A View From The Back Of The Room: Napalm Death (Mike Chew & Nat Sabbath)

Napalm Death, Whiplash, Varukers & Dopelord: The Campaign for Musical Destruction, O2 Institute, Birmingham, 01.03.26

Some tours are just line-ups. Others feel like a genealogy chart for an entire genre. The Campaign for Musical Destruction tour falls firmly into the latter category. Doom, punk, thrash; three musical forces that collided violently in the 1980s to create grindcore, all represented on one bill before the genre’s undisputed pioneers took the stage. In Birmingham, the birthplace of heavy music itself, it felt especially fitting.

Four bands. Four different flavours of aggression. One absolutely relentless night.

Opening the night were Poland’s riff-obsessed doom merchants Dopelord, and they wasted absolutely no time dragging the room into a thick haze of fuzz and slow-burn heaviness. Their set opened with a surprise nod to psychedelic blues history with It Is So Nice to Get Stoned, originally by Ted Lucas, which they transformed into a lumbering doom invocation. From there, the band leaned fully into their Sabbath-worshipping DNA.

Tracks like The Chosen One and Headless Decapitator showcased the band’s ability to balance crushing heaviness with hypnotic groove. Their tone is enormous, bass rumbling like tectonic plates shifting beneath the floor while the guitars delivered creamy blues-soaked leads that floated above the riffs rather than cutting through them. The comparison to a doom-laden version of Mastodon isn’t far off, but Dopelord’s sound feels deliberately more lo-fi and ritualistic.

The highlight for many came when Hail Satan kicked in, instantly getting the Birmingham crowd chanting along with the band. It was one of those moments where doom’s theatricality met genuine crowd participation. Reptile Sun and Doom Bastards closed the set in glorious slow motion, riffs echoing off the venue walls like ancient machinery grinding into life.

Heavy, smoky, hypnotic doom; the perfect way to start a night dedicated to musical extremity.

The Varukers arrived like a Molotov cocktail thrown into the middle of the room. From the opening blasts of How Do You Sleep? and Led To The Slaughter, the band delivered a masterclass in politically charged hardcore punk. 

Rat was on fiery form throughout, both vocally and in spirit, and early in the set he paid tribute to Birmingham’s own Ozzy Osbourne, dedicating Endless Destruction Line to the Prince Of Darkness, a moment that drew a roar of approval from the home crowd.

The band’s set was relentless. Die For Your Government, Murder, and Tortured By Their Lies landed like blunt force trauma, their themes of corruption, power and injustice feeling depressingly relevant decades after they were first written. When Rat introduced Nothing’s Changed, the point felt painfully clear.

Songs like Massacred Millions, Deadly Games, and Allegiance To None kept the momentum blisteringly fast, with the crowd responding in kind as the pit grew increasingly chaotic. The closing run of I Don’t Wanna Be A Victim and Protest To Survive was classic UK hardcore, defiant, furious and utterly uncompromising.

Short, sharp, and politically explosive, exactly how punk should be.

Next up were thrash veterans Whiplash, and if anyone in the room needed reminding why the genre exploded in the 80s, this set was the perfect refresher.

The band wasted no time tearing into Last Man Alive and Killing On Monroe Street, unleashing razor-sharp riffs and breakneck tempos that instantly lifted the room’s energy. Tony’s guitar tone was pure old-school thrash (biting and aggressive) while the rhythm section locked in with surgical precision.

One of the night’s standout moments came with Spit On Your Grave, its vicious riffing sending the pit into overdrive. Red Bomb and The Burning Of Atlanta followed, showcasing the band’s knack for combining technical thrash precision with sheer adrenaline.

Birmingham’s own Exorcism were spotted watching from side stage, a neat passing of the torch moment. Meanwhile, Will’s finger-picked bass passages were a joy to behold, pulling the mind back to Cliff Burton and his enduring influence on thrash’s musicality. It added a welcome musical depth among the speed and aggression.

The closing barrage of Walk The Plank, Thrashquake, Nailed To The Cross, and the immortal Power Thrashing Death turned the room into a full-scale thrash celebration.

The drummer turned into a signing booth post-set, autographing anything thrown his way; CDs, clothing, arms, and yes, even cheeks. Try getting that at a seated show!

Let’s get the bias out of the way early: Napalm Death are one of the most important bands in extreme music, and one of my personal favourites, nights like this make it very clear why.

From the moment they launched into Instinct Of Survival the room exploded. The opening run of Strong-Arm, Continuing War On Stupidity, and Everyday Pox was relentless — a blur of blast beats and politically charged fury delivered at warp speed.

Barney, as always, was in constant motion. Watching him perform is like witnessing someone who never stopped running laps in school PE, either that or he genuinely believes the stage floor is lava; his energy never dropped for a second. The band acknowledged bassist Shane Embury’s absence, with Adam Clarkson stepping in admirably and clearly enjoying every second of the chaos.

Highlights came thick and fast: Suffer The Children had the crowd roaring along, Greed Killing and Incinerator detonated the pit once again, and Scum remains one of the most iconic grindcore tracks ever written. The band even unleashed You Suffer, still famously the shortest song in the world, which somehow still manages to generate one of the biggest cheers of the night. Their cover of Nazi Punks Fuck Off by Dead Kennedys was delivered with ferocious conviction, the entire crowd shouting the chorus back loud and proud. 

Closing with Persona Non Grata / Smear Campaign, Napalm Death left the stage having delivered exactly what the tour promised: musical destruction. And on Birmingham soil, it felt especially powerful.

Barney has spoken recently about stopping when it feels forced. On this evidence, that time is nowhere near. Whether it was the last night of the tour, the pull of home turf, or simply a band still utterly in love with what they do, Napalm Death were unstoppable.

Four genres. Four bands. One lineage.

A spectacular display of musical destruction ; delivered with precision, passion and just enough chaos to remind us why this music matters in the first place.

Reviews: Black Stone Cherry, Desert Collider, Mother Crone, Toys That Bïte (Matt Bladen & Rich Piva)

Black Stone Cherry - Celebrate EP (Mascot Records) [Matt Bladen]

Almost twenty years since their debut album Black Stone Cherry have become one of the biggest band in hard rock. Blue collar boys playing big riffs that have enough radio friendly melodies to gain them a huge audience, multiple awards and cross Atlantic appeal as it can be argued that they are a band bigger in the UK than they are in their native USA.

The real magic behind BSC is their friendship, these are four men who know each other, are in each others lives and can collaborate almost telepathically. Celebrate is a tribute to this, a seven track EP that features the band knocking our another six originals that will fit right into their current stage show along with a swaggering cover of Don't You (Forget About Me) by Simple Minds which features Tyler Connolly of Theory Of A Deadman.

Kicking off with Celebrate they go back to their early days with big riffs and a huge chorus sung with those impressive Chris Robertson pipes. A musical throwback to those rawer first records while Paralysed brings the slickness of their more recent work, especially in John Fred Young's echoed drum sound, while the wah driven riff of Caught Up In The Up Down has plenty of sexy R&B grooves to it.

Writing the songs in guitarist Ben Wells' house many of these tracks began life on the road but with the four men in one room, swapping instruments to make sure the songs sounded just how they wanted. An EP of contradictions there's moments of celebration, the sound of a rock band doing what they love with big joyous rockers.

However there's introspection on tracks such as I'm Fine and especially on Deep, as the band members have faced some serious family hardships during the recording of this EP but it's the bond they have that has got them through these tough times and is exorcised with these songs. More fuel for the fire, more songs in the bank, Black Stone Cherry have lots to Celebrate on this EP. 8/10

Desert Collider - Generation Ship: Endless Drift Through Infinity (Small Stone Recordings) [Rich Piva]

When Small Stone Records announced their latest release there was something familiar about it. 

When I looked back in my endless collection of digital releases, I found the debut album from Desert Collider, titled Generation Ship: Endless Drift Through Infinity, from back in 2024. I found limited info on that release outside of a small review on the amazing Outlaw Of The Sun site, but not much else. I did remember it being some killer heavy psych, desert/stoner with some groove, and me enjoying it a lot. Now, after listening to the promo, we all owe a debt of gratitude to Small Stone for grabbing this amazing record from digital obscurity and bringing it back up front, because the eight tracks from the Italian band kick all sorts of ass.

As a starting point for the reader, the band’s bio mentions Dozer, Black Elephant, Kyuss, and Monster Magnet. Yup, that’s about right. But no matter who you use as a reference, when the riff kicks in on Orphans Of The Sky Part I: Generation Ship, nothing else matters. This record is perfectly produced; the most close-to-perfect desert rock sound you can get in 2026. The fuzzy psych guitar tone is so great. 

The opener is an epic prologue to a concept record based loosely on Robert A. Heinlein’s “Orphans of the Sky” which I have not read but now need to. It leads to Floating Space Hand, coming at you with a fuzzy psych riff and some reverb soaked vocals that work perfectly for the vibe of this record. This track straight up rips. If you thought that one ripped, you are in for a treat with Sonic Carver, which picks up the pace even more and is some next level high energy stoner rock and roll. 

 Oh, but when it slows down for the solo you know these guys get it. I know some folks do not have the attention span for ten-plus minute tracks, but believe me when I say Orphans Of The Sky Part II: Disembark is worth your time. It has this slow burn Spacegrass thing musically and also gives me serious Lowrider vibes. Do not miss this one or cut out early, because it starts ripping the place up at the end. 

Did I mention these guys rip it up? If you need another example check out ThumpeRRR. The echoed, overlapped vocals on this one are very cool. I did not expect the next track to start with some gentle acoustic guitar and synth, but here we are with Nomads Of The Red Sun, which is very cool but is what really works out to be a five minute interlude, which maybe could have been a couple minutes shorter, just for the sake of sequencing and the run time. 

Speaking of which, the next track, Far Centaurus: Drifting Without Guidance Through Interstellar Space, seems to be digital only, I assume to allow for the album to fit onto two sides of a single record. I get why, as it is almost fourteen minutes long, but it is killer stuff and works perfectly in the flow of the record. I hope the deletion and the resequencing on vinyl does not affect the overall vibe. I am pretty confident it won't, given how great the songs are on their own. 

 The closer, Nebuchadnezzar, doesn’t play around, closing out the record with flat out up tempo Kyuss worship that will leave you wanting more. I am not sure what happened over the past couple years with this release, but listeners are going to be very happy that Generation Ship: Endless Drift Through Infinity has landed, once again, on earth, with Desert Collider ready to take over. 9/10

Mother Crone - Embrace The Death (Self Released) [Rich Piva]

Seattle’s Mother Crone are bringing the downer vibes on Embrace The Death, which is certainly on brand here, as they are not known to play the music you put on to spice up a party. We get Pacific Northwest post rock doom here that is slow and plodding at times, and heavy as hell over seven tracks clocking in at almost fifty minutes.

I say slow and plodding but I think Mother Crone excel when they pick up the pace, like on the opener, Unseen Way. These guys can certainly rip it up when they want to and I almost lean towards calling this prog metal, as a complement. The guitar work is excellent and you can hear the talent as the band morphs from one genre to the next. 

Fever Stone sounds like old Mastodon. Enough said there I think. The title track is a slow burn, but less funeral dirge and more Alice In Chains, channelling the giants of their hometown. Another track I dig is Eye Of Providence, that gives me more old Mastodon but also 16 vibes, with some cool vocals to go along with the progressive heaviness. The epic 12-minute Inner keep is the star of this show. Complex, emotional, with twists and turns, this may be Mother Crone’s best song yet.

It is a bit long, but Embrace The Death has enough to keep some of the more attention span lacking folks engaged. If you like dark, heavy music that leans towards a post rock prog Mastodon, Mother Crone’s new record will be for you. 7/10

Toys That Bïte - You Have Been Warned (Scare Bear Records) [Matt Bladen]

I get a feeling that Toys That Bite like Van Halen, Van Halen when they were fronted by David Lee Roth, when the were smutty, sexually charged and throbbing with Diamond Dave's virility. You Have Been Warned is their debut album and it has a lot of VH influences to it, though the guitar playing is not quite as virtuoso as maestro Van Halen but the duo that wield the axes here are both talented players adding a NWOBHM influence to these heavy rockers.

Formed from a studio based writing partnership, they're what one of my colleagues would call Dad Rock, the sort of band that would go down a storm with the Steelhouse crowd, produced by Ben Turner (Part Chimp) and mixed by Romesh Dodangoda, there's no doubting that this record is slick, packed with shout along choruses but it's also full of songs that in their own words are Genius Level Stupid.

The lyrics do seem a bit immature and outdated, surely we've heard enough songs about Ladies Of The Night, Little Black Book(s) and Gentlemen's Club(s)? While the songs about navigating social media and drinking are all well and good, for me they never really lift You Have Been Warned up to more than just some very competent pub heavy rocking. Perhaps that sounds a little po-faced but even if there's tongues firmly in cheeks here, it's all been done before.

My advice is check them out if you still long for the 80's rock fix but the toys didn't really sink their teeth into me. 6/10

A View From The Back Of The Room: Mother Vulture (Jack Norris)

Mother Vulture & The Sprats – Satan’s Hollow, Manchester, 27.02.26

There’s something about walking down those steps into Satan’s Hollow that always feels like entering another world. The air was thick with fog as we stepped inside, lights cutting through the haze, anticipation hanging heavy before a single note had even rung out. I’ve been waiting for this moment ever since discovering Mother Vulture at Radar Festival last year, and tonight. Their headline show in Manchester, felt like it had been a long time coming.

The Sprats (7) kicked off the night in a blaze of colour. Bright, vibrant lights flooded the smoke-filled stage, giving their set an almost kaleidoscopic feel. From the first song, they sounded tight and confident, filling the room with a punchy, energetic sound that immediately grabbed attention.

Their lead singer brought serious energy. Constantly moving, hyping the crowd, and refusing to let the pace drop. A cover of “pump it” went down especially well, getting heads nodding and voices joining in. A strong support slot that warmed the room perfectly.

And then it was time.

Mother Vulture (10) came out swinging. No slow build, no easing into it. Just straight into chaos from the opening moments, it was clear we were in for something special. The guitarist was already running off stage within the first few songs, the band throwing kicks in every direction, heads banging relentlessly in unison. There wasn’t a second where anyone stood still.

They moved like absolute maniacs, jumping, climbing amps, launching themselves back down, barely pausing for breath. At one point, the music cut out and the guitarist vanished entirely, only to return carrying a crate of San Miguel. In true Mother Vulture fashion, it only escalated from there — at one stage attempting to play with a beer box on his head, failing spectacularly but somehow making it even more entertaining. The chaos wasn’t just for show either. Percussion instruments were layered in throughout the set, adding intensity and a raw edge to the sound.

Hearing tracks from the new album Cartoon Violence live was immense. heavier, wilder, and somehow even more explosive than I’d imagined. Having seen them at Radar Festival, I thought I knew what to expect. I was wrong. This was bigger, crazier, more hyped, more unhinged. A band completely in their element, commanding their own headline stage and owning every second of it.

Satan’s Hollow was the perfect setting — dark, sweaty, chaotic. The kind of night where you leave slightly deaf, slightly stunned, and already checking when you can see them again.

Mother Vulture didn’t just play a headline show. They detonated one.

Reviews: Black Swan, Joel Hoekstra's 13, ITsALIE, Transatlantic Radio (Matt Bladen)

Black Swan - Paralyzed (Frontiers Music Srl)

Super group Black Swan return with another set of heavy rockers and bluesy ballads on their third album Paralyzed.

Comprised of vocalist Robin McAuley (MSG), guitarist Reb Beach (Winger/Whitesnake), bassist Jeff Pilson (Foreigner/ex-Dokken) and drummer Matt Starr (Mr Big), with two albums behind them it's obvious that this high profile foursome consider Black Swan more than just another project.

They are fully realised, fully functioning band, all the songs written by McAuley, Pilson, and Beach, with Pilson working his magic behind the desk, Paralyzed, like it's predecessors, is a combination of 80's heavy rock leaning on melodic heavy riffs and those brilliant vocals.

It's a record they have been building to with their last two release, a combination of styles and sounds from the 80's draped in modern trappings, with the guitar driven The Fire And The Flame and ballad I'm Ready letting Beach show off his chops while Pilson and Starr drive faster moments such as the title track and the grooving Battered And Bruised.

From the traditional metal sound of anthemic opener When The Cold Wind Blows, gets the Priest chug going, while Different Kind Of Woman is a sleazy strutting rocker, as AOR creeps in on Shakedown, every song delivered with those powerhouse vocals of McAuley be it the Van Hagar-like What The Future Holds, and there's moments of Scorpions on Carry On.

So Black Swan continues to bring classic heavy rocking from a bygone era right up to date with a quartet of veteran musicians at the top of their game, grab an air guitar you'll be singing into the mirror in no time. 8/10

Joel Hoekstra's 13 - From The Fade (Frontiers Music Srl)

If for some reason you stumbled upon You Can Give, the opener of this record and you thought it was a new one from Avenged Sevenfold, you could be forgiven for doing so, as it sounds really like an AX7 song, it's the vocals from Girish Pradhan, I think but thankfully we're back on solid ground of classic hard rock with The Fall.

This is where guitarist Joel Hoekstra is most comfortable as a writer, with time spent in Whitesnake and Revolution Saints, though his time in Trans Siberian Orchestra (via The Beatles on Will You Remember) means that From The Fade can get a bit more musically expressive.

He's yet again assembled an A-Team of musicians with his fourth record under the 13 name, Pradhan flexes those vocal chords with Jeff Scott Soto providing backing. The engine room is Vinne Appice behind the kit drums and "The Fretless Monster" Tony Franklin on bass while Derek Sherinian adds keys/organs but these songs are about the riff.

Heavier riffs than on earlier outings due to Hoekstra doing some live filling in for Accept at the time of writing and you can hear that influence on Free To Be alongside Misunderstood, where everyone gets a solo, Mr Big style.

The Fade though is a hard rock record and while the guitars are a little harsher the choruses are big and the riffs will get your head nodding in the hard rock style Hoekstra is known for. 7/10

ITsALIE - Wild Games (Frontiers Music Srl)

The one thing you can say about Frontiers is that the label does a lot for the Italian rock scene, ITsALIE being the latest Italian rock band to get a record release through the label. Now being a band managed by Mat Sinner (Primal Fear/Sinner) who also produces the music on this third album and also now plays bass with the band.

Having Sinner aboard has brought them a bit more recognition from a wider audience and I'd assume Frontiers too as along with him twiddling the knobs, Magnus Karlsson handles the mix and master so ITsALIE have been attracting some very famous eyes and ears. As I said they released two albums before this on Rock Of Angels Records, much of the praise for the band placed upon the vocals of Giorgia Colleluori but Wild Games is their chance to show off to a new audience.

With tracks such as Waiting For The Rain, History Remains and Believers Of Leaders, you can hear why her gritty hard rock vocal has been praised, it's got power and soul to it with a gnarly low end for the heavy grooves of Rebels. Giorgia is a member of Sinner as well as Rock Meets Classic, while her and drummer Camillo Colleluori are both former members of symphonic power metal act Eternal Idol, but they seem more at home in their current melodic rock guise.

Since the last album hotshot six stringer Leonardo Duranti has joined the band and he clearly relishes playing alongside Sinner and collaborating with Karlsson as his guitar playing just fits so well, full of the technical brilliance of EVH on the excellent Wake Up Call, and on Sammy Hagar cover One Way To Rock, as that heavy rock experience of Sinner combines with drummer Camillo on the Zep-like closer Spirits.

ITsALIE are band an Italian band who are looking to break out of their home country, joined by an experienced hand they will be doing just that soon. 7/10

Transatlantic Radio - Midnight Transmission (Frontiers Music Srl)

A break from the rock now with some keyboard heavy AOR from Transatlantic Radio and with a huge debt to the likes of Toto, Danger Danger and Def Leppard, this International band of course encompass the entire Scandi AOR sound as well.

Formed by Victor Brodén in lockdown as a tribute to the bands he has always loved, the Swedish born, L.A based bassist/producer wrote this album to pay homage to the band's that inspired him by recruiting a whole host of quality session guys to make these tracks a reality, they have played shows live but this is their debut studio record.

Brodén is joined by producing partner Fred Kronn. Fred has contributed music to Anchorman 2 and High School Musical as well as the studio band for Jimmy Kimmel Live! His keys are a huge part of the album, bringing the shimmering, cinematic sounds to Midnight Transmission, on tracks like All For You.

R.J Ronquillo (Santana/Stevie Wonder) is ridiculously talented guitar player, his guitar lines are smooth and anthemic, while his solos pack a punch and are filled with mastery of his instrument. Mattias Osbäck has a perfect melodic vocal with a bit of European grit behind it too. In the engine room Chris Reeve (Filter/Avril Lavigne) takes the drum stool driving the likes of First To Be The Last and Fever Dream, but all the musicians combine well to bring Brodén's vision to life.

What you get out of this album depends on how much you love AOR, for fans of the genre, the debut from Transatlantic Radio will be more than just a Midnight Transmission, they'll be playing it all day. 7/10

Reviews: Wreck Defy, Erra, Kaleidobolt, Azken Auzi (Spike, Matt Bladen, Rich Piva & Mark Young)

Wreck Defy – Dissecting The Leech (Massacre Records) [Spike]

There is a specific, razor-edged nostalgia that comes with a perfectly executed thrash record. 

It’s the sound of the late 80s Bay Area, all palm-muted precision and political snarl, reimagined for an era where the "leeches" have simply changed their suits. Wreck-Defy, led by the formidable Justin "JD" DeFeis, aren't interested in being a "tribute" act, though. Dissecting The Leech is a masterclass in the technical bloodline of the genre, delivered with the kind of veteran focus that makes most modern "revival" bands look like they’re playing with blunt tools.

The album hits the ground running with Under The Sun, and immediately, the production, handled with a clinical, high-fidelity sheen, demands attention. It’s a showcase for DeFeis’s guitar work, which manages to be both complex and relentlessly catchy. This isn't speed for the sake of it; it's a calculated assault. By the time the needle hits Do It Again, the rhythmic engine of the band is fully engaged, providing a rigid, mechanical foundation that allows the tracks to breathe without ever losing their forward momentum.

What’s most striking about this record is the vocal delivery of Matt Constantino. On tracks like Millennial Dystopia and Revolt, he manages to balance a classic thrash rasp with a melodic sensibility that actually makes the choruses stick. It’s not "soft"; it’s just intelligent. It gives the songs a sense of identity that survives the high-velocity churn. The title track, Dissecting The Leech, serves as the record's heart, a standalone bit of aggression that explores the darker corners of the human condition with a level of lyrical wit that matches the technicality of the riffs.

The momentum shifts into the more straightforward grit of Another Day and I Don't Care, where the band leans into a pugnacious, street-level energy. The guitars don't just play chords; they weave these intricate, needle-fine solos that cut through the mix like a surgical laser. As the record moves into The Haunting Past and The Path, you can hear the band’s pedigree showing through; they know exactly how to pull back on the tempo to let a groove settle before exploding back into a frantic, blackened thrash sprint.

By the time we reach the final act, the brooding intensity of Apocalypse Of Hope, the scope of the record is clear. Wreck-Defy hasn't just made another "thrash" album; they’ve documented a specific kind of modern malaise. It’s a record of sharp edges and sharper tongues, a testament to the enduring power of a well-honed riff and a message that refuses to be silenced. For those of us who still believe that the "Big Four" was just the beginning of the conversation, Dissecting The Leech is essential listening. 8/10

Erra - Silence Outlives The Earth (UNFD) [Matt Bladen]

Flux is the overarching theme to seventh album from Alabama progressive metalcore act Erra, humans have always been stuck between the present and the past and this existentialist existence is the main lyrical inspiration behind Silence Outlives The Earth. The American five piece have been releasing heartfelt meets heavy music since 2009 and have been sculpting it to reach a perfect blend since then.

Equally highlighting the vicious and the melodic, Silence Outlives The Earth begins with the kind of heavy/soft dynamism that Erra are know for with dreamy atmospheres and keening clean vocals are cut through with groove heavy riffs and screams. The voices split by J.T Carvey (lead) and guitarist Jesse Cash (clean vocals) they work on glorious conjunction with tracks such as Gore Of Being where the catharsis comes through on both sides.

Cash locks into some thick breakdowns along with Clint Tustin (guitar), the duo adding glistening repeating melodies to Black Cloud and Echo Sonata and chuggy distortion to Cicada Strain, as the engine room of Conor Jesse (bass) and Alex Ballew (drums) brings the heavy start stop grooves on Lucid Threshold. The production of Daniel Braunstein keeping the sonic power he's given Erra on the previous three records.

It's a record where Erra lean on what's come before but face forward propelling themselves into the future, it feels like their most together album. Time has been taken to make sure the songs sit almost thematically, Cavey stating “We've always cared a lot about our track listing as a front-to-back listen," and you can hear this time and effort as there's a flow that means you press play and enter into Erra's personal narrative that ends when the last song finishes.

As progressive metalcore continues to evolve bands like Erra move with it, delivering an album like Silence Outlives The Earth that bring in the more modern elements without totally stripping them of their initial style. 8/10

Kaleidobolt - Karakuchi (Svart Records) [Rich Piva]

Looking for something to put a little pep in your step? Well, the new record from Helsinki, Finland’s Kaleidobolt, titled, Karakuchi, is here to get your engines revving. It is like a party punk version of Motorhead who listen to too much 80s post punk and 80s hair bands, all wrapped in a nice 38 minute package of chaotic craziness. Oh, also, it’s great.

Tinkerbell starts this record off like a rocket ship; a five-plus minute blast of punk leaning metal goodness. The adjectives for me are tough with these guys, because they are so familiar, so all over the place, and so unique all at the same time, and it all works. 

I love the track Coping as it somehow sounds like The Jam or The Undertones and fits perfectly amongst the other types of heavy these guys bring to the party. The drum work is insane on the record, with Astro Boy/Ochanomizu being the perfect example of this. This one has some great layered vocals, killer guitar work, while showing off the band’s pop sensibilities in one of their more complex songs. 

You want the guys to doom it up a bit? Duuude does that nicely, with a chunky riff and back end that shakes the foundations, even if it is a two minute instrumental interlude. The punk rockers return on Friends Of Fire sounding more like early Face To Face than anything else (very high compliment). Except during the breakdown when the post punk stuff comes back out, then back again. A wild ride, just like the entire record. 

The riff on A Chance Of A Lifetime screams stoner rock but vocally and lyrically sounds like something out of 1976 in the best kind of way. The drummer once again shows what a mad man he is while the track somehow morphs into early Rush territory. Turn Of Luck may be the most insane track on Karakuchi, and probably my favourite.

This record is the definition of all over the place, but controlled chaos wins the day on Karakuchi. No record will ever sound like the collection of songs on the new Kaleidobolt album, which is saying something these days. Very cool stuff. 8/10 

Azken Auzi - Infernua (Argonauta Records) [Mark Young]

A change of pace for the first week of March, with Azken Auzi who return with their second full length release, Infernua. Leading with Deep Hell, this is a massive chunk of noise that just lands, unfolding at a snail’s pace with despair-tinged vocals that are spat by Ludo, who also deals in sub-atomic destruction via the riffs that are dropped. 

Fans of speed/thrash and anything like should look elsewhere for their thrills, you won’t find that kind of excitement here. This is all about simple but effective arrangements that do that slow two-step on your neck. SK changes that dynamic so that this is more than just a rinse and repeat exercise from them. If you imagine a lighter shade being used in lieu of the traditional low end, this is how SK runs using discord for cover amongst those lower end moments. 

Again, what they do is so brilliantly realised that it just unrolls gradually until it picks up at its end. They make it interesting, and on Black Mass, well they make it heavy too. It’s a bruiser, occupying a low stance despite throwing melody back at you as a means of expanding the sonic arena its breathing in. Even though its basically an instrumental, I still dug it for the way it played out. See You Next Tuesday sees the return of normal service, glacial pace and anguished vocals and is followed by the colossus that is Reptilian, which is all jagged chords and terse vocal delivery. 

Imagine early Mastodon that has slowed down and that should give you a clue as to how this one drops. I think we should also mention the considerable talents of Fred behind the kit for keeping everything in place, making sure that there is a sense of motion present. From Hell is their sign-off track, finishing up in much the same way they started – simple and effective arrangements.

Sludge, doom and variances in between are difficult to review, just for trying to capture in words how good something sounds. I’ve mentioned that they don’t try to complicate things, simply they just come out to flatten you with a massive sound and quality riffs. Everything they do is kept simple and in saying I realise that I am doing them a massive disservice. This will be apparent once you wrap your ears around the 6 songs on here and let these big riffs slap you about for a spell. 

On the flip side, fans of the speedier genres might as well look elsewhere, as the pace may be a little slow for you but for those who like that slower pace twinned with immense sounding guitars and riffs to match then take a seat. 8/10

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

Sikth, Heriot & Ted Maul, O2 Academy 3, Manchester, 26.02.26

After a drive that anyone in the UK would think is long and more than likely need a little break in between I do, understand that most of the rest of the world scoffs at three hours 40 minutes for a long journey but you don't drive on our roads and, that's all I will say about that. 

A trip that I have been looking forward to making though for a while being that I would be seeing one of my favourite bands perform in its entirety one of my favourite albums from start to finish due to it being 20 years old this year, 2006s Death Of A Dead Day by Sikth.

Arriving early at the venue I had time to see the build up of excitement from indoors and out of the Academy 3, the ques are long and the room fills up fairly soon in time for our first band of the night, Ted Maul (8) The band toured with Sikth way back in 2007 and tonight reunite in celebration for this tour. Featuring current Red Method members, vocalist Jeremy Gomez and drummer James Perry, Ted Maul come to the stage to a good reception from this packed out audience while Jeremy paces back and forth in the pit area with us photographers until we kick into the first song. 

The band only released one album, 2007s White Label but if this was your first time seeing them you would certainly not know it, from listening to the band live and then deep diving into the album more I was left wanting exactly that, more. Heavy to the core with a angry smash of screams and brutal prog and metal mash up from guitars to the superb drum breaks and fills, there is a nice splice of industrial intros and samples sprinkled throughout the set which sets a tone and everyone on the same level type of buzz the band create on stage. A great start to the night and like I said I just wanted more.

A short pause of only twenty minutes and we are back to darkness to welcome our next band, Heriot (8). Swindon natives formed back in 2014 but it wasn't until guitars and vocalist Debbie Gough joined in 2019 that they finally are the band and sound they are today. The band from song one get everyone here spinning and pitting right away, the floor opens up and we get a huge sink hole of body's going round like Nascar. Heriot though are loving it and are in full on bounce mode. 

I am loving the double mic set up from Debbie to switch to the soft melody parts throughout the set that really bring in that dark atmospheric sound that the band are known for, almost demonic screams and half times pulse you face many times but that great metalcore feeling is there for plenty more movement of the pitting calibre. Heriot have really good stage presence and never looked lost or unsure of themselves, a pretty commanding set which featured many songs from the bands awesome last album, 2024s Devoured By The Mouth Of Hell, I fully recommend for any metal fan. Live though Heriot are a pleasure to witness, you can really feel the need to lose control of yourself and get your mosh on.

First time discovering the headliners I was instantly hooked into what I still think now is a perfect blend of the crazy and groove that not many bands achieve ever, the Primus of the metal world the very underrated and under appreciated, in my opinion, Sikth (9). We are here in Manchester to celebrate the 20 years since the release of the bands second album, Death Of A Dead Day. We get straight into it with the first track, Bland Street Bloom, and what a start it is, surfers suddenly appear from nowhere and the band are straight into the swing of things with vocalists Justin Hill and Mikee Goodman switching places frantically and bouncing off anyone near them. 

We swing back and forth between a soothing catchy chorus and then smashing into the double kick onslaught that's linked to the strobe light which has combined peeked everyone's senses to the max already. I have been to a few gigs last year where I got to witness a band playing one of their albums from start to finish but this was hands down the best, so many songs that have never been played live before ever like the hypnotic song In This Light which Justin Hill dedicates to anyone contemplating mortality at the moment, the backdrop screens showing raising of body's while we go through the beautiful melody's of the duel guitar solo towards the end and a crashing up tempo repeat of the chorus, all of which are spot on sound wise here in Manchester tonight for all bands. 

That was pleasure to witness and we are only on song 5, we go through more classics from the album Part Of The Friction and Where Do We Fall? and before you know it the album playthrough is on the last song, the epic As The Earth Spins Round, if there is ever a song that sums up this band for new comers its this masterpiece of a song and to see it live again was great, the band never miss a beat and still have this audience in the palm of their hands with commands of circle pits and the surfers by now are making the security really earn the pay check tonight. 

Not finishing out rings out after the applauds and roars for the album playthrough we get the chaotic classic Pussyfoot and to end the night Skies Of Millennium Night which almost blows the roof off as the intense bouncing and groove of this song sends every one here home very happy. I enjoyed this so much I really couldn't stop smiling for at least two hours into my nearly four hour drive home, so very much worth every single mile to witness this special night.

Reviews: Black Lung, Prong, Leaves Eyes, Lost Society (Rich Piva, Mark Young, Cherie Curtis & Matt Bladen)

Black Lung - Forever Beyond (Magentic Eye Records) [Rich Piva]

I have been a big fan of Baltimore’s Black Lung for a few years and a few albums now. I am excited to have the band back. They are both back and pissed off at the state of this world, and not afraid to show it, with Forever Beyond being their darkest and angriest record yet, and they do angry very well.

Traveler starts us off, and right off the bat you hear this 90s thing going on, but also with a bleakness that gives me post punk vibes as well. Like a darker Catherine Wheel, which is flat out excellent. This is some of Dave Cavalier’s best vocal work, as he really nails it on this track. The band has mastered the layering of sound all throughout their songs, with synths bringing a song like Death & Co. to the next level. I love the drums on this one too. My Catherine Wheel but darker comparison stands on this one as well. 

When I had the guys on the Rich & Turbo Heavy Half Hour, I gave my opinion of Radiohead, which as big fans I hope they forgive me for. I bring this up because Savior has this underlying Radiohead thing going on, and it is wonderful. Follow doesn’t pull any punches lyrically while musically keeping that dark 90s, wall of soundish vibe. The riffs rule this one. These guys get catchy and melodic too, with Forever Beyond Me giving off Therapy? and later-period Alice In Chains vibes in the best kind of way. 

The two angriest tracks were saved for last, with the atmospheric Border Hoarder showing you don’t have to have the heaviest song musically be the angriest, even though this one certainly kicks in and rips it up too, and the eight-minute closer, Scum, which is their state of the world address set to some killer, dark chunky riffs and atmospheric bridges as Cavalier tells everyone what’s what.

A dark, heavy, 90s post punk inspired state of the world address emanating from pretty much ground zero of where it is all happening. This record is built for 2026, where Black Lung has their finger on the pulse of what’s going down, brought to you in the form of the seven killer tracks that make up Forever Beyond. Black Lung knows that things are bad, but there is still hope underneath it all, which is what I hear and love about this record. 9/10

Prong - Live And Uncleansed (Steamhammer) [Mark Young]

Recorded live over a number of nights in 2025, Live And Uncleansed represents a worthwhile document showcasing a band that is still capable of squashing live audiences when called upon. 

For me, they were a staple of metal nights with Snap Your Fingers, Snap Your Neck which continues to be popular today. Their songs always had that innate ability to land like a punch to the face and contained here are 14 examples of this. From a review perspective, talking about each song here would be a little redundant on my part as you would expect them to represent their best or at least most balanced live set.

Each song is delivered with a thudding authority, the band sounding tight and on point as they rip through the set, starting straight into it without any drawn-out introductions with Revenge...Best Served Cold setting the tone. Straight away you can hear their influence on a ton of bands that followed and received the plaudits that probably should have been theirs. This is a debate for elsewhere, but you cannot argue with how good it sounds, and how good they sound. 

They keep the between song patter to a minimum, concentrating on the performance as opposed to banter (which is always welcome) but the problem is that the songs miss that link between them. This is a minor point on my behalf and given that they were recorded over a number of nights then I suppose they wouldn’t do that anyway. But when you have The Descent crashing in like thunder, those riffs landing like a rock-fall any thoughts about anything other than the performance become secondary.

Of course they play Snap Your Fingers, coming in slightly faster than I remember but no less of an early 90’s core anthem. That riff build is still razor sharp and here is delivered at pace whilst still sounding heavy. It’s a song that still sounds better than a lot of material that is out today and live, Tommy Victor is in top form here, sounding like a man demented in its delivery. 

What is surprising is that Whose Fist Is It Anyway is presented as a bonus track, the last one and like Snap Your Fingers it is imperious. Live releases can be hit and miss with so many things affecting how they are received. From set list to how the band sounds being key, on here they manage to get it right and in its own right it’s a belter, one that will satisfy long standing fans and hopefully garner some new ones. 8/10

Leaves Eyes – Songs Of Darkness (RPM) [Cherie Curtis]

Leaves Eyes brings us Songs Of Darkness, and it’s exactly what it says on the tin; it’s symphonic and powerful, and theatrically heavy. Leaves Eyes prioritises grandeur and layers over raw aggression. The music packs a punch as it's larger than life and extremely cinematic; it's not going to be starting any mosh pits, but it will have you stop and listen. If given the chance, I'd love to see Leaves Eyes play live.

Songs Of Darkness is dark and moody with lead vocals by Elina Siirala, whose vocals are silky, bright and vivid. She brings a romantic and almost operatic melody amplified by subtle, yet beautiful backing vocals all rooted down into the haunting themes by the fierce and bitter metal vocals Alexander Krull. They use the classic ‘beauty and the beast’ trope similar to bands such as Cradle Of Filth and Nightwish but more symphonic and create a stunningly bewitching and powerful dynamic.

The whole album is simmering with energy. There are boundless repetitive drums, distorted riffs and a steady rhythm to serve as a strong, slow burning undercurrent that builds tension before delivering a satisfying vocal payoff. In Songs Of Darkness, instead of fighting for spotlight, the instrumentals show restraint and give a driving pulse so the vocals can have more of an impact.

Overall, I really enjoyed myself as I’m a fan of this genre and style so I may be biased but there’s nothing not to like. It’s mixed well and the production value is top notch. There’s dark grittiness contrasted by sophisticated grace and theatrical power so even the black metal elitists will find something to enjoy but it won’t be something they’ll choose to have on their rotation as especially in the beginning, the tracks can be a little too soft. 

Though only four track and the run time is relatively short, there is so much soul and effort, and Leaves Eyes has proven here that less is more. 9/10

Lost Society - Hell Is A State Of Mind (Nuclear Blast) [Matt Bladen]

What happened to this band? Maybe I'm the old curmudgeon but for a while there Finns Lost Society seemed to be the saviours of thrash metal, but overtime they've become just another band playing "modern metal" and even that is not a particularly descriptive title. I'd say more that they have become an Avenged Sevenfold clone with a bit of Bring Me The Horizon added for the radio.

I wasn't too enamoured with their last couple of albums, (though I was in the minority for the press core) and Hell Is A State Of Mind does even less for me. I think comparing yourselves to the likes of Children Of Bodom and H.I.M when you produce music that is just a clone of countless metalcore bands, but especially A7X who they have moved the closest too here.

With electronics, hip-hop beats and some woeful gothic nu metal lyrics, tracks names such as Dead People Scare Me (But The Living Make Me Sick) just feel a bit like the sort of thing you'd see emblazoned on a t-shirt in Blue Banana. A very unsubtle move towards radio play and popularity. Now I'm not shooting down the band they’re talented performers and there’s a great use of strings with the 40-piece Babelsberg Film Orchestra the standout of the album but don’t save it for me. 

Lost Society seem like they will stick with this direction for the foreseeable, but for me Hell Is A State Of Mind is listening to hell. 4/10

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

Crowbar, Legions Of Doom & Silverburn, Tramshed, Cardiff 25.02.26

Crowbar roll into the Welsh capitol once again to play at Tramshed and bring Legions of Doom and Wales own Silverburn with them, lets get inside and check out what went down.

First up we have Silverburn (7), a band I have seen before and was very impressed with, this performance cemented that judgement for me as spot on just like the band tonight. Tramshed is rammed already before Silverburn even take the stage and you can clearly see why this gig has been upgraded many times to bigger venues all over the UK not just here in Cardiff, there is no late people just walking in and everyone is packed in to witness the powerful blasts from the first band tonight.

Silverburn formed just after the pandemic by vocalist James Isaac as a solo project that has bloomed into so much more, the talent this man has at commanding an audience is great. The band rip through songs from the only album release they have so far, 2023s Self Induced Transcendental Annihilation, which sends the people here into pits and head smashing mayhem from the off.

Musically every song gets you right in the mood to stomp around and get your mosh on uncontrollably and that's matched by the band on stage who are very rarely not moving about but as said previously have a command of the crowed in a way that everyone here is feeding off well. A sweaty and dirty feast of metal that was as raw and real as you will see from this excellent band.

A brief but calm chat with the next bands vocalist Karl Agell, from Chicago's own Legions Of Doom (7), to me and a few other photographers tells us that he and the band are in such good mood about this tour and that they have received nothing but love from the UK fans explaining to us that he is so humble to be on this tour and cant believe the love and appreciation that the band has had from everyone. 

This being the bands first gig in Wales as Legions Of Doom which only formed in 2022 but has members from The Skull and Corrosion Of Conformity they know all about touring around the world including previously playing in the UK. This being my first time seeing them I am blown away by the enjoyment I had watching up close at first doing my photo thing but also afterwards I found myself just lost in the groove and guitarwork that went on throughout the whole set. 

Drummer Henry Vasquez is a human version of animal from the muppets but a very precise and groovy alternate. Song after song gets everyone here bouncing and we get our first surfers of the night, the energy and groove coming from the stage is infectious and you cant help but feed the band with claps and head bangs whenever you can.

A nice sprinkle of some Thin Lizzy riffage as a break point in the set is a nice surprise but its all about the bands great stage presence and interactions with the crowd that is impressive, the sound here at the Tramshed is really decent so we have no worries about that tonight but Legions of Doom are much more than just that. 

We end the set with a classic Corrosion of Conformity song, Dance Of The Dead, which Agell dedicates to former CoC bandmate and drummer Reed Mullin, a very entertaining set and that is shown in the roars of joy displayed by everyone here tonight, very impressed by the music and relaxed stage presence by all.

"Lets do this Shit" starts of the set from the legends that are Crowbar (8) tonight after a little break, the band get on to stage and fine tuned everything before we get vocalist Kirk Windstein telling it like it is, and we are a go straight into …And Suffer As One, from the bands 1998 album Odd Fellows Rest, a song that hits you in that edgy doom metal urge that everyone here has been dying to itch all night, from note one to end of song the photo pit is ablaze with surfing madness and a sway and push from the crowed that gets the security hard at work right away. 

No messing about tonight from the Louisiana men as we go from classic to classic like To Build A Man, Cemetery, Repulsive and Planets Collide. The experience of seeing a band 20 years after you first saw them is a very crazy experience for me as I was young sprout and would of been in amongst the pit and just living in the moment of the music.

This time I am in the moment of the music and live performance appreciation and this is a very commanding performance from the veterans who tell everyone here that they are blown away by the new support and explains how this is the bands most successful tour ever which is well over due in my opinion. 

We close the night with All I Had (I Gave) which sends everyone here home very happy and sweaty. A excellent set and performance from a band that has been the bar setters in the doom scene for a very long time.

A View From The Back Of The Room: Black Honey (Spike)

Black Honey & Girl Group – Norwich Arts Centre, 24.02.2026



There is a specific, sacred energy to the Norwich Arts Centre when it’s at its 300-capacity limit. It’s a space that doesn't allow for half-measures; if you’re on that stage, you’re close enough to the front row to smell the adrenaline and the lager. 

Last week, it played host to a collision of styles that, on paper, shouldn't have felt this cohesive, yet by the time the final feedback loop faded, it felt like the only way a Tuesday night in February should ever end.

The evening began with Girl Group (9), and frankly, it was a masterclass in the "velvet glove" approach to songwriting. They are a band that seems to have spent a lot of time internalising the 80s indie-pop lexicon, there are undeniable echoes of The Primitives and the crystalline, harmonic clarity of Voice of the Beehive but to label them as mere revivalists is to miss the point entirely.

Musically, they are exceptionally polished, but there is a real, jagged rage lurking beneath those perfectly harmonised sugary pop melodies. It’s "bubblegum punk" for lack of a better term; clever, witty, and delivered with a level of technical talent that makes the transition from a major-key hook to a snarling bit of social commentary feel effortless. They didn't just support the headliners; they set a high bar for musicality that demanded the room’s total attention.

By the time Black Honey (9) took the stage, the NAC was properly swamped. Headliners usually spend the first three songs trying to find their feet, but Izzy Phillips and her lot started hard and stayed there. It was a blistering, high-velocity set that refused to offer the usual mid-set respite.

What was most striking, however, was the silence between the songs. Izzy mentioned briefly that she was struggling to talk between songs on this tour, something which could have caused a disconnect or a diminished performance. Instead, Black Honey turned the limitation into a weapon. By letting the music do the talking, they stripped away the "theatre" of the indie-rock show and replaced it with a raw, unvarnished intensity.

The setlist was a relentless march through their catalogue from the cinematic, Morricone-tinged grit of Charlie Bronson to the feedback-saturated roar of Hello Hello. Without the distraction of stage banter, the tracks felt more like a single, continuous transmission of urban defiance. The guitars were thick and fuzzy, the rhythm section moved with a mechanical, motorik strut, and Phillips’ vocals remained a crystalline anchor amidst the noise.

In an era where too many bands rely on "personality" to fill the gaps in their songwriting, seeing a headliner let the riffs carry the weight was a refreshing bit of reality. For those of us packed into the Arts Centre, it was the definitive proof that sometimes, the best dialogue is the one where nobody speaks at all.

Review: Gjenferd - Black Smoke Rising (Rich Piva)

Gjenferd - Black Smoke Rising (Apollon Records)

I have said it before whenever it shows up in what I review; I just love when bands incorporate organ into their music. It could be on a one off song or a band like Mount Atlas who have Hammond as a lead instrument. That is one of the main reasons I loved the Norwegian band Gjenferd’s self-titled debt record from 2024. 

It was one of the surprises of the year for me, landing at number 18 on my AOTY list. It was not just the organ, it was the overall vibe of the record and how they leveraged 70s rock with some more modern stoner to bring forth six killer tracks. The band is now back with album number two, titled Black Smoke Rising, where they continue down the same organ-fuelled path with an even stronger record than the debut, which is saying a lot.

A few things overall about Black Smoke Rising that takes it to the next level. The production and overall sound is a step up. Not much, but just enough to make a difference. The songwriting is even better than the first record. This album has ten tracks compared to six from the first, none of which are skips. There is a step up lyrically as well. 

Mostly though, this guy is happy because we get more organ. Right off the bat on Crimson Rain the organ/guitar partnership is on full display, along with the band’s solid understanding of melody, with some harmonized vocals to go with it. Oh, and an organ solo, so, you know, the song is perfect. I don’t want to understate the killer guitar work here on this one either, brought to us by Vegard Bachmann Strand. 

Bound To Fail starts from a psych point of view, with some synths, a cool bass line, and swirling guitars. Once it kicks in and Jakob Særvoll hammers that organ, you know this is going to be killer. The rhythm section of Samuel Robson Gardner on bass and Sivert Kleiven Larsen really shine here as well. Gjenferd continues to be catchy as hell, and the vocals really make a difference compared to other bands out there today. 

Black Smoke is a perfect example of all of this. There is this like 60s psych thing going on with the slow burn Calling Your Name, which executes quiet-loud-quiet flawlessly. The organ and the guitar meld on this one is so wonderful and the underlying psych bits make this one of my favourite tracks on a record full of them. I love the frantic ending with the ooooohs to go along with it. I love it. 

A brief dirge interlude brings us to The Thrill, which is like Leslie West playing in Deep Purple doing a Zeppelin song. This track is hypnotic, dark, heavy, and just killer. Stillferd is an acoustic interlude that breaks up the heavy just for a bit until the guitar/organ attack of The Silence kicks in, and does nothing to live up to its name but does everything to be awesome. 

The slow burn shows off the vocal range and when everything kicks in it’s like a tidal wave hitting you, until the sea calms down again, but you know something else is coming. The last two tracks on Black Smoke Rising are the longest, with Ride On being the best song from the 70s that didn’t exist in that time period, and Like Wildfire, driven by keys but incorporating all that makes Gjenferd special.

Gjenferd is a band that seems built for what I love. Deep 70s vibes but brought into the present. A band that understands melody and has all sorts of pop sensibilities while leveraging harmonized vocals. A musically gifted group, especially with the killer guitar work, all driven by organ. Black Smoke Rising has all this plus a darker more enhanced level of songwriting and a band that seems to be operating at the next level. Black Smoke Rising is Gjenferd’s perfect sophomore release. 10/10