerful The War or the symphonic brilliance of The Dark Lord, there's not much the band can't turn their hands too, moving through various aspects of power metal and doing all of them all well, the top tier drum work a highlight. 

Will some of this be familiar to fans of power metal? Yeah of course. However Embrace Of Power have the experience to make it a unique, enjoyable, listening experience. 7/10

Hellforce - City Of Dis (Self Released)

Formed just under a year ago from the home of Sabaton Falun, Sweden, Hellforce are young band with a lot of talent and some very old school influences, inspired by classic heavy metal they cite Grave Digger, Savatage and Accept as who they want to sound like.

They kick off with The Cursed Land, a raging heavy metal romp that's got all those influences in it, from the galloping bass and drums to the shredding guitars. It's classic metal so it's not the most complex sound but what is ultra impressive is that none of Hellforce are even 18 yet!

Leonard Hansson (vocals/bass) is 16, William Ols (guitar) is 14 and drummer Leo Mullback is only 12 but they already sound like they've been playing together for a decade or more, their skill is very high, just listen to the solo sections in Dawn Of Evil and Pain & Suffer.

Really all four songs on this album are well written and very well performed, not just for musicians of their ages but for bands with many more years on the clock. Lots of potential and some classic metal riffs from Hellforce on their debut EP. 7/10

Reviews: Redshift, Erdve, Kristoffer Gildenlow, The Scalar Process (Matt Bladen, Joe Guatieri, Cherie Curtis &

Redshift - Down The Wire (Pale Wizard Records) [Matt Bladen]

We're long past the days when HyBriD_tHeOry.exe used to curse your computer to hell and back, technology has evolved exponentially since then and we've all had to keep up. The issues of A.I have inspired many songs, albums, most in the prog metal genre, much of this due to prog's inherited links to Sci-Fi I would think. 

So when I saw Bath based prog metal trio Redshift were making their long awaited return with concept album in six chapters, telling the story of a "world surviving without independent thought, where human-made art became outlawed, and A.I generated art propagandises obedience." So taken straight from the dystopian Science Fiction of the 70's but more resonant culturally than it ever has been. 

It's the story of an artist who acts in defiance of this New World Order, creating the most experimental and human art that he can where freedom and expression is paramount, creating a resistance to the machines. If any band can really lean into this idea, it's Redshift who have been impressing us in these pages since their debut,their style of Opeth meets Rush via Dream Theater, instantly making a mark with their debut and it's follow up scoring high. 

Unfortunately the band faltered a little after their second record as co-founding guitarist Joshua Boniface left the band so live shows to promote that record were limited. But with guitarist Tiago Martins joining drummer Jack Camp and Liam Fear vocals/bass/keys, they've injected some new life and creative vision into their third album. 

Down The Wire bursts to life with The Singer, heavy, melodic, breakneck, there's virtuosity everywhere but used to propel the vision and storyline. Moving through Dream Theater, Opeth and early Haken (when they still had harsh vocals), all the big hitters are ticked off as another story driven journey begins the production sound of Ben Turner and Jamie King, right bang on with the modern prog metal crowd. Into The Machine and there's more Dream Theater, with a bit of Styx vocoder work, black metal snarling and then a solo section Rush would be proud of. 

Needless to say if you don't like prog then this is an album to avoid as it somehow gets madder on The Clown where the band show they've been listening to too much Mr Bungle, Primus and ELP, the carnival atmosphere, the haughty spoken word vocals, the banjo, arpeggios from hell, it's a wild ride that goes wilder when John Hare adds Trumpet and Flugelhorn to increase the jazz fusion quotient on The Rogue, where the organ/keys are very familiar, and they should be, as Derek Sherinian (ex-Dream Theater/Michael Schenker) is the guest for this one, prog keyboard royalty on this most muscular of proggers, which lovers of bass will get all gooey over. 

After this venture into the prog fusion sphere, Down The Wire ends with the 13 minute The Redemption, a song where every facet of the band is on show, each previous track is referenced, all of the virtuosity is at a paramount, from guitars, to bass, to keys and drums and even the vocals are the most varied, adopting some Geddy Lee tones when it moves into the dreamy acoustic section that precedes the intense finale. Redshift embrace the change in their line up to create their most expansive album yet! 

Another perfect prog record from this special band. 10/10

Erdve - Epigrama (Season Of Mist) [Joe Guatieri]

Erdve are a band from Lithuania whose sound falls somewhere between Hardcore and Metal, they formed back in 2016. Over the course of their career so far they have put out two albums, that last one being 2021s Savigalia. Now in 2026 they bring us their latest effort, Epigrama.

The record opens with a song that takes its name from the album title, the track presents a metallic explosion with deeply heavy riffing. The guitars are piercing, trying to break through the glass ceiling with their intensity. This attack is paired with Post Metal solace in the chorus that feels heavenly, it’s a battle between good and evil which is something that Erdve loves to do throughout this LP.

Next we have track two with Nyra. It’s a song that has a lot more Sludge elements at play, in my mind it takes influence from Primitive Man in it’s destructive nature. The bass adds so much weight with its thick tone, this song is pulverising.

Later on we go into track five with Trukme. At first this song verged into a territory of sounding too similar as what came before it. However, this song proves to be the most daring and experimental song on Epigrama as after a great buzzing breakdown, Trukme transforms. It dances between Ambient and EDM with a glitchy drum machine and massive low-end. I wasn’t crazy about it but it shows how inventive Erdve can be.

Directly following that is a Blackened Metalcore number called Svertas. It’s incredibly catchy as is the rest of the record with its headbang-inducing drums, impossible not to move to it. By 3:13 the track almost comes to complete silence as a lone guitar is heard only by its left breath, sounding defeated until 3:41 when you are blasted into space with an incredibly victorious riff. It’s the perfect resolution to the song and presents excellent use in dynamics and patience and shows how beautiful Erdve can sound, they always move forwards! No doubt, Svertas is my favourite song on the album.

Overall, Erdve have put together a tight and expansive listening experience with Epigrama. The band has got a rock solid formula in place balancing sheer force in hefty riffs, pace and creativity with blissful guitar passages that float in the sky above all of the darkness. I’m impressed with Erdve and the band have definitely proved their worth to me. Epigrama is great but I think that this band are truly capable of doing something even better. 7/10

Kristoffer Gildenlow – Humanised (New Joke Music) [Cherie Curtis]

Kristoffer Gildenlow brings 9 dark, weirdly fascinating and magnetically intimate tracks to his newest album, Humanised. What strikes me most about this album is the level of articulation and control there is between stifled passion and controlled ferocity.

Humanised is rich with layers of punching and detached main vocals complimented by affecting backing ones, It’s atmospheric and technological with tense riffs and resounding drums that provide a dynamic build to a towering point followed swiftly by a gratifying breakdown, that's less of an explosion and more surgically precise which shifts the tone back and forth between melancholy and passionate.

There is heavy emphasis on being enigmatic paired well with measured yet coarse power. It’s certainly not a neck breaker of an album but a moodier one that can only be described as sitting comfortably in the eye of a storm. The Fields, is a personal favourite of mine and I feel like it’s the track that captures this sentiment the most.

Gnarled and abrasive but around the 1 minute mark it switches up completely into one of the most gripping and harrowing, soft spoken bridges I've ever heard in a song, and I desperately need this bridge in an IV attached to at all times. The Almosts is a close second, a cinematic build up with a stunningly textured chorus that feels more like a lament than the rest of the album and will stay with you long after the album finishes.

All in all, Humanised, offers us something interesting as well as distinctive. It's always great to hear when an artist bends genres by contrasting styles and sounds, especially in this album. It doesn't feel experimental but very well established and thought out, giving us prog metal with some symphonic fusion and that's why this one feels so special. 

There isn’t a comparison I can think of, and even though Kristoffer Gildenlow has been around for a while and has put out a good few albums, this one manages to feel like a one off without being inauthentic. 10/10

The Scalar Process - Agnomysticism (Transcending Obscurity) [Adz Redpath]

The Scalar Process from Besancon, France are a self coined progressive/tech death band which is an accurate description to say the least, fitting in the pocket with bands covering everything from Fallujah to Rivers Of Nihil onto the mighty Periphery. Having a cohesive and tight musical metric that shines throughout with a tasteful use of keys and sampling that adds to a huge sonic assault on show here with this their second full length outing on Transcending Obscurity Records they are making a real statement.

There is tight and cohesive musical vision on show here from musicians who clearly know their craft and the genre traits that serve their vision best. Truly peak vocal layering and production are on show throughout with my only personal critique on the mix being that I feel a touch more of the low end sonics and frequencies are missing giving it not as much bass and rhythm guitar punch, this does not detract but is something that would elevate this band to a genuine head turner although this is a negligible quibble at best as finding fault in this release is hard. 

This being said I know the battles of trying to balance the clarity a band seeks with note definition and separation on a record with the required low end shift that many have these days in the metal scene and whilst this doesn't shake rooms with its low end it provides a soundscape that is truly captivating for fans of the genre and whilst considered tech death I don't find it contrived or overtly technical in a pretentious or self gratifying way, the band have struck a great balance and it genuinely sounds like they are writing for the song rather than to satisfy personal wants for overtly tech sections that will usually only interest fellow musicians.

The vocals truly shine here with intricate layering and a great balance from Mathieu Lefevre when needed between heavy and clean exemplified on a track like Incessant Continuum. The guitarwork from Eloi Nicod and Lucas Martinez shines throughout with a heavy lean towards the stylings of Rivers Of Nihil at their best, both intricate and tasteful in equal measure. 

Adding in stunning soundscape interludes scattered throughout as in the incredible Affluent Marea and the haunting Sigil which gives goose bumps as a reprieve from the sonic assault that these guys hit with and the whole opus being knit together by the consistent weight of the rhythm attack from Thomas Giroud on drums and Vincent Amar on bass.

It's hard to pick favourites here although for me A Breathing Moment is a genuine high point amongst an absolute monster of a release, this is a band that anyone into the extreme genres should absolutely not sleep on and one I will be not only following but would love to see live, An easy and very high recommendation. 8/10

Reviews: Devin Townsend, Sarcasm, Brocarde, Galvanist (Simon Black. Mark Young, Matt Bladen & Adz Redpath)

Devin Townsend - The Moth (Inside Out Music) [Simon Black]

This is going to be a really tricky review to write…

The remarkably talented Mr Townsend is an incredibly prolific writer. He has on average produced an album of new studio material in one incarnation or another since he first appeared out from behind Steve Vai’s shadow in the early 1990’s, and even Covid only slowed him down and forced him to clear the archives of live material to keep momentum going. 

In that time, he has stylistically ping-ponged in so many directions (even to more conventional rock ‘n’ roll territory as a collaborator with the equally prolific Ginger Wildheart), to the point where it’s pointless trying to attach labels to his work, as frankly he’s a sub-genre all on his own.

People either seem to love him or hate him, yet whenever I play haters a few choice tracks without telling them to whom they are listening they often declare a liking, because there’s so much variety in his discography that almost every taste is catered to somewhere. 

I’ve come across him fairly late in the day myself and have generally been rather blown away by the bulk of what I have heard, so when this piece was offered to me, I leaped forwards greedily… then proceeded to hit a wall. 

Because here’s the rub – it’s probably his masterwork, which has been gestating for a decade because the scope of his vision was way more than he could realistically achieve in a normal album / tour cycle.

I, however, found it an impossibly challenging listen…

My esteemed editor is probably contemplating brutal and bloody ends for me as he reads this, because on paper it should absolutely hit my sweet spot. It’s a hugely intricate 24 track conceptual record, it goes beyond progressive into full-blown orchestral – and not with synths, but a full blown orchestra, a choir and a plethora of guest voices in an Avantasia style Rock Opera (not operatic in the musical sense, but in the mode of distinct characters personified by the guests) and it’s the brainchild of probably one of the most talented musicians currently writing and recording today.

But no, I found it really challenging to digest.

I’m no stranger to gritting my teeth on concept albums – I’ve trudged through enough Euro Power Metal albums in the reviewers’ slush pile to know very quickly where the gems and the dirt are to be separated, but this record took me four full spins and still I’m struggling to articulate my thoughts (bearing in mind I usually know what I’m going to write about an album a couple of tracks into the first spin, because I’ve been doing this off and on for 30 years). 

Usually by this point familiarity wins me over to a band’s side, but the whole point of this piece seems to be to unsettle the listener. It’s a deeply self-reflective about coming to terms with yourself, and Townsend brilliantly translates that traumatic experience to record. 

You aren’t going to find a hit single here, and I very much doubt it will ever get played live, because this record veers all over the place and would probably require someone like Terry Gilliam to turn into a concert movie to do it any justice.

It’s mostly a lot lower tempo, and when the rock parts arrive, they don’t stay around long – often dropping into create a point of crescendo mid-point in a song, before dropping back to eclectic but softer territory. 

Vocally the bulk of Townsends lyrics are delivered in a soft but high falsetto, with his more distinctive rock voice barely used. Yet all his vocals take a remarkably diplomatic role in the mix, with the choirs and orchestration dominating the soundscape (as they would live), and he and his more traditional instruments of mayhem scaled back into the mix. 

The effect is to create the sense that he’s just one more instrument in the mix, but the challenge is this makes unpicking the material much more difficult for the listener, who let’s face it is not going to bother to read the helpfully supplied lyric sheet as mere hacks like me when trying to sound like we know what we’re talking about. 

I don’t like it; I love it because this is a true marmite album. The thing about Devin Townsend is that even if this one doesn’t pull all your strings, even as a fan of some eras of his output, there will be another one along very soon. 

I can also see this album ear worming its way into my psyche over time, even though I know each and every time it will be a tough and challenging listen, because real art should not be shallow and simplistic. 8/10

Sarcasm - Lifeforce Omnibound (Hammerheart Records) [Mark Young]

The incredibly reliable Hammerheart Records have done it again, with Sarcasm casually serving up a slice of old school Scandinavian death metal as if it was a back hand return at Wimbledon.

Sarcasm, as an entity have been around since the 90’s with what could be described as a stuttering, stop-start existence. The current line-up contains one member from that early period, vocalist Heval Bozarslan, who brings that experience to the table. 

Lifeforce Omnibound is the 6th album since the bands rebirth and is really what you would expect from them. Starting up hot with Essence Of Existence, its straight in with a furious statement of intent; Riffs at speed, that classic pummelling drum sound and an overall feeling of momentum that you look for in the opening song. 

As a scene setter, it leaves you in no doubt as what is coming next, and basically tells you that if you like this, then the following 7 songs are a doozy. If not, off you go. Personally, I loved it; no introductory instrumental that goes nowhere, just bang, off we go. 

Same with Altering The Perception, that class swedeath approach is in full view here and as a one-two it’s a belter. I appreciate that there a thousand bands who do this and its strange for me that I don’t always react the way I do here, but I’m enjoying this. 

The Reward Of Adversity represents this albums masterwork, starting on a burning build that allows them to pull back ever so slightly just before they come back in. It has a swing to it, almost classical in the way that they unwrap it but shows that they are unafraid to push themselves when it needs to. 

They are noted as atmospheric depending on where you look online, I didn’t get that vibe but what I did get was that they know how to put songs together. The main riff is a sliding beast of a thing, with hints of Carcass in there. Its just a good song, one that combines everything we love about metal into one place. 

It also settles the rest of the songs to be able to come in and shine; Crumbling Mind Edifice tears along whilst Plunged Into A Paradox is crushing. It’s a healthy mix that stays within the overall DNA first shown with Essence Of Existence and its delivered to a high standard too. That level of quality is maintained throughout, with a latter high point being A Concept Older Than Time, the shortest track here that seems to have the most going on in it. Empirical Life Metaphysical maintains both speed and brutality, bringing these 8 tracks to a satisfactory close.

Now, it’s a shoo-in that if you have any appreciation for Scandinavian metal then this is going to tick so many boxes for you. I’m not suggesting that it’s the pinnacle of form, but I am saying that it is a damn good album, one that knows what it wants to do and achieves it. 8/10

Brocarde - Good Attendance At Sunday School (Self Released)

Brocarde is an artist who dwells on the fringes, outside of music she has married and divorced the ghost of a Victorian soldier, which led to appreances on Say Yes To The Dress, This Morning and First Dates and writing a paranormal column in a newspaper.

So a less than ordinary life for a less than ordinary artist, but then this entire album is inspired by being an outsider, a "one woman horror story" whose music is just as intense and vibrant as her fashion sense, both just as important to the overall theatrical, gothic, witchy aesthetics.

Appearing on the music scene for the first time in 2019, Brocarde immediately got people talking with her debut single which was praised for being innovative and dynamic, combining multiple genres without any fear of alienating gatekeepers, but appealing to those who feel themselves drawn towards the more experimental side of the rock/metal sphere.

On the back of that she led ghost hunt at Download and seance at Wacken, the collision between horror and music, closely linked as she tells stories drawn from her own experiences and her influences, written over the course ten years, this a multicoloured journey through her journey to where she is today.

A twisted fairytale of rock, goth, punk, industrial, classical and more colliding as Feed My Soul blends Three Blind Mice with some haunting goth rock, there's twitching electronics and huge orchestrations on Last Supper and a vocal prowess that reaches the heights of Maria Brink but with a distinctly British diction, which lends itself to the Victorian Horror aesthetic.

I can hear the likes of Kittie on Haunted, which is about her spectral ex and features stinging Steinman like strings against some Nu-Metal riffs, while Identity Theft has the aggression and rage of Lauren Tate/Delilah Bon and Blank Pages, which ends the album could be a Kate Bush song in its fragility.

Brocarde's debut won't be for everyone but that's by design, it's avant-garde, experimental music with a dark mantra, a strong feminist power and a dalliance with the occult on every track. I urge you to listen to it as you just get bewitched by it. 8/10

Galvanist - The Space Between Stars (ATMF) [Adz Redpath]

Galvanist are from Bozeman, Montana, they weave an intricate and brutal soundscape which manages to balance true heaviness and anger with a haunting melancholy that is genuinely intriguing and a blend that many fail to accomplish yet this group manages with aplomb. 

There is a striking balance between doom, death metal and several other sub genres within the extreme sector, to narrow this sound to a single genre would be disingenuous as this is a group truly trying to have their own voice with an unrelenting fist to the face.

These are not short tracks, once the intro has set the stage as it were then the shortest track clocks in at over 7 minutes so be ready for a journey. 

The Production on show here is reasonable although not top tier however with that being said I think it adds to the feel and attitude on display here and in particular on the tracks Dreich and the haunting Spiorad, this could be jarring for some but for myself I genuinely had goosebumps and on a damn hot day that's a success in my mind. 

A true soundscape is what is brought to you here, the musicianship is of a high level on all fronts but not in a pretentious way which I truly am glad to see, it feels like the whole band is writing for the song and not themselves, blending a sound that is homogenous and endearing in its scope. 

Huge vocals and drums with a great and tasteful use of keys and samples throughout whilst not overdoing that side of things which is so easily done within the doom centric genres. The standout here though are the vocals which convey true emotion and angst throughout and are truly compelling.

The production on the guitars and bass could do with some fine tuning in future to add more definition and separation and maybe a touch more clarity on the guitars and maybe pushing the vocals forward in the mix if I were to nitpick but these are genuinely just minor tweaks that would only elevate in future releases and don't detract from what is a group that brings to mind so many sounds even the likes of Neurosis at their peak and I don't say that lightly.

Whilst this might not be for the casual listener or a newbie to the styles on show here it is a release that has a lot to offer and whilst not their first ( I believe it to be their fourth from what I can find online ) The discordant soundscape and vocal attitude on display here will have a true fan of death and doom hungry for more.

An EP that you will play again and has truly undeniable potential. 7/10

Review: Hecate Enthroned - The Corpse Of A Titan, A Lament Long Buried (Rick Eaglestone)

Hecate Enthroned - The Corpse Of A Titan, A Lament Long Buried (M-Theory Audio) [Rick Eaglestone]

Seven years. Seven long years since Hecate Enthroned last graced us with new material, and the wait – as it turns out – has been entirely, emphatically worth it. The Corpse Of A Titan, A Lament Long Buried is the band’s seventh full-length, and on the strength of this record alone it stands as one of the finest things they have ever put their name to.

Run through the entire discography and it is there, unwavering in its commitment to orchestral darkness intertwined with savage black metal fury. Those sweeping symphonic passages married to razor-sharp tremolo riffs and A commanding vocal presence – it makes no apology for its theatrical grandiosity, and why should it. This is the very essence of what made British symphonic black metal such a force in the late 90s.

Once again produced by the band alongside Dan Abela, who also handled mixing and mastering, The Corpse Of A Titan sounds absolutely enormous. Every element breathes – the orchestrations are genuinely cinematic without overwhelming the metal foundation, and the guitars cut through with precision. The production serves the songs rather than drawing attention to itself, and that is exactly what you want from extreme metal of this calibre.

Lyrically the album plants its flag firmly in ancient British myths and legends – Welsh folklore, Celtic spirits, peat bog sacrifice, sacred woodland – and the thematic consistency gives the whole record a genuine sense of place and purpose. As Dylan Hughes puts it, these are “huge, epic, hard-hitting songs carved in the traditional Hecate Enthroned way with a menacing veil delivered with a crisp punch.” He is not wrong.

The album opens not with an assault but with an invitation. In Welsh mythology, the Adar Rhiannon are the birds of the goddess Rhiannon – creatures whose song holds power over the boundary between the living and the dead. Hecate Enthroned lean into that mythology here with layers of orchestral synths and low spoken word that draw you gradually inward rather than kicking down the door. It is atmospheric, it is deliberate, and it sets the tone for everything that follows without overstaying its welcome. Exactly what a great intro should do.

The introduction dissolves directly into the album’s first full track, Spirits Stir Within Our Ancestors Tombs and the contrast is immediate. Joe Stamps throws himself into proceedings with a commanding, extended shriek that declares his intent before the riffs have even had a chance to settle. From there the track is a statement of purpose – thunderous, orchestrally rich, and driven by a rhythm section that provides the kind of foundation you can build a cathedral on. 

Holmes behind the kit is relentless when the song demands it, and Dylan Hughes’ bass work anchors everything with real authority. The track’s mid-section briefly steps back into something more melodic – clean guitar tones and a moment of genuine atmospheric restraint – before the storm reconvenes. The lyrical theme runs through the record like a thread: the past is never truly buried, ancient voices echo through the living, and the dead leave marks that time cannot erase. One of the album’s clear highlights.

Where the previous track charges at you, The Arcane Golem is more patient and more imposing for it. This is Hecate Enthroned operating at mid-tempo, which in their hands does not mean restrained – it means giving each element room to breathe and register properly. The guitar work from Nige Dennan and Andy Milnes is dense and deliberate, with Pete White’s keyboard arrangements weaving around the riffs rather than sitting on top of them. 

Stamps prove just as effective at lower registers here as he is unleashing full-throated shrieks elsewhere, and the interplay between vocal styles keeps the track from ever feeling one-dimensional. Lyrically the song presents nature as something animate and intelligent, and the music matches that sense of something vast and alive.

This is the moment on the record where Hecate Enthroned show the full range of what they are capable of, and it is genuinely impressive. Steed Of The Still Water opens with restraint – clean strings, a delicate melodic thread, and Stamps’ vocals pitched against something that sounds more like traditional folk music than black metal. 

It is unexpected, and it works completely. From that quiet opening the track moves through several distinct phases: passages of full-tilt black metal aggression, a groove-oriented section with real rhythmic momentum, and a keyboard-led stretch that would not sound out of place on a film score. The thematic concern is human arrogance and the destruction that pride invites, and the compositional ambition mirrors the subject matter. If one track on this album is going to convert an uncommitted listener, my money is on this one.

The pace shifts entirely here. Pwca – a shape-shifting trickster spirit from Celtic tradition – is the album’s most atmospheric and measured piece, built around piano, hushed guitar, and the kind of whispered spoken word delivery that belongs in folklore by firelight. Where the surrounding tracks push and drive, this one reflects and recedes. 

The lyrical imagery deals with autumn, with seasons turning, with the earth drawing everything back into itself. Some listeners will find this too much of a gear change, and I understand that reaction, but for my money it is exactly the right compositional decision at the album’s midpoint. Give the listener a moment to surface before taking them back under.

Released ahead of the album, and it still hits with full force in context. Deathless In The Dryad Glade opens with something ominous and slow – guitar and keys circling each other, the sense of something approaching – before erupting into some of the most ferocious playing on the record. 

The concept here, as Stamps has described it, is being led astray by malevolent woodland spirits and the permanence of the transformation that follows – cosmic horror with a specifically British mythological flavour. The second half of the track opens up into something genuinely cinematic; all scale and darkness, and Stamps’ performance throughout is one of his best moments on the album.

The album’s lead single, A Gallery Of Rotting Portraits is still one of the record’s finest moments. Dylan Hughes has explained the concept: the peat bogs of ancient Britain, bodies like Lindow Man preserved for centuries, used here as a metaphor for devotion stripped of its power – ritualised belief unearthed and found hollow. 

The music translates that jarring disconnect into something that moves between blackened aggression, keyboard passages of real orchestral weight, and a gothic-tinged slower section that lands with real impact. Back-to-back with Deathless In The Dryad Glade, this is a stretch of the album that keeps the second half moving at full momentum. I have listened to this track more times than I can count since its release and it gives up new details every time.

A sacred place where beauty and decay exist side by side, where the natural world marks its own slow rhythms against the permanence of stone – that is the thematic territory of The Boreal Monastery, and the music is equal to the image. This is one of the album’s longer tracks and earns every second of its runtime. The arrangement pulls between raw force and something more considered, and Hecate Enthroned navigate that balance with the kind of confidence that only comes from three decades of doing exactly this. A strong penultimate track.

And the album closes as it should – on a grand, sweeping, fully committed note. Dennan and Milnes combine on riff work that hits with real physicality, while White’s keyboards give the track scope and the rhythm section drives it home. There is significant layering in the arrangement – Into A Vale Of Endless Snow is a track that rewards headphones and proper volume – and the way everything builds toward the closing passage feels genuinely earned rather than imposed. A monumental ending to a monumental record

Is this going to convert anyone previously unmoved by symphonic black metal? Almost certainly not – and that is fine. This is a record made for the people who already understand why Hecate Enthroned matter, and for that audience it delivers in every possible way. 

Joe Stamps continues to prove himself one of the finest vocalists currently working in this space, the rhythm section of Holmes and Hughes is ironclad throughout, and the twin guitar work of Dennan and Milnes strikes that perfect balance of melodic sophistication and raw aggression that has defined the band at their very best.

The Corpse Of A Titan, A Lament Long Buried is not just a welcome return. It is a career statement. 9/10