Reviews: Fuming Mouth, Ripper, Sigyn, Tesla (Mark Young, Cherie Curtis, Matt Bladen & Cherie Curtis)

Fuming Mouth - The Ringing Bell (Triple B Records) [Mark Young]

Ok, so I had the pleasure of reviewing their Last Day Of Sun, their second full length back in 2023 and found it to be a positive experience. 

The main man, Mark Whelan had fought back against life threatening conditions and the album reflected that struggle, and I remember it being an excellent release, and hoped that they would continue on. The band themselves has changed a little, adding ex Slipknot man Jay Weinberg on drums and Pat Merson moving from bass to guitar has hinted at a level of flux within them. I’m not here for that drama, I’m just here to see if this takes the next step.

This is death metal where each of the component parts are wired in and on plan. The Ringing Bell decides that they have spent enough time looking back and are now pushing forward, with Cheat Death kicking things off for us with an unapologetically short gut stomp of a songs. There isn’t any drawn out interludes or rising orchestral movements, press play and you are off, a HM-2 grind dominating proceedings along with La Whelan’s uncompromising vocal delivery. 

It’s not speedy and I thank them for that as its methodical pace means you don’t miss a trick. Add in a lead break that is part incendiary and you have a strong opening statement, one that is then backed up by Self-Exhumed, with a guitar tone that scrapes the enamel off your teeth. In some respects they are sides of the same coin and provide us with a fine start and in effect set up the base for the rest of the album to flow from.

Its on Finally Fearless, that the brakes are taken off and whilst its not achieving high BPM there is a greater sense of movement within it. It feels like it’s the first opportunity for Jay Weinberg to add a stamp to proceeding and as a result we are treated to a monstrous break down around 2 minutes in. There is a real strength in this, and it’s the kind of thing that causes mass flailing of limbs if its played live. 

Running through the crushing riffs are some cracking melody lines too, providing a little spice to proceedings. I’d hoped that they wouldn’t take a backward step, and its evident that they haven’t, A Blaze Of Nihilism refocusing our attention with yet another massive breakdown before handing that baton over to After Oblivion. 

Now, before I get carried away, I need to point out that there is a lot of similar approaches going on here. Of these two songs, it feels that that they are saying the same thing. Now, how much this changes things for you will depend on your own personal preference. For me, you could have dropped either one or it wouldn’t have affected how the album flows. 

A change comes with Hidden In The Moor, the need to crush replaced by a more expansive approach that provides that necessary injection to keep things alive. That gnarly guitar tone is in place, there is no change there but that addition of a dominating melody line at key intersections makes the song stick with you after it finishes. Coming at the point it does, it gives the album a slap in the face,

Vivid Revelations strides in, taking its time to assert itself with a monstrous build that belies a relatively short run time whilst Flourishing Flesh provides this album’s stab to the neck, a very speedy minute and a bit that acts in some ways as pressure release. I can’t deny that I would have loved to have heard more like this on here, but I admire how they stayed consistent throughout. It’s the introduction of cleans on the title track that seems to allow them to expand further, in spite of the harsh style returning to close that song out. 

Personally I get the impression that the early songs provided that bedrock for them to do what they needed to do later, providing them the room to manoeuvre. Like Hidden In The Moor, The Ringing Bell is another stand-out moment for them, joined by Barbarian Scourge which hits like a hammer from the middle ages. There is a storming melody line employed on here which calls back to Phantasm in the way it spins around, maybe some of you might remember Entombeds version of it, if not check it out online. In any respect, this is another massive statement from them and sets them up for their closing piece, Respect Mortality.

The hard work is already done and it isn’t in a rush to unfold itself. It just grinds its way to the finish line; the pace never changing and closes things out in a solid manner.

Now we get to the hard part. This is an album where the positives outweigh the negatives by a massive number but I’m still compelled to mention it. Basically, there is a sense that some songs sound the same and I’ve captured it above. 

This could be partially due to the overall tone present, but in any event its there for you to hear. But, in its favour are some stunning tracks, especially the run from Vivid Revelations through to Barbarian Scourge where its cracker after cracker which take that strong early work and then really go to town with them. 

There’s no doubt they have made some massive steps with this, and this Is a very good album to get your hooks into. 8/10 

Ripper – Towards Rebirth (Dark Descent Records) [Cherie Curtis]

Hailing from Chile, death metal band Ripper brings us their newest album Towards Rebirth. This album has 10 tracks and is their first full length album since 2016 and it’s not one to skip past. What makes this album a great one is a strong sense of narrative, it feels very theatrical in style and the texture is so thick it’s visible, but it’s done in an effortless way.

The composition is luxurious and all-encompassing which makes for a very cinematic feel as well as being very versatile even though they don’t stray away from their usual style, as well as staying very genre typical, they show creativity and uniqueness in the technicalities, their riffs and their instrumentals feel very experimental. 

Towards Rebirth shows us that Ripper are fully aware of who they are and what they want to create and they execute it well. Their overall style consists of cold opens where there is already a huge amount of tension then swift breakdowns, it feels very much like a push and pull back and forth like a frenzy. They’re incredibly energetic and they will have you on the edge of your seat. What makes this a great album is that there’s a strong sense of story and narrative it feels very theatrical and grand but in an effortless way. 

The composition is luxurious and encompassing which makes for a very cinematic and atmospheric feel as well as being very versatile considering that they don’t stray away from their usual style this album is similar to their previous one and doesn't really stray away from the death metal thrash genre but they do tend to get very creative in the technicalities of their riffs and their instrumentals.

They also experiment with the form and genre which is absolutely fine because genre isn't something that a band would usually mess about with, they're not a gimmick they know who they are and what they make and they know what they're good at so they deliver it they give us what we want.

Their overall style consists of cold opens and tension build-ups and heavy breakdowns they'd like to drop you straight into the action they knock you off your feet until a long drawn out hurricane of instrumentals whisks you off your feet and into the action again it feels very much like a push and pull back and forth can overall frenzy it's incredibly energetic with some metal screams and vocal sustains sprinkled in for a battle cry effect they will have you on the edge of your seat.

One of my favourite tracks from the album is World Of Darkness it’s the second track after a gentle and ethereal interlude so it came as a huge surprise. It’s loud racing and very frantic with piercing and spiralling refs and a deep gravelly shouted metal vocals which is stereotypical within the genre but very nice to hear.

It is pure mosh pit fuel it’s very thrash and it will get you throwing it back at a gig and the repetitive earworm instrumentals are very technical complex and dynamic each track sounds different. Though he’s not the best vocalist I’ve ever heard the instrumentals are outstanding and unrelenting there’s no downtime just a massive build and breakdown after build and breakdown.

One of my favourite tracks from the album is World Of Darkness it’s the second track after a gentle and ethereal interlude so it came as a surprise. It’s loud and frantic with piercing riffs complimented by deep and gravelly death metal vocals, it’s very thrashy and it will get you throwing it back at a gig. The instrumentals are hypnotic and complex, though the vocals aren't the best I've ever heard within this specific genre, the overall composition is impressive. 

Towards Rebirth, the title track is much slower but more powerful. It's classic sounding and very reminiscent of 80s style thrash with thunderous drums, it’s more beautiful than it is a floor filler. The vocals are interesting here, they are direct, punchy and very strong, it commands your attention which adds to the theatrical aspect to the atmosphere with some masterful vocal sustains sprinkled in for a fun battle cry effect. Ripper is not for the faint of heart, if it's not your genre then it'll be hard to stomach but lovers of death metal and thrash will love this one. 

Overall, it’s a great album. I was on the fence with it at first as its not usually something I'd listen to as I find it’s very distracting, it does command 100% of your attention. It’s not something to have on in the background and is meant to be something you can move to, and it will get you moving. This album is professional, crisp and well-made, you can tell that it was made with a mighty sense of purpose and articulation. Give it a go if you have the chance, it is worth a listen. 8/10

Sigyn - From Nation To Chaos (Noble Demon) [Matt Bladen]

Symphonic melodeath now from Helsinki who will be on the playlist of every Children Of Bodom/Wintersun fan as there's a thrilling mix of virtuoso guitar and keyboard playing on From Nation To Chaos, the twin axe assault rapid and ravenous as thrashy shredding, death metal grunt and power metal melodies all combined as any good melodeath band should.

However like the bands I've mentioned Sigyn also have some epic keyboard/synth playing that will impress on I Am Nothing, Blind Prophet and the closing drama of World In Flames. For me the fusion between orchestrations and blast beats on A New Nation and Creating My Own Chaos puts Sigyn up with those Finnish foundations of this power/melodeath genre.

They're able to move away though as the chuggy Break These Chains takes the inspiration from the Swedish style while The Crawlers injects a bit of black/folk metal, the result of it all being that Sigyn's second album, despite them being formed in 2008, is a slickly executed record of epic melodeath, that is heavily inspired from the Finnish originators. 7/10

Tesla - Homage (Frontiers Music Srl) [Rich Piva]

Generally Tesla is good at covers. They should be. One of their biggest hits was a cover, their live acoustic record that was a huge hit and helped to start the whole Unplugged thing (and that was great) was filled with covers, and they have multiple covers records, some of it good, some of it unnecessary. So it begs the question if we really needed Homage, their latest covers record, which has 14 songs and is over 50 minutes long, emphasis on long. The short answer is no, but that doesn’t mean there are not some fun covers on here that are done well.

I will just mention the good. Give A Little Bit is right in their wheelhouse, if not an over done cover, but it sure is a great song. Picking a Queen song that is mostly overlooked with Spread Your Wings was a cool idea and well executed. The Ballad Of Curtis Loew is another one that I feel like they could do in their sleep, and it was also done well. Their one original on the record, Never Alone was solid too. That’s about it for me. This certainly could have been an EP.

It pains me because I do think Tesla was one of the stronger bands of the “hair band” period, maybe because they really were never a hair band, but I digress. Their first three records are untouchable, and Five Man…was great too. Homage is pretty much a hard pass, but it doesn’t make me love Tesla less, only makes me want to turn on The Great Radio Controversy. 4/10

Reviews: Embodiment, North Sea Echoes, Faustian, Changing Places In The Fire (Mark Young & Matt Bladen)

Embodiment - Cryptomorph EP (Self Released) [Mark Young]

Bristol have something in the water there. There is a pool of extreme metal talent that just seem to be able to do it and as further evidence of this, up stride Embodiment with their first release since 2020 with a 4 track EP of the harshest nature. In a world where bands are in love with an instrumental opening, there is no messing about here from these. 

The Jeopardy In Idolatry comes screaming in with this magic guitar measure. I mean its just quality, and it comes in amongst a crushing opening track that could cheerfully hold its own against any extreme act. It combines all of the good things that you love in extreme metal; speed, aggression and having it all wrapped up inside of 4 minutes. There is a literal joy running through this, seemingly from an understanding that the material on this EP is their best, with nothing being phoned in. 

That technical, almost cosmic theme continues into Beneath The Skin, that spidery lines falling away to allow the true hard riffs to come flying in. And they do, even the addition of cleans doesn’t detract from the arrangement here, its just full on and suddenly we are on two for two. Did I mention the face melting solo? No, well there’s one of those too. You combine that with an aggressive resolve to continually mash you into bits and you have a stormer on your hands. 

Resonance Cascade sees them bring more of the cleans to play, but its backed up by some of the tightest rhythms you could find. As a the three of four, its like the climatic baton pass in a relay. Its pitched just right to set up what should be the triumphant final lap, as long as they don’t do anything stupid.

As They Spread Their Infection starts in a way that gave me a pause, its almost a throwback to 80s hair metal in the way this opening riff kicks off, like mid 80s Ozzy. You’ll know what I mean as soon as you hear it. Suddenly they pull that particular rug up and normal frenetic metal service is resumed. The drop into it, and then the corresponding arrangement that follows up is just quality. 

Its so tightly wrapped during those speedy moments that when it loops back to that opening measure it lands so much better. The lead that frankly dominates from about 2 minutes and 30 seconds is spell binding, so much so that you lose track of everything else. And then they bring more heaviness in that closing minute that is just crushing. And I mean crushing.

Its probably some of the most exhilarating metal that’s come out this year, 4 perfectly built tracks that I’m hoping preface a full length release from them. This is a work of art, simply put. Absolute stormer. 9/10

North Sea Echoes - How To Cast A Shadow (Metal Blade Records) [Matt Bladen]

Veteran prog metal musicians Ray Alder and Jim Mathos (both Fates Warning), flex their muscles with North Sea Echoes, keeping the musical cohesion they have cultivated over many years but within a different set of soundscapes than they are normally a part of.

Their debut record Really Good Terrible Things matched the emotional power of Alder's voice with a style of writing from guitarist Jim Mathos that was driven by electronic music genres merging with rock, it was introspective and carried a quiet intensity that appealed to long time fans of the duo but also cast them in new roles.

The follow up How To Cast A Shadow, takes things further, getting heavier in all aspects the riffs on Enjoy The View are turn up the distortion while the electronic thumps are now combines with real drums from Dennis Leeflang, to give these songs more dynamic and natural heaviness, like the hard rocking All That Comes After.

Matheos has been writing extensively in between the last NSE record and for this one he had 25 songs prepared, sending them over to Alder who chose the ones he wanted to work with. The ones that suits his ever excellent and emotive vocal style from the anthemic single I'll Leave A Light On, the creeping thump of All Fall Away and the beautiful Good Enough all highlight his talents.

Matheos on the other hand expands his wiring style more on this second album, creating some moody pop rock ala Del Amitri on Villains Or Saints, as Revenge goes into the dark sensuality of Depeche Mode while the Title Track invokes some industrial dreamscapes.

In my review of their debut I mentioned Lunatic Soul, Silent Skies and the more ambient side of Devin, and all these comparisons still stand on How To Cast A Shadow, this second collaboration between prog metal veterans does gain a bit more metallic weight. 8/10

Faustian - Parable Of The Sewer (Apocalyptic Witchcraft) [Mark Young]

Supergroups, by their definition are a collection of individuals who are already established as solo artists or from groups, again already established. Your personal definition may be driven by how famous (relatively) they are within that chosen genre. 

In some cases, metal, specifically extreme metal supergroups are maybe more deserving of that tag. Or you might see that and it immediately puts you off. Again, its dependent on your taste. Of the bands that make up Faustian, I have heard of Werewolves, I reviewed their Ugliest Of All album, and just as a reminder to them that they: They.Must.Not.Slow.Down.

In any event, it doesn't matter to me who is in this band, they key is that it either:

Kicks ass.

Does not kick ass.

That is my starting point, and luckily, I Curse You, the lead off point starts off like a bomb detonating. The primordial energy that I’ve associated with Werewolves is here, but its emboldened by a different method of madness. It black metal but distilled from a place that is hotter than hell when it wants to be. Its not brittle in its production like others, everything is captured so well, but the one thing that is here is that intent, of moving beyond simple brutality into something else. 

Broken Better pulls back the blackened cloak to throw in an electric display that takes the traditional and bends it to their will. The change in tack and willingness to do this where they could in all honesty have written 9 versions of, I Curse You and then be applauded. 

One thing that is noticeable is that the songs are filled with ideas that don’t overstay their welcome. They speed when they need to, reduce when required but its never done without meaning something in the context of the song. Nothing is presented without meaning, and that is what I love about this. 

As we move along Immaculate blasts off like the best black metal does, melody lines moving like a blur, drums blasting and guttural vocals are all in place. It’s a typical example of what you can expect from them, of being able to build music that is based on a genre that can often leave you cold and uninspired. This constant and consistent execution doesn’t falter at any point, its like they have chanced upon a fountain of riffs and ideas that have formed into extreme metal goodness.

As a rule of thumb, the success of an album (at least for me) is based on how it starts and then how it ends. We have all been there, a band starts off strong and stays at a decent level only to drop an absolute clanger at the end. No danger of that happening here; Tenements (Only The Wicked Walk In Circles) brings that mix of speed and classic black metal melodic lines into play, it calls back to Broken Better in how its put together, but it isn’t just a repeat. 

This is the thing, the way that they have been able to this right through is top class. And then they drop their final statement: The Rot Shall Inherit The Earth. July has been very good to me; there has been some blinders released and this is one of them. Its one of the strongest closing pieces you will hear in 2026. It’s the sum of all parts smashed into a cohesive shape. 

There is nothing wasted, nothing added that isn’t needed. It is an exercise in pure metal craft that a lot of bands would give all of their extremities to be able produce something like this. Jump on this immediately. 9/10

I almost forgot – It Kicks ass. Or kicks Arse. Depending on where you live.

Changing Places In The Fire - Changing Places In The Fire (Wild Thing Records) [Matt Bladen]

Born in exile, Changing Places In The Fire is the product of five Venezuelan musicians that are spread across the globe, this is their way of expressing the emotions about their forced collective migration, the effects it has had on them as people and the political ramifications that have led to it. Venezuela if you didn't know went from being a dictatorship into effectively controlled by the USA.

So there's a lot of real life experience he band say these songs were written in a period of upheaval and that the "album has lived with us for years" so now it's the time for them to share their music with a wider audience courtesy of Wild Thing Records.

Falling between the alternative, prog and post metal scenes, Changing Places In The Fire can't really be nailed down to one approach, in the blurb there are references to Dredg, Deftones, Oceansize, and Porcupine Tree, casting the net pretty wide.

Changing Places In The Fire open their debut record with some Tool-like grooving on The Epiphany Tree while Home blends Rush with Marillion, these two tracks begin the album very strongly, putting the band very much in my wheelhouse as a listener. 

Progressive but without the need for too much showing off, song focussed to tell these stories of alienation and as we Welsh say hiraeth. A Reason To Fall carries on with the melodic post metal dreaminess as Fury And The Sound reminds me of Karnivool, due to the varied and passionate vocals of Daz Medrano.

Whether it's dreamy post metal realms of the aforementioned A Reason To Fall or heavier sound such as Learn To Die, the the drums of Miguel Ángel Moliné are always sturdy and inventive, locking down the potency of the massive The Epiphany Tree.

In the melodic areas keyboard player Alfredo Ovalles adds the orchestrations and electronics, keeping tracks As If You Were Free feeling cinematic and bringing ambience to The Door Left Behind. Javier Landaeta and Antonio Silva share the guitar duties shifting magnificently between the ultra prog metal workout of A Case Against The World to the acoustically laced Into The Unknown.

There's just so much talent on display and a synchronicity here that it feels like they were all in the same room rather than various places around the world. The debut album from Changing Places In The Fire is uniting force between all the players displaced but connected through their music. 9/10

Reviews: Heavy On The Ride, Recluse, The Scepter, Hypnotic Gaze (Matt Bladen)

Heavy On The Ride - Heavy On The Ride (Self Released)

It's been a particularly heavy ride for Wales' answer to Queens Of The Stone Age over the years, many forks, bumps and breakdowns have tested their resolve over the years but they've always been a constant presence on the local scene.

Honing their craft alongside opening slots for Mondo Generator, Alain Johannes, Green Lung amongst others, they’ve even played QOTSA and Kyuss cuts with Nick Oliveri in the past, which has solidified their influences. 

Despite all their live shows the band have not done much in the ay of releases but now these road dogs have finally dropped their self-titled debut album, so prepare yourself car stereos as we're about to go Heavy On The Ride.

Having recently added guitarist Ryan Williams to the band, the album was recorded by the tenured trio of Jordan Huxtable (guitar/vocals), Michael Bale (bass/vocals) and Jason Young drums, Jordan and Joe Garcia sharing the recording duties.

Dave Tidmarsh mixed and Brad Boatright mastered, making 10 songs that define the band, ready for long road trips across desolate plains or for playing at full volume with your buddies and some beers.

There's plenty of QOTSA style grooving here from the live staple Cheshire Cat Grin to Sunseeker, the fuzz frothing and the riffs having that walking start-stop strut that is all about the groove, taken from the blues but through a 90’s alt rock filter. 

Heavy On The Ride area also able to take off into the upper atmosphere with mind altering desert rock, where Kyuss is the main comparison, the dreamy Interludes gives way to Almost Alive, with a couple of the tracks falling under the numerous Kyuss/QOTSA splinter acts but they never fully shake off their primary influences.

Away from Homme and Co when Heavy On The Ride get heavier there's the blood and thunder of Mastodon/Baroness on I Owe You Nothing, all of these cuts taking a dual vocal approach that works really well to add to the dynamics, be it double clean harmonies or some trade-offs. 

The debut feels like a collaborative effort despite the recording line up only being a trio, you can hear the experience of the band, every moment is curated to grab the attention and keep your head nodding and your feet tapping.

Heavy On The Ride play riffs that bite, grooves that rumble and top it all with a little left field weirdness that permeates and never lets you get too comfortable about what's coming next. Long awaited but very much worth it get Heavy On The Ride, you won’t want to get off! 9/10

Recluse - Atrocity Parade (Self Released)

Despite being around the South Wales riff community for a long time, I'm really disappointed in myself that I'd not come across Recluse before this album.

They've had three albums before this one so I'll be diving into those after I've written this review but let's concentrate on Atrocity Parade, their fourth full length record that comes with an album cover that hints at something neon and possibly terrifying behind a door.

So let's open up that door and explore the music of Recluse who are a band that I would class as stoner/grunge, much like compatriots Lethargy, Recluse have a long list of inspirations that from Soundgarden (Conduit), though Kyuss, King Gizzard and some Tool (...In The Handwriting Of Others)

Passionlessly begins album number four with the sort of fuzzy alt riffs you get from QOTSA, swaggering and lumbering, but feeling stripped back and dirty. From here Doll Skull is a breathy Nirvana-like haze, close up and wrought with emotion playing with that 90's loud/quiet duality.

It's after two songs I get why this is the fourth record from Recluse, they're have a skill that allows them to take heavy, riffy routes with shifting pace of With The Predetermined Jump Length Into The Room Of The Infinite Death Loop behind them but Recluse can also enter the world of psychadelic/desert rock on Depression both linked together by the acoustic interlude Severed.

Far from an Atrocity Parade, Recluse have put together a record of rough-hewn diamonds that bring riffs, melody and more besides. 8/10

The Scepter- Shadows In The Tower (No Remorse Records)

Canada has a very rich heavy metal scene, especially when it comes to the traditional heavy metal revival of that began in the 2010's.

Formed towards the end of that, 2018 to be exact, The Scepter fall more into heavy/power metal category with their music owing influence to bands like Riot but also Helloween and Iron Maiden on Where Art Thou and Protector Of The Skies, where the vocals of JP Abboud really impress.He's the former singer of Traveler, Gatekeeper, and Borrowed Time so he's got quite a pedigree behind him.

Abboud is the best fit for this band, exorcising those speed metal demons on Burn Bundy Burn, where guitarists Josh Collins and Morgan Walsh whip up a storm that continues through Dunes where Stew Everitt (bass) and John Crawford (drums) dictate the pace and the rapid fire gallop of the Title Track which ends this debut record in a tight 29 minutes.

Classic metal from the Great White North as The Scepter pay homage to royalty but add enough of their own flair as well. 7/10

Hypnotic Gaze - Demo (Self Released)

Featuring members of High Command and Mistress, Hypnotic Gaze are the newest throwback, retro, traditional, whatever you want to call it, heavy metal band that is taking its first steps into the heavy metal world.

A three track affair, it's rough and ready to burst out of 1986, all twin axe attacks, soaring vocals, and galloping riffs, as the speed kicks in for Debaucherous Knights after the strutting Lunar Spell begins this Demo with some street metal right from the Sunset Strip.

It's a Demo so it's not going to sound polished or pristine, but really I don't want to to be, this sounds like it should be recorded straight onto cassette and with the closing epic The Ballad Of The Webster Lizard, Hypnotic Gaze prove that they can do more than just speedy heavy metal.

I'm looking forward to what Hypnotic Gaze bring on their first 'proper' album. 7/10

Reviews: Quicksand, Lunatic Soul, Poison The Preacher, No Cure (Rich Piva, Matt Bladen, Mark Young & Spike)

Quicksand - Bring On The Psychics (Rude Records) [Rich Piva]

Anyone who knows me even a little bit knows I love Quicksand and that I think they have a perfect discography. So it should be zero surprise that I love the new record from Walter and crew, titled Bring On The Psychics. I always go in with an open mind when listening to a new record, if not with a little bias for one of my favourite bands of all time, but Quicksand has once again delivered what can only be called a banger, beginning to end, for 29 plus minutes.

I am a not big on saying things like “back to the basics” because there is nothing basic about Quicksand, but let’s just call it back to their roots, as the opener, Get To It, just rips it up, with the vibe of their early Revelation stuff and Walter being full on aggressive Walter. I love the stop and start again, which is sure to get the pit going. Regenerate is Slip era mid tempo awesomeness, with layered vocals and Walter’s voice as good as it has ever been, and the trio just sounding super tight. 

Agency is bringing more of the aggression folks may have thought was missing on the later period Quicksand records, with the loud quiet loud executed perfectly as you always know it is coming but is always awesome. Crystallize is a killer melodic later period Quicksand track that shows the band can sound really big without ever sounding too polished in the studio, with Supercollider coming right after to bring those Slip vibes right back to the listeners who were hoping to go there again, even if it is a bit more brighter that Slip was production-wise. I love the chunky riff on this one. 

In Full Color is the same vibe and just as great. It has been decades since Walter started Quicksand, and bands of his since then like Rival Schools, Walking Concert, and his solo stuff have leaned more towards indie rock and less post hardcore, all of them great. That is where Days You Run To will remind you of. This is the most pop forward track Quicksand has ever done, and it is a beautiful, spacy, melodic masterpiece that makes this record even better with the contrast it brings from the more aggressive material that Bring On The Psychics has delivered. Perfect stuff. 

I say contrast, as the heaviest riff on the record from Cool Guy comes next, with one of those wall of sound guitar parts from Walter. Their former touring partners and contemporaries from back in the day Helmet should still sound like this one. Moving Forward is another one of those super solid late period Quicksand tracks that have made us marvel at how Walter just locks in when writing and recording as Quicksand. My only nit pick is the closing title track could have opened the record, because at under 30 minutes for the whole album this one leaves me wanting for more.

I love Quicksand. Bring On The Psychics does nothing to make me love them any less, only more. The band continues their string of having a perfect discography. Combine that with Walter playing and writing like it was 1993 and looking like he is having the time of his life, Bring On The Psychics only confirms that Quicksand is a top 10 band of all time for me and one of my go to references for bands I like to this day. 10/10

Lunatic Soul - Transition II (Kscope) [Matt Bladen]

Lunatic Soul is the solo, and after the disbanding of Riverside, only project of Mariusz Duda. A more ambient, darker and instrumentally inclined project than Riverside, Lunatic Soul is in a state of flux as it is now the primary output for Duda, something it was never supposed to be so this release is an important one.

It features new track Realm Of The Weeping Willows, an organic epic that draws from folk traditions with a sprawling run time and a feeling for the occult or the pagan traditions, it's a song with a lot of history started in 2020 and worked on throughout the Through Shaded Woods sessions but never released on that record.

Coming in full form here as it looks toward more a lighter and brighter sound for Lunatic Soul after the culmination of the eight album The Circle Of Life And Death, with the remixes of Vyraj and Hylophobia from Through Shaded Woods, both taking new musical routes away from the often ominous introspective sound Lunatic Soul has cultivated.

The epic Transition II here in a condensed version (15 or so minutes) but is still a brilliant instrumental piece that's got Mike Oldfield influences throughout. Lunatic Soul release Transition II at just the right time, whatever Mariusz Duda decides to transition too, after this will be his most personal and unrestricted work for sure. 7/10

Poison The Preacher - Things I Want EP (Seek & Strike Records) [Mark Young]

Who doesn’t love an EP? Well Poison The Preacher have dropped a quickfire 14 minute salvo for your attention with the Colombian’s output showing no signs of slowing down. This is a blink and miss it affair, Things I Want (ft Speed) is their starter for ten and it’s just a straightforward kick to the skull that Is in keeping with their Vs The World album released last year. 

Its metallic, riffy and full of suggested violence. And of course there is the breakdown, that then lets them drop a Suicidal Tendencies special into the mix. Its immediate and just what an EP requires; energy and balls-out lead breaks. There is a hint that it runs a little bit too long, but in the context of an EP its about right. 

We run from that razor sharp hardcore into some sumptuous Latin grooves on Last Time I’ve Seen The Sun, well up until they decide that big dirty riff is required. It changes tack from Things I Want; this is more of that hardcore/punk vibe to it than the metallic edge shown before. Of course they don’t forget that a massive breakdown is always required and drop it in, just for fun.

Ran Out Of Options is like a chainsaw, a persistent cutting motion that see’s a more muscular build to things. It’s one of the issues I have with ‘core’ music is that it sometimes feels like a chest beating exercise of who is harder, who is tough etc and it can get a bit samey. 

Poison The Preacher fall into that trap with this one, probably because the song itself doesn’t hold up to those before or after it. Chicken Out attempts to arrest any slide in interest by upping its game and expending the energy required to keep the listener onboard by giving it kick, pushing what is a relentless closer on our ears. This one has some cracking metallized touches to it, with a guitar tone that could split rock. 

Again, enjoyment of this and of the EP itself will depend on how you take your metal. If It ends in ‘core’ then you should be on this like the plague. Its heavy, it moves and on the whole the songs here will no doubt cause utter mayhem once they are deployed live. 7/10

No Cure – It Is Going To Get Dark (SharpTone Records) [Spike]

No Cure from Birmingham, Alabama have spent the last few years earning a reputation as one of the meanest, most relentless live bands in the current hardcore scene. 

I’ve seen my share of bands trying to make metallic hardcore sound dangerous, but these guys actually back up the threat. Their debut full-length, It Is Going To Get Dark, is a brutal, bone-breaking record that hits you with the weight of a stone press to the chest.

The band apparently wrote and recorded this deep in the Alabama woods in a remote cabin between gruelling tour cycles. You can feel that isolation and exhaustion in the music. The production is incredibly thick, with a heavy, low-end tuning that makes the guitars sound massive without losing their sharp, cutting edge.

The record kicks off with When The Spasms Cease, opening with the desperate scream of "How did we get here?" before launching into a flurry of frantic guitars and heavy call-and-response vocals. It leads straight into Oblivion Crusade, which is just pure, ugly groove metal built for the pit.

What makes this record work so well is how they integrate different styles without looking like they’re trying too hard. On Brain Matter Displacement, they bring in Jayway from NJ's Bayway for a guest verse. Putting a rap feature on a death-metal-tinged hardcore track is a high-wire act that usually ends in disaster, but here the transition is seamless because the beat drops so hard.

There's a real emotional weight behind the violence here, too. Slowly Turning Blue takes a hard, painful look at watching someone go through addiction, and the despair in Blaythe Steuer’s voice is genuinely uncomfortable. It’s immediately followed by Ironclad, an absolute standout straight-edge anthem featuring Tyler Short of Inclination that boasts some massive pinch harmonics and a heavy, rhythmic stomp.

The death metal influence is all over this thing, but it’s most obvious on Convulsing In The Dark. Steuer has openly talked about his love for bands like Death and Carcass, and you can hear that DNA in the fast tremolo picking and the relentless blast beats that drive the track.

For a band that proudly calls themselves "the world's most evil straight-edge band," they make sure their message is loud and clear. I Am Still Fucking Straight Edge is a 50-second punch to the jaw with no poetry, just raw vocals and pure conviction.

By the time the album closer Everything I Love Is Dead Or Dying hits its final, skin-splitting breakdown, you’re left feeling completely spent. This is one hell of a full length debut, this is a bleak, menacing masterpiece that doesn't offer any cheap comfort. It's easily one of the most honest and punishing albums to drop this year. Given we can’t give half marks this is a full on, flat out. 9/10

Reviews: Motionless In White, Psycroptic, Red Method, If These Trees Could Talk (Matt Bladen)

Motionless In White - Decades (Roadrunner Records)

Every generation of metal fan gets a few characters in the scene that they can identify with and latch onto. Usually they're in the goth, nu-metal, metalcore scenes and for a long while now, since 2005 but their debut only came out in 2010, Chris Motionless of Motionless In White has been one of the people that scores of fans idolise.

His gothic looks, general spooky, almost vampiric vibe, harsh features, links to WWE's Rhea Ripley and mainly skill for writing songs that their fans can identify with has ingratiated him to a whole generation of music lovers.

This kind of popularity does also means non fans will scorn, ridicule and more, however this sort of petty criticism never really stands up when a band like Motionless In White are playing huge arenas, selling out tours and releasing platinum records. For all the make up and general gothic aura Motionless In White are band and should really be judged on the music they play.

With that said then it's I pressed play on MIW's seventh the studio record Decades, their first since their 20th Anniversary as a band last year (cue the title), and in Chris' words "is definitely heavier than some of our past albums. Our current world bred more aggressive energy, anger, and resistance."

Aggression comes immediately on the Title Track, industrial and nu-metal colliding for some massive grooves, pulled from that golden age of backwards caps and baggy jeans, it's a high energy opener which defines MIW in their second decade, heavier but still with a melodic edge.

There's no stop, the breakdown ends and the pulsating Log_in//crash_out begins, electronics bristling as they lean more on their more emotive earlier days, cleaner choruses and plenty of existential angst about the online era. The band's impact can be measured in their guests for Decades as Skylar Grey, Anthony Martinez (Dark Divine) and Corey Taylor all bring extra vocals.

Skylar on the first ballad, R.I.P, a theatrical duet, while Playing God has a Taylor and the frenzied percussion battery of the nine man masked mentalists Slipknot, but keeps the big MIW clean chorus to sing along to and Blood Rave is just that, a song from that club in Blade with Chris and Martinez trading vocals.

Love At First Bite, keeps the vampiric inspiration, with more industrial beats, a killer chorus and enough gothic overtones to have played in every metal/goth club across the world, definitely a Goth Baddie Banger! (Or something to that effect).

Blood Pact ramps up the heavy and the danger while Fight Like Hell has that familiar (to WWE fans) call of "This Is My Brutality", as the influence of Limp Bizkit is obvious on this Rhea Ripley influenced cut.

Decades successfully touches on every part of Motionless In White's career so far, from the gothic theatricality, the electronic pulses, the metalcore angst and a shift to heavier territory on Afraid Of The Dark, Decades is an album that proves the resilience of Motionless In White and that they rightly deserve their devoted fanbase and crossover appeal. 8/10

Psycroptic - The Pulse Of Annihilation (Metal Blade Records)

Dual vocal, Aussie tech death machine Psycroptic have been steamrolling across stages worldwide for over two decades now, from their humble beginnings on Tasmania they've become one of the most talked about extreme metal acts on the planet, with an experimental streak and a a refusal to release the same record twice.

Psycroptic have signed to prestigious label Metal Blade for their new record The Pulse Of Annihilation, with the backing of this label so instrumental in the popularity of death metal and it's sub-genres, there's a sense of vindication on this record which comes from Joe Haley, guitarist and main writer being able to keep the incredible virtuosity that the band have always been about while being able to branch out the dynamic structure of their music.

Allowing the music the flow where it needs to never trying to force anything, from tracks that pack 50 different riffs into one section to others that rely on one crushing groove throughout, these are the compositions a band with a lot of history, blood, sweat and tears behind them, the ever changing face of the metal scene captured on their albums culminating on The Pulse Of Annihilation.

The guitars of Joe enter several sides of the metal sphere, from full bore aggression to progressive melodies, pit staring bounce to stripped back introspection, no matter where the journey goes the bass of Todd Stern is solid and sinewy, creating a thick as treacle bottom end as Joe's brother David brings more inhuman drumming.

Formed in 1999, Psycroptic are veterans of the scene which can hear from the first note of this record. Having Jason Peppiatt and Jason Keyser share vocals has been a revelation for the band as it makes their music denser and ultimately more formidable. Tech death with a lot of "core" influences, Psycroptic have their finger on The Pulse Of Annihilation. 8/10

Red Method - As In Life (Depraved Records)

London industrial metal force Red Method come roaring back with their new EP, As In Life which blows open the doors with the frantic aggression of Counting Corpses.

They bring together the percussive battery of Slipknot, the groove metal violence of American Head Charge, the Nu-Metal/industrial thump of Mudvayne and mechanised brutality of Fear Factory with all of their songs, the former coming on Dispose Of Me, and the latter on Becoming The Sickness.

Inspired by the darker side of the psyche, they fill these songs with downbeat lyrics from vocals that take on multiple personalities, as the musical style gets louder and more vicious, embracing a progressive way of writing that has come from their very recent history of being on an absolute tear, the band have played as part of Download, Bloodstock and more.

This experience means they can throw together all of their styles and come out the other side with multi-faceted, multi-limbed, musical assault that's smashing your face one minute, record scratching the next, blast beating with huge breakdowns and then blowing up into melodic guitar solos, like they do on the impressive Detonate.

Red Method delve into the darkness with their new EP, their journey to here has seen them on the upward trajectory, against some serious adversity but on As In Life they have prove why they're one of the UK's most sought after and vehement acts. 8/10

If These Trees Could Talk - The Hidden Hand (Metal Blade Records)

If Trees Could Talk last released and album in 2016 so to say that The Hidden Hand is highly anticipated would be an understatement. Since they formed in 2005, they've released four albums of instrumental prog rock that has gained more layers and a cinematic scope with every release.

Hailing from the USA they were inspired to finished this new record after visiting the UK for Portals festival in 2024. This reminded them that there is a love of experimental music across the pond and in their own country, so filled with a renewed creativity they fired up the delay pedal and got ready to bring more musical synergy of a band who speaks without words.

Like a film soundtrack, ITTCT are about creating epic soundscapes, using traditional rock instrumentation in the way an orchestra would building from lighter tones into heavier ones as they use the same kind of looping Mike Oldfield would where one motif shifts into another, the inspiration of classic progressive rock and 90's post rock both very strong throughout the output of ITTCT.

The trio of guitars creating wide-screen melodies that swell and crash like the sea, while the percussion side is absolutely massive like the rumbling of a untamed environment. A decade wait sees If These Trees Could Talk return with new shoots of innovation on their new album. 7/10

Reviews: Left To Die, Parker Barrow, Stormhammer, Tomb Slab (Mark Young, Matt Bladen, Cherie Curtis & Joe Guatieri)

Left To Die - Initium Mortis (Relapse Records) [Mark Young]

Ok, this has been one of the releases I’ve been tracking this year, a homage to one of the most influential acts ever to grace the extreme metal stage. 

If you haven’t heard of Death, or Chuck Schuldiner then I suggest you have a dive online and then come back in a bit. I need to also preface the review by pointing out that the band comprise those who were involved during the very early moments of the Florida death metal scene, and so it has a certain flavour to it. 

The songs here are early Death and Mantas tracks that have previously only been available as demo material, as far as I can see (happy to be proved wrong though!). The band themselves have some heavy weight metal credentials with Rick Rozz and Terry Butler onboard and have approached this with a serious intent. I know that there are those who might be looking at this as some form of cash grab, or worse using a legendary band as a leg-up. I think its dependent on how you approach it and if those involved have got something valid to say.

So rather than take you through each track which I think is largely irrelevant here. The music is built from a different time, when death metal was still finding its feet and trying to move beyond the thrash/speed style prevalent in the mid-80s. This isn’t the surgically precise material that would be released later in that decade, rather it takes the form of sonic bludgeoning, of riffs and arrangements that were densely packed and solid in effect.

The songs can be traced to the first two releases by Death, again where those involved were finding their feet musically and if you are fans of that period then this is for you. It sounds pretty good too, its brutal in the right moments and is like stepping back in time to when things were simple – your metal was heavy or it wasn’t. And if wasn’t, leave the hall.

Fans of ‘modern’ death metal might find this almost pedestrian in comparison, but I defy you not to be grabbed by Archangel (with a chilling vocal from Matt Harvey). Its material of its time, for sure but it’s a release that gets those early tracks out there in a legitimate way. It’s unknown if there are more albums planned from them, what that would look like. 

I guess it is dependent on where that material comes from, if its original or re-recorded. In any event, I think this is something that is worth checking out, not just for the die-hards but for those who want to hear how death metal sounded back then. 8/10

Parker Barrow - Hold The Mash (Self Released) [Matt Bladen]

If you're getting a feeling of Deja-Vu then you aren't as Nashville Southern Blues rockers have already released half of this record as the Hold The Mash EP back in 2025 before heading out on tour, however they've now released a full length with the same name as their sophomore full length.

Now all that's is cleared up we can get down to the nitty gritty of this band named for Bonnie and Clyde, which features it's own husband wife team of Megan Kane (vocals) and Dylan Turner (drums), however these two, along with their partner in music guitarist and musical Alex Bender, are less concerned with robbing banks, but prefer to steal the show with some big blues rock rhythms.

Build around the powerhouse percussion of Turner and the deep grooves driven by Kyle Priber's bass. Parker Barrow bring a lot to the table musically with blues, rock, southern, soul and gospel, the guitars of Bender and Will Tipton cranking out the Zep-like riffs on The Healer, and slinky solos on Novocaine or My Morning Song which borrows from The Allman Brothers.

Eric Safka adding the organs on tracks such as Nothing Left To Save, keys to the acoustic Olivia Lane and generally adding those sweet layers of honey over the main riffs. The vocals of Kane are soulful, sultry with a roughness that comes through on the strutting Make It (cowbell alert) and the spiritual feel of Glass Eyes which is very Black Crowes due to the organ and slide guitar.

Nashville rocking that just oozes with the musical history of that town, Hold The Mash sees Parker Barrow defining the band they want to be with this second record of honest southern blues rock. 8/10

Stormhammer – Wrath Of The Hammer (ROAR) [Cherie Curtis]

German metal band Stormhammer presents us with 10 tracks of pure power metal that’s fierce and burning with melodrama. Their newest album Wrath Of The Hammer, is their ninth full length album following a brief hiatus and a few lineup changes over the 30 odd years of their career and it’s another great one.

This album and their current line-up bring a fresher, sharper and much cleaner sound but remains true to their roots, though this album is less raw and gritty, Wrath Of The Hammer is still powerful, thumping and anthemic like lots of power metal pioneers. Stormhammer’s sound is very similar to power metal bands like Sabaton with an Iron Maiden spin. 

This album is very stylized and the word cinematic rings true to them as their lyrics are visual and the instrumentals are atmospheric and all together, they project the image that is Stormhammer. They could be excellent sci-fi fantasy film scorers in another life, the album itself comes together like a composition, and each track has a different feel but paint the same picture and maps out their narrative perfectly.

What’s good about this album is that they managed to showcase a fair amount of range, tracks like my personal favourite- Guardians Of The Night, balances balmy, breathless and sort of romantically powerful vocals with the slow thundering hammer of drums and bass which slowly builds tension with the added contrast fast springy riffs, there's not really a sickening breakdown, but the energy does build and crest like a wave would in a storm. Whereas Ashes Of The Throne comes in all guns blazing and stays burning hot throughout so there are tracks to get your blood pumping and tracks for when you'd like to reminisce.

The only nit picky criticism I do have, and it feels especially harsh considering that Stormhammer brings a new vocalist for this album is that the vocals itself does fall flat, it’s not bad at all and it does glide along powerfully but it does so within one range and without textured layers we’re used to when it comes to power metal, it doesn't have the kick or a gut punching feel other bands within this genre have. 

I do however feel like a lot of power metal lovers will get a good kick out of this album anyway and it’s something everyone can enjoy to a certain degree, but it's a hard one to love. Stormhammer doesn't bring anything unique and I feel like it’s an album I've heard many times over the years. They are talented and they know their instruments as well as the genre and they have produced some great work, but it doesn't really give you anything to write home about.

Overall, it's a decent album. It's well made, it's not a chore to listen to and it's well mixed and fun. If you feel like it's something you can enjoy, check it out but I feel like there’s something missing. 5/10

Tomb Slab - Tomb Slab (Road To Masochist) [Joe Guatieri]

Tomb Slab are a Blackened Sludge Metal out of Nottingham, only forming last year. They’ve seen a very quick turn around, after only being around for a few months, they’ve already played quite a few shows and recorded their debut self-titled EP which I’m talking about today.

Tomb Slab are not a complete unknown as they have a legend in their band, that being Kez Whelan as their drummer, someone who’s spread their wings across UK extreme music, playing in great bands such as Thumbsucker, FILTHxCOLLINS and Shrykull. This lends the band a whole lot of credibility with a talented person like this being present and also being released by one of England’s premier indie metal labels, Road To Masochist.

The album opens up with Kingdom Of Tyranny, presenting the beautiful sounds of screeching feedback within its opening seconds, something that I will never grow tired of. The main riff that takes up the bulk of this song is evil and heavy, moving like a snake.

The track is boosted with its raw production, especially noticeable in the drums and bass, seemingly pinging of the walls. By 3:15 the track goes from dwelling in the darkness into a three day bender, increasing the energy in a punk style. It’s giving Electric Wizard, Grief and Eyehategod. Kingdom Of Tyranny is a a good introduction and it is my favourite song on this EP!

Next we go into The Butcher which presents a more upbeat sound compared to the previous number. Whilst it has a great groove and is fun to listen to, the only thing that’s really Black Metal here at all here is found in the vocalist Dean Lettice’s screaming performance. 

I do enjoy his stylings a lot, he’s like a cross between Nocturno Culto of Darkthrone and Mike Williams of the aforementioned Eyehategod, also sounding similar to Russ Barr of the Bristol band Gnash. Maybe pulling out of a well of the same influences.

Track three is Rawhead. It brings out a more Black Sabbath flavour in Tomb Slab, you can imagine the singer clapping his hands wildly to the song as the melodic guitar phrases bring life out of old amplifiers.

Both this and the previous effort have established a pattern for me which continues throughout the entire listen.

This idea that though these pieces have rough edges and contain themes of the occult, catchiness is prioritised above all else, evidently the band wants people to have a good time with scenes coming to my mind of an audience drinking and enjoying themselves. This is where I think that Tomb Slab are coming across to me as a Party Sludge band. They don’t want to be put under this label, though they are very comparable to bands like Gurt and Battalions. Guys it’s nothing to be ashamed of and you don’t need to be dark and mysterious all the time!

Later on we get track five with Tomb Of Flesh. Again, I’m starting to sound like a broken record now but it’s very much in the vein of what we’ve heard before. It makes the listener want to headbang and it’s at a slower pace, it’s engaging enough but it finds itself hitting its head against the ceiling, refusing to bring anything new to the table.

Overall Tomb Slab’s first EP just barely gets over the first hurdle. It’s got great musicians, playing well and having fun together but it doesn’t have the staying power. It’s like arriving at a six band gig, late to the second band and you’re four drinks deep. Sure you’re having a good time but you’ll struggle to remember in the future what they’re name is. 5/10

Reviews: Wailin' Storms, Devildriver, Shadow Of Jupiter, Eva Under Fire (Rich Piva & Matt Bladen)

Wailin’ Storms - The Arsonist (Season Of Mist) [Rich Piva]

It is fitting that the new record from North Carolina band Wailin’ Storms is dropping the same month the band Solace also has a new release. 

Not because they sound anything alike, but because like Solace’s 2019 record The Brink, Rattle, the 2020 record from Justin Storms and crew, was one of a handful of records that really helped me understand that there is a musical heavy underground and catapulted me head first right into where we are today. 

Speaking of today, Wailin' Storms’ new record, The Arsonist, brought to us by Season of Mist, is awesome, taking their noisy Southern preacher on fire vibes and bringing even more heavy to their take on gothic noise rock.

Starting with the reverby guitar and rolling bass and drums on the opener, Dead End, you can feel the heat in the room where Justin Storms is singing from while the music burns all around him. You will hear 80s goth vibes on this record, but goth if Jesus Lizard somehow got involved. Dead End is so huge and the guitar work is so killer, but how about when it gets all creepy and quiet, like he found a way out of the building structure only to decide just to stay put and let everything burn around him anyway. 

Storms’ voice and ranges are on display throughout, and is used as effectively as any other instrument in setting the tone and the urgency of the tracks, like his high range on Heart Of Mine and his screams on Never Rest. These songs seem to always be building to something, whether that is an explosion or just enough to think it’s going to blow but the fuse is extinguished at the last second. You Never Answered is an onslaught, where I hear Steel Pole Bath Tub combined with Bauhaus which is not a formula I would have ever dreamed of. 

The title track is a full on sermon, with Storms captivating his congregation through the flames all around them. The back half of the record is as killer as the first, with Patient Night and The Wind bringing more of the heavier side of this record, setting up perfectly the closer, It's All Dark Now Where Your Eyes Used To Be, a stripped down, piano and voice driven minimalist track that has Storms looking down on the wreckage, surveying the damage, and deciding what is salvageable, if anything.

This record sounds amazing, and that is because The Arsonist was recorded by Matt Talbott of Hum in full analog. Enough said. Wailin’ Storms has and will always be an important band to me., which is why I am so happy to say The Arsonist is their best work yet, with an already killer discography. Dark, smart, urgent, meaningful, and beautiful all at the same time. This is the magic of Wailin’ Storms. 9/10

Devildriver - Strike And Kill (Napalm Records) [Matt Bladen]

After a double album that garnered rave reviews for the Santa Barbara groove metal crew fronted by Dez Farfara you may think that they would continue to make records that continue in that way but actually they've gone the other way back to their roots for a 13 track blast through all the facets of Devildriver.

From punishing groove on the Title Track and industrial punch of Headed For The Fall to the melodeath technicality on Dead In The Water and In The Moonlight. There's an almost black metal atmosphere on Sanctified In Scars as the blistering Ride Or Die is outright ferocity and punishing tech groove of Shut The Silence Out.

Every track featuring that unmistakable snarl of Dez who offers up a varied vocals throughout to match whatever stylistic change this record plows through. Alex Lee and Gabe Mangold shred like absolute bastards on every track ferocious riffs and breakneck solos/leads coming throughout.

Davier Ortega Perez kicking the life out of his kit on tracks such as Never Coming Home (written for the England football team?), while returning founding bassist Jon Miller drops right back in for the bottom end power, even when there's a slight pause for Summoning Shadows and You're Just A Ghost, where more melodic strain appears before more battery.

Focused and feral, Strike And Kill sees Devildriver armed to the teeth and ready to wage war. 8/10

Shadow Of Jupiter - Bones (Ripple Music) [Rich Piva]

Chicago’s Shadow Of Jupiter’s second record, and first for Ripple Music is a triumph of heavy, melodic songs that stick with you and crush you at the same time. Bones has the band and the peak of their powers, a group who have figured out how to both play together as a fourpiece and how to get the most out of the songs that they put down for this record. The results are obvious, and will have you have this record on repeat, spinning in your mind even when it is not on the turntable.

The opening title track is all you need to understand what I am talking about with Bones. Colin’s riffs and playing, John’s vocals, which have grown into him being one of the best singers in the scene, Scott’s bass high up in the mix keeping it all together, while Adam does his thing on the drums (more on Adam later). This slow burn has so much atmosphere, and that along with Colin’s psych-leaning guitar work make this track a song of the year candidate. 

SoJ gets tracking and pace, because that slow burn moves to the ripper Whatever God You Fear that has both a grunge and thrashy kind of thing going on that balances that seven-plus minute opener perfectly. Speaking of grungy, Ugly On The Inside is that, giving off Soundgarden vibes a plenty, but showing the band’s mastery of the tempo change. There is so much going on musically on this track, but I have to call out the double take I did while listening to Adam’s drumming. The dude is a monster. I had to stop everything I was doing to just focus on his work on the back half of this song. Amazing stuff. 

The atmospheric aspect of this record is throughout Bones, like on Echo Chamber, a song that also shows that these guys get melody as much as they get the heavy riffs they are constantly delivering. My favourite track (currently at least) is Rumblestrip, with its killer vocal melody and John’s excellent singing performance. I hear Fireball Ministry vibes in this one, and there is not much higher of a compliment than that. 

These guys are not just bringing the heavy and riffs, they are storytellers too. Just check out Riotdogs to see what I mean. The closer, For Heaven Above, has all of the great stuff I have mentioned: the atmospheric psych guitar work, the heavy riff, the vocals, but also has an emotion to it that grabs on and will not let you go.

Bones is a triumph for a band who play together because they love to do it and enjoy doing it with each other. All four members of Shadow Of Jupiter are represented in this 41 minutes of music, as the band has figured out their strengths and doubled down on what works for them, and more importantly, what they feel is them, as a band, on wax. Bones is an amazing record that everyone should check out. Album of the year candidate for sure. 9/10

Eva Under Fire - Villainous (Better Noise Music) [Matt Bladen]

Eva Under Fire is the musical arm of vocalist Amanda Lyberg's work as a therapist, emerging from her own demons they debuted in 2022 with cathartic lyrics that are there to emotionally connect with audience and even male them reflect to choose themselves over everything else.

After completing her studies her father died of a fentanyl overdose and her mother nearly died from the same, now sober, these events have inspired Amanda on her work as psychiatrist dealing with trauma, grief, loss, and addiction which was turned into a documentary and featured her bands music throught, Eva Under Fire another outlet for her therapy work.

The Detroit band now follow up that debut album with their second full length release called Villainous which brings more massive hooks, metallic stomps and electronic thumps, creating music to get you moving but with lyrics that make you think and perhaps even re-evaluate as there's an inherent catchiness to this music but on repeated listening the impact of the lyrics gets stronger.

As if Amanda's powerful vocals weren't enough she's joined by Maria Brink of In This Moment on the industrial tinged Title Track, as ITM are clearly a big influence on Eva Under Fire. From the massive chorus of Awakening, through the Nu-Metal groove of Survive My Scars, the synthwave vibes of Dark Soul, the glitchy anthemic Don't Say I'm OK or the radio ready Hello Hollow.

Villainous is a modern metal record that packs an emotive punch. 8/10

Reviews: Black Sites, Holystone, Ruthless, Mothertomb (Matt Bladen)

Black Sites - For Eternity (Independent)

As Iced Earth's founder continues to defile the legacy of the band he started by being a complete MAGA mentalist, there are plenty of bands willing to fill that void, delivering the potent US power thrash riffs, progressive touches and massive vocals that were all part of IE appeal for me.

One such band is Black Sites whose previous albums have all scored highly with me due to their similarities to Iced Earth and that whole US scene but unlike Mr Schaffer they seem to have more of steady head on their shoulders with tracks such as Aquarius Betrayed taking aim at previous generations who "reaped the benefits of a socially liberated and progressive era, then quickly turned their back on them when they became inconvenient."

Vocalist/guitarist Mark Sugar has been joined by a totally updated line up of Lee Smith (guitar), Chris Black (drums) and José Salazar (drums) on this record and this injection of new blood has again shifted the influences of Black Sites as their classic heavy metal foundation is built upon by goth, doom, thrash and more, it's a broader range of sounds that come on For Eternity without abandoning the heavy metal heart.

This fifth album also spreads it's lyrical inspiration widely with UFO cults in their native Chicago (Cosmic Circle Of Fellowship), through to those dealing with mental health battles on Silent Wars, inspired by Robin Williams and anyone who struggles with their mind being their worst enemy.

A revamped line up, some more additions to their traditional metal sound as they build on the prog from their last record but Black Sites still fly the flag of heavy metal on For Eternity. 8/10

Holystone - Accepting Omega (Self Released)

Desert doom from Down Under now with the second album from hypnotic rockers Holystone. Despite only releasing their debut in 2024, the trio of Wolfe Peterson (guitar/vocals), Madison Morris (bass/vocals) and Jonny Pickvance (drums) have built up quite a formidable musical history in their native country with other bands.

As Holystone the have been taking to stages across Australia in support of Brant Bjork Trio, Yawning Man and Witchskull, along with numerous big riff festivals. There's a depth to Holystone that a lot of bands could really pay attention too. On the surface it's doom and psych that are the major points of reference but Holystone make their music makes you feel uneasy, it's brooding and ominous.

Ritualistic in their stage performance this transfers into their music as the vocals of Wolfe and Madison, blend together in union against the often discordant, rhythmically repetitive riffs. Within this mind bending psych doom there's also garage, grunge fuzz and even some dark Americana.

Holystone create sounds befitting the cinematic style of Alejandro Jodorowsky or The Stand by Stephen King, both having a strong impression on Accepting Omega a record where themes of existentialism, morality and depression are paramount, as it's an album about accepting the end and only then ultimately knowing who you are as a person.

I could describe all the songs on this record but it's one of those you need to listen to front to back, let is enter your psyche and work it's black magic on you. Accepting Omega is Holystone at their most apocalyptic yet. 7/10

Ruthless - Curse Of The Beast (Fireflash Records)

Heavy metal never dies and Ruthless are one of those bands who have taken a familiar path in the heavy metal world.

Formed in the 80's to reasonable success, they broke up only to reform again in the 2010's. Since then they've released three studio albums, the last one, The Fallen, on Fireflash Records and now with their fifth record Curse Of The Beast they return to Fireflash for more heavy metal mania.

Ruthless play US heavy metal, in the style of Jag Panzer, Metal Church and Exciter, owing inspiration to Accept and Judas Priest, they've even thrown in a cover of Metal Gods on this album. Their own tracks though are tough, heavy metal slabs, the American way with heavier riffs and rougher vocals than many of their European neighbours.

Speed metal often bowls over into thrash, for example the double shot of the Title Track and Raging Violence, however it's not all intensity as Blood Coalition opens with melodic guitars and heavy chug, continued on Killed By Fate but the majority of Curse Of The Beast puts it's foot on the gas and doesn't ease off until the very end.

Ruthless by name, Ruthless by nature, Curse Of The Beast is more thrashing heavy metal from these US veterans. 7/10

Mothertomb - Dying To Live (Death Box Records)

A band from Michigan singing about Welsh folklore? Well sign me up as it worked for Fleetwood Mac, however unlike 'The Mac' Mothertomb are a much heavier and formidable group of forest dwellers formed after a colossal ice storm in 2025.

Cut off from the outside world with just music, the spirits and their own psyche for company Mothertomb crafted this debut record of transcendental occult doom, where hypnotic riffs, stoner fuzz, gothic atmospheres and glacial movements are all used to capture the attention and keep your head banging.

Dying To Live as I've said takes inspiration from Welsh Folklore but also more tangible issues such as suffering, the struggle between dark and light and the fight with inner demons rather than those that come from hell. Inspirations come from Sabbath obviously, but also Pentagram, Windhand and Acid King, combining various flavours of the doom world without running too far from low and slow.

Alton Minor (bass) and Mike Benitez (drums) create a black hole of a groove, the drumming expressive, with double kicks taking you by surprise and lots of cymbal work for ambience on Cythraul. The bass is the thundering bottom end, but adds the psychedelic grooves to Mountain Hag and the title track.

The bass lingers beneath the guitar of Chance Gawlinski, who can conjure mind warping passages with reverb and echo and fuzzy/distorted riffage from doom 101. Mothertomb is fronted by the brilliant vocal power of Alice Gawlinski who sails between ghostly wails and demonic snarls adding more dynamics to these already by casting the vocal spells.

Mothertomb may be Dying To Live but this debut kicks open their frozen tomb with some heavy occult psych doom. 7/10

Reviews: Deafkids, Pride Of Lions, Smoking Snakes, Nunslaughter (Mark Young & Matt Bladen)

DeafKids - Cicatrizes Do Futuro (Neurot Recordings) [Mark Young]

Sometimes the boss likes to throw me a curve ball just to see what would happen. I think he does it because too much death metal is not healthy, and sometimes you need to listen to something else. In these moments of musical time-out, I reach for Carl Perkins, or possibly the Dave Clark Five, in the hope that batteries will be recharged and words will flow.

This month’s curveball comes courtesy of the Brazilian duo Deafkids and their latest Cicatrizes Do Futuro (Scars of the Future).

And you know what? As a change of pace and style, I loved it. The album itself, well I guess you could describe it as avant-garde/experimental/dance music. Well, I’m going to describe it as that because that is what I took from it. It reminded of metal nights a long time ago when bands started to lean into remixes that would allow them to throw maybe more industrial aspects into their music and as a result get people moving. 

Any student night would be playing Ministry, Nine Inch Nails (specifically Head Like A Hole/Broken/Downward Spiral) whilst ploughing through The Future Sound Of London amongst others because you would dance to it. Especially if you were off your face. This is music that wants you to move, no more and no less. The way that they put these together brings in those Latin America sounds melded with dance club beats. 

That is about as far as my knowledge of dance goes; In the early 90’s if you liked metal you didn’t go to places that played music like this unless it was a special club (Jilly’s in Manchester, Maximes in Wigan to name two, both are gone now) who also catered for drunk students who couldn’t get in anywhere else. Throwing industrial and the harder edged dance together caused all sorts of mayhem, which in a way is presented here, almost by osmosis. Its relentless and whilst tempo varies, the overall feeling doesn’t change.

It’s strange actually trying to write this review, because I’m drawn more memories of those days that are gone, that this album is somehow triggering. I won’t try to tell you which track is the best or is the relative high point because that would be missing the point. They themselves have called this a ‘visceral diagnosis of a world intoxicated by its own fictions of power’ and I’ll be honest, if I hadn’t had read that online, I’d would have said that they just want to make music that moves you. I guess what you take from this depends on what you like in your music. If any sort of dance music is a hard no, then I suggest you keep moving.

However, if there is just the slightest, and I mean the smallest possibility that you might listen to this without smashing your listening device to bits, then give it a go. It could open some doors for you. 9/10

Pride Of Lions - Unbridled (Frontiers Music Srl) [Matt Bladen]

It's been a while since Jim Peterik traded in Eye Of The Tiger for Pride Of Lions, but since 2003 he and vocalist Toby Hitchcock have become one of the leading lights in the post Millennium melodic rock scene. Unbridled is their eighth stupid record and it's another 12 track record of slick, emotive melodic rock with songs of resilience, power and devotion, from Jim to his wife Karen.

Jim's keys and guitars are at the heart of all these songs, his innate sensibility for what melodic rock is evident from track one. When you've penned some of the biggest hits in the genre, this all comes easy, so Unbridled is brimming with skill and gives no real shift from what Pride Of Lions have been doing since 2003.

Ed Breckenfeld is behind the kit, Mike Aquino brings the lead guitar skills, doing some EVH on the title track and Bob Lizik is on bass, but Pride Of Lions is Peterik and Hitchcock's baby, as they both perform lead vocals singularly and in unison for some rich vocal harmonies that are a key feature of melodic rock/AOR.

Another record of huge hooks from Pride Of Lions on Unbridled, AOR done with veteran experience and skill. 7/10

Smoking Snakes - All Lights On (Frontiers Music Srl) [Matt Bladen]

Swedish sleaze metal now from Smoking Snakes who introduce this new record with their own radio promo before they take you to the Sunset Strip and the sounds of Skid Row, Ratt and W.A.S.P along with the dense Swedish scene too. The attitude is there, the riffs are there and gritty vocals are there so All Lights On is a throwback to when hairspray destroying the atmosphere.

However it's a throwback with a modern identity to it, but the 12 songs on this album, such as Screaming For More, will definitely take you back to the 80's, as will the strutting Broken Heart, the big drums of Turn On The Lights while Nasty...Wild has choppy guitars and Trick Or Treat is a track that could very well fit on The Last Command.

You can hear that this four piece live for the stage with their music, written to be performed live, the tracks here are there to capture a band who still defining themselves as this is their second full length record, so it's got some more dynamic offerings, that bring melody and balladry to the sleaze metal style.

All Lights On is a throwback that's carries the danger of that scene in the 21st Century. 7/10

Nunslaughter - Satanic Chaos Legions (BLKIIBLK Records) [Mark Young]

I so desperately wanted to love this. In terms of producing art, especially art that provokes a reaction anything called Nunslaughter (and I assume its slaughter, not Nuns laughing which actually might be a better fit) should by rights cause certain members of society to spontaneously combust. And yet, this feels ultimately like a missed opportunity or maybe something that should have been presented in a smaller (EP) sized chunk. Incredibly, I’d never come across these before, and their discography is something to be believed in a career that started in 1987 (as Death Sentence) before settling on Nunslaughter. 

Getting back to Satanic Chaos Legions I expected this to set my skin on fire, to be the darkest of the dark and we got 14 songs of varying quality, depending on your how you take your death metal. Opening with the title track, Satanic Chaos Legions speeds along as you would expect with a suitably grindy guitar tone. Its fine, to be fair but just fine. I expected more than what I got and I don’t know if that is because of my unfair expectations or that I’m just being a bit of a twat with them. 

In any event, they deploy another 13 songs that veer from short sharp shocks such as Jesus Fucking Dies and you think is this more for a certain catchment who like their metal with lots of swearing in it. If so, more power to them. Elsewhere, their songs keep around sub-three minutes in order to keep things fresh and this is admirable. 

You cannot fault their energy but by the time you are getting past track 10 of what is largely the same thing, you wonder how long you have before it wraps up. I’ve complained about doom bands who are in desperate need of being ruthless in the studio and its no different here. They could have trimmed three or more songs and I wouldn’t have noticed.

Ultimately, they have their audience, and to be honest I don’t think that they will be disappointed by this. Personally, I couldn’t find anything here that gripped me in a way where I wanted to tell you about good this is. I appreciate that this is a relatively short review of this album, but in my defence I couldn’t find an awful lot I wanted to say about it. 5/10

Reviews: Hawxx, Still Remains, Arise From Worms, Winter In Eden (Matt Bladen)

HAWXX - The World Splits Open (Self Released)

"Yes, It's Fucking Political!" to quote Skunk Anasie and HAWXX are one of the most political bands of recent times, raging feminist, queer, counterculture punk metal that's inspired and disgusted by the state of the world all at once. With their debut full length they were mad, with album two, the trio are filled with an unbridled rage, which has manifested itself into these 10 songs of defiance.

Kicking off with Resistance Is Justified, HAWXX begin this next era with the crashing riffs and fierce vocals of Skunk Anasie as Annouli screams "Free Palestine" as part of their on going, long time opposition of what is taking place there, which lets be honest is a genocide.

Inspired by The Filton 24 which includes a friend of the band, it's definitely political but then so much music described as punk today is afraid to take these sort of stances, it's extremely pleasing to hear songs of true rebellion that are unafraid to take a stance.

Stripped back to really capture their live ferocity the band spent three weeks living at Middlefarm Studios in Devon with producer Pete Miles, recording all together simply and without much of technology that is so prominent in music, these days, the idea was for the music to be as organic as possible, this creative outlet the only true way to save souls broken by the horrors of everyday.

From resistance of tyranny, celebrations of queer love, rejections of Macho Bullshit, manifestations of pagan ritual, the destruction of the environment (We Are Nature), animal liberation (Arm The Animals) and more causes that the band proactively support The World Splits Open is catharsis for a band who care deeply about what they are writing.

Delivering it with ferocious performances all round as Annouli's impassioned, operatic vocals shout, scream, whisper and soar. Annoluli combines with Hannah, as part of the HAWXX guitar duo expanding the sonic assault with some incentive playing, kicking out the alt metal grooves meets punk rock aggression, throwing in industrial crunch to the riffage, on tracks such as the intense Bind.

No army marches without it's beat and with Jess they have the percussive heartbeat to their raging rituals, potent when going full battery on Arm The Animals, adding huge crashes to the colossal Be That Whore as well as bringing the complex beat to Sacred Water which has inspiration of Greek traditional music.

Yes, it's fucking political but it always has been for HAWXX, the world is horrible place right now and we need more bands who want conscientious catharsis over cancel culture, bands that are unafraid to speak their truth no matter the detriment that may come their way.

HAWXX's second full length is instilled with a set of beliefs that are resolute and should be fought for and shouted about, they've told us The World Splits Open but which side of history will you be on? 9/10

Still Remains - Spirit Breaker EP (Arson Theory)

It maybe over 10 years and only 5 songs but Michigan metalcore icons Still Remains finally drop some new material, their first since 2013's Ceasing To Breathe. One of the defining bands in that NWOAHM/metalcore explosion of the early 2000's Still Remains have a cult following that is still strong to this day.

Like bands such as contemporaries such as Bleeding Through and latter Betraying The Martyrs, Still Remains employ keys alongside their breakdown heavy metalcore assault to give them an extra dimension as a band. This use of synths has become pretty standard now in the genre and it's many offshoots, enforcing the importance Still Remains had and still has as a band.

Produced by and co-writeen with Lee Albrecht, their influential nature is not lost on the band as vocalist T.J Miller says "we tried to stay true to the sound that our fans have grown to love, but also evolve a bit and add some more modern influences", so Spirit Breaker is the Still Remains of old but with the trappings that have become so engrained into metalcore today.

This intense and personal EP starts with The Wound And The Weapon, swirling synths, a guitar build and then it's off to the races from that first speedy riff and volatile scream, Guy Kozowyk of The Red Chord joins on vocals as the band bring those modern sounds on the EDM beats of the title track.

Two tracks in and those more recent changes in the metalcore are prominent but as the EP continues Eclipse and Waste Of Breath return to where Still Remains come from. What's notable is that both sides work together, so if these first new songs in over decade signal the way ahead then any new material will please fans new and old. 7/10

Arise From Worms - A Bleeding Tree Hanging Self Destruction (Church Road Records)

You can definitely call Arise From Worms a supergroup. Crested by guitarist Sonny Lombardozzi (ex-

Incantation), he conceived it while on tour with Morbid Angel, telling MA frontman Steve Tucker about how he wanted to make a death metal album that pushes the boundaries of what the genre can be.

More extreme, more aggressive, more complex, Arise From Worms is a band not for the faint hearted, taking from Strapping Young Lad, Death, Cynic and any of the progressive extreme metal crowd, Lombardozzi and Tucker are joined by Flo Mounier (Cryptopsy) on drums and Derek Sherinian (ex-Dream Theater) on keys.

Their EP began this project as they meant to go on and now with this full length they bring a 34 minute assault to the ears where the guitars and keys duel for supremacy, the songs coming at you with intensity and energy, comprised of tonnes of start-stop riffs, technical guitar leads, keyboard/synth melodies, violin stabs, finger style bass and furious blast beats.

This is death metal inspired by jazz fusion, double harmonics and incredibly odd time signatures, the music as complex and volatile even without Tuckers snarls and growls, instrumentals such as Nine Walls and Laolongtou are just as extreme as any of the tracks with vocals, but also the closet ones to 'traditional' progressive metal.

Arise From Worms' debut is a supergroup with superhuman ability performing progressive death metal that genre fanatics can get all nerdy over! 8/10

Winter In Eden - Never Untold (Self Released)

Formed by Vicky (vocals) and Steve (keys) Johnson, Winter In Eden have been making progressive, symphonic rock for a while now evolving a little with each release and now there duo are joined by a new line up for their fifth record Never Untold.

Album five features Owen Alec on drums and Arun Kamath on guitar, this new dynamic allowing them to play with their sound a bit more expanding, evolving and generally adding to their overall approach as a band, as they have a definitive influence from Within Temptation, Epica and After Forever.

Ruud Jolie of Within Temptation adds guitar to four tracks while mixing comes from Jos Driessen and Joost van den Broek who are both veterans of the symphonic Dutch scene, so you can sort of guess what Winter In Eden sound like even if you haven't heard any of their previous four albums.

Kicking off with the three part Sleepwalk, Winter In Eden set out their stall quickly, dramatic orchestrations, big modern riffs and those powerful vocals as these three opening tracks combine into one piece to get this record off to a fine but perhaps unexpected start, before they dial up the drama with Nobody and My Imagination, both with huge orchestral manoeuvres.

You can hear the experience of this band coming through on Never Untold, a UK band with all the mastery over the symphonic genre that the European counterparts have. Progressive, heavy and atmospheric, Winter In Eden continue to impress. 8/10