A View From The Back Of The Room: The Devil Wears Prada (Alex Tobias)

The Devil Wears Prada, Novelists, 156/Silence & Oversize, The Electric, Bristol, UK 20.10.26

Tonight, I’m heading to Bristol to catch metalcore legends The Devil Wears Prada as they kick off the UK leg of their latest tour, Flowers. With a seriously good supporting line-up in tow, it’s time to get inside and see how the night unfolds.

First up this evening are Oversize (6), the only UK band on tonight’s bill. Hailing from Salisbury, Wiltshire, the band take to the stage in front of a crowd that’s still filling out, but those already in the building are more than happy to give them a warm reception.

The band get things moving with some damn fine music, packed with Deftones-esque riffs and haunting vocals from frontman Nick Nowack. It’s a melancholic but heartfelt opening set, and while this isn’t necessarily music that’ll have you losing your head in the mosh pit, it’s the kind that gets you thinking while you listen.

There’s a strong stage presence from all members, who confidently deliver songs where every riff and beat feels like it has an edge and a meaning behind it. A solid way to kick off the evening, and a band I’d be interested in catching again.

After a short break, it’s time to get a little sweatier and heavier as 156/Silence (6) take to the stage, ready to unleash crushing breakdowns and soaring melodic choruses.

The Pittsburgh outfit waste no time getting the crowd moving, with vocalist Mike Ernst demanding, “I need more crowd surfers, where the fuck are you?” It’s a request the Bristol crowd is more than happy to oblige.

The band have great chemistry with the audience, feeding off the biggest moments in their songs and kicking off the first circle pits of the night. Their sound is on point, too, with booming 808s ushering in half-time chugs that threaten to rip your ears off, balanced perfectly by those unmistakable metalcore vocal melodies that send the hairs on the back of your neck standing on end.

This is another band I’m watching live for the first time, and once again, there’s no disappointment. A crushing set that gets the room warmed up nicely for what’s still to come.

A quick drink break later, and we’re ready for the next act. Parisian outfit Novelists (8) walk onstage to huge roars and cheers, making it clear that plenty of people in the room are here for them just as much as the headliners.

Having watched their set, I can confirm I’d happily count myself among them. I’m seriously impressed by this performance. The guitar work, the vocals, the subtle touches that give way to beefy drum patterns, and the connection between the band members all come together brilliantly.

There are superb solos throughout, alongside that perfect snap between blissfully melodic passages and crushing, face-first heaviness. Just when you’re settling into those soaring melodies, the band slam the brakes and launch into punishing, Jinjer-esque sections that hit like a freight train.

Everything feels tight, dynamic and purposeful, with the band showing just how effectively they can balance technical musicianship with moments of sheer heaviness.

The best thing I can say about watching Novelists tonight is that I’d happily pay to see them again anytime. And honestly, so should you.

Quick changeovers mean that, before long, we’re ready for the main event. I haven’t seen The Devil Wears Prada (8) since 2012, so tonight feels like a long-overdue catch-up. The big question is whether these metalcore veterans can still bring the noise. Spoiler alert: they absolutely can.

Anticipation builds as the crowd waits for the band to take the stage, and the roar that erupts when keyboardist Jonathan Gering appears first in the spotlight is a clear sign that Bristol is ready. He gets things underway before the rest of the band join him, launching us straight into two tracks from their latest album, Flowers: Where The Flowers Never Grow and So Low.

Both songs have the crowd jumping and surfing from the off, driven by huge riffs and hypnotic, singalong choruses — a combination the band have made their own. So Low is particularly catchy, pairing an infectious melody with enough energy to keep the room moving.

From there, the band move seamlessly between the new material and older favorites, including Danger: Wildman and Dez Moines from 2009’s With Roots Above And Branches Below. It’s a welcome mix that gives newer fans plenty to get stuck into while rewarding those who have been around since the earlier days. I had plenty of the band’s older albums and songs on repeat in my younger years, so hearing these tracks live again brings back some great memories.

The Devil Wears Prada ooze confidence, and it’s the kind that only comes from veterans who have spent more than two decades carving out their place in the metal scene. The vocals and screams cut through from every corner of the stage, keeping your eyes darting around as you try to take in everything happening in front of you. A dreamy, circular backdrop of video imagery adds another visual layer to the performance without distracting from the band themselves.

The Dayton, Ohio natives have genuinely impressed tonight. If you’ve ever wondered which metalcore bands have flown under the radar for too many people, or you’ve simply been sleeping on these legends, then you’ve been missing out. With a catalogue packed full of great songs and a live performance capable of knocking your face clean off, they remind me exactly why they’re still going strong more than 20 years on.

I’ve enjoyed every band on tonight’s bill, but The Devil Wears Prada have shown exactly why they’re comfortable headlining a stage like this, anywhere and anytime. A commanding performance from a band who clearly have plenty left in the tank.

Reviews: Entheos, Goat Major, Godzilla In The Kitchen, Savage Grace (Mark Young, Matt Bladen, Keith Boswell & Jordan Griffiths)

Entheos - Empty On The Inside (Metal Blade Records) [Mark Young]

Say hello to one of the albums of the year. Sometimes, a statement like this occurs once an album has bedded in with you after repeated listens. In this case, it is almost immediate. That moment is like the aural equivalent of a ‘lightbulb’ above your head when you hear it, and it happens at the 48th second of Hell Is A Part Of Me, the opening track from Entheos’ new release. You have the vocals running one way and the guitar line behind it goes the other, and it is just beautiful.

Now, I appreciate that A, I am making a lot out of what anyone might suggest is nothing really magical and B, I’m not doing it justice either, but once you hear it you will get exactly what I mean. It’s the hook that vocalist Chaney Crabb throws out that does the damage. We know that Chaney can do the coarse, harsh singing, but here cleans are embraced and employed to devastating effect.

Let’s not forget that at their heart is high-calibre technical metal, refined here to within an inch of its life. Of course, it possesses that new-era tech sound, and you either like it or loathe it. Personally, it’s dependent on the song and here I’ll forgive it because, had it sounded any other way, I don’t think it would have landed the way it does and ultimately wormed its way into your brain.

As soon as this wraps, they pull Empty On The Inside next, which changes direction, going for that NIN-infused industrial vibe with one eye firmly fixed on getting you up and moving. The change, the growth, is there now, along with the confidence displayed in having the cleans in place where previously they would have depended on the extreme side to carry the song along. That is not to say that it’s all cleans, good lord no, it’s just that it’s a measured approach within the context of the song. When it goes full bore, Chaney unleashes full blast.

With Hollow now providing that slow third track, one that moves achingly along with a vocal performance that seems torn from the depths, Entheos have decided to show just what they can do with a three-song barrage that is as good as anything else released this year. 

It can’t get any clearer that they have gone for broke in putting everything they can into this album, all the tricks, and the result falls in their favour. I’ve seen some comments online that, of the songs released ahead of the album, it’s not what people expected. I guess that there is an element of not wanting your bands to move too far from where you think they should be, but I prefer this.

Elsewhere, the technical side isn’t shy in coming forward, it’s just that it’s now tempered with a soul. Call My Name and Golden Crown are examples of this, where they still have that on show, it’s just that their song-building skills have grown to allow them to move beyond pure reliance on that side of them. It’s still there, some of the arrangements are dizzying, but there is a conscious effort to make sure that the song is as strong as the one that preceded it, even if its style differs.

Pale Faith is a latter-stage blaster from them, complete with a tech solo that burns brightly and quickly. They haven’t forgotten the blasts, nor have they forgotten the rule about making the songs interesting. This is the thing: they could have done 10 songs of brutal tech metal and been met with hurrahs. Instead, they have allowed themselves to expand, to allow their music to breathe.

The Earth Will Move closes out in exactly this manner. After a melancholic Never Let Me Go, which threatened to suck a little air out of the room, they could have been forgiven for going all out. Instead, the use of discord comes first, supported by introspection and then full-throated roars. I appreciate that, as a musical approach, this isn’t new, but when a band does it right it’s still royal.

It’s what they don’t do on here that makes the album as good as it is because I guess it would have been easy to stay in a particular lane. Instead, they have made a concerted effort to leap to the next level and make that landing. 10/10

Goat Major - Death Comes Twice (Ripple Music) [Matt Bladen]

Having bene on the ride with Goat Major since almost their inception, to see them releasing a second album through the mighty Ripple Music fills my heart with joy. Something that their debut Ritual did with it's fuzzy, evil sounding doom that owes as much to Mötorhead as it does Electric Wizard.

If Black Sabbath wrote music for Steppenwolf then you'd get this Pembrokeshire trio. After their debut record they took to the road to where they're at their best, slinging their sinister riffs all across the UK including appearances at Stoomfest and Desertfest.

Between the touring they were still writing and with a break in the schedule they hit a studio in their native Pembrokeshire with Tom Chaloner to record a studio follow up, returning to Ripple Music with Death Comes Twice a record that offers up no huge shifts in what they did with the debut.

Except perhaps a more pronounced sense of melody than on the debut, the menacing heaviness still at the forefront of the Goat Major sound but now leaning more towards psychedelic flourishes and claustrophobic atmospheres where the themes of belief and tradition are explored.

Strings and acoustics build a bonfire of occult worship on Voyage Of Cetus, an intro that sets the tone for this record, leading into Firewalk which is the ideal begining for a Goat Major record, Jammie Arnold (guitar) and Tom Shortt (bass), locked into thick fuzzing grooves, then separating out into their own noise of open chord basslines and anguished guitar leads,

Simon Bonwick's drumming a consistent source of power as he introduces some interesting percussion on the tribal Wheels Of Gold which adds sneer and sleaze to the record as Tom's vocals casting spells against the Sabbath worship before the synth driven interlude Sirens, shifts then toward the ethreal before The Sin Eater dials up the riffs again.

Death Comes Twice, is Goat Major enhancing their occult doom stylings with nuanced additions, such as the Title Track giving some phaser pedal and sludge, shifting towards the punkier tones of Under The Moonlight, while they close this second chapter with Detached a rumbling, malevolent track which exhibits that the darkness is still front and center despite the shifts towrad more melody.

Goat Major lumber back with more riffs and wickedness, hail the goat! 9/10

Godzilla In The Kitchen – Termination Sequence (Tonzonen Records) [Keith Boswell]

The Termination Sequence is the third studio album from the Leipzig based Germany band Godzilla In The Kitchen, due for release on the 23rd October 2026.

This contribution to the world of metal has seen the band progress from its previous creations as an instrumental entity to the introduction of vocals to its music, a first for Godzilla In The Kitchen.

As a result the Termination Sequence album, on the Tonzonen Record label, has immediately piqued my interest as I load the album up. Having listened to the album quite extensively it is clear that Godzilla In The Kitchen has lost none of its psychedelic metal groove with nu metal excerpts.

The crunching groove of the baseline is still very evident with melodic sections interspersed, but what is new is that there is a much heavier intensity to the album. This linked with the addition of the varied vocal delivery from a soft eloquence to a gritty guttural type and indeed everything in between makes a potentially average album into a great one. With the addition of Simon Ulm’s vocals and the newer rawer edge Godzilla In The Kitchen have raised the bar from their previous albums quite extensively.

Favourites from the album, for me, include Nothing For None with its melodic opening and funky grooves throughout and the title track Termination Sequence with its heavy overtones and guttural vocals which enable the listener to still understand the words and the gist of the song.

One of the favourite things that I like about the album is the enhanced use of the bass guitar. In my experience, the bass is very much treated as just part of the rhythm section. Godzilla In The Kitchen has given the bass a new lease of life and has brought its contribution to the fore of this record to their credit.

A really good album and well worth a listen. 8/10

Savage Grace - Underworld (Back On Black) [Jordan Griffiths]

My musical education continues! We are stepping into another artist whose music I have not had the pleasure of listening to before! Savage Grace and their Underworld album!

Right out of the gate, with White Trash White Heat, the opening sequence left me with the thought process of, What the hell is this. But then it hits you with that classic 80s Power and Speed Metal, really taking you back to the glory days of the genre with its electrifying guitar riffs and melodies.

Underworld, as a whole, is very much a love letter to the classic sound of the 80s power and speed metal, fully embracing the signature fast-paced riffs, soaring vocals and the unapologetically old-school aesthetic. 

However, I will say that there is very little in the way of experimentation in this album. There are a few sound effects here and there, like the horn in the first track. What you hear is exactly what you would expect from a traditional power and speed metal album/record.

While the commitment to the genre's roots would definitely be appealing to listeners looking for that authentic 80s sound, those hoping for something more adventurous or distinctive may find themselves wanting a little more variety.

At the end of the day, Underworld, in my honest opinion, delivers exactly what it wants itself to be. Delivering a familiar dose of 80s-inspired power and speed metal without straying too far from the formula that defined and still defines the genre as a whole.

It is definitely worth a listen if you enjoy your authentic Speed and Power Metal of the 80s, but if you’re looking for something more experimental, this may leave little to be desired. 7/10.

Reviews: RAM, Haunt, Streamer, Callous Master (Matt Bladen)

RAM - Against (Metal Blade Records)

Nearly seven years since Oscar Carlquist (vocals), Morgan Pettersson (drums), Harry Granroth (guitar), Martin Jonsson (guitar) and Tobias Petterson (bass), collectively known as RAM dropped an album but now they come back with Against, a heavy metal record built on defiance, more direct tracks with shorter run times that make an impact and follow the recording mantra that was “cut the bullshit.”

The Swedes in the past have wandered into complexity and showy technicality, but on Against they shun all that to take it right back to the early days with an organic, an analogue sound that is borrowed from the unpolished early heavy metal acts such as Dio and MSG, two bands they state as influences for this album.

It results in an unfussy heavy metal record, unbothered by genre fragmentation, where attacking the listener with riffs you'll want to bang your head to is the purpose. From the rampaging Ghost Emperor and the anthemic 1984, to the choppy One Vs All and the aggressive Night Blade alongsidethe speedy Abattoir and the doom-laden Leaving, there's a lot of classic metal magic on this record.

While the gestation was long the result is another slab of classic metal from RAM. 7/10

Haunt - Setting Course (Church Recordings)

Ah Trevor, you never let me down, constantly and consistently releasing albums that just understand what heavy metal is about. In a world where so many band ride that retro wave of NWOBHM and proto-thrash, Trevor William Church and Haunt always manage to stand above the rest.

Releasing new music pretty much every year, whether that's an album or an EP, he's prolific and whether it's just him or as they are now a band comprised of Church, Joel Dominguez (guitar), Sammy Harman (bass) and drummer Andy Saldate, though Joel has now been replaced by Fili Bibiano.

It really isn't that much of a shift as Haunt for a long time was just Church and he is still the creative brain behind the band no matter who esle is with him and again Setting Course is another high watermark for Haunt.

Wrapped in brilliant production values that have been a constant evolution from Church, the songs also have the own identity, nothing on the record is similar to anything else, and although that ethos of classic heavy metal is retained and it never recycles ideas from previous records.

Running across multiple genre tropes from guitar hungry Hear Me Now, through the classically laced Title Track, the frantic Simple Life and to the speedy Spent Sanity, Setting Course is another intrepid journey through classic heavy metal from Trevor William Church and co. 9/10

Streamer - Into The Void (High Roller Records)

Catalan metal now from Streamer, who return with their third album Into The Void. Following two previous full lengths, and EP and a Demo, this band now have nearly a decade of experience but don't wildly vary their style on album three.

It's classic metal folks, inspired by the NWOBHM, with some US and European influences as well however there's a feeling of a 'lost' record from that NWOBHM period here, from the production to the riffs, it's retro as you can get, Streamer part of new wave of Iberian bands who are inspired by Maiden, Priest, Saxon etc.

Bass led riffs drive a twin axe attack and vocals that have a snarl to them, Streamer are on the darker side of things lyrically but it's an album traditional heavy metal with a bit of a bite. Youthful, talented and inspired by the greats Into The Void won't change the world but it'll get you reaching for the leathers. 7/10

Callous Master - Callous Master (Invictus Productions)

We get a bit darker now with the self titled debut from Callous Master.

Rooted in the beginnings of what we now call 'extreme metal' you can hear the likes of Venom, Mercyful Fate and Celtic Frost here from the opening moments of the first song, also titled Callous Master.

The production is raw, the guitars rawer, the vocals belched from the otherside as they run through 35 minutes of occult, cryptic lyrics inspired by Austin Osman Spare and the Zos Kia Cultus.

They are obviously anti-religion and dogma in general, and if you like those early days where black metal, thrash and NWOBHM were all interchangeable, then you'll be putting this on (probably on cassette) and lighting a candle to the dark lord. 6/10

Reviews: Insomnium, Shores Of Null, Great Falls, Generation Steel (Matt Bladen)

Insomnium - Netherworlds (Century Media Records)

The intro track to Insomnium's tenth album, Cold Song, could have easily come from Markus Vanhala's other project Cemetery Skyline, it's synth led and gothic but as soon as Shadowlife begins we're back on familiar territory, a blend of gothic doom and melodic death metal that Insomnium have been dealing since their inception in 1997.

From those days, bassist/harsh vocalist Niilo Sevänen, drummer Markus Hirvonen and guitarist Ville Friman are still the core trio of the band with guitarists Markus Vanhala and Tomy Laisto joining later, Laisto only this year, meaning that Netherworlds features a triple axe attack, all three guitarists weaving the sonic tapestry switching between the metallic riffs and anthemic cleans.

They all share the clean vocals too, giving massive gang choruses against the harsh screams, as the drumming moves between ferocious double kicks and nuanced melancholic phases such as on Arch Of The Sky. These complex layers, mean that the songs can take many different paths on this record, from the atmospheric Ethereal Sleep, to the modern Remembrance, the aggressive The Banished and the epic Journey's End.

Insomnium deliberately looking back to their earlier releases where their blistering melodeath had gothic doom and folksier tones that are found on tracks such as The Hour Grows Late, where acoustic guitars bleed into light speed riffage, along with guest features from Tomi Joutsen, Tomi Koivusaari and Santeri Kallio of Amorphis.

By looking back it feels like Insomnium have reclaimed themsleves, after a few albums that upped the directness and historical lyricism, they now address more personal and societal issues, songs about love and death but written now with more life behind them than in front, approaching these themes with a lot of life experience.

The band say that Netherworlds is a 'best of' featuring new songs and it's difficult to not agree. This is about as perfect of an album you'll get from Insomnium, guaranteed to be on your end of year list! 9/10

Shores Of Null - Homesick (Dusktone)

For fans of: Paradise Lost, Amorphis, Swallow The Sun, Katatonia, Borknagar, or so the PR proclaims and that's spot on. Shores Of Null's new album takes them further into the melodic realms of melodic doom metal, with Paradise Lost and Amorphis the biggest influences I can hear on Homesick.

It's melancholic, intense, grief stricken and emotionally resonant, a ten song musing on "emotional states (such as) longing, loss, anger, vulnerability and the search for a place to belong." Its a record that deals with nostalgia, what really is home and how does our upbringing shape us? Filtering these ideas through some anthemic death doom which features melodic moments and big choruses fit for bigger stages, with the performance of vocalist Davide Straccione a particular high point.

Not that the band have tried to create an album of singles, the opposite actually as Homesick is a record meant to be heard in full, each track thematically driven by the last, the collaborative writing in the pre production phase alongside producer Marco “Cinghio” Mastrobuono allowing them to shape theses songs exactly how they want them, so the whole record flows well, the depth of the production meaning you need to listen repeatedly to discover everything going on.

It means that with this fifth studio album Shores Of Null showcase their maturity as band, emerging from their death doom beginnings with a more refined and focussed style that is driven by a melancholic intensity, especially The Numbing Void which features vocals from Natalie Koskinen of Shape Of Despair and violin from Shaun MacGowan of My Dying Bride to bring more legitimacy and a wider sonic approach.

If you liked Shores Of Null before, Homesick is not a massive departure from their past record but it's aimed at getting them more recognition in the death doom world, sounding more, immediate and poignant than on their early records as they mature into their position as one of melodic death dooms modern flag bearers. 9/10

Great Falls - The Bite That Grows Up (Neurot Recordings)

With their debut for Neurot Recordings compared to Ken Mode and Chat Pile, there's going to be a lot to get your head around with Great Falls.

Objects Without Pain saw them play Roadburn, be the support to Botch's final European tour and do US tour with the equally crushing Primitive Man, but soon they were back in the studio with producer Scott Evans to record a follow up, one that was supposed to be a calmer offering but somehow is more intense, aggressive and downright terrifying than their last album.

Chaos is the one word review I can give this record, A Small Weakness tumbles noisily into the frantic blitz of Pinned Against Time, the drumming is Nick Parks never taking any traditional patterns while the bass of Shane Mehling on tracks such as Worse Than Sleep can't decide whether to work with or fight against the angular riffs of Demian Johnston.

The 25 year friendship of these two integral to the fervor of these off-kilter, eccentric cuts of brutality, driven by non linear time signatures, weird tunings, percussion with anyhting they can find and pained often single sentence vocals, with Hailstone Numbers having Johnston sound like he's being tortured, against the thick bass, bristling atmospheres and then that inevitable erruption of volume.

The Bite That Grows up is sheer force, there's going to be those that absolutely hate it, warranted for sure as the music here is very niche, nihilistic math metal is the closest I could get to explain it. However if you're devotee of the fringe bands that play Roadburn or Arctangent then you'll find a place in your listening for Great Falls, but let's be honest you'll probably already have everything on vinyl.

Erratic, explosivity from the Pacific Northwest on The Bite That Grows Up. 7/10

Generation Steel - Steelmachine (Fireflash Records)

It's always telling how dedicated to a musical genre a country is when they get their own genre tag, over in the extreme side the Swedes have melodeath, the Greeks and Scandinavians take black metal but over on the cleaner side there's of course NWOBHM from the UK and Teutonic metal from Germany.

Bands such as Accept, Running Wild and even Halloween all encompass this style and so to do Generation Steel, despite only being formed in 2019, founding member Jack The Riffer, looks to the leather and studs wearing heavy metal of the 1980's with his musical output.

They've already released two albums and now with album three Steelmachine, they look to sharpen their attack as Jack and drummer Marc Laukel are joined by some new blood with veteran experience.

Bassist Fabian Watermann (Mad Max) locks down the rhythms with Jack and Marc while Swede Mike Stark (Stormburner) joins on vocals and the extremely experienced Thilo Herrmann who has played with Running Wild, Grave Digger takes lead guitars for this record.

The latter two also contribute heavily to the songwriting, making for some of the toughest metal Generation Steel have put to record, such as, the snarling Witches Cross, the relentless The Priest (who I assume is named Judas) or the swaggering Wings Of Steel where the melodic side comes in.

Generation Steel fire up the Steelmachine and smelt some more anthemic Teutonic metal on album three. 7/10

A View From The Patriot: Blaze Bayley (Matt Bladen)

Blaze Bayley: Iron Maiden Anniversary, The Patriot, Crumlin, 17.10.26

After finally getting his due for being a singer of Iron Maiden, by performing at this summer's Eddfest in Knebworth. The human dynamo that is Blaze Bayley took his Iron Maiden anniversary tour in the road with the Welsh date landing at 'The Home Of Rock' The Patriot in Crumlin.

While Bayley's tenure at the mic of Maiden is often much maligned, due to his voice not really fitting the Air Raid siren of Dickinson, there's some really good songwriting that came out of that period with a few experiments that would come to define Maiden's modern day output, it also meant that some of the Di'Anno cuts came back into circulation as Blaze can handle these really well.

Personally I've always had a soft spot for X Factor and Virtual XI, though I'm a huge fan of Blaze's solo work and Wolfsbane so perhaps my judgement is a little clouded. Though at the time Steve Harris was quoted as saying "musically we're the best we've ever been".

I have vivid memories of playing both the albums back to back while myself and my brother painted our mother's house, shouting along to the tracks as we did. So to be able to hear these songs live with him at this gig is something I'll hold on to as both of us don't get the time to hang out as much as we did.

But that's what a Blaze Bayley gig is like, the man bewitches you, his intensity and his passion, you can't not love him, the between song stories, the open invitations for comradship and his sheer love of doing this is infectious, backed by the always impressive Absolva, a 20+ song set list flew by in the shortest 2 and a half hours of my life.

Absolva; Chris, Luke, Martin & Aki, began with the instrumental of Doctor Doctor by UFO before crashing into life with Lord Of The Flies into Justice Of The Peace, Judgement Of Heaven, Blood On The Worlds Hands and Look For Truth, all taken from the X Factor album and for many in the crowd, never been heard played live.

From here Blaze explained that songs from his debut solo record Silicon Messiah had been written for Maiden so we got Born As A Stranger and The Brave from there before more Maiden in the form of Lighting Strikes Twice and Sign Of The Cross then another two Blaze tracks that were more recent but just as influenced by The Irons.

The band behind Bayley are brilliant, perfectly recreating the Maiden line up of that time as Martin McNee played with the playfulness of Nicko, Chris Appleton had Dave Murray's tone just right while Aki had Janick's and Luke laid down the foundation with the Steve Harris' nimble bass lines, returning with an acoustic for 2 A.M and Como Estais Amigos.

This acoustic section splitting the more well known tracks such as When Two Worlds Collide, The Clansman, Man On The Edge and Futureal, from Virtual XI while Virus came from Best Of The Beast and there was a rousing rendition of Wrathchild, belted out by Bayley and the Crumlin Choir.

As the apex of the evening came, the band let loose a few solo spots before a couple of instrumental movements that featured UFO, Thin Lizzy, Gary Moore and Budgie as Blaze returned for the finally of Angel And The Gambler.

Though I couldn't hear the terrible guitar synth/keys that make it so endearing, it was a fine way to close out this celebration of Blaze Bayley, Iron Maiden and resilience though doing something you love! Every Blaze show is brilliant, be it solo or with Wolfsbane, he's still got that bellowing vocal, that larger than life persona and just makes you feel welcome and more importantly thoroughly entertained.

Summed up, it was brilliant and I want to do it again! 10/10

Reviews: Gnod, Fallen Sanctuary, Runemagick, Thronehammer (Mike Bailey, Matt Bladen, Myrto-Panagiota Zacharof & Mateusz Stefanow)

Gnod - Chronicles Of Gnowt: Vol 2 (Rocket Recordings) [Mike Bailey]

Gnod is a musical collective from Salford, that features Paddy Shine, Chris Halsam, Marlene Ribeiro, Alex Marcote and Andy Blundell, amongst other collaborators. Because of the experimental nature of their music, it allows for wide departures in tone, energy and feel. Chronicles Of Gnowt (Vol 2) is an unrelenting journey through a vivid and nightmarish landscape.

Vocals are raw, shrieked over the top of a wall of distorted guitar and bass. The drum pierces the gloom with sharp assaulting snare, while also providing a deep pulsing beat beneath. This is not an easy journey to undertake.

Even track 3, the first reprieve from the sonic assault, is shattered by the barks of The Traveler Returns. Strangled – the final track – is a 12min drone of guitars, bass and drum, that builds a driving cacophony. This is accentuated by by the poetry and performance of Lauren McLean. There is a groaning inevitability to the track, punctuated at minute 2 by an air raid siren, that then continues as the press of the noise builds and builds. 

As long as the track it, it still doesn’t overstay its welcome. This sentiment is reflected throughout the whole record. For as much as you are able to dwell in each track, the record is only 5 tracks long so it is over almost as soon as it begins. Knowing that this is the second volume of a tryptic being released this year, and how much of a departure this is from Volume 1, I cannot wait to see what volume 3 brings. 8/10

Fallen Sanctuary - The Gathering Of Dreams (Self Released) [Matt Bladen]

After AFM Records called it a day many of their signed acts had difficult choices to make, signed somewhere else? Release independently?

Well for Austrian/Italian supergroup, they decided on the latter deciding to crowd fund their sophomore record The Gathering Of Dreams, which is now with us and promises more melodic power metal inspired by the European legends of the genre.

It's the follow up to their debut Terranova in 2022, and for the band comprised of vocalist Georg Neuhauser (Serenity, Warkings), guitarist/vocalist Marco Pastorino (Serenity, Temperance), bassist Gabriele Gozzi (Eternal Idol) and drummer Dario Capacci (Trick or Treat), it's a different style to the more Symphonic or Teutonic sounds of their day jobs. 

Inspired more by Sonata Arctica and Stratovarius, the tracks are filled with pace, 90's keyboard sounds, shreddy guitar gallops and anthemic choruses where Georg's vocals carry the majority of the tunes, as Marco adds harmonies and co-leads for a couple of tracks.

Both are very established and extremely good singers in their own right, so this balance works really well with the melodic power metal style of The Gathering Of Dreams, as both also handle the production, again with experience behind the desk for numerous artists as Aldo Lonobile of Secret Sphere taking the mixing and mastering. 

It makes for a grandiose version of those early 2000's record that grew power metal in Europe, the band name even coming from Serenity's second album in 2008, before they focussed almost exclusively on historical concepts, so there's plenty of veteran instinct behind the band and this record, which can be heard across the eleven tracks.

While the debut established what Fallen Sanctuary bring to the table this second record cements their melodic power metal sound heavily influenced by the bands I mentioned earlier, The Gathering Of Dreams feels very retro in its style but brings it all bang up to date. 8/10

Runemagick - After Chaos: Nocturnal Vigil (Hammerheart Records) [Myrto-Panagiota Zacharof]

One man band Runemagick's new album is a listen for eclectic tastes. Despite the cover artwork, that sets the tone for Viking/Pagan/Celtic references, Runemagick do not have significant references, poignant regarding lyrics or sound or vocals, other some shamanic sounds. The album comprises of 8 songs, with the opening track After Chaos, setting the tone. 

A 13 minute song matched only by the outro Into The Endless Continuance of 12 minutes , both songs being an amalgam of slow doom/death metal sound interchangeable with slightly faster tempo , death metal deep vocals , long musical pauses between the actual singing parts where the band is showing their technical prowess.

It’s definitely an interesting listen, however the length of the songs makes them hard to follow, they sound more like soundtracks to a story existing in the psyche and mind of their creator or pieces of music compositions than actual songs. The records second track Rune Magick Unbound has a promising atmosphere at the start, with a clear sound production, stronger doom metal influences, building momentum with drums, vocals from the abyss and heavy riffs, only to drag along for almost 9 minutes, leaving the listener a bit confused. 

A similar pattern is followed in the third song namely Nocturnal Vigil, a song closer to the classic death/black metal tone, continued by Urdu’s Cosmic Weave and The Abyssal Continuum with a great start, lots of tempo changes that only end up deflating the listener due to long length and the so many different tunes trialled in each song. Formless Dawn and The Vast That Knows No Shape are in my opinion the prominent songs of the record, very slow rhythm, nicely changing past the first two minutes and locals literally from the darkest abyss. 

Overall, a record that would appeal to listeners that appreciate long slow heavy atmospheric music. 4/10

Thronehammer - Slay| Kill | Erase (Supreme Chaos Records) [Mateusz Stefanow]

My opinions on death-doom have changed a lot since I began listening to more extreme music, initially I was definitely not a fan, preferring the two subgenres separate, then with time and experience the combination really grew on me. I was very excited to see that Musipedia of Metal had sent me Slay Kill Erase for this reason. 

Unfortunately this album isn’t completely for me, but regardless there are definite strong sides to this album. Coming in at about 73 minutes this album will take a while to get through, but with the average song runtime just barely exceeding 10 minutes none of them overstay their welcome.

This album is comparatively more doom inspired, with sludge and death metal elements scattered throughout, thematically focussing on epic/high fantasy vibes, which may be right up the alley of Crypt Sermon fans. The title track has some clean vocal segments that I personally don’t enjoy too much, but the growls are simply outstanding. 

I may be placebo-ing myself due to the recent release of Runemagick’s most recent album, but I can see resemblances in the guitarwork, which is absolutely not a complaint. Rise Of Resistance has some interesting balancing between the riffs and post-metal segments, with pleasant tones and possible Candlemass influences throughout.

This review has been a little shorter but sadly this album isn’t for me, however if you prefer death metal to play a more supplementary role, enjoy fantastical soundscapes with clean and growling vocals then this album is definitely for you! 5/10

Reviews: HeKz, Hackett & Rothery, The Tangent, Pattern-Seeking Animals (Matt Bladen)

HeKz - Qisma (Self Released)

HeKz have been making a name for themselves for a while now, well 2005, so a bloody long while.

The Bedford band really hit their stride with 2018's Invicta, consolidating founding member Matt Young's writing into the hybrid style of progressive metal meets NWOBHM meets AOR, where experimentation is welcome and concepts are essential.

Young's writing is cinematic, telling complex stories through even more complex music, Matt anchoring them with his basswork, vocals and keys/orchestrations, amongst a number of other instruments. Never a band afraid of taking risks or pushing the envelope their fifth album, Qisma, is their most sprawling, denselyy conceptual and musically imaginative to date.

The title comes from the Arabic word for fate, destiny or divine, and its the name for a double disc concept record which deals with our lead character trying exploring self-discovery inside of dystopian technopolis where conformity if mandatory, part Orwell's 1984, part Cameron's Avatar, part Gilliam's Brazil.

It's an album about the search for creativity, how we can forge our own destiny, performed with the highest level of creativity it's human architect's can muster as they embrace their own destiny as the UKs premier prog metal act, a fact reflected, by the guests they've managed to entice to join HeKz.

Most importantly John Mitchell (Frost*/Asia/Lonely Robot/Arena) who joins the production team, mixing, mastering and adds vocals to The Overlord as Adam Holzman (Steven Wilson, Trifecta, Jane Getter) brings keyboards to Virtual Utopia. Then Mark Bogert (Knight Area, Magoria) adds guitar to The Great Out There and Moyano el Buffalo (King Lizard, Diamond Black) does percussion on The Road Home.

However it's the band themselves who shine well on this album, moving between all the styles they visit on this mammoth record. Jerry Sadowski's drumming sits behind the songs with style and skill, through the shifts into progressive metal, AOR, classic metal and everything else here. Lucia La Rezza's strings are beautiful throughout the violin used as a lead instrument, adding melodies, solos and more while she also provides cello, double bass and fleshes out the orchestrations.

On co-leads on every song is the man they call 'The Maestro' Tolis Zavaliaris, his guitar playing drawn from Gilmour, Fripp, Lifeson and  Petrucci, it's fluid, expressive and at times crushingly heavy, locked in with Matt's bass or gliding on top of it with virtuosity. Matt himself shows all manner of skill with multiple instruments on the album but also his great voice, which has a definition about it that is inspired by others but solely his own.

You can boil it down to brass tacks and state that Qisma is a darker, more prophetic and cinematic version of Styx's Kilroy Was Here, but HeKz are the band Steve Harris wants to be in, Symphony X would be if they stuck to just epics and Kansas if they went heavy metal. Nothing short of a masterpiece the sky is the limit for HeKz. 10/10

Hackett & Rothery - The Roaring Waves (InsideOut Music)

Two Steve's, Two Guitars, Progressive Rock Nirvana as Mr Hackett (Genesis/Solo) and Mr Rothery (Marillion) release their long awaited collaboration album.

Something of legend often spoken about in hushed tones, The Roaring Waves has been nearly a decade in the making, two incredibly busy musicians who rightly stand as cornerstones for their genre, recording sporadically between tours and album cycles, at home studios mainly the duo shaped extended jam sessions into these seven instrumental tracks.

Their guitar prowess flows freely, intertwining and conjuring up the elemental power of the sea which is the creative inspiration behind the record, joined by collaborators Ricardo Rommano (co-writer/mixer/keys/bass) and Leon Parr (drums), these songs are a fusion of both players creative muscles, not really what they would normally write or perform but with the blueprints of both of them in each moment.

The classical guitars on Red Dragon and more so on The Roaring Waves itself, give way to the introspective Floydisms and electronic pulsations of 21st Century Marilion, as Pacific Coast Highway, rolls to the sounds of blues harmonica and the Californian beach culture. The entire record made to sound more cinematic with the orchestrations and strings that fill out the gaps between the guitars.

It makes for an immersive listening experience where K-129 pulsates to the likes of Steven Wilson, while The Black Sea is like the theme from a 60's spy film in all the best ways. An album that's been nearly a decade in the making, we have a record where two maestros combine for something that's anchored by their history but set sail for new shores. 8/10

The Tangent - Was (White Knight Records)

With a total running time of over 100 minutes you have to invest in the new album from progressive rock veterans The Tangent.

It's a rumination on nostalgia.. Whether it's the musical fashions, the bloody battlefields or indeed the media driven nostalgia for the 'glory days' of the Second World War. Disc 1 of this record is a three track exploration of the past, through music, television, current events and how we often like back with rose tinted spectacles rather than recall what actually happened, glossing over the band with the good.

Drawn from Andy Tillison's youth in the late 1960's and 1970's the first part of this record runs through many of the the musical styles from that era, focussing on prog rock mainly, there's influence of Pink Floyd, Genesis, Yes and others, as hard rock, psych, jazz, blues, soul and pop, all play their part as well, as the memories of Woodstock bleed into Vietnam, through a soundtrack of some legendary music.

Tilson's vocal mirroring Roger Waters' on The Final Cut and his solo records, adopting that almost 'talk singing' style which actually suits this recording as it feels like it could be Roger Waters conceptual solo record. Especially when the sax of Theo Travis blasts in the middle part of track one, the keys/organs of Tilson the core of The Tangent as it has been since the outset but as with any prog rock maestro he has a supremely talented band making up The Tangent.

Theo Travis as I've said adds the sax, flutes and wind instruments that are so much a part of that glorious decade, as Rob Groucutt adding more keys to Tilison's on the funk/disco/jazz of Follow The River, track 2 on disc 1 where they let loose a little. John Jowitt's bass funkier than anything, Steve Roberts' drumming hitting every mark no matter the stylistic changes letting Luke Machin adds his virtuoso guitar playing across the whole album.

This first part of the record actually made me quite emotional, as my father is the same age as Andy Tilson and has many of the same music tastes, many of which have been passed down to me. So it was like listening to him regale me with tales of his youth, and I'll be honest it did make me well up, as this kind of music is engrained in my psyche as much as heavy rock such as Zeppelin, Purple and Sabbath is from my mum.

The second disc is almost totally instrumental, based around throwing as much musical history together in one place as possible, it's inspired by Keith Emerson's Five Bridges Suite but with an additional 50 years of musical evolution to add to this idea with classical and jazz right the way through to electronic music and DJ culture

Was is an ambitious record from The Tangent, Disc 1 is perhaps the better of the two for what I enjoy but the whole bundle works a brilliant way for this talented band to show their tremendous musicality. 9/10

Pattern Seeking Animals - Grimalkin (GEP Records)

Since their formation in 2019, Pattern-Seeking Animals have released five albums! Exuding the benefits of being a mainly studio project in the 21st Century, it means that they can record without having to be anywhere near each other, useful when two of your number are also part of Spock's Beard which just takes up their time with touring.

In fact this 'supergroup' all have a connection with Spock's Beard as current and former members/collaborators, which means that like with their previous five records their is a close connection musically to The Beard.

That continues on their sixth album Grimalkin, but still allows them to go their own way drawing from their own influences and their other projects for Pattern-Seeking Animals, the string sections of Jade Sky, haunting piano balladry on Things I Don't Do or brass parps on the nostalgic feel of Traveler On The Wrong Road Home.

There's always been a more introspective side it PSA, driven by the emotive and unique vocals of Ted Leonard, while many will know him as the current vocalist of SB, which is a damn good company to be in, I know him from Enchant and PSA is a lot closer to that in terms of what he does.

Leonard also provides the guitar to the record but more often than not the 'lead' instruments here are the bass of Dave Metros, and the keys and more of John Boegehold and as witnessed by A Flower Yet To Grow, behind everything Jimmy Keegan's drums keep the pace shifting on the dramatic Break Away.

Innovative, interesting and always adding something new, Pattern-Seeking Animals continue to define themselves as a band with a very important past life but in constant forward march towards their own expression. 7/10

Reviews: Hippotraktor, Duncan Evans And The Weeping Starlight, Hatesphere, Slaughtercult (Mike Bailey, Matt Bladen, Mateusz Stefanow & Myrto-Panagiota Zacharof)

Hippotraktor - Annihilist (Pelagic Records) [Mike Bradley]

Annihilist is the third full album by Belgian Progressive Metal band Hippotraktor, and marks the third entry into the saga of the Nameless Protagonist. 

The first full album, Meridian, maps the journey through a desolate wasteland and laments the loneliness of being an ageless being. The second release, Stasis, maps the arrival of nature and civilisation, and the ways in which the Nameless Protagonist must now navigate through a world in which they do not belong. Annihilist is where the protagonist finally encounters the Entity, the being that has been waging war with the Nameless Protagonist. Through countless cycles of incarnation, the Nameless Protagonist searches desperately for a way to end it for good.

As exciting as this concept sounds, it is even better in execution. Stefan De Graef (Vocals) and Kristof Du Jardin (Guitar and Vocals) bring this to life with vocals that range all the way from the willowy and ethereal tones of Maynard Keenan to the roar of Brann Dailor. The contrast creates the feeling of it being a dialogue between the Protagonist and the Entity.

With that then comes the crashing, almost tribal drums of Lander De Nyn. It creates a tremendous and inescapable rhythm that propels the album ever onward. Even the opening track I Breathe. I Am. , at 6:27 mins, doesn't overstay its welcome – it carries you along in the torrent of arhythmic guitars, thanks to De Jardin and Chiaran Verhetden, that toss and crash like waves, but never falls into mindless drone. Jakob Fiszer on bass carries this with a dense reliability, creating a cohesive sound that never overwhelms but does encapsulate and engulf.

The standout track for me is A Different Now. It is the last track on the album and is not afraid to go out big. It also matches the tone and energy of the first track, so listening to it on repeat creates a cyclical feel to the album, both conceptually and musically.

This album is both a great starting point for newcomers, and a satisfying continuation of the already high standard set by previous records. 9/10

Duncan Evans And The Weeping Starlight - The World Is A War Zone (Widowbird Records) [Matt Bladen]

The Weeping Starlight is the new band of Leeds based musician Duncan Evans. He's joined by bassist Ol Jessop and drummer Kev Reid, making a three piece which sees Duncan himself taking vocals, guitar, synths and 'software instruments' but this is a band project.

Evans himself having had two albums previous to this in his own name but with The Weeping Starlight he's let go a little of the creative control from his solo career into a collaborative effort, produced and mixed by Evans, engineered by Tom Orrell and Evans, and mastered by James Plotkin.

The World Is A War Zone is a melancholic slab of post punk which has a foundation in folk music but really channels various genre tropes across 45 minutes, with Pink Floyd and The Beatles just as likely to be visited as The Cure and Nick Cave.

This record is filled with religious imagery, though these appear as a way to navigate catastrophe and offer redemption, rather than as strict dogma or worship, the gothic introspection of the record, utilising them from a humanist perspective rather than anything else.

Progressive post punk could be a misnomer but with The Weeping Starlight, Duncan Evans has managed to do exactly that. An intriguing, introspective record full of mystical soundscapes. 8/10

Hatesphere - Guillotine (Scarlet Records) [Mateusz Stefanow]

Advertised as the twelfth album by Hatesphere Guillotine ended up exceeding my expectations, bringing in rich melo-death and even groove metal influences in the guitarwork, with Uldall barking a lot of his vocals to provide an edge to the typical thrash sound.

Opening up with Chapter XII we have a melodic track to prepare ourselves for what is to come, as by Dogma we are introduced to galloping drum beats, and a punchy thrash style song with definite death metal influences, albeit not as pronounced as they will be soon.

The title track, Guillotine, is immediately heavier, featuring death metal growls, over groove metal riffs, the melodic sections throughout do not mellow out the song, rather they give the sense of something deteriorating (not the heaviness or quality of the album that’s for sure!), but providing a fresh turn in an affiliated subgenre like thrash.

Morbid thunders in with staccato riffs, growls and powerful drums to keep up the ascent, before breaking into a slow segment, before bursting back into a slightly slower assault, much like a horse galloping into battle, this track feels heavy and oppressive, but more in a thrash way than a death metal way.

Snake Charmer opens to some funky guitar riffs that are somewhere between that thrash and groove sound that Hatesphere have been showcasing, and it only seems a little out of place on the first listen, as on repeats it does blend very gracefully into the later, harsher melodies and riffs of the song.

In conclusion, this is a great album, it feels a little too clean and perhaps overproduced for the vibe it’s aiming for but enters the modern death-thrash scene as a unique portrait of what bands can aspire towards if they dare to try something new. 7/10 

Slaughtercult - Devoured By Perversion (Vicious Instinct Records) [Myrto-Panagiota Zacharof]

What a blast of a record! With an art cover taken out of the darkest nightmares of Francisco Goya ,the trio means serious death metal business. Killer heavy riffs, deep, deeper, deepest, vocals and blasting drums straight from the swamp! Paying tribute to the Tampa Bay Area scene, Slaughtercult invites the listener to unstoppable headbanging! 

The band has their own distinct sound with record’s opening track, Birthing Ceremony setting the tone, with raw vocals and riffs that call up a storm, the journey continues with Repulsed By Your Haggard Appearance, a quick strong pace, lots of interchanges between slow and faster music blasting out. Perverse Bestial Lactation isn’t pretty with raw, loud vocals straight from the abyss, grinding guitars, blasting drums and the signature of the band’s sound slow versus fast guitars! 

Horrible Cunt is inviting the listener to the moshpit with a 45 second blast! Menstrual Marinade, a collaboration with the much beloved Kraanium is an offering to brutal death metal that will impress the listener with its abrupt ending. While Steeped In Fungal Discharge, doesn’t disappoint, relentless drums and heavy riffs and vocals, it's a personal favourite of the album. 

Pool Of Bile and Intravenous Acuphagia, both invite you to the darkest, heaviest end of hell as closering duo Molotov Cock-Tease and Soft Foetal Malfornation, complete the record in the best possible way , leaving the listener with bleeding ears and vivid mental pictures. 8/10

A View From The Quest: Quest Fest 2026 (Matt Bladen)

Quest Fest, KKs Steel Mill, Wolverhampton, 10.10.26



There are certain events that you look forward to, certain ones that you want to go to and then there are events that totally consume you, representing everything you first loved about music when you discovered your own taste and not the ones inherited from parents and family members. 

I've mentioned before about my love of stoner and doom but in the flip side of that I discovered power metal in my early teens and bands like Stratovarius, Sonata Arctica, Hammerfall, Dragonforce and many other were given regular rotation, and they still do today.

There's nothing quite like the feeling of a galloping beat, intricate basslines, shreddy guitars, histrionic vocals and songs about fantasy, mythology and sci-fi, it's music for fun. 

No overt politics (not that there's anything wrong with that), just for escapist enjoyment, through the things we love as children, be it witches and warlocks, knights, vikings and even dinosaurs, there's something for everyone.

It's also the genre that is perhaps most overlooked in the UK. Go to continental Europe, there's power metal bands touring every country and major city. In the UK? London, if we're lucky!

Thank whatever deity you want for Quest Fest, formerly known as Power Metal Quest Fest, the UK's premier showcase of power/prog/symphonic metal, nearing its tenth anniversary.

Amie and her dedicated team have put together a totally inclusive, slickly run, celebration of this genre which has been growing in stature and impact since its early days in Birmingham's Asylum to its current home in KK's Steel Mill. 

It doesn't matter who you are, what you are dealing with outside these hallowed halls, once you get your wristband, you're questing collectively with every other enthusiast in the room. 

Whether you're there for the music or the countless other side quests available, such as Guitar Hero Tournaments, Table Top Gaming, Magic The Gathering, Crafting or just enjoying the vibe, catching the wandering bard and soaking up being in place where everyone is united by what they love, then you will love every moment of your Quest.

I do. 2026 is my fifth year attending and I always have a massive smile on my face the counting down the days until the festival before it begins and then for the entire day. 

While I'm not a gamer, or a crafter, Quest Fest has exactly what I want in a festival, a collection of bands performing sets between 30 minutes and an hour, a lot of whom I have never seen before and who I never thought I would see.

This is what makes Quest Fest special for me, it's being able to finally watch Masterplan or Myrath or Serious Black live while also witnessing some of the UK's best flaunt their skills and even getting a few surprises throughout the day. It's given me some of my favourite bands (Hello Tiberius) and ticked off a tonne from my 'must see' list.

I unfortunately missed the pre-show at The Giffard Arms this year, but I know all three bands smashed it, I hope this becomes a regular thing as starting the party early is always a good idea.

However I was there bright and early for doors, into the new layout configuration for KK's this year which saw the second stage as an actual stage, the main stage more enclosed for a bit more intimacy with the bands and host of stalls, bars and food outside that in the main concourse. I can't say enough about KKs as a venue as I think it's one of the best in the UK.

Anyway to the band's and getting us started were Crown Solace (8) who are a unique prospect in the world of power metal as they feature soaring clean and harsh vocals, but unlike their influences such as Epica and Nightwish their mixture of symphonic and modern metal moves away from the norm with both male screams and male soprano vocals, which as a tenor myself impressed the hell out of me.

Weaving classical training with modern metal crunch, the Scots took a lot of the crowd by suprise, still relatively but I'm expecting them to have gained a tonne of new fans with this performance, myself being one of them.

Next it was Fortune Teller (8) a relatively new band but with some experienced musicians of the British metal scene within its ranks. Most notably former Metaprism vocalist Theresa Smith who's vocals have always been mate for this style rather than in a modern metal act in my opinion. So it was brilliant to hear her unleash those pipes on the Quest Fest stage.

The band delivered some mighty symphonic metal as keyboard player Meyrick De La Fuente brings the orchestrations and some co-lead and backing vocals to the stage but it's the twin guitars of band founder Ross McLennan and Ian Rockett, that manages to pair melodic metal with proggy modernity.

This group of veterans have momentum behind them and clutch of muscular power metal, you will see more of them soon, however after it was two newbies brought into the family, we had the return of a band that last took to the Quest Fest stage at The Asylum.

There it was leather and chains, here the neon glow of 80's retroism as Battle Born (8) stormed the stage with some classic Euro power metal. Widdly guitars, macho posturing and huge vocals, Battle Born lead everyone through some Elder Scrolls inspired heavy metal with might and magic along with a storming cover of Electric Eye by Judas Priest.

The irony of playing a Priest cover co-writen by the founder of the venue was not lost on me or anyone else probably as this is an educated, refined crowd. It was also quite numerous early on so Battle Born they took the chance of the state of the art surroundings of KK's to record a music video for their new single which got the right response ensuring that horns, fists, inflatable swords and at least one plush shark was in the air.

Battle Born start a party right and from here it was into two German bands founded by the same person but only one actually featured that person. Let me explain as the first band Serious Black (8) took to the stage. Co-founded by bassist Mario Lochert and ex-Helloween guitarist Roland Grapow in downtime from his other projects.

Since then they've had many changes in members as Grapow moved on to other projects (more later) but with they're still led by Mario who has ecently recovered from a stoke, meaning that they take to the stage as four piece of two guitarists Dominik Sebastian and Maurus Mayer, drummer Christian Schictl and vocalist Nikola Mijic who British audiences may know as the vocalist of Eden's Curse.

Serious Black play very straightforward style of Teutonic metal with some emotive lyrics and some balladry that got lighters aloft. Now relegated to sound desk, but absolutely killing it Mario, came on stage for three songs (as many as his doctor allowed) and played with his band.

This made for lovely moments but a slightly disjoined set from Serious Black, though seeing them for the first time was a great experience for someone like me that has followed them from their debut album.

Next though it was Mr Grapow himself, with another band he founded and another tick off the list from me as I FINALLY was able to see Masterplan (9) live!

Formed when Roland Grapow dropped from Helloween Masterplan too has been through line up changes, with former singer Jorn Lande now more at home with the Midlands own Tony Iommi, the current line up, since 2012, features Rick Altzi on vocals along with a who's who of the European metal scene as members have featured in At Vance, Stratovarius, Almanac and Gamma Ray.

At Quest Fest there was a sense of reverence as they took to the stage, they're bonafide legends, from some of the most influential acts in power metal and leaving most of their progressive tendencies at the door they treated Wolverhampton to a power metal masterclass.

Melding tracks from their recent record and some older nuggets of gold, you'd be hard pressed to find anyone who didn't have their fist/sword/shark in the air during their set of Teutonic heavy metal (despite only two members being German).

A rapturous applause for Masterplan, the presents from this year's Quest Fest better than any Christmas and they just kept coming as next it was a band who I've followed from their debut and thought I'd never get the chance to see after the issues they had at Bloodstock 2016 where they had to pull from the bill due to outside factors.

No such shenanigans at Quest Fest and to a packed house Myrath (10) took to the stage with the Middle Eastern influenced melodic metal that is both incrediblly slick and emotionally powerful. Myrath have it all, the songs, the performance, the style, shout out to their feathered keyboard player, it's no wonder that there's always been such a buzz about this band.

The set, quite rightly was taken from their most recent release Wilderness Of Mirrors including Les Enfants Du Soleil, with a few such as Dance from Shehili and even throwing back to Legacy with Believer, it was mainly the last three records that were played but the crowd didn't mind, these are the ones that have opened up Myrath to a wider audience and performed live they feel almost exactly like the record.

A virtuoso performance from the entire band I will of course highlight, the incredible vocals of their front man Zaher Zorgati as Myrath brought "blazing desert metal" to a dreary Wolverhampton. Well worth the wait and I already want some more.

Ther fun didn't stop there though, we had one more act to go and while Myrath offered all the poise and precision of a headliner, the last band of the day brought it all back to how much of the power metal scene started, muscular blokes singing about battle. Be it Manowar, Virgin Steel, Hammerfall or Heavy Load, if you get a load of dudes in leather singing about heavy metal it's going to go down a storm at a power metal festival.

Amie and the team know this so All For Metal (9) closed the day out perfectly. Another band I'd not seen and one that I'll admit I wasn't particularly looking forward too as I thought it might be a bit of joke. However I was very wrong as from the first notes this was macho heavy metal with it's tongue in cheek but a mighty fistful of fantasy metal anthems.

Delivered by a masked rhythm section, a statuesque guitarist (Dawid Wieczorek) and two burly frontmen who trade off low booms and shrieking highs, All For Metal's current form (they've had a few) seems to be the closest to the likes of Manowar, they even have bass solo section that built into frenzy just shy of ripping out the strings.

The vocals are shared by Tim Schmidt of Asenblut (low) and Amerigo Vitiello (high) and these are the focal point of the band, leading the Epic Fest choir in sing-alongs, call and response and more, treating their headline set like this was an arena and they were the invading Vikings, ready to pillage the town with pure heavy metal machismo!

With the last growl and the shriek it was over another Quest Fest complete, the audience exhausted but elated, gathering their coins and trophies as they look forward to the next chapter of this special festival, built by fans for fans and curated brilliantly every single time.

The next chapter promises to be even more special. 

A 10th Anniversary party that already has Rattlesnakes, Power Paladin, Frozen Crowd and Firewind (From Greece!) confirmed to join the Quest. Prepare yourself for more might, majesty and metal in 2027 as Quest Fest continues to be the most inclusive heavy metal celebration of the year!

Reviews: Iapetus, Defects, Master, Sidus (Keith Boswell, Matt Bladen, Mark Young & Mateusz Stefanow)

Iapetus – The Mother Void (Willowtip Records) [Keith Boswell]

Iapetus release the third and final instalment of their conceptual trilogy with the album The Mother Void. It seeks to follow up on the 2017 Long Road Home and the 2019 The Body Cosmic albums, both of which have received rave reviews ensuring that this album is hotly anticipated from those in the melodic death metal world and beyond.

One thing I can say from the off is that the anticipation is not misplaced in the least as The Mother Void is a fantastic album and is easily in my top five for the year! One could describe this offering as atmospheric, melodic, intense and most importantly for me, it provides a considerable amount of variety throughout being it vocal, instrumental or atmospherical.

Iapetus, founded in 2010, originate from Long Island New York and comprise only two full-time permanent band members Matthew Cerami and Jordan Nevarro, who are supported by collaborators invited in to contribute to the project. This in my opinion sort of makes sense with the main direction provided by the permanent members and the variety of approach supplied and delivered assisted by the invitees.

The Mother Void starts its journey with an introductory melodic piece entitled Parturition, evident in this song are the angelic vocals of Fabienne Erni (Eluviation) which I positively love, such vocals are a continuing presence and intermingled throughout.

This brief opening offering is soon interrupted by an intense avalanche of very melodic but aggressive guitar riffs, guttural death metal vocals and softer supporting vocals setting the tone for more to come in the form of the track The Mother Void. This song catches hold of the listener and does not let go for the nearly 13 minutes duration. In the first two songs the scene for the record is set. With its quality apparent, its tempo changes, variety in heavy guitar riffs, melodic undertones, vocal variations and an atmosphere in which the band deliver a melodic masterpiece in Aniara.

Using similar ingredients only mixed and presented in another fantastic arrangement the album progresses on with the equally as powerful Red Giant. Once again, a tempo change is noted and enjoyed throughout the excellent song Emolument which, in my opinion, is almost operatic in nature and similarly leads into TON and the final tempo change of The World Be Undone.

Wow! I cannot praise this album enough, what a great piece of work, such a complete journey from start to finish. Make sure you give this a listen; you won’t be sorry! 10/10

Defects - Artificial Icons (Mascot Records) [Matt Bladen]

It's probably not too much of a stretch to say that without Trivium a band such as Defects wouldn't exist, so it's only natural then that Matt Heafy completes another side quest by adding vocals to Signs, the precursor single to the new album from Defects.

A band who never shy away from having an opinion, unlike some other metal legends recently. Signs is about war, the current conflicts across the world that are leading to countless people dying for basically no reason. The collaboration between Heafy and Tony Maue, manages to balance the anger and search for hope this song conveys through both of them giving a great performance.

Not that Defects need guest singers, Maue has a brilliant vocal, anthemic cleans come through on massive electronically-tinged groove numbers such as Where Did I Go Wrong, while his snarl is right up there in the deathcore steaks on the crushing Critic.

Their previous album Modern Error was about Maue's history in the care system, the trauma that caused still present in the lyrics of Artificial Icons but now the aggression is pushed outwards towards the world at large, it's about "the balance of survival" with topics such as war, addiction and societal systems all put under a microscope and delivered with the bristling modern metal sound of Defects.

Production from Jim Pinder (Sleep Token, Bring Me The Horizon), allows the album to feel distinctly modern but never too clinical, the electronics bleep and oscillate, the riffs are filled with groove, the vocals passionate and there's also some great lead/solos on State Of Mind and Hollow.

Maue and guitarist James Threadwell are the only two remaing from the line up that recorded Modern Error, as Rowan Jack (drums) and Orlando Morris-Winmill (guitar) join the ranks for this intense and emotional second record, that has profundity throughout.

Closing with its most heartfelt moment on Afterglow, Defects are more than just a modern metal/metalcore band, they take a lot inspiration from that early NWOAHM sound favoured by Trivium, Killswitch Engage (The Other Side) and other but make it their own and push their style forward with album number two. 8/10

Master - Among The Seeds Of Death (Hammerheart Records) [Mark Young]

There is a note at the bottom of the accompanying press sheet for Among The Seeds Of Death which makes sure you are aware that Master is one of the original Death Metal bands and that this is a release for fans of (Old) Death, Massacre, Venom, Autopsy amongst others. In a way, it is setting the scene for any new listener about to jump on. 

Like those bands? Well you should like this too is the argument being pushed here but I’m not sure that it works. My experience of Master is that I think I saw them on tour with Obituary at the Bradford Rios, back in 2004 and from memory (which isn’t the best) I didn’t then go out and find more of their music. It seemed fine, but I was there for Obituary.

Anyway, that’s not really important here, except that as Twas Always A Plan unspools I’m reminded that it kind of sits in a no-mans land. Its not death, its not quite thrash so what the hell is it? Well, its fast, aggressive that is decidedly old school in its execution, which given the direction that bassist and leader Paul Speckman has taken (I’m reliant on online sources and the exceptional Choosing Death by Albert Mudrian) where he ploughs a singular field that remains true to his vision. 

Its not overly technical, yes there are lead breaks present and the death growls are definitely more aligned with Venom as an example. Each track doesn’t move from that lane, the variations found are in tempo as some do charge at top speed, others happy to occupy a more medium pace where a lot of the heavy lifting is done by the drummer Peter Bajči who propels each song along (Unsettled Loss is a great example of this). 

The issue I have is that they don’t land with me and 20 years on from that live show, there is nothing here to change my mind and make me dive into their back catalogue. I don’t find myself hating or loving it, just ambivalent to it. I’m pretty sure that there are fans out there, there has to be considering that this is album number 16 which is an incredible achievement (no, I’m not being snarky) so let’s celebrate that and leave it there. 6/10

Sidus - Lotus (Dunk! Records/A Thousand Arms/Black Box Records) [Mateusz Stefanow]

Having never come across post-metal before, Sidus’ Lotus is a unique experience, and a very interesting listen. Bearing this in mind, this review may not be my most educated one, but a lot more vibe-based.

Immediately the most striking aspect is the album cover, a melancholic image of a drowning lotus flower, which we can experience aurally through the slow strumming upon the start of Origins Beneath. The drummers use of cymbals contrasts nicely against the slight distortion effect on the guitar, which has a fuzzy, soft sound to it, pairing with the gentle background vocals. Over time the drummer moves towards the toms more for a thicker sound, which gives the song an organic evolution.

Chasmal in contrast sounds a little harsher, if the first track was someone floating downstream, then this track is them fighting to break out of the water but losing strength. Embrace The Void feels like the middle ground between the last two songs, it’s slow with some quicker sections, but most distinct are the vocals, as we have growls breaking through the guitar and drums, once again feeling like this imaginary person of ours is fighting for breath.

Awaken is slow, melancholic and strangely meditative, calling back to the peace of the first track and tying wonderfully to the album cover again. Awaken bleeds into Soul Gazing, a track that is strangely reminiscent of modern Gojira, with funky guitarwork over a steady and prominent drumbeat. Around halfway into the song we get a space-like melody, which gives way to chugging riffs, before fading out to that similar melody again.

Divine Paradox follows the same scheme as Awaken- Soul Gazing, where the beginning continues the previous song before morphing into it’s own unique sound. This album is interesting, in that it is sonically different to any other albums I’ve heard before, but personally I find it a little repetitive at times, but it is absolutely worth a listen. 6/10