A View From The Back Of The Room: Ofnus (Matt Bladen)

Ofnus, Onieros, Saarkoth & Sanhedrin, Ye Olde Salutation, Nottingham, 31.01.26

When band start to change members that can so often change there entire dynamic of them. Vocalists especially are a funny thing as there have been multiple famous acts who have struggled to find replacement for their singers.

That sound of the voice is so often the make or break on whether you like the music, just look at Cradle Of Filth. A voice in the black metal scene perhaps seem a less important but many bands from that style hook their tremolo picked satanism on screams from their singers. Go to any major black metal act and I bet you'd be able to name the singer over any other member.

Anyway I digress and I'm going into this deeply because when I heard that the object of my fanboy affections Ofnus were getting a new singer I did have a tinge of trepidation, as this was the lone up that that had records two incredible albums and played numerous gigs most of which I had been to.

Their original singer Will had mutually parted ways with them just as they were coming off their biggest show ever at Bloodstock, so felt like a gut punch at the worst possible time. However Ofnus are a band born from frustration and from the need to create so they quickly searched and found a new singer.

I'd not heard new vocalists Brendan's other band Old Blood but I was assured he could definitely step up to the plate, filling the shoes that Will had left easily. Maybe this was bluster, but I had to find out myself, so I booked a ticket to their debut gig with Brendan at Ye Olde Salutation in Nottingham. It was an easy decision as I had missed their finals show with Will through illness, so I needed to be at the beginning of their second era.

Alongside the headliners there were three support acts who perfectly warmed up the crowd.

First up were Samhedrin (7) a blackened thrash outfit from Derby who kicked off the evening with some frantic riffs and aggression, interlinking guitars that are influenced by the blackened likes of Behemoth and Dimmu Borgir but also Melodeath Children Of Bodom and thrash of Kreator too.

Fast and furious they got the crowd moving however I'm not quite sure what was going on about the additional clean vocalist who popped up for two songs and then creeped back onto the crowd. He was decent addition, bring a melodic element however it was strange that he only sang on two tracks and aesthetically was the polar opposite of the long haired thrashers on the stage.

Still that was a me thing and if I wanted tradition then I didn't have to look far as next up was the more traditional take on black metal from Saarkoth (7). A band with corpse painted faces, cloaks, trem-picking and songs about paganism and the natural world were the order of the day here and the Lichfield based unit.

Having released two albums, they've gained quite a following, meaning that many had witnessed these sermons before. As an outsider I was impressed by what I saw as Saarkoth take the melodic black metal style of Winterfylleth and Agalloch as their mantra and they manage to hit all of the marks these bands have laid down while also retaining their own uniqueness, flashes of atmospheric metal and post-black metal came washing in.

With Saarkoth things moved further towards the darkness of the headliner but first the emotional level had to increase and with Onieros (8) it did exponentially. Although a one man act in the studio, live Alex Wills has brought together a very talented band to bring these atmospheric, melancholic tracks to life. He's even borrowed the drummer of the headliners, meaning that poor Ethan had to blast like hell for a bloody long time, though he probably loved it.

Onieros brought in the atmosphere, a foreboding, introspection that was there to carry on through to the headliner, ethereal and evil, yet focussed on the natural world again. The songs twist and manipulate their way between furious blasts and stomping workouts, the epic and melodic moments not going to waste when they pair the pained growls and shouts with clean lead moments on top of the trem riffs.

A quick word about Phil Core & Tortuous Promotions who promoted the event, and I can say nothing but good things, Phil brings plenty of extreme metal variety to Nottingham and from what I saw most of these monthly showcases in Ye Olde Salutation always seem very well attended, the show this night was pretty much sold out.

All the changeovers are slick, the sound was brilliant considering the room dynamics and anyone without a ticket trying to sneak in from downstairs was promptly told to fuck off. It also proudly supports it's local MC which I always think adds credibility to rock venue. If every city had a Torturous Promotions equivalent more would be in better health.

So the headliners and as I said in the preamble I will always find time for this band as I love what they do and them as people. There was frisson in the air in Nottingham and expectation but also a hesitation, would this be a shining new era? Or would it call turn to ash? I had immense faith and I'd say most of the crowd who knew the band did too.

The opening backing track began and they exploded into Burned By The Soul Of The Moon the opening track from Time Held Me Grey And Dying and fear subsided as the band locked into the intense opener as Brendan began to deliver with ferocity. I found it apt the opted to open with the first track from the first album, a definitive statement about the new line up. "Thanks for supporting us before, here's who we are now"

From here it was into The Shattering, and this is where things really started to move, the song itself is already one of their most potent but there seemed to be something more to it now, Brendan's vocals are not only excellent (more on that later) but he has a presence, a menacing, stalking, theatrical presence that allows him to embody these songs better than his predecessor.

You can feel the bitter, rageful, sadness of the lyrics through him, the vocals shifting from black metal screams, the death growls and even the harsher tones of DSBM, where he bree's like it's a harsh noise floor. Throughout he is wide eyed, grips the mic with intent and threatens you to get involved. He also is understand but imposing on the between song moments, saying little but striking a chord.

You can feel that the band are now enjoying it, the anxiety has gone and they're loosening up, Throes Of Agony made way for Grains Of Sand, the rhythm section of Ethan (drums) and Rich (bass) blasting away for their lives, the shifts in pace and tone massive as this progressive, atmospheric blackened metal act owned the stage.

One either wing Alyn (guitar) was a massive of hair cranking out the lightning riffs while James (guitar) locked in on the other side, the delicate leads and melodies sounding as lofty as he is. They then treated the Nottingham crowd to a new song, Lamentations Of A Life Regrettable, one written with Brendan's vocals in mind and if this is the route they are taking from now on then I'm 100% behind it as this was an epic glimpse into the future.

With the whole room on side, Brendan's mettle proved it was time to turn on the waterworks as Proteus shifted into Zenith Dolour, cue crying and headbanging from the front row contingent as the symphonic strains of this one led to the insane blast moments in the latter half. It will be their closer forever at this rate but no one would mind that I'm sure.

Ofnus (10) made an imperious first statement in the first show of version 2.0, even my miserable soul shed a tear. If you are at Reaper Fest in this weekend, go to their Manchester debut. DO NOT MISS THEM!

Reviews: KMFDM, Induction, In Aeternum, Jack Harlon And The Dead Crows (Cherie Curtis, Matt Bladen, Mark Young & Rich Piva)

KMFDM – Enemy (Metropolis Records) [Cherie Curtis]

KMFDM’s new album Enemy is just as visionary, vibrant and energizing as they’ve ever been. Though they have been through many lineups and hiatuses over the years, they still manage to keep their blueprint of nostalgia which can only be described as a factory floor on a spaceship which just so happens to be hosting a thrash metal gig.

KMFDM prioritizes a highly cinematic atmosphere that's action packed and dystopian with an unbeatable amount of spirit that’s gripping and has the potential to captivate the most cynical of metal listeners. There is a mixture of vocal styles, Sascha Konietzko’s signature loud and gritty shouted vocals and the softer more silky vocals by Lucia Cifarelli which plays a central role within this album.

Each track in Enemy has something interesting and unexpected sprinkled in; Outer National Intervention has a bouncy and electric atmosphere with an eerie synthesizer or theremin paired with some heavy-duty riffs which is campy, fun and kicky and a definite floor filler. It’s classic KMFDM, It’s technically explorative with a sci - fi spin. 

Track 8, Stray Bullet is a Reggae cover of a fan favourite which is a switch up from the rest of the album just when you thought you might be getting bored and is just as much a delight to listen to and shows us the remarkable technical range KMFDM has as well as their clear knowledge of what we expect from them and how to keep us interested.

There is so much to listen to; you'll be picking up different elements every time you put it on. There's something so magnetic about KMFDM, even within a genre where arguably most of the music sounds the same, KMFDM’s Enemy brings us once again a well-crafted bridge between a mosh pit and a rave. I feel like it will be too satirical and clubby for some people, but they would be missing out on something truly fun, lasting and unique 10/10

Induction - Love Kills! (Reigning Phoenix Music) [Matt Bladen]

Ah power metal always a long time love of mine and there are plenty of bands who can do it well as well as really badly. Induction are one of the former, as they put together a modern style of power metal that is full of pulsing beats but there's an old school edge that comes from the early speed metal days too. This is probably because Induction is led by Tim Kanoa Hansen, son of Kai Hansen of Helloween/Gama Ray so power metal pumps through his blood and through his guitar, linking up with Justus Sahlman for the twin axe attack of this record.

Now Induction have climbed the ranks very quickly picking up some high profile supports such as Sonata Arctica, Battle Beast and Accept. Across their two albums they've expanded their progressive power metal sound into wider realms than any previously. With their third record Love Kills! they've brought in the melodies of AOR on the duet Strangers To Love while War Of Hearts has the boisterous thump of the those pulsing synths that are all the rage nowadays, as does I Am Evil.

From the industrial beginnings of Virtual Insanity (not a Jamiroquai cover) the galloping triumphal power metal of Steel & Thunder and Beyond Horizons. The rhythm section of Dominik Gusch (bass) and Markus “Maks” Felber (drums) drive the swaggering Gods Of Steel. They're also as behind the battery on The Veil Of Affection, which also shows off the vocals from Gabriele Gozzi, his range is wide and full of grit, the full range coming on the closing epic Empress. 

Induction bring more influences to their already formidable sound with their third album Love Kills! a band who will be the knocking at the door of the genre leaders sooner rather than later. 8/10

In Aeternum - Of Death And Fire (Soulseller Records) [Mark Young]

Capping this first week of February, In Aeternum have undergone something of a resurrection themselves, returning after a period away to usher in a brand-new release of black death metal. Generally speaking, any metal that comes from Scandinavia comes with an almost ingrained way of doing things, an unconscious choice made to make sure that the music to follow is as extreme as possible. Its doesn’t mean that every album is a world breaker, but it means that they know what constitutes good metal.

Of Death And Fire is such an album. It has all of the right ingredients needed to make a death metal album but suffers at times from a lack of focus, utilising speed as a means of bludgeoning the audience when a lighter touch would have sufficed. There is the now de rigueur intro track that morphs into Beneath The Darkened Tomb which represents the unfocused aspect here. It rumbles in, on that front foot opting to batter you from start to finish. Trem picking, double bass and heady melodic lines it’s a fine opening track but one that tries to bring a number of threads together. 

The Day Of Wrath continues in that same aggressive vein, again its ok as it observes the rules of engagement for heavy metal – never be boring, bring riffs and a lead break if you don’t mind. Both do what they need, its that they don’t feel essential to me. When Spirits Of The Dead kicks in, it becomes a different proposition. This slower, muscular approach is ideally suited to them, and it’s a quality track that has this bullet proof main riff to it. Here the melodic touches shown earlier shine through without softening it up. It is a cracker, and then followed up with Mortuary Cult.

Here, the speedy attack returns, but with a difference. It keeps the build simple, going for efficiency which in turn aids the increased velocity. The Vile God Of Slime completes this early hat-trick, with a grinding tone and that mid-tempo pace. Its takes its time, unhurried and like Spirits, shows that this is the right way for them.

I’m not suggesting for one second that their faster attempts are poor. Far from it, they are decent examples of the form. Its when they go for that measured attack, the music seems to have more time to breath. Bow To None manages to combine both ways to a good effect with Goddess Of Abominations a particular favourite with climatic melodic breaks and crawling rhythms making it one of the strongest tracks here. Was it a confidence thing that they needed to kick off the way they did here? Maybe but as it goes there is more fun to be had with those mid-paced affairs, they just seem to fit them better. 

Nothing against Beneath The Darkened Tomb, or The Hourglass, they are just not as interesting as Spirits Of The Dead or Goddess Of Abominations. Of course, a lot rests on the closing track to finish things off. To Those Who Have Rode On (ft Erik Danielsson) is a belter. It is the definition of leaving the best for last, a super-strong climax bringing the lead breaks and all the atmosphere you could possibly want. On the whole, we have a 11 tracks that can be split into ok and very good. Ultimately, its decent if unbalanced return for In Aeternum, one where the good is outweighed by the better. 7/10

Jack Harlon And The Dead Crows - Inexorable Opposites (Magnetic Eye Records) [Rich Piva]

Only recently did I come to know that the Jack Harlon from the band Jack Harlon and the Dead Crows was not a real dude, but the fictional hero that band leader, Tim Coutts-Smith, created for the universe that makes up the band’s (amazing) back catalog. In speaking with Tim on The Rich & Turbo Heavy Half Hour, Jack is a sort of a Ziggy Stardust alter ego that has really driven his songwriting and output up until this point. The band’s new record, Inexorable Opposites, still has some elements of Jack, but Coutts-Smith has created his most personal material in the form of the eight tracks on what is his best record till date.

Why is this the best work from the entity known as Jack Harlon and the Dead Crows? First, the songwriting is next level, with Coutts-Smith incorporating more of his personal experiences and work in the mental health field into this set of songs. Songs like Dave Is Done and To Die would not have shown up on a prior JHATDC record. Inexorable Opposites is infinitely better for it. Second, new drummer Brayden Becher makes the Harlon sound so much bigger and so much heavier. Just check out the opener, Moss, and the killer track Seer, for evidence of his impact on the record. 

The heaviness of the record overall, not just from the drums but certainly influenced by it, takes the fuzzy heavy blues sound of JHATDC and ratchets up their definition of what heavy sounds like. Venomous is a track that outlines this, with its killer riff and grungy tones. The songs on Inexorable Opposites sound bigger too, with more atmosphere and a wall-of-sound leaning direction, like on Mt. Macedon. The aforementioned To Die, the closer, is where Jack steps back and Tim steps forward. 

The quietest, yet heaviest song ever put on a Harlon record, this is Coutts-Smith stripped naked, stepping into the light, leaning less on a character and more on himself, akin to how Igor Sydorenko from Stoned Jesus did the same on his closer, Quicksand, from last year’s amazing Song To Sun. Both are breathtaking and inspiring songs, not because of the content, of which both are amazingly deep, sad, impactful, and emotional, but from a standpoint of putting yourself out there, out of your comfort zone, for all the world to see. Amazing stuff.

The world of Jack Harlon is not dead on Inexorable Opposites, but the line between the creator and the character has certainly been blurred, and the outcome could not have been better. An excellent record that everyone should check out. 9/10

Reviews: Rotting Christ, Full House Brew Crew, Abstruse, XenoVenous (Matt Bladen)

Rotting Christ - Aealo: Re-Recorded (Season Of Mist)

Where the modern incarnation of Rotting Christ begins I'm sure we'll be up for debate all over every forum you've ever read about black metal.

For me though it begins with their tenth album Aealo (catastrophe or destruction), this is the record where they came out of the Greek black metal underground and established themselves as the world conquering act they are today. Aealo is the record where they fully leaned toward the more groove driven sound they continue with in their most recent efforts. The band have managed to gain more of a significant following than perhaps they would have had they stuck to the raw black metal sound they began with.

That being said they have never shied away from their links to the underground and are probably the most successful extreme metal band from Greece however they have achieved this partly by adopting the style that is featured prominently on their 2010 concept record. By increasing the orchestral/symphonic elements, traditional instrumentation and taking their music into a more melodic route by slowing down into heavy chugs with anthemic choruses, they reinvented themselves with album ten, charting a course to where they rightfully stand today.

So in-keeping with Sakis Tolis’ drive to make sure everything he release is of the best audio quality and a true example of what they wanted to achieve, Aealo now returns re-recorded with the vocals and musical parts fully re-done by the current iteration of the band; Sakis Tolis (vocals/guitar), Themis Tolis (drums), Kostas "Spades" Heliotis (bass) and Kostis Fouk (guitar).

Musically it doesn’t vary too much from the original, perhaps given a bit more of bite and wider scale, however it’s in the production/mixing that adds that potency, that was maybe missing from the original. Whereas in 2010 this was an underground band, taking a shot towards the mainstream, here it's a rediscovery of an album, which is very influential in the way the band would continue from there, but still had the production techniques/flaws of a band from the underground.

With all of the skill and the experience they, I mean Sakis, has now, Aealo now is a production sound and final mix more akin to the way they produce albums in 2026. It makes Aealo, which was already a theatrical, cinematic record, more cinematic, more imposing and allows you to not only hear the power and complexity of these compositions. Also the talents of the featured artists such as Diamanda Galás, who performs on the cover of her song Orders From The Dead, the traditional Greek/Balkan instruments, guest vocalists like Alan A. Nemtheanga (Primordial), and the Pleiades choir are all heightened.

Did Aealo need to be re-recorded? Well clearly the band think so and what they have done is make a brilliant record, sound as it should have the first time around. Leaving you in no doubt that this is the turning point where Rotting Christ became 'the' Hellenic extreme metal band. 10/10

Full House Brew Crew - Glasgow Grin (ROAR)

Vangelis Karzis (Wolfheart/ex-Rotting Christ) once again revs up the engine of his groove metal machine Full House Brew Crew. This hard drinking, heavy riffing mob, have turned their sights towards the rough and rowdy streets of Glasgow with the title for their fifth record. Full House Brew Crew are band who have always played tough bloody knuckled heavy metal that swaggers in with attitude and its fists clenched in anger. Along with Karzis (vocals/guitar), FHBC comprises Spiros Dafalias (bass), Giorgios Tzatzakis (guitar) and Chris Borméy (drums), teaming with Saku Moilanen to give Glasgow Grin its meaty mix and master. 

This rawness is deliberate as Glasgow Grin comes from a place of anger. Inspired by injustice and the struggles of life, they're quick to make a statement with the punishing title track which beats you down with a heavy crush that plays with the stereo sound moving the guitars between left and right fidelity. The likes Lamb Of God and Pantera are the clear influences to the band but there’s also the ruthless aggression of Soulfly (No Gods, No Chains) some of the gigantic grooves of Gojira in there (Crawling) and plenty of the NWOAHM on the technical The Tear and The Other Side. 

With the use of melodies and atmospheres against these throat ripping groove metal anthems, Full House Brew Crew prove they aren’t a blunt instrument but a sharpened axe ready to decapitate with riffs, the electronics make their way in on Free Fall and Rain, as the mechanical power of Fear Factory creeps in. Coming toward the end of the record they start to bring the djent style that came partly from the groove scene as clean and harsh clash on Distant Star. Vangelis and co play groove metal sure, but they borrow from other similar styles to make sure that Glasgow Grin stays with you after that final chug. 8/10

Abstruse - Meninx: Piercing Through The Mind (Self Released)

Experimental music when done correctly can be a transcendent experience, Abstruse is an experimental metal project from Athens, it's a precursor to a much full length record that is coming later this year called Horror Endemic. Only two of these tracks will feature there, so this is a stopgap but not in a kitchy, money grabbing sort of way they usually are, this is an intermezzo, a way to link albums though a musical bridge.

The first thing you notice about Abstruse is that they are band who dwell in the formless, using jazz timings to propel avant garde musical experiments which has the weirdness of Mr Bungle and Primus though some desert rock and doomy wooziness. Meninx: Piercing Through The Mind is a four tracker of strange but intriguing music, worth checking out if you like music to be a journey. 7/10

XenoVenous – Face Of War (Self Released)

Back to Athens now for some heavy/speed/thrash metal from XenoVenous, a band who have some skilled guitar players, as the leads and solos here are extremely satisfying if you love bands such as Megadeth, Annhilator or Testament, who have shit hot guitar players and love to show that off. The neo-classical intro Nightmare’s Dream is just a guitar solo, a good one obviously and does the job to begin the record, displaying the virtuosity on offer here. First track proper Gods Bleed, gets down into a bass-heavy and blast-beating gallops, rattling through at warp speed, from verse to chorus, delivered with vocals that take from the trad metal scene.

The bass playing is just as skilled as the six string guitars, the flourishes and runs coming all the way through the parts where they get their riff on, but it’s almost like they’re fighting to get to another set of solos with every track, the guitarists wanting to double tap, dive and twin harmony on every song. XenoVenous slow into some anthemic classic metal on Slaughter Is Near and Wolfheart, both going down the route of bands such as Mercyful Fate or Accept. You could definitely see XenoVenous in the same kind of festival as NWOTHM bands such as Enforcer, Haunt and Cauldron, they blend those traditional trappings with the thrash styles on tracks such as Exterminatus, the vocals also showcasing a lot of grit as they embrace both the thrash snarl and soaring classic metal.

Face Of War is an old school metal record from XenoVenous, if your love of music ended when bullet belts were traded for plaid shirts and guitar solos for emotional angst, then this throwback to simpler times will get you breaking out the air guitar. 7/10

A View From The Black Of The Room: Sophie Lloyd (Debby Myatt & Tony Gaskin)

Sophie Lloyd & BEX at KK’s Steel Mill, Wolverhampton, 30.01.26

After what seems like the longest winter break ever and an interminable long January, we’re finally back on the gig trail. Tonight we popped over to our favourite place, KK’s Steel Mill to catch guitar impresario Sophie Lloyd and she had brought along an explosive young star to support her.

BEX (9) are a three piece, but not in a traditional sense. BEX is also the front woman. BEX is BEX. BEX is two bass players and a drummer. BEX is punk. The music is ferocious, distorted, chaotic. Frontwoman BEX is a pocket dynamo that makes the most of the big stage here. Clad in a DIY bondage version of the infamous Ginger Spice dress, she is feisty and spicy, playing with the bemused audience which is made up of predominantly middle age classic rock fans.

The music may be ferocious, but it’s deeply personal. Songs like Tiptoe and Silence speak of the darker side of the subjugation of women and the need to stand up and speak out, a constant battle to be heard and not disregarded or discarded. Evoking memories of the Riotgrrrl movement of the 90s, comparisons will be made. Echoes of pioneering bands like Bikini Kill and Jack Off Jill who themselves took inspiration from bands such as The Runaways and X-Ray Spex, but the songs are definitely 21st century. It will be interesting to see how BEX develops from here. Can she/they keep their punk independence and ethos or will they be churned up by the big corporate music machine, time will tell.

A young woman who has gone down the more traditional path to rock stardom is guitarist Sophie Lloyd (8). For nigh on 15 years she has been building a reputation using the power of social media to showcase her prowess on the guitar, firstly by putting out Youtube videos doing covers and building up a strong fan base, then getting noticed by artists looking for a solid session and touring guitarist. Her big break came in 2022 when Machine Gun Kelly enlisted her for his tour, bringing her to a whole new audience.

With her Youtube channel boasting over a million subscribers and some of her videos getting 7 or 8 million views, getting some big names to be guest vocalists on her debut album Imposter Syndrome was made a whole lot easier. The likes of Nathan James (Inglorious), Chris Robertson (Black Stone Cherry), Lzzy Hale and even Michael Starr of Steel Panther were just a few of the artists that were happy to collaborate.

Unfortunately, Sophie doesn't have the clout or the big bucks to bring some of these artists on tour with her, so vocal duties fall to her good friend Marisa Rodriguez of Marisa And The Moths. The set comprises of a mixture of instrumental covers of rock and metal classics such as Thunderstruck, The Trooper and Enter Sandman, where Sophie gets to show off her shredding skills, and interspersed with tracks from her album.

Sophie’s skill on the six string is phenomenal, She’s a natural and puts everything into it, and she has around her a band that supports her with equally good musicianship. We’ve seen some fantastic guitar legends on the stage here at KK’s Steel Mill in recent years, Malmsteen, Uli Jon Roth, Lita and Schenker some of the most notable, and Sophie would not be out of place with any of those superstars.

So, for a first gig back and the first gig at KK’s for 2026, it was a blinder. It’s going to be interesting to see where BEX goes as the year develops, whereas Sophie has the rock world at her feet right now, two ends of the spectrum. What a great way to start the

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

Jinjer, Unprocessed & Textures, O2 Institute, Birmingham, 30.01.26



My first time seeing all three bands this evening as Jinjer return to the UK on their Duel 2026 tour with support from Unprocessed and Textures on a wet and windy night in the UKs second capitol city Birmingham, lets get to it.

First up we have Textures (7) from Netherlands, after 2023's reunion and this years release of the bands new album Genotype, the band return to the UK, being this my first ever experience of this band live I was eager to witness the Math Metal madness up close. 

The O2 Institute must of been at least three quarters full by the time the band hit the stage and we get underway to a pretty quiet crowed to begin with. That does not last however, by the time the band finish the first song, Closer To The Unknown, a very hard hitting song from the bands latest album release. Some fantastic and very impressive singing and screaming from vocalist Daniël de Jongh, the energy and power oozes from all members but Daniël seems to have a presence about himself that resonates with me being a vocalist myself. Really hitting all the high notes perfectly and the growls really hit you in the guts. 

As we move through the set we get more from the latest album but also get some earlier songs like Awake from the bands 2008 album Silhouettes, a catchy sing along song that blesses your soul with a great melody and then smart sprinkles of that prog and slightly djent heavy breakdowns that switch your brain into mosh your head off mode very quickly. The band have a very good stage presence all being not having a lot of space on stage to go crazy due to the pile up of gear behind them for the upcoming bands. A very enjoyable experience and a dam good live band that will not fail to get your body moving and heart pounding, I would definitely see them again when they are next around, and so should you. 

After a short break we get our next band, the heavy German prog metallers Unprocessed (8), the band come to the stage after a long build up intro and we get straight into 111, the first track from the bands latest album from last year, Angel. This song really gets everyone going here tonight with its relentless pumping and bouncing bass slaps from bassist David John Levy and some really evil growls and screams from vocalist and guitarist Manuel Gardner Fernandes, who not only is a dam good guitarist but seems so at ease switching from earth breaking screams to Angelic like singing. 

A bit more room for Unprocessed to move about and get into the groove of this now fully packed hot and sweaty O2 Institute. The band go straight into the second song from the latest album, Sleeping With Ghosts, a very brutal heavy song that has a really insane bit of fast almost hardcore style lead but still has all the hallmarks of that technical prog style they are known for. Completing a great opening for the band with a quick guitar change for vocalist Manuel Gardner Fernandes we get the third song from the bands last album, Beyond Heavens Gate. This is a song that had me staring in amazement at the musicianship from all members and I highly recommend you have a listen to it if you haven't yet. 

We do get some older material in the rest of the set in the form of Thrash and Lore from the bands 2023 album And Everything In Between, Thrash being a song that will most certainly leave your gob wide open throughout the entire song with just pure amazement. The only thing for me that let this set down was the fact that it wasn't longer. My first time hearing and viewing Unprocessed and I was very very much impressed by what I saw and heard. 

For me this was going to be one hell of a set to top what I just saw and Jinjer (8) really didn't disappoint musically at all. The band hit the stage to roars of excitement and deafening cheers from the crowed, with all members coming to the stage to start the bands first song, the title track from the bands last album and tour name Duel, with vocalist Tatiana Shmayluk coming on a little later to a huge roar from everyone to give us her very impressive vocal range for the rest of the night. 

The Ukrainians are here to tear up Birmingham and from what I witnessed they most certainly did that, we plough straight on to the next song, a soul searching song called Green Serpent also from the band latest album release Duel. Dreamy singing turns to evil gut wrenching screams with ease and some really impressive footwork from drummer Vladislav Ulasevich on the half time break downs and perfect ghost notes on the snare that keep your body moving throughout. Jinjer have such a wide a varied range of songs it really helps to keep everyone engaged and always anticipating what songs will come next but whatever song that does come like Vortex from the bands 2021 album Wallflowers or the reggae influenced Judgement (& Punishment) from the bands 2019 album Macro they hit every beat and have such a spot on sound that its as close as it can be to listening to the band on record that you can get live. 

The end of the night comes around way to quick with the band ending on the critically adored song Pisces which has every single person apart from security and bar staff singing along, including myself. We get a encore after that with the awesome and brutal song Sit, Stay And Roll Over from the bands album King Of Everything which gets the crowed even more crazy than they have been all night with even more pits and circling around, all members on stage tonight have been so at ease and confident that its no surprise that when all is over we get a more more more chant from the crowed but unfortunately that is it for the night.

If I could some up Jinjer in one word for the live performance I just witnessed it I would have to go with WOW.

Bloodstock M2TM South Wales Interviews: Syndicate - East Heat #1 Green Rooms 07.02.26

Interview with Syndicate - East Heat #1 Green Rooms 07.02.26

1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band. 

Syndicate weaves a wide range of styles and emotional themes into their music. From their exhilarating dance number "It means the world" - which speaks on nuclear war (it works trust me). To the intense anthem "Sick of It" - which expresses the specific emotion that coincides being betrayed by those closest to you. Determined, Gritty, rap-metal that leaves the listener feeling empowered and ready for war.

2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your first time?

We have never participated in M2TM before but we are all super excited to establish new friendships and connections through each and every event that we participate in. We look forward to giving it our best shot and having the opportunity to earn a spot at the Bloodstock festival.

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

The local scene is so very important to the livelihoods and careers of not only aspiring musicians but to entire local economies. Local venues provide a platform for upcoming artists to display their hard work and to reach higher levels in the industry.

4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Green Rooms.  Have you played the venue before or is this your first time? Are you excited to get on those stages?

We have played at the Green Rooms before and were excited to play there once again as it’s a great and intimate environment where the listeners and the band can feel a real sense of connection. Big up Jonny.

5. What are your expectations from being a part of M2TM?

We’re mainly looking forward to meeting new people and having a great time playing music together.

6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?

We have never played a festival before so if we manage to get through and actually play Bloodstock then it would be a dream come true

7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?

Make sure not to miss Scratch One Grub as they’re incredible. The sheer stage presence and ripping tunes intertwined with great production make the experience of watching them play pretty unforgettable.

8. Tell us in five words why people should come and see your band?

Sure to blow you away

Reviews: Hermano, Predatory Void, Epimetheus, Phendrana (Rich Piva, Mark Young, Matt Bladen & Rick Eaglestone)

Hermano - Clisson, France: Live At Hellfest, 2016 (Ripple Music) [Rich Piva]

Some would call Hermano a supergroup. The guys in the band would call Hermano a group of friends who get together every now and then to play music and hang out with people they love. 

There is no real master plan for Hermano; when the moons align and the band can get together to play, they make it happen. Whenever that is, it is always magical for the fans of a band that is insanely influential to what the stoner rock scene is today.

I say no real plan, but with their recent signing to Ripple Music, Hermano has begun to empty the vaults as they say, with repressing's/remasters and a bit of new material that we have seen or will soon see via the best label in heavy rock. 

This includes Clisson, France, Hermano captured live at Hellfest in 2016. The guys all flew in from different parts of the US, had about two hours to practice after not playing with each other as a band for years, and proceeded to rip the place up and tear the place down with their blend of heavy blues stoner rock and roll.

Clisson, France is somehow a band hitting on all cylinders playing their first show in years. John Garcia is one of the best frontmen ever and he is in top form, both in voice and in banter (he’s not a huge banter guy, but whatever he says is always perfect for the vibe). The dual guitar attack of Mike Callahan and Dave Angstrom pair perfectly and destroy the 10,000 -plus crowd with a mountain-load of riffs. 

The rhythm second of Dandy Brown and Chris Leathers settled in like they have been playing on the regular daily, with the latter showing zero rust after not playing drums for something like eight years before the show. The songs on Clisson, France are a smattering from their three records from the 2000s, a pretty much perfect setlist for a Hermano fan to see them play at Hellfest. 

Opening with Left Side Bleeding and closing with Angry American is perfect, and my favourites, Senor Moreno's Plan, Alone Jeffe, and Cowboys Suck all being represented amongst the twelve tracks included on the vinyl, so, yeah, this rules.

Hermano is a unique band in all possible ways. Let’s all celebrate these guys by grabbing Clisson, France, turning it up, putting your pentagrams down, and rocking the fuck out. 9/10

Predatory Void - Atoned In Metamorphosis (Pelagic Records) [Mark Young]

And now here’s February, after what felt like the longest month in the history of the world, we say hello to a short but very sweet EP, courtesy of Predatory Void. It’s a 4 track EP that clocks in at just under 14 minutes but don’t let that fool you. They leave a mark.

It follows on from their debut album Seven Keys To The Discomfort Of Being, and this is being touted as a more focused and direct set of songs. Make Me Whole is their lead off track, starting with a stripped back sound, a repeated vocal line that expands, guitar stabs in the background. 

It’s the sort of song that could kick off any live show, that gradual build suddenly deploying itself and then spools into New Moon, this is more direct with melancholic cleans morphing into death growls. 

The tonal shift is welcome, with certain aspects changing shape but not the guitar. Rather than drop into standard territory, it keeps its eye on maintaining the melodic line. They blur the lines between the light and dark without sounding forced, and the music itself is brought together so well. The fall into discord in its final act doesn’t sound out of place with what has come before, and in all honesty its one of those songs that move between lanes with ease.

Peeling Cycle is a beautiful piece, Lina R’s vocals are haunting and weary, set perfectly against the jarring melody before burning up with a guttural attack that flips the coin once more. It doesn’t go for the traditional approaches, its subtle in its heavy moments but still hits hard. 

The final entry is Contemplation, and reminds me of gaze/grunge from the early 90’s. This is not a diss on their song at all, its more that the initial build just evokes that response in me, until they go on the attack once more. 

It's build is quality, an arrangement that doesn’t rely on having the most bottom end or double bass to move it along. It simply breathes, and by doing so moves at speed. In the space of those scant minutes, Predatory Void serve up 4 good songs and manage to say a lot more than some bands manage with 10 or more. 

Its driven by purpose, each song landing almost on top of the one before so that there is no time to settle. January was by and large a bit flat, with Predatory Void, February is looking better! 8/10

Epimetheus - Perseus 9 (Self Released) [Matt Bladen]

Throbbing, hypnotic, meditative and grooving are all words you can use to describe the music of Bristol trio Epiemtheus. In the accompanying blurb all is explained as Cillian Breathnach “plays a self-assembled baritone aluminium-neck guitar tuned to drop F” while Ben Price’s “bass is in C standard.”

Both facts are important when understanding the music of Epimetheus, it’s rare that a guitar is tuned lower than a bass but because the baritone guitar, often used in place of bass, gives the record a low end that lets them manoeuvre their way through corridors of sludgy distortion and experimental noise. 

All guided by the percussive rudder of drummer James Jackson. A band focussed on tone, their music undulates with repetition, a style that could only have been born in the accepting and encouraging Bristol artistic environment.

Few cities in the world would be tolerant of a band coming on with this sonic discordance, but if you’ve ever been to Bristol then you’ll know at any given moment you could have a harsh noise show, down the road from hardcore and across the way from dream pop. The baritone guitar bleeds into the bass and vice versa, both laden with effects to make a homogenous soundscape where cavernous riffage is the end goal.

Just check out the massive groove on the title track and you’ll get an ear ringing insight into Epimetheus, the lack of overdubs or additions keeping them true to how they perform live, their tracks crated to be performed by three players and all the limitations and benefits that has, recorded and engineered in one room along with Stan Braddock, they tapped Chris Fielding to master the record and he has given it his filthy overhaul. Incidentally Epimetheus will play an album launch show at Exchange in Bristol on 7th February, so I urge you to pick up this album before going to see if you can spot the difference.

Let’s talk about the record though and it’s inspired 70’s science fiction novels, where dystopia and grief are key themes (Terraform for instance), the loss of humanity or of loved ones all reflected through the soporific quality of their music. I defy you not to nod your head along to these tracks, Epimetheus have a way of swaddling you in their riffs, no matter how harsh of distorted they get, the reverbed vocals cutting through the circumvallation of sound, like a distant voice from beyond the stars. 

Few bands can sound this primal and progressive at the same time, but Epimetheus manage it on Perseus 9. Born in the fertile Bristol scene but poised to go further, Epimetheus should be on your heavy radar for 2026. 9/10

Phendrana - Cathexis - (Independent Release) [Rick Eaglestone]

There are moments in progressive metal that transcend the mere assemblage of notes and rhythms, where atmosphere becomes architecture and emotion becomes entity. Phendrana's Cathexis is one of those examples.

The album opens with Lamento, a haunting instrumental introduction that sets the tone for the entire journey. This atmospheric prelude weaves delicate piano melodies with subtle orchestration, creating an air of melancholic anticipation. 

It’s a bold choice to begin with such restraint, but it proves masterful – the track establishes the album’s emotional landscape before the storm arrives. Chamber music influences blend seamlessly with prog-rock sensibilities, hinting at the sonic diversity to come.

The title track explodes into being with visceral intensity. At over eight minutes, Cathexis showcases Phendrana operating at their most ambitious – the lyrics explore themes of arms eloping away and bodies suspended in time, painting vivid imagery of existential dread. Anuar Salum’s vocals shift effortlessly between soaring cleans and guttural roars, while the instrumental arrangement builds from delicate passages into crushing walls of sound.

Sentience represents the album’s emotional core, a nine-minute epic that explores the ominous presence of despair and listlessness. The lyrics are profoundly introspective – lines like “I am the emissary of despair, no matter the prayer, you’ll remain, forever marked with hidden stigmata under the cloth” reveal a songwriter unafraid to confront the darkest corners of the psyche. 

Musically, the track demonstrates incredible dynamics, moving from atmospheric keyboards and gentle acoustic passages to explosive progressive metal assaults. 

Mafoo’s lead guitar work shines throughout, delivering solos that feel both technically impressive and emotionally resonant. The interplay between Ana Bitrán’s ethereal female vocals and Salum’s harsh delivery adds another layer of complexity, creating a dialogue between hope and desperation. This is Phendrana at their most Opeth-like, channeling that band’s mastery of contrast while maintaining their own distinct voice.

The album concludes with its most ambitious statement yet. The Effigy & The Titan brings together all the threads woven throughout Cathexis – the chamber music elegance, the progressive metal intensity, and the raw emotional honesty. Daniel Droste of Ahab lends his distinctive doom-laden vocals to the track, adding gravitas and depth that perfectly complements Salum’s performance. 

Gabriel Bitrán’s piano solo provides a moment of stunning beauty amidst the chaos and as the final notes fade, there’s a profound sense of catharsis, as if we’ve completed a journey through the states of the soul that Phendrana promised to explore.

Born from the ashes of a long and painful process of introspection, Cathexis truly embodies the existential journey through the states of the soul. Phendrana has created an album where the mind becomes a battleground for oneself, exploring themes of despair, isolation, and the search for meaning with unflinching honesty. The musical evolution on display here is remarkable. Retaining the raw emotion and dynamism from their previous work.

Phendrana has crafted something rare – music that sounds like the work of seasoned veterans while maintaining the hunger and innovation of artists with everything to prove.

A sprawling and ambitious odyssey. 9/10

Bloodstock M2TM South Wales Interviews: Virtue In Vain - East Heat #1 Green Rooms 07.02.26

Interview with Virtue In Vain - East Heat #1 Green Rooms 07.02.26

1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band. 

We are Virtue In Vain. We are a 3-piece metalcore band based in South Wales made up of Hywel (Vocals), Mason (Guitar) & Dan (Drums)

2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your first time?

We have wanted to enter in previous years but have unfortunately had other commitments. This year we wanted to give it our all so this will be the first time we are competing and we cannot wait to show you what we have in store.

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

It is the foundation of who we are as a band, and we are proud to be a part of the Welsh music scene. We all grew up watching local bands, and we have been lucky enough to play with so many talented musicians over the years.

 
We all feel that supporting your scene and giving back when you can is so important to keep the scene growing and thriving.

4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Green Rooms. Have you played the venue before or is this your first time? Are you excited to get on those stages?

We have played the Green Rooms a few times, and it's great to have the opportunity to play the stage again.

It is one of the venues that has grown over the years and is a staple of the music scene in Wales, and so any chance we get to play Green Rooms, we will always take it

5. What are your expectations from being a part of M2TM?

We really enjoy seeing all the competing bands. Its's great to play and meet bands we have played with previously or make new friends. It's a great way to really get into what the current scene is creating and new music to listen to.

6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?

Honestly, it would mean so much to us. We have completely redesigned our set and sound this year, and so to be able to reach the final and potentially play Bloodstock would be such a great opportunity while being a great way to show who Virtue In Vain is.

7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?

For us it would be Winter. We haven't known them very long, but what we have heard and spoken with them, it's exciting to see the potential of what is to come in the future.

8. Tell us in five words why people should come and see your band?

We are ready, are you?

FACEBOOK:: https://www.facebook.com/VirtueInVain
INSTAGRAM:: https://www.instagram.com/virtueinvain
WEBSITE:: https://www.virtueinvain.co.uk
YOUTUBE:: https://www.youtube.com/user/VirtueInVain
STREAMS/SOCIALS:: https://streamlink.to/VirtueInVain

Reviews: Wolverine, Paganizer, Sleeping Giant, Qasu (Matt Bladen, Rick Eaglestone, Mark Young & Joe Guatieri)

Wolverine - Anomalies (Music Theories Recordings) [Matt Bladen]

When I saw the name Wolverine I did think that perhaps I'd be in for some heavy metal about everyone's favourite Canadian X-Man but no siree bub as this Wolverine are a prog metal band from Sweden. Anomalies is their first album in a decade and the line up that recorded 2016's Machina Viva remains in tact, Stefan Zell the soaring, emotive, vocalist in the mould of Damian Wilson via Einar Solberg. He brings passion to massive classic prog metal tracks such as My Solitary Foe and a closer more intimate delivery on Circuits which twitches with insistent electronic drums, horns and ambience. 

Behind him the band all play with virtuosity, Jonas Jonsson's guitar jangles with gothic overtones right out of the Katatonia songwriting school, the drumming of Marcus Losbjer gives Nightfall it's potency and anchor. The album is anchored around a trilogy of songs (A Perfect Alignment, Circuits and A Sudden Demise) all linked by the concept of passing time and going back over your life from the prospect of it getting closer to ending. This repeating pattern of thought reflects the repetition that is used in the riffs for these songs, most of which are directed by Thomas Jansson's bass grooves.

The keys of Per Henriksson, are the keystone to many of these songs, be it the synthy electronic thumps, the swathes of 2000's down tempo/ambient, atmospherics on The World And All Of Its Dazzling Lights or the classical piano on the beautiful Automation. Like many of their peers, Wolverine started out in the death metal scene but then shifted towards the gothic and gloomy prog metal and with Anomalies they are still finding ways to make it enthralling. 9/10

Paganizer – As Mankind Rots (Xtreem Music) [Rick Eaglestone]

Drawing from the Stockholm sound's grittiest traditions, Swedish death metal veterans Paganizer return with their crushing assault As Mankind Rots
.
Opening title track As Mankind Rots wastes absolutely no time – a battering ram of buzzsaw guitars and pummelling drums that very much establishes the template for what follows, this feels like a great progression that maintains the elements that have seen Paganizer endure as a staple of the Swedish death metal scene for years.

Devoured finds the album hitting its stride early – guttural vocals, tremolo riffs tinged with melody – this right here is quintessential Paganizer, this is exactly how they've maintained their status as underground death metal royalty – this hasn't been a quick rise but a well-measured campaign of consistent, quality brutality that is very well executed and more importantly, authentic. The band's tight performance throughout contributes such hard-hitting elements, if you need an example of this then go and put Aftermath Bleeder on very loudly – nothing short of crushing with its mid-tempo groove that absolutely punishes.

Only Maggots serves as a brief but necessary intensity shift and introduction to Put On Your Gasmask which features devastating vocal patterns with a great grinding tempo that alongside some brilliantly executed riff progressions ticks all the boxes for me, and this is why I consider this the album's absolute highlight. This is followed by the most relentless and aggressive delivery on Hollow.

A Testament To Madness brings the album back to where it had been previously, again using a wealth of dynamic shifts which on this occasion delves more into the tremolo-heavy passages, but again power, gut-wrenching vocals combined with chaos is certainly a cocktail that Paganizer delivers so well. The guitar tone throughout is absolutely filthy in the best possible way. 

Shades of Entombed and Dismember fire through via Afterworld which instantly appeals to the nostalgic death metal enthusiast, but there is very much a fresh stamp to it, very much in keeping with the overall aesthetic of the album. Rogga Johansson's riffs here are particularly inspired, managing to feel both familiar and ferocious.

The Rotting End has a nice, doom-laden vibe overall, but the bleakness is never too far away and sweeps through into One Way To The Grave, and if you've been following the Swedish death metal resurgence, I don't think you would disagree that this would fit in perfectly alongside the genre's modern classics – the leads into the chorus passages are just so well developed and executed with precision.

Vanans Makt closes the album with a track sung in Swedish, adding a nice touch of authenticity to proceedings whilst maintaining the absolutely devastating heaviness that's been consistent throughout – again using the classic Swedish death metal buzzsaw tone that really lifts it so that when the more crushing mid-tempo parts cut in, they are even more impactful, demonstrating the musicianship as a collective with clever dynamics and absolutely devastating groove.

Now, if there have ever been any questions about Paganizer's commitment to pure death metal devastation, this album should fully cement their legacy, and quite frankly not only from what I have heard on this album but previous efforts, it's abundantly clear that Paganizer more than deserves the respect and attention in this space as honestly its wave upon wave of razor-sharp riffs all wrapped in a ball of unbridled Swedish death metal fury.

The production here is absolutely monstrous, thick as concrete but still allowing every riff to cut through with surgical precision.

A relentless display of old-school death metal fury. 7/10

Sleeping Giant - The Beauty Of Obliteration (Octopus Rising/Argonauta Records) [Mark Young]

A long time coming, The Beauty Of Obliteration is the debut release from Icelandic heavies Sleeping Giant. With a list of influences that take in Down through to early Mastodon and genres from Stoner to Extreme metal, this is a release with many facets and is a rewarding one too. There can be no doubt at all that this is a band that bring you what you want most, gloriously thick riffs, battering drums and super guttural vocals that do that rare act of being both extreme but you can understand as the same time. 

Conqueror starts, and it has a filthy groove to it, especially once it hits halfway and I defy anyone not to nod along to this. Like early Grand Magus, it has that swing to it where the riffs chosen are just perfect. Mobilizer Of Evil drops next, its riffs tightly packed and its one of those songs that you want to jam on. Its been awhile since I’ve said that, and like Conqueror it has that movement to it, tempo changes that come and go without sounding out of place. You can hear their influences at work here, but its not shameless in its execution. 

They take the best and make it their own, building their songs to suit. As opening 1-2’s go, it’s a cracking start and one that continues through the album. They consistently find the right riff, the best arrangement on each track and once we get into it, they show that they are not afraid to go down a progressive route with song lengths to match. The Monk, is quality, with a build that goes where it wants to, constantly moving and taking in a touch of thrash here and there. They are so precise it is easy to forget that this is their debut, such is the way each song drops on you.

Closing the album out is the 3-minute rager, Venom Ripper, Gorgon Blaster which tears along nicely with one of the coolest names you will see and is like a reset switch before they drop in what I believe will be a smasher live: Abysmal Flame.

Bringing that groove in and detonating it to full effect, this is what I consider to be feel good metal. Its hard to explain what I mean by this, its something that you would need to hear yourself to get it. Imagine something that makes you want to dance, delivered with energy and an eye on classic rock. Now imagine that its 9 minutes long and just flies by, its power to make you nod along undeniable. It’s the perfect antidote to a crappy day at work, and if you are of that persuasion you can smoke to it. Personally, it’s one of those songs that I would to learn, the buzz coming from blasting it out.

It sounds great, everything is positioned well and there is no jockeying for position in terms of what you can hear. As debut’s go this is a stormer, as mentioned their influences loom large without dominating and the songs themselves stand tall. Hopefully, it gives them a platform to push on from, and I hope we see them tour the UK soon. 8/10

Qasu - A Bleak King Cometh (Apocalyptic Witchcraft Records) [Joe Guatieri]

Qasu are a three-piece Experimental Black Metal band based out of both the UK and the US. Their debut album which I’ll be reviewing today, A Bleak King Cometh, was made remotely, across the globe from each other. The band has put nothing out before this, I haven’t heard of any of its members before and as far as I’m concerned, there wasn’t much press surrounding this release either and all of that mystery really does fascinate me. I’m going into this record as blind as it gets.

It’s difficult to describe the experience, the seven tracks that are presented here contain these Blackened soundscapes which are terrorised by meteor showers of ideas. Much like with the opener, The Bitter Waters Of The Abyssal Sea, it feels like that three or four songs are all being played at once of completely different genres. To name a few different flavours, you’ll be encountering the likes of, Ambient, Darkwave, Pop and even Harsh Noise and somehow it all fits together miraculously.

The songs as a whole have a habit of washing over me, collectively they are all five minutes in length at least, I enter through a portal into a new world but by the time I’m connecting with a sound that I like, I’m transported into somewhere else. The album as a whole is more focused on the journey then what it is the destination, it’s always searching, never settling.

If I could point to a moment which I enjoyed the most it would be within Jewels Where The Eyes Once Were. The vocals are animalistic and there is a piercing noise that pops up as well, matching the intensity shown, so much so that it’s hard to know where one ends and the other begins. They are not even at battle with each other, they’re just together as one. It paints a picture in my mind of a bear being woken up by accident from hibernation, it’s immediately on the attack and you now have no hope of survival.

Credit to Wayne Adams who mastered the album as it’s honestly so loud, if you turn up the volume of your headphones your brain is going to rattle around in your skull, it’s tinnitus inducing and I love that about it!

Overall, with A Bleak King Cometh, Qasu has constructed a unique listen that always keeps you guessing as to what will happen next. The biggest compliment that I could give the record is that it’s like a soundtrack to a movie that was never made. I’m impressed by what Qasu have done here and will look forward to seeing what they do next. 7/10

Bloodstock M2TM South Wales Interviews: Catalysts - East Heat #1 Green Rooms 07.02.26

Interview with Catalysts - East Heat #1 Green Rooms 07.02.26

1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band.

We’re Catalysts, South Wales’ self-proclaimed “elder emos.” We blend melancholy with big, melodic choruses, emotionally driven riffs, honest songs with hooks that really hit live. Think Paramore crossed with BMTH but with old dude singing.

Our music and our band performance featured on BBC’s Casualty in 2025
https://www.bbc.co.uk/iplayer/episode/m0026q6x the storyline is someone getting stabbed! Of course this never happens at our real gigs. 

Our previous EP “Sparks” had support from Kerrang! Radio and BBC Introducing. We’ve shared stages with Punk Rock Factory, Raiders UK and The Kennedy Soundtrack, and recently recorded new material at Long Wave Studios with GRAMMY-nominated producer Romesh Dodangoda (Bring Me The Horizon, Funeral For A Friend, Kids In Glass Houses, Nova Twins).

Our upcoming EP “Echoes” arriving in 2026.

2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your first time?

Metal To The Masses has always felt like one of the most genuine platforms for heavy and alternative bands. It’s about community, great live shows, and giving bands a real chance to be heard, regardless of style.

We’ve taken part in Swansea & Cardiff and we’ve had a brilliant experience, so coming back for 2026 was an easy decision. Every year brings new bands, new energy, and a strong sense of momentum in the South Wales scene.

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

We’ve met so many great bands (young and old) in the past like “I can’t die” and “Zac and the Newman”. It’s always been fun. The diversity of musical styles has always been great. Basically if you’re a loud guitar band, you can take part, you know?

4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Green Rooms. Have you played the venue before or is this your first time?

Are you excited to get on those stages?

Playing at the green rooms is exciting for us as it’s the first time. We’ve played Bunkhouse Swansea and Fuel in Cardiff many times in the past; those venues are great but we’re very much looking forward to mixing it up. A new venue is a great way to inject a new wave of music and memories!

5. What are your expectations from being a part of M2TM?

We’re really looking forward to connecting with new bands, new fans and new promoters. M2TM is great for discovering artists you might not otherwise cross paths with.

It’s also a chance to really sharpen our live set, push ourselves, and make every performance count. Anything beyond that is a bonus.

6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?

Getting to the Day Of Reckoning final would be huge and a real milestone for us as a band. The chance to play Bloodstock Festival 2026 would be unreal. It’s one of the most respected heavy music festivals in the UK, and representing South Wales on that stage would mean everything to us. 

7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?

One of the best parts of M2TM is discovering bands live rather than just online. We’re excited to check out as many acts as possible throughout the heats and see what the scene has to offer this year. We’d encourage our fans to come down early, stay late, and support the whole lineup, you never know when you’ll find your new favourite band.

Having said that I’m very much looking forward to seeing and hearing “Remain the Few”

8. Tell us in five words why people should come and see your band?

What would my Gen Alpha daughters say???

Elder Emos still cooks fr

Here are links to our socials

https://linktr.ee/Catalysts.wales