Reviews: Deep Purple, Todomal, Harsh, Dichotomy (Mark Young, Matt Bladen, Cherie Curtis & Adz Redpath)

Deep Purple - Splat! (earMusic) [Mark Young]

Deep Purple have got to that point where they have outlasted a number of their classic rock peers, some falling by the wayside before they got their second wind. The fact that its actually more of a surprise when they aren’t touring says a lot about this band, and about how high they are still regarded. 

I’m not even going to attempt to run through line-ups, its redundant, boring and pointless. This is their 24th full length release, a trip that started with bouffant hair in 1968 and paisley shirts and despite members who are nearing 80, there is no sign of easing up just yet.

So, I won’t pretend to say I’ve like all of their stuff, like some I tend to gravitate towards In Rock, Fireball and Machine Head, which has some of their (and Rock’s) best moments. They were always different from Sabbath and Zeppelin, at least to me and their later stuff I felt didn’t have the same oomph to it and a lot could be attributed to band politics. Getting rid of Blackmore actually released them find that power again and despite losing Jon Lord, you would have thought that the line-up with Steve Morse in it would be it until they packed it in. 

So when my lad (Hoy Alan!) announced that they were getting a new gunslinger I was surprised, and when this landed with me, I was really surprised at how hard it goes. This is a very good album from them, one that shows that when the handbrake is released, they can still motor. The voice that Gillan had is an echo on here, but its enough, everything that you associate with Deep Purple is present and correct on here; the musicality, the scorching leads, drums for days and lyrics that are well typical Gillan. 

New guitarist, Simon McBride is stepping up into his role now and the songs are now manifesting a heavier edge, imbued with an energy that was missing previously. Take the opening track Arrogant Boy, this is classic Purple bounding forward and it sets the scene with some fiendish playing by McBride and Airey. And speaking of classic Purple, Diablo takes you back to the early 70s. They are infectious and joyful in their execution. Its an energy that stays in place right the way through and for me it’s the best thing they have done in an age.

It’s the fact that they have gone into the studio and just hammered out a banger, one that sounds like a band trying to make up for lost time and wants you to hear this. Its not the sound of a band who have settled here. Is it going to convert new fans, probably not. Its likely the name conjures up Grandad Rock with some; all I can say is that don’t let that the name or any preconceived ideas about them put you off. This is classic rock, executed at the highest level. It sounds great, delivered by a band that has got the winds at their backs. 

They are touring the UK later this year and wholeheartedly recommend that you make every attempt to catch them live. 9/10

Todomal - Graveyards Of Joy (Season Of Mist) [Matt Bladen]

If in 1980 Roger Waters hadn't left Pink Floyd and they had continued to go down the dark and bitter route he had taken them on from Animals onwards, I would like to think he would have been very interested in the developing doom scene that was happening in Europe during the late 80's and early 90's.

Especially when bands such as Anathema, Katatonia and even Paradise Lost all went tonight to include quite a lot of Floyd in their latter day incarnations, with Cathedral especially the influence of Waters et al had always been there through the elongated songs and psychedelic exploration.

Why are you talking about this? I hear you ask well for my money Anglo-Spanish band Todomal would be the result of Pink Floyd going doom, the complex song structures, a trio of vocals, pastoral moments, huge ominous passages and emotion over exhibition.

This is doom at its most beautifully atmospheric, the duo of composer/multi-instrumentalists Christopher B. Wildman and Javier Fernández Milla, forming the band in 202 after years in the Spanish underground. Their goal was to create music that was esoteric and ecclesiastical, more akin with cinema soundtracks (mainly Morricone) than with traditional metal.

A fusion of styles that brings together Spanish traditional instruments, string arrangements, and church organs to prog/psych rock and apocalyptic doom. They have already released two albums before this, with Graveyards Of Joy serving as a final part of a trilogy that deals with grief, isolation and tragedy.

Joining Wildman (vocals/guitar) and Milla (vocals/bass) in their live band Javier Félez (guitar), Javier "Bud" Martínez (drums) and Cecilia Tallo (keyboards/vocals), swelling the numbers on stage but in the studio the way this record is approached is the same it's always been, two instrumentalists playing everything with a few guests to join in.

Perhaps though having this live band has made them think a bit more about their music as Graveyards Of Joy is more expansive in and more melodic in tone, keeping their doom beginnings but bringing the melancholic metal that Katatonia, Soen and others have made their own.

I think I'm a little bit in love with this album, if this third record is what Todomal will sound like going forward, then absolutely count me in. 9/10

Harsh – Feels (Fireflash Records) [Cherie Curtis]

Harsh is a relatively new band from Paris who brings the velvety hooks and hard rocking, Glam Rock nostalgia from the 80s revamps it and delivers it with a clean, modern-day spin. A sentence like that may scare some people away, because why fix it when it isn’t broken? I agree, it's very hard to make Glam Rock better, and bringing it into the modern day doesn't make it better; it gives us more. That’s what Harsh is bringing with their newest Feels.

Every track within this album is punchy and electric; each one amps you up and is catchy enough for you to sing when the second chorus wraps around. Forever Yesterday is anthemic and passionate with western rock and roll feel. The heavy drums are pacing with clear fast riffs with dreamy reverbs, and the vocals are incredibly sharp and strong without being overpowering. Dancing Dancing is a sleazy banger, and I imagine it would have made it as a club classic 40 years ago. 

However, the glistening jewel of Feels is Maniac, a high-speed thrilling cover. Its jam packed with the hard rock bells and whistles we love, with incredible texture and layering and leaves no breathing space, it’s loud with wonderful noise with a gut punching with a technical guitar solo and a vocal sustain Hall And Oats can only dream of and they do it all with ease. They singlehandedly took an 80s pop classic to the beer slick and dingy floor of a hard rock gig. This was a very nice surprise, and I'm glad it landed on my desk, I'm a sucker for a rock cover.

All in all, it's a very promising album. It has all the marks of traditional glam rock; electricity, power and an infectious amount of fun and refined it with the technology of today without stripping the soul and passion away. Harsh brings us voltage and maintains it as well as staying consistent with their sound and overall image without it feeling like a tired gimmick, which is a very real risk. As great as I think this album is, it’s not going to be for everyone. 

You must be a fan of the genre to really get a kick out of it otherwise it would sound unremarkable, like something you've heard many times before which is good for most but not for some but I think you should give it a listen anyway and have some fun. 7/10

Dichotomy - Lucifer Owns The Fence (Rottweiler Records) [Adz Redpath]

Jordan Varela the one man beast and multi instrumentalist behind this Charlotte, North Carolina based tech death project is a law unto himself and has quite the track record in the industry as I'll allow you to research yourself, not least being a member of the likes of legends of brutality, Lividity and Lust Of Decay. 

What we find here in Dichotomy is a true death metal project harking back to peak era Deicide, maybe lacking the level of refinement of the aforementioned overall but certainly at a high professional and musical level with ferocious and unyielding pace throughout.

Everything on show here is hitting hard, each track has clear intent and furious vision, the mix is executed well and holds the attention. however a slightly thicker guitar tone that's layered more heavily to fill the mix would probably help in future and a more forthright multi tracked vocal mix would help to really convey the aggression on show here. 

That being said this is 90's era death metal that crushes and if it had been released during that period im certain it would have made waves in the scene especially as it is the vision and performance of just one individual it is to be highly commended.

An over use of pinched harmonics in the guitar work do distract by the time you're half way through this album and an overuse of certain time signatures and riff ideas do unfortunately distract from what is overall a very strong release overall. 

If you're a fan of Deicide etc during the 90's you will probably find a lot to like about this album and it certainly holds nostalgia heavily in its tracks. 

Some more fine tuning in the future and maybe working with a producer in depth on the overall songs as well as production will no doubt expand this project to being something that turns heads on the road ahead, not a game changer but well worth checking out. 6/10

Reviews: Troy The Band, Nxmad, Martyrs Saint, Soothsayer (Matt Bladen & Adz Redpath)

Troy The Band - (des) (JPEG2000/London Doom Collective) [Matt Bladen]

London experimentalists made a mark on me when I saw them at Masters Of The Riff Festival a few years ago. 

Their brain frying mix of doom, shoegaze, noise coupled with eye bleeding video visuals made for something that at the time caught me off guard but weeks after they were band I thought about most.

Not a gig but rather an experience that I wasn't quite ready for but wanted more of. They released their previous album Cataclysm in 2024 and while this was supposed to be a direct follow up, (des) had to become something different when their vocalist left.

That meant that (des) became a collaboration between artists, the band writing songs and inviting friends to come and sing on them, its also drummer Jack Revans' first official release with the band and recently they announced Ana-Maria Terr Bordei as their vocals it going forward.

Recorded with Wayne Adams at Bear Bites Horse Studios, the great and the good of the UK heavy music scene appears here, initially they had the idea of a few vocalists but each track has a different one, making the album a celebration of Troy The Band and their impact on their scene.

Porous begins the record with a woozy atmosphere and colossal doom riffs, the vocals of Soozi Chamelone (ex-Dead Witches) perfectly suited to this occult doom sound.

As a side note it's great to hears Soozi's vocals on something heavy again and they return for Denial, another grooving doom track which pays homage to Sabbath and also features Matt Sutton of Tayne at the end.

Journey's End dials up the psychedelia with some throbbing bass and swirling feedback driven passage through paranoia which features Peter Holland of Elephant Tree and Kay Elizabeth of Black Orchid combining their clean drawls.

It also has Caine Hemmingway of Believe In Nothing screaming with rage, he comes back on The Moment which is abrasive hardcore with a thick bottom end letting him loose.

Rage is also the name of the game on Nothing where an angular guitar riff underpins the sludge heaviness and Jake Packham's (Black Groove) throat shredding vocals. 

Final track Choke proves to be the heaviest here with Hemmingway, Packham joined by David Burdis of Black Shape and Ryan Denham for an unholy noise of an ending.

While Holland and Elizabeth get a chance to once again take Troy The Band into the stratosphere with and eight minute journey into the psychdelic stoner reaches of their sound.

Adding a throbbing bit of distorted groove from bassist Sean Durbin and big fills and jazz timings from drummer Jack Revans as guitarist Sean Burn moves between the ambient and aggressive.

Ana-Maria appears here on Adoration Of Ill Luck, showing off her versatile and soulful vocals sound that fits Troy The Band perfectly, in places even sounding like Cher, which is a huge compliment even if it might not sound like one.

With Ana-Marie behind the mic the future of Troy The Band is safe, until the album they have already written together is done, know that there's no false promise or wooden horse here, just a collaboration between one of the UK's noisiest bands and their talent friends. 9/10

Nxmad - The Second Fall (APF Records) [Matt Bladen]

The Second Fall carries the legend "recorded and mixed by Joe Clayton at No Studio/mastered by Brad Boatright at Audiosiege" now a sign of a record that will attack you like a belt sander to the face.

There are few production teams that can get an intense rawness and a polished sophistication, so it's why they are in demand for any band who come from the hardcore/sludge underground scene and make a lot of noise.

Nxmad make a lot of noise, be that swaggering sludge grooves, breakneck hardcore blasts or something in between, they shout, scratch claw and brutalise on their new album The Second Fall, released through those denizens of all things heavy APF Records.

Formed in Manchester all the way back in 2012, they were previously known as Nomad, releasing their debut album Feral in 2019 on APF Records, I remember giving the record high marks, as it took doom to the outer reaches of the genre, with sludge, hardcore and more rougher textures fighting their way through.

As with a lot of things after 2019, there was a lull, a hiatus and with a change in drummer they have rebranded as Nxmad, getting angrier, much angrier. 

Offering similar sludge riffery as early Mastodon, where the slow crush of doom is frittered away into a more direct sound that goes for the throat with rampaging tracks such as Vertigo or the angular bite of Bridge Burner.

After this break Nxmad have gotten a lot more pissed off, streamlining their assault but not reducing its impact, The Second Fall is relentless. Savage from the first moment, there's very little time to rest or reflect on what you're listening too, just the expectation of another beating laying around the corner.

Nomad no more, Nxmad keep the legacy but take their music into nastier places on The Second Fall. 8/10

Martyrs Saint - From Strength To Strength (Self Released) [Adz Redpath]

Bristol based Thrashers Martyrs Saint build on old school thrash adding in a modern tinge and a hardcore strength that absolutly rips, this release is fire. 

These guys have lots in common with the likes of Hatebreed etc and it shows in the best possible way. 

This release sounds great with a killer production throughout with an especially crushing guitar tone from Amarè Hurley and plenty of bottom end shining through along with some healthy use of samples here and there. 

The bass and drums here are very strong as you would hope for from this style and the vocals from Brandon Goodair attack the listener at every turn, the e.p.'s title is very very apt indeed.

The playing and musicianship on display here are adept far beyond the youth of the band and it is undeniably energetic and bouncy throughout and will only improve im sure with every release, this is a band that I hear crush it live and I'm not surprised given the frenetic power on show here. 

Some more time and even better production could well catapult these guys to the upper echelon of the genres and put them up with the likes on Malevolence etc.

Im notoriously strict on scoring as many in the reviewing culture so easily give out high scores when they are unwarented and don't understand the underlying aspects of a release and the industry however in this instance these guys are the future of UK thrash/hardcore scene and I can not reccomend them enough.

I will be following their socials and reccomend you do also and chekc them out live asap these guys deserve the support. Every track is a banger play it loud and buy their merch. 8/10

Soothsayer – The Unbinding (Apocalyptic Witchcraft) [Adz Redpath]

Newly signed to Apocalyptic records Soothsayer are forging ahead with their second full length release The Unbinding, Based out of County Cork in Southwest Ireland. 

This five piece are a what I would class as an old school doom metal band with hefty influence from the likes of My Dying Bride and Paradise Lost and wearing it on their sleeves serves them well. 

The Unbinding is a well produced and atmospheric release with a more natural and classic sound, not feeling overproduced or quantised overtly it has character that many are lacking in the current music scene, everything being recorded in a studio as opposed to programmed to infinity and beyond. 

There is noticeable peaking in the guitar tracks and fluctuations in the drum tempo that speak to a morelive sense in the studio and certain eqing that maybe comes from a less modern metal production and has a more raw aspect built in on purpose.

The vocals air more on the death side of early doom but with a healthy balance of cleaner more emotive parts. The guitars work well with melodic and doom tones having their own space and balanced with the rhythm section well giving everything a voice within the mix. 

Soothsayer may not be breaking any new ground stylistically or sound wise with this release in fact quite the opposite as a more classic sound is embraced throughout but It feels right and not forced.

The final track on this release A Vague Shimmer for me is a true standout on this release and speaks to a band that could progress a lot further musically and if given the right direction and tour slots carve their own space in the doom scene. 

I would certainly recommend giving this your time if the aforementioned influences are something that peak your interest as this Is MDB, Turn Loose The Swans era doom done very well and should satisfy that classic hunger for something more raw and classic. 6/10

Reviews: Masterplan, Stonecast, Vorax, Doomherre/Ordos/Hexjakt/Kaiser (Matt Bladen & Mark Young)

Masterplan - Metalmorphosis (Frontiers Music Srl) [Matt Bladen]

With their first new music since 2013, power metal legends Masterplan return on Frontiers Music with Metalmorphosis, their sixth studio album of originals and the culmination of this bands journey so far as they fully step away from their label as a Helloween offshoot.

Now Roland Grapow (guitars) didn't do himself or the band any favours with 2017's PumpKings covers record but after and extended hiatus it seems Masterplan return revitalised and infused with a new creative energy that is all over this new album.

Since their emergence in 2001, they've been through a number of line up changes most notably vocalist Rick Altzi replacing Jorn Lande, but the current line up of Grapow, Altzi, keyboardist Axel Mackenrott (since 2003), bassist Jari Kainulainen (since 2012) and drummer Kevin Kott (since 2017), have all been a part of the band long enough to understand their roles in Masterplan and bring what fans expect.

So what do they expect? Well power metal melodies, prog metal technicality and theatrical diversity that makes for epic songwriting, anchored on this record by the Title Track which displays the heavier sound Masterplan have returned with on this album. 

Tracks such as Through The Storm have their foot to the floor with full pelt European power metal while The Call goes deeper into the prog realms across 8 minutes.

This Masterplan's Metalmorphosis, shedding their hiatus to return with sharper songwriting and heavy hitting music. Veterans of the game it's great to have them back! 8/10

(P.S. I can't wait to see them at Quest Fest 2026 this year)

Stonecast - Expand Crimson Chaos (Pitch Black Records) [Matt Bladen]

I said in my review of French band Stonecasts last album. I, Earther that they "bristle with heavy metal glory" well with Expand Crimson Chaos they continue to just that. 

Creating heavy metal that merges the British and American styles, one moment they're Manowar, the next they're Judas Priest, but for most of Expand Crimson Chaos they stick with Iced Earth.

The seven year gap between the records taking into heavier paths and while Jon Schaffer's band is now a fractured mess of split members, insurrectionism and libertarian insanity, Stonecast can easily slip into that gap due to their thrashy power metal, which is the cornerstone of the American style.

The riffs come from guitarist Seb Casula (leads from Thomas Tiberi), bassist Lionel Antonorsi and the huge vocal prowess of Frank Ghirardi. 

Their IE credentials boosted by Brent Smedley behind the kit, with a track such as King Of Hell blasting like something off Burnt Offerings, switching between a stomping groove and more occult elements of theatre where they can flex their prog prowess as they transition into the blistering gallops of early Manowar.

They even drop a classic metal song in their native French, which is then given a piano version on CD bonus track, so Stonecast aren't afraid to take risks but they make their mark with some more muscular heavy metal. Play loud, raise your first and bang your head to Expand Crimson Chaos. 9/10

Vorax - Volcano Shock (Independent) [Mark Young]

Occupying the different side of the extreme metal coin is Vorax, and their full-length release Volcano Shock. 

Its surprising that no one thought to combine old school death metal and Dinosaurs, well at the least the apocalyptic part of that particular past. The band themselves are wholeheartedly onboard with this and treat this as a deadly serious exercise in music.

And let me tell you, it sounds serious from the off, they have nailed that 90s Swe-death guitar tone to a tee and basically run rampant with it. Magma Ocean is first, and well if you park any opinions on the song titles and just concentrate on the music this is a well-wrought opening salvo of nastiness. 

It just sounds like it stepped out of 1994, and the way that the songs are put together is that they are basically put in gear and are let loose, percussive and propulsive death metal that only moves in one direction. 

The vocals are gnarly, completely suited to the material on hand. Devouring Raw Flesh, with its slower tempo is no less immediate, as is the title track Volcano Shock which possesses that classic death metal super-strum to it. The question is whether you can stay the course with them, and wholly dependent upon your appreciation of OSDM, especially one that tips its hat towards Scandinavia. 

Fans of that era and that location should be able to get onboard with this with no trouble. The songs are good songs, lead breaks are broken out in all the right spots and they never miss with their riffs, which is always massive for me. The other thing is their approach; this is not meant to be a joke or something half-arsed, at least from as far as I can tell.

Yes, the subject matter could be considered to sit on the humorous side of things, but when you look at metal in general there are some sub-genres that raise an eyebrow or two. At least Vorax are bringing a relative a-game to proceedings. I keep going back to its sound, its something akin to stripping the enamel from your teeth. 

Add in that they don’t take a backwards step at any point on here and you have an album that succeeds in terms of offering you 8 songs that place great emphasis on craft. You can’t fault them for that. 7/10

Doomherre, Odos, Hexjakt, Kaiser - Four Altars Of Sin (Majestic Mountain Records) [Mark Young]

Well, this is certainly the treat!!

Four Altars Of Sin gives us a 4 way split of some top class Nordic doom/stoner via Majestic Mountain Records who somehow have combined some of the frostiest metal to be released during an extreme heat event in the UK.

Doomherre – Blood Relics Of Old

Ordos – Inferno

Hexjakt - Svartkonst

Kaiser – Sonic Satan

Putting improbable coincidence to one side, It’s a monumental slab of noise that is a dense as their names suggest. This feels as though Majestic Mountain have carefully curated this split, with each band offering the listener something that is different from the other without sounding out of place. 

The key is that each one delights in being unfathomably heavy whilst imbuing a sense of movement in each of their tracks. Some of the riffs are massive, just as you would expect and there is no way you will come away from this disappointed if this is your bag. 

Doomherre kick things off with Blood Relics Of Old, dropping a bass that is so low its likely to cause waters to break in the pregnant and a riff build that elicits a ‘Fuck yeah’ in right minded individuals everywhere. 

This is a quality start and positions the bar high for Ordos to follow with Inferno. This looks inwardly with a restrained sound that just builds along with one of ‘those arrangements’ that has that itch to it no matter how distorted it is. 

When it does kick in, it’s the vocals that do the heavy lifting, switching from cleans into the harsh. Like Doomherre, they are here to move you and I defy anyone not to get behind this.

Hexjakt start side 2 and just dive in with Svartkonst. This one rides that traditional doom train, again with a focused but fuzzed out mania.

Its central riff is like a monster, simple but massive and when you think about it, they don’t need it to be anything else. Its simplicity is devastating, punctured by a lead break that has that emotional lift to it. Again, at the core is a simple truth which doesn’t mean that this is without merit. It is pure, unspoiled doom. 

Bringing this to a close is Kaiser, with Sonic Satan. Its extended opening sirens and voice over grating until the guitars drop in. I did say that they all shared a similar sound, and this is true in that each band bring massive riffology. 

Kaiser do things differently in the vocal sense due to their lean into stoner territory rather than doom. They still have engage in immense tones, with a fabulous lead break that dominates their entry and ultimately wraps their entry to a close.

For fans of Doom/Stoner, and of Majestic Mountain Records in general, this will surely scratch an itch and introduce new followers to their flock. Hats off to Majestic Mountain with this, brilliant release 8/10

Reviews: MONO, Junius, Plaindrifter, Gin Lady (Matt Bladen & Rich Piva)

MONO - Snowdrop (Temporary Residence Limited) [Matt Bladen]

It’s difficult to lose a friend, difficult to lose a colleague, difficult to lose someone who you have been intrinsically linked with for so long, but when Steve Albini passed away in 2024, Japanese band MONO lost a collaborator, colleague and friend all at once.

His unrivalled production skills has featured on hundreds of albums, this made him one of the most recognisable and revered names in his field, but to MONO he was more than that, he was their “fifth Beatle” the concrete foundation upon which their work could be built upon, with a scientific understanding and emotional connection to their working process and exactly what made MONO tick.

This led to a period of uncertainty the grief of losing a friend but the more practical fear of losing such an integral part of the band, they must have asked themselves if they would ever sound the same again?

That is until they found Brad Wood a friend and devotee of Steve Albini, he too is a producer having made records with Touché Amoré and The Smashing Pumpkins, so he sat in the chair at Electrical Audio, Albini’s studio and alongside conductor Chad McCullough, a 10-piece orchestra and an 8-piece choir and rebuilt MONO, the group creating Snowdrop and record that this as intense as it is intimate, fuelled by the love of a brother.

This is a record that celebrates rather than commiserates, celebrating life rather than mourning death. It pays tribute to Albini, through Wood being sympathetic to the production style he had locked in with MONO, but also sees the band embracing their new working relationships and a jump into the unknown.

Snowdrop begins with the elegant title track, the guitars shimmering across the stereo spectrum, defined left and right instrumentation throughout, you must listen to this on good headphones or through good speakers to really hear it. The title track is like the first buds of spring flourishing at the start of the record before unfolding into the stunning duo of Winter Daphne where the orchestra and choir really come into their own and the triumphal feel of Gerbera, the drums like a distant marching band keeping the time against the orchestral swells.

From here Statice has me thinking of film soundtracks, it's the repetition, the piano and the whole general feel of it I think, especially comparing it to Hedera where the guitar is king, shifting back to the post rock early days of the band. However MONO's music has always been cinematic, songs built for never-ending horizons and long distance travels through beautiful vistas.

Fans should not fear, their first record without Albini behind the desk since 2014's The Last Dawn/Rays Of Darkness double release, is a tribute to the great man from those that loved him while also being another epic, evocative performance from this band who communicate through their virtuosity in an unspoken way. 9/10

Junius - Sotera (Prosthetic Records) [Matt Bladen]

Boston band Junius return after nearly a decade with their new album Sotera, which in the words of founding member Joseph E. Martinez "feels like a rebirth for the band".

Which it sort of is as vocalist/guitarist Martinez and drummer Dana Filloon are the only founding members of the band left, the rest of these soundscapes brought to life by Eoghan Mccarthy (guitar), Matthew Vincenty (guitar) and Orion Wainer (bass).

So yes folks it's another post metal band with three guitarists, but when you hear the density of Junius' music you'll understand why three guitarists are the minimum, shifting from colossal heaviness into introspective atmospheres, there's so much to unlock musically with this record, is no wonder they've been compared to the likes of Tool, Deftones and Cult Of Luna.

Produced by Martinez and Tom Syrowski (Blackberry Smoke, Mastodon), Sotera is a collection of songs where dynamics are key, undulating between ominous distortion and bright ambience, the angst of Deftones, sneer of Tool and the gothic brooding of Type O Negative all prominent in the expressive vocals of Martinez.

You could apply the term symphonic shoegaze to the album as while they do a lot of repeated shuffling and looking at their toes, the instrumentals layer across each other for a wall of expression and shifts in volume that comes from that 90's era of alt rock experimentation.

A record dedicated to Hekate and divine feminine powers, it's their first album not to be confined to just the conceptual but carry a narrative thread, rather than storytelling rigidity, so maybe Sotera is Junius relaxing into being a band after nearly 20 years.

The various genre tags that can applied all getting a bit muddled, as these tracks always offer something different to the last, yet retain a musical dexterity that's hard to define. A clash of sounds that create a post-something noise any devotee of the 90's alternative music scene will feel very comfortable inside. 8/10

Plaindrifter - Gestalt (Ripple Music) [Rich Piva]

Germany's Plaindrift have figured out the perfect and delicate balance of being both proggy and heavy on their amazing new record, Gestalt, brought to us by the best label in heavy rock, Ripple Music. These six songs walk the proggy/stoner/metal tightrope with the greatest of ease, bringing the best of all three of those genres to Gestalt.

Amazing vocals, killer musicianship, and the songs…the songs are breathtaking. Immediately you feel this with the opener, Moth Murmuration, which goes in lots of directions but never waivers too far to allow you to keep guessing but never questioning the direction chosen. Eternal Season is right with it, with some amazing guitar work and next-level songwriting. 

Hyborian Age starts out like it is getting you settled in for what will be quite the journey and that is exactly what you get for those seven amazing minutes that makes up my favourite track on the record. The heaviest song and riff, of course, has Ryan Garney guesting on it, as the middle psych-y part of this seven and a half minute trip leads to Garney’s killer vocals to close it out. Great stuff. Debaser closes Gestalt, pretty much defining what heavy prog should sound like moving forward.

Plaindrifter is just locked in on Gestalt. This record should be held up next to any album proclaiming to stay heavy and still wander into progressive territories, without ever being a parody of itself but instead helping to define what this genre should sound like. Another amazing Ripple Music release. 9/10

Gin Lady - Toads And Diamonds - Volume I: Live in Spain (Ripple Music) [Rich Piva]

If the Allman Brothers were from Sweden they may have toured with Gin Lady, and this set, from Gin Lady’s 2025 tour of Spain, shows that the band would have hung with those legends on stage, given how great Toads And Diamonds - Volume I: Live In Spain sounds.

Gin Lady has been around for a while now and has a great back catalog that they sample a lot of on Toads And Diamonds - Volume I: Live In Spain. The highlight for me is I'm Your Friend, where the guitar work and the harmonies are so precise and beautiful while still giving this raw live feel. I also love the chunky Flower People, with this Neil Young thing it has going on, Crazy Horse background vocals and all. 

Another amazing live band, My Morning Jacket vibes emit from Far Beyond The Sun while the most Allmans track musically, Brothers Of The Canyon, could not have been a better closer, leaving the crowd moving and wanting more. The Byrds-like harmonies pair perfectly with the Southern jamminess of the song. The sound of Toads And Diamonds is great, capturing the band in all their glory while also getting all the little intricacies of their sound.

This would have been quite the show to attend, but at least we get Toads And Diamonds - Volume I: Live In Spain for those of us who have not had the honour of seeing the amazing Gin Lady live and in the flesh. A killer live record in a time where they are few and far between. 9/10

Reviews: Primal Cult, Medusa's Wrath, Pulsar1081, Chants Ov Obscurity (Matt Bladen)

Primal Cult - Dark Passage (Northern Silence Productions)

Eve Alchemy and Aro Raven formed Primal Cult in 2012 and since then they've become a melodic black metal force in the Hellenic extreme metal world. Their music has "themes connected to nature, inner conflict and ancient imagery" as the duo combine ferocity and atmosphere like so many of the leaders in the genre from their country. 

Tremolo guitar, keys, melodic passages and blast beats all at the heart of the this cult. Their debut came out in 2018 so has this gap between releases changes anything? Well no, maybe there's something that's a bit more refined on this one, the creative mind of Eve Alchemy composing songs that are still carry a significant black metal darkness but offer glimmers of light with the clean guitars and synths.

There's also cello, piano (Shore Of Echoes) and more textures to broaden the sonic appeal of this record, spoken word parts and traditional Greek instruments come on the title track while there are acoustics that begin Below The Wave. Dark Passage keeps Primal Cult firmly in the grip of the Hellenic extreme metal world, not about speed but about power and cinematics. 7/10 

Medusa's Wrath - The Seventh Plague Of Babylon (Sleaszy Rider Records)

The second album from Medusa's Wrath doesn't change the formula of their debut, Pavor Exitium Mors too much. You can expect epic, US styled heavy metal which reminds me of the early records from Iced Earth when the vocals were overall a bit harsher, but the music still retained that classic heavy metal goes thrash style. 

With lyrics inspired by history this Athenian five piece still carry that epic heavy metal flag of Manilla Road (Shadows Dance), Iron Maiden (Eternal), Mercyful Fate (Breaking The Spell), Judas Priest on We Cannot Breathe and Lament Of The Serpent with more than a dash of Sabaton too. 

Medusa's Wrath do what they do, playing heavy metal which merges that robust US version with the speedier UK one. The Seventh Plague Of Babylon is a decent follow up to their 2024 debut. 7/10

Pulsar1081 - L’inizio Della Fine (FYC Records) 

Ok let's get into this one yeah? Pulsar1081 are a duo who have caught the ear of D.I.Y label FYC Records. Always having an ear to the ground and penchant for the creative FYC area perfect home for the ambient industrial soundscapes of Eterno and Momento. 

Between them they use keys, guitars, synths, samples, noises, takes and even some vocals to create these layered pieces of music where the synthetic and analogue instrumentation are blended with chants (Darkness), making a seven recordings that have an unnerving sense of dread that flows through all these pieces. 

I say pieces as they aren't really songs, they're soundtracks of a film that doesn't exist but you know would be psychologically terrifying. This isn't a metal album but then FYC has always been a place for the experimental underground and Pulsar1081 is very experimental. 7/10

Chants Ov Obscurity - Bloodstained Monuments (Self Released)

Some blackened deathcore now from Thessaloniki based Chants Ov Obscurity, with influences of Abigail Williams, Ov Sulfur and Cabal, this is fast, furious stuff, the grunt of death metal with the rage of black metal. 

Bloodstained Monuments low guttural vocal croaks/screams (Demios Sam), heavy breakdowns (Kostas Oiko) and symphonic elements (Maria Brkc) but ultimately doesn't do too much different from those bands I mentioned. 

I felt like most of the song bled into another but then deathcore is not always my preference, still fans will be chomping at the bit to pit to these tracks I'm sure, for me it's the Reincarnation In Blasphemy that's stands out as the best on the EP.

As I said blackened death if you're a fan you'll like it if not, then it won't convince you. 6/10

Reviews: Lost In Kyiv, Oh Hiroshima, Hanry, Million Moons (Matt Bladen)

Lost In Kyiv - We're All Going To Be Fine (Pelagic Records)

Some more fine French fancies from Lost In Kyiv and their new album We're All Going To Be Fine, over a decade of post rock excellence continues with this latest release that seamless integrates cavernous enveloping riffs and twitching electronic ambience.

This new record taking down a heavier/darker path than before, one that has been spearheaded by them looking inward for inspiration, drawing from their own lives to craft personal and emotional songs that delve into the less upbeat parts of their collective psyches then transferred into music that has also been inspired by Carl Gustav Jung.

A refocus rather than a reinvention, We're All Going Yo Be Fine is a record that the band describe as "the first record of a new version of the band", which has lead the name change from Kiev to Kyiv because if that's the way the Ukrainian capital describes itself then this change is reflected in the more tumultuous atmospheres on this record.

With so many "post" bands dynamics are at the heart of what they do and Lost In Kyiv master dynamism with every cut on this record, with electronic and analogue instrumentation weaving into each other throughout.

There's acoustic beauty, pulsating breakbeat, waves of synth melody, repeating clean guitars lines but also bigger and louder distorted riffs that take the band into those more ominous, metallic tones. The addition of their new drummer, giving them more powerful grooves powered by adrenaline and even aggression, while the guest vocals of Rebecca Need-Menear on Becoming again brings another dynamic to their sound.

We're All Going To Be Fine is a record from a band who were in a state of flux, but have slowly and carefully rebuilt themselves into a more potent force that has a stronger connection with their audience. 8/10

Oh Hiroshima - And The Dead Tree Gives No Shelter (Pelagic Records)

The duo of Jakob Hemström (guitar/bass/vocals) and Oskar Nilsson (drums and percussion) have been refining their full spectrum musical approach for years now, the Swedish based band curate a place for cinematic introspection, intensity builds, emotions are driven by the colossal soundscapes and soulful vocals.

Oh Hiroshima make music that climbs, like a slow ascent up a musical mountain, they take cues from Mike Oldfield and his ability to layer repeating rhythms over each other as another step of the journey. Inspired by T. S. Eliott's The Wasteland, there's a sense of hopelessness to the album that is communicated through these eight songs, an innate sadness for a failing world where guitars and drums are joined by stirring strings.

There's also moments that spark joy and hope, the feeling that perhaps we can change the world, The Tree Of Life leaning on Celtic tones while Broken Sunlight goes through flute driven grunge while Exit Cloud features organs, orchestras, electronics, horns and the biggest riffs of the record to close it out.

And The Dead Tree Gives No Shelter is an album that features musical complexity and emotional turmoil, a lament for the world explored through expansive music and emotive vocals, Oh Hiroshima continue to impress. 7/10

Hanry - What Came From Silence (Pelagic Records)

Another instrumental post rock group now with What Came From Silence by Hanry.

Despite only being formed in 2022 they have already positioned themselves as ones to watch in the world of post rock, so with their debut album they look to firmly define themselves as a band with it. Written and recorded during a harsh winter in Brittany, the fierceness and isolation of this process can be felt on this album.

It's a record where all the songs begin in cold and frigid tundra' but build into luminous vistas as the introspection evolves into acceptance, the band say: "What Came From Silence is a meditation on emergence, on how resonance is born from restraint, how sound gathers weight from quiet beginnings" which in my view sums up the album perfectly.

A virtuoso five piece that share a musical bond that's is strong across the record, a trio of guitars create the lush layered effect of melodies, harmonising and counteracting with the hand picked synths to make sure that this is the sound they want to be associated with, never over-complicating anything but defining their approach with the multiple guitars, synth lines and cello while the drums are propulsive and create spatial awareness beneath it all.

They also credit the addition of pianist Mariposa as bringing extra depth, for me though their mastery of electronic music is what makes this record exciting, inspired by Explosion In The Sky, Boards of Canada, and even Massive Attack, a track like Remains could be an easy entry into that 90's synth/triphop scene as would Time's Collapsing.

Their blending of electronica and post rock give a Hanry a unique position on the post rock scene, signing to Pelagic has helped them discover how creative they can be with their debut album. 7/10

Million Moons - You Be Good, I Love You (Ripcord Records/Dunk! Records/A Thousand Arms Music)

Continuing my current run of reviewing mainly post rock/metal, I have some animal conscious post metal from Scotland/London based band Million Moons.

On their new album You Be Good, I Love You, they approach it with the idea that animals are "different, yes—but never less than" their human counterparts.

I'd have to agree as I've had more intelligent and profound conversations with animals than many humans over the years but I digress as this album takes things further than I could have, delivering into consciousness. The title coming from the last words of parrot who learnt to communicate with his handlers developing a consciousness of his own, away from animals.

Outside of the band they are all very much involved in conservation so these themes are very close to their hearts, leading to songs that are there to inform rather than rebuke, though it's Secret Histories that does point the finger through the record heaviest moment.

Their music is a selection of structured soundscapes that are meant to reflect certain animals, the swooping movements of flocks of birds, the stillness of floating iridescent sea creatures, the epic journeys of mammals and even on Echoes In The Abyss, the 52-hertz-frequency call of whale 52 Blue.

Guitars are used for intricate but soaring melodies, the rhythm section thunders and floats, letting moments of heaviness consume, while when stripped back allowing the groove to settle in.

Electronics bristle and the band have also brought in sax and organ to swell their cinematic sound, captured by Lewis Johns (Rolo Tomassi, Slow Crush, Employed To Serve) who makes sure every single moment of this bright and bold record can be heard. 8/10

Reviews: Yawning Balch, Stormkeep, Wage War, Joseph Tholl (Rich Piva, Mark Young, Matt Bladen & Cherie Curtis)

Yawning Balch - Volume 4 (Heavy Psych Sounds) [Rich Piva]

Of course, the super group, and I am in no way using that term loosely, Yawning Balch, produced another killer atmospheric, desert-psych-trip on the fourth installation of the collaboration, aptly titled Volume 4. 

Yawning Man have been consistently awesome for decades now, with their what can only be described as legendary psychedelic desert instrumental goodness, but adding Mr. Balch to the mix gives them this vibe of just a little bit heavy too, but never enough to throw off the delicate balance of what Gary, Bill, and Mario in YM are all about.

Volume 4 is part of the second hour's long jam sessions the guys did in the desert, with Balch talking about his new pedal that played a prominent role in the two tracks offered here. Bob likes pedals and I like Bob using pedals. Pyramid Of Djoser is the first one, and Bob certainly has all sorts of trippy tricks going on with said pedal and his mastery of the instrument he has been known for. The most amazing thing about Balch is his ability to be awesome in any setting; as the riff maker in Fu Manchu, playing 80s Priest worship in Axe Dragger, or the desert trippy stuff you get here. 

The chemistry is obvious between these four amazing musicians, as Water Ritual may be my favourite on any of the volumes thus far. It is so hard to put a 22 minute jam into words, but if you want to take or not take your substance of choice and just chill, Yawning Balch got you. Bob never goes too far, sometimes you feel he may or maybe even you want him to, but he always keeps it right down in the good part of the trip.

Yawning Balch. As a fan it is fun just to write the name. It is even better experiencing all the goodness this collaboration brings. Bring on the next volumes, we are here for it for sure. 8/10

Stormkeep - The Nocturnes Of Iswylm (Vesperian) [Mark Young]

There is something about atmos black metal that when done right can't be touched.

The Taste Of Immortal Blood has that lofty opening touch, allowing the swells and Eddie's before they drop the hammer.

Fast drums, riffoloa

Then cleans that I actually liked in this context, they attempted to support or underpin the music in front of it. However, they remember that this is heavy metal and that having the atmosphere is nice but what really is key is guitars, drums and bass. It's suitably energetic, punching forward when it needs to, and allows the use of keys to come in to act as a natural break. The outer lead break, as quick as it is has the song in mind by actively not overshadowing it. 

It's a very strong start, one that The Black Dragons Of Iswylm maintains. It's a tightly wrapped song, the component parts are equally distributed behind a solid riff. Having this one run shorter means there is a race to get as many parts played as possible; piano here, atmos break there. T3 continues that run, a classic BM start that sees galloping guitars and machine gun double bass. By now it's settled into a pattern that shows a consistent approach to their craft. Its full of melodic lines (the early lead break as an example) that are positioned well within its arrangement. Obviously, we are never too far from a moment where they remind us they are about the atmosphere.

Imperious Sanguine Erotiscm gradually eases into play, a slow fade in that sees them deploy the clean singing first then rip into those harsh bm vox and back again. I think it was expected that they would have a relatively slow one which would give them room to breathe and spread out. There's still opportunity for them to go heavy, and they do whilst maintaining restraint ensuring that it flows as opposed to lurching into new ground. 

T5 decides its had enough and kicks into high gear once more. There's a hurry about this one, manifested in how they position lead breaks and changes in velocity to suit. Of the tracks so far I think that it suffers from being padded out slightly. Personally, this could have been reduced in length but given that the overall level of craft that has go e into these songs has stayed constant it really is a minor niggle. 

T6 has a cracking riff set to it, relying on speed to SOMETHING HERE. Whilst it has that in its favour, its shares a lot with the tracks preceding and its a good track there is a familiarity dropping into play. Again, its a personal thing, but the closing track, Ballad Of A Fallen Star needs to shake things up. I'm hoping that its not an actual ballad, because the last song has to be the one that stays with you once it wraps. Well, any thoughts that they would avoid expansive song lengths are put to bed straight away. 

It's a 9 minute showcase for the good stuff that they have done, but also one that highlights the need for a ruthless hand. It doesn't deviate from the path laid out at the start, nor does it throw in something out of character.

Something else. 8/10

Wage War - It Calls Me By Name (Fearless Records) [Matt Bladen]

Floridian band Wage War dwell in hot and humid swamps of Florida and on the opener of their new EP they encompasses the hidden threat of the alligators that lurk just under the water. It's a song that's brutal, oppressive and dangerous beginning to this record, Wage War at their most vicious and biting, massive grooves and breakdowns with ferocious vocals it's Wage War going down their heaviest route to date.

This renewed danger and aggression continws into 4x4, more screams low end booms but still massive chorus hooks. Wage War state their influenced by Florida itself and the aggressive power of nature, this has made sure that this EP is muscular and loud.

The five piece of drummer Stephen Kluesener, bassist Chris Gaylord, guitarists Seth Blake and Cody Quistand as well as vocalist Briton Bond all give incendiary performances especially Bond on closer Purify as the duality in the vocals on Blindfolded and Karma are more what you may expect from Wage War.

Inspired by the harshness of their home, Wage War, step up the ferocity on It Calls Me By My Name. 7/10

Joseph Tholl – It Might Be Art (High Roller Records) [Cherie Curtis]

Multi-instrumentalist Joseph Tholl brings us his second solo album, It Might Be Art and its hearty, melodic and sincere. It doesn’t rely on sickening breakdowns to be noticed and appreciated. Joseph Tholl has a respectable vocal range swinging from balmy to unfaltering passion with a dark bitter edge complimented by contrasting tension building backing vocals which brings a satisfyingly rich texture and dynamic.

It Might Be Art is something everyone can enjoy, though it’s not metal; it’s a piece of well-crafted, hard-hitting rock. It’s not distracting or pretentiously overcomplicated in any way, but what’s great about this album is that each track is unique from each other in style slightly so if you’re not a fan of one, you’re bound to enjoy the next.

For example; The Burial is a personal favourite, it’s fun and quick with sharp riffs with creative solos and a catchy chorus that's darker and more atmospheric with more of a specific narrative than the others and I’m In A darkness is measured, powerful and laced with romanticism and reverb that makes it more of a ballad which is an excellent change of pace.

As a whole, It Might Be Art is clear cut and undemanding and very well made. It will be a great addition to your everyday playlist when you want a pallet cleanser. It can come across on the first listen as safe and ordinary but as the album unfolds and you hear what’s being offered, you do get to appreciate the sheer effort being made, the level of thoughtfulness and years of experience that shines through. 

The album is different to what Joseph Tholl has worked on within bands past and present, so the energy, passion and creativity is obvious, and it's always makes a huge difference when someone creates out of love, fun and curiosity over comfort and expectation. 6/10

A View From Blackbird Festival (Alex Tobias)

Blackbird Festival, Cardiff Castle, 27.06.26

I headed down to the inaugural Blackbird Festival, part of the summer concert series at Cardiff Castle, to catch Cardinal Black, Florence Black, Mammoth, Skindred and Alter Bridge. With the blazing Cardiff sunshine beating down, it was an early start, but the weather couldn't dampen the excitement surrounding what promised to be an incredible day of rock music.

First up were South Wales favourites Cardinal Black (7). Before the music began, Planet Rock's Ian Danter took to the stage as compere for the day, getting the crowd fired up before introducing each band. The mention of Cardinal Black's name was met with a huge roar from the audience, which only grew louder as the band walked on stage wearing broad smiles and carrying an unmistakable air of calm confidence.

Vocalist Tom Hollister got things underway with a cheeky "Alright?" before launching straight into Keep On Running, taken from the band's outstanding 2025 album Midnight At The Valencia. Right from the opening notes, the band's quality was obvious. Hollister's smooth vocals blended beautifully with the rich keyboard textures, while guitarist Chris Buck once again proved why many consider him to be one of the finest guitarists in the world. His effortless playing was nothing short of mesmerising.

The band continued with songs including Tell Me How It Feels from their 2022 debut album, a beautifully melodic track that had plenty of people singing along inside the stunning surroundings of Cardiff Castle. Thankfully, although the sun continued to shine, the heat remained just about manageable, making for perfect festival conditions.

Cardinal Black simply ooze class. Their effortless musicianship, soulful songwriting and relaxed stage presence made them the perfect choice to open the festival. Everywhere you looked there were smiles, voices singing along and people completely immersed in the music. You really couldn't ask for a better start to the day from such an impressively talented band.

After a short break for the changeover, everyone had the chance to rehydrate before the next dose of Welsh rock. Up next were Merthyr Tydfil's own Florence Black (8), who walked onto the stage to a huge roar from the Cardiff crowd.

The trio wasted no time in getting things underway with Look Up from their 2024 album Bed Of Nails. From the opening riff, the band's slick, hard rock sound immediately got the audience moving. Florence Black have a fantastic chemistry on stage, with vocalist and guitarist Tristan Thomas and bassist Jordan "Fozzy" Evans effortlessly switching sides throughout the set, while drummer Perry Davies never stopped moving behind the kit, his energy ensuring every corner of the stage felt alive. For a three-piece, they have an incredible ability to command such a large stage without ever looking out of place.

The reaction from the Cardiff crowd was superb from start to finish, with every song receiving a huge response. Although we only heard one track from the band's latest release, The Pouring Rain from their 2026 album of the same name, it slotted seamlessly into the set alongside older favourites.

As the performance gathered momentum, Florence Black demonstrated exactly why they continue to establish themselves as one of the UK's finest modern rock bands. Their set was packed with huge riffs, soaring melodies and plenty of crowd interaction, all delivered with an infectious sense of enjoyment that made it impossible not to get caught up in the moment.

The band closed with an excellent cover of Budgie's Breadfan, before finishing on the ever-popular Sun And Moon from their debut album Weight Of The World. It was a slick and polished performance throughout, but one that never lost its sense of fun. The chemistry between the three musicians was evident from beginning to end, making for a thoroughly entertaining set that left the Cardiff crowd wanting more.

With enough time between sets to grab a drink and browse the merch stands, I made it back to the stage just in time to catch Mammoth (7). The American rock outfit received a warm Welsh welcome as they walked on stage before launching straight into The End, the title track from their 2025 album.

It was the perfect introduction to the band, immediately showcasing the blend of melodic hard rock and technical musicianship that has become Mammoth's trademark. From the opening guitar riff, the influence of the Van Halen legacy was unmistakable, but rather than relying on nostalgia, the band quickly demonstrated that they have carved out a sound that is very much their own.

Wolfgang Van Halen looked completely at home on stage, delivering powerful vocals while effortlessly handling guitar duties throughout the set. Backed by an excellent live band, Mammoth powered through a collection of songs that balanced soaring melodies with crushing riffs, keeping the Cardiff crowd engaged from beginning to end.

A particular highlight came with Same Old Song, another track from the band's latest album. During the song, the audience opened up the day's first circle pit, prompting Wolfgang to remark afterwards that it was the first one Mammoth had ever received. The comment was met with a huge cheer from the Cardiff faithful, who clearly appreciated the band's reaction as much as the music itself.

The energy continued to build as Mammoth tore through the remainder of their set, seamlessly shifting between melodic rock anthems and heavier, foot-stomping moments that had the crowd bouncing throughout. They rounded things off with the acclaimed Don't Back Down from their self-titled debut album, bringing an excellent performance to a fitting close.

By the end of the set, the audience was fully warmed up for the evening ahead. Mammoth delivered a polished, energetic performance that highlighted exactly why they are regarded as one of the most exciting modern rock acts on the scene today.

I'll do my best not to let my admiration for our next band show too much, but when it comes to Skindred (8), that's easier said than done. I've been following Benji Webbe's career since first seeing Dub War back in 1998 at the legendary TJ's one-off festival in Newport. From Skindred's earliest shows right through to today, I've watched the band grow into one of the UK's most respected live acts. Being from the same city as Benji, I've also seen first-hand what a genuine ambassador he is for Newport and the wider Welsh music scene.

As far as today's performance was concerned, the anticipation had been building long before the band even stepped onto the stage. The moment they appeared, the atmosphere inside Cardiff Castle shifted up another level.

Opening with This Is The Sound from the band's UK Number One album You Got This, Skindred immediately had the crowd bouncing. Looking around the castle grounds, it was almost impossible to find anyone who wasn't either singing along, dancing or grinning from ear to ear. The band's infectious energy spread through the audience within moments, setting the tone for another unforgettable festival performance.

One of Skindred's greatest strengths is the depth of their catalogue. It genuinely doesn't seem to matter what song comes next; the vast majority of the crowd know every lyric and every beat. Benji remains one of the finest frontmen in rock, effortlessly controlling the audience with his trademark humour, charisma and crowd interaction. Whether he's joking between songs or encouraging another wave of bouncing, he has thousands of people in the palm of his hand from start to finish.

The set reached another level when the band rolled back the years with Ratrace from 2007's Roots Rock Riot. Circle pits erupted once again as the relentless energy refused to let up. The balance between older favourites and songs from the latest album was spot on, giving long-time fans and newer listeners plenty to enjoy.

There were also plenty of memorable moments throughout the set, including snippets of tracks by hip-hop legends Pharoahe Monch and Dr. Dre, before the entire castle joined together in a spine-tingling rendition of Queen's Don't Stop Me Now. Hearing thousands of voices singing in unison against the backdrop of Cardiff Castle was one of the standout moments of the entire festival.

To close, the band delivered the formidable trio of Nobody, Gimme That Boom, and, of course, Warning. It simply wouldn't be a Skindred show without the now legendary Newport Helicopter, and the sight of thousands of people waving shirts, hats and anything else they could find above their heads was something to behold. 

Adding to the occasion, Florence Black frontman Tristan Thomas joined the band on stage to perform Jacoby Shaddix's guest vocals, earning one of the biggest cheers of the day.

More than 25 years into their career, Skindred continue to prove why they remain one of the best live bands in Britain. Their ability to unite people through music, positivity and sheer energy is unmatched, and today's performance was another reminder that they have no intention of slowing down anytime soon.

As darkness began to fall over Cardiff Castle, it was finally time for the evening's headliners, Alter Bridge (8). The Florida rock giants took to the stage to a thunderous reception before launching straight into Silent Divide, the opening track from their latest self-titled album. From the very first note, both the band and the crowd were completely locked in, creating an electric atmosphere that would only grow stronger throughout the set.

The band's trademark blend of soaring melodies, crushing riffs and flawless musicianship was on full display. Myles Kennedy was in exceptional form, delivering stunning vocals while effortlessly switching between singing and guitar duties. Alongside him, Mark Tremonti's impeccable guitar work once again proved why he is regarded as one of modern rock's finest players, while bassist Brian Marshall and drummer Scott Phillips provided the rock-solid foundation that gives Alter Bridge their unmistakably huge live sound.

The classics soon followed, with Addicted To Pain and Cry Of Achilles, both taken from the outstanding 2013 album Fortress. Every song was met with an incredible response from the Cardiff crowd, who sang back almost every word while the band delivered one powerful performance after another. Guitar solos came thick and fast, accompanied by the kind of heavy, headbanging riffs that fans had been waiting for all day.

This was my first time seeing Alter Bridge live, and I have to say they exceeded every expectation. The performance was incredibly polished without ever feeling over-rehearsed, and the chemistry between the four musicians was evident throughout the set. As the evening wore on, the backdrop of Cardiff Castle became an increasingly spectacular setting, adding even more atmosphere as darkness settled over the historic venue.

The highlights kept coming with Ghost Of Days Gone By from AB III, a song that united thousands of voices in one unforgettable singalong. It was one of those special festival moments where the connection between band and audience was impossible to ignore.

The atmosphere reached fever pitch when the unmistakable opening riff of Metalingus, from the band's 2004 debut One Day Remains, rang out across the castle grounds. The crowd erupted instantly, with mosh pits opening once again and fans bouncing from the front barrier right to the back of the field.

To close the evening, Alter Bridge delivered the emotional masterpiece Blackbird, a breath-taking seven-minute epic that showcased everything the band do so well. They then signed off with Isolation from AB III, bringing an unforgettable day of music to a perfect conclusion. Even after almost ten hours of live music, the Cardiff crowd still had plenty left in the tank, singing every word and throwing themselves into one last round of bouncing and circle pits.

It was a fitting end to an outstanding inaugural Blackbird Festival. Five excellent bands, a stunning setting and an atmosphere that never dipped made for a truly memorable day. Hearing Myles Kennedy confirm from the stage that the festival will return next year was the icing on the cake.

Bring on Blackbird Festival 2027.

Review: Warning - Rituals Of Shame (Matt Bladen)

Warning - Rituals Of Shame (Relapse Records)



There are few times I remember visibly weeping in front of others. Once was when my grandmother passed away and the other was when I saw Warning playing Watching From A Distance in full at Damnation Festival.

In the latter I wasn't the only one as Patrick Walker's aching vocals and emotional doom sound has a way of touching everyone, even the guy in the corpsepaint, there's just a overwhelming sadness to it all that swallows you, taking you to the point where the only release is tears and an outpouring of emotion where his grief becomes yours, an entire room full of people linked by lost loved ones, indulging in a public display of sadness, holding each other, in that moment all sharing one emotion.

The more important side of this was that many in the audience though Warning was done, starting in 1994, their debut album The Strength To Dream, came out in 1999 and was one that suited the doom scene at the time, but it's with 2006's Watching From A Distance they solidified themselves but thats were it ends in 2009 it seemed that Warning were no more, Walker starting 40 Watt Sun, the band he has been much more prolific with a lean towards alt rock and post-gaze, slow unfolding atmospheric rock, still rooted in the doom world but brighter.

In recent years 40 Watt Sun has been Walker's sole pursuit, but with the reunions to play that seminal second album in full, gaining traction, especially with the performance at Roadburn committed to record as a live album, it was time for Warning to return from the ether with another emotional gut punch that will expose the rawness and pain in the world, setting to work on their first album in 20 years.

The entire studio process put on to celluloid (or more likely digital by filmmaker Geert Braekers who released a short documentary chronicling the recording of the album, capturing every intimate moment, every rewrite, every unscripted moment of a band reconvening again to recapture what made them 20 years ago.

From that last line up only Walker and guitarist Wayne Taylor remain, Marcus Hatfield and Andre Prestidge joining on bass and drums, Rituals Of Shame was written over three months in early 2025 and recorded in a former 140-year-old church with Chris Fullard (Idles, Sunn O))), Ulver), Rituals Of Shame is inspired by a "transformative period" in Walker's life and also from the reflected love and reverence that the people have for the band and their music.

We begin with the title track and any wonder whether this may just be a 40 Watt Sun record under a different moniker is dispelled with the massive opening lament of a echoed drum beat and a glacial moving riff that irks forward until this distinctive vocals from Walker come in. The song builds throughout it's massive run time, the repeated use of "I Can't Close My Eyes, To It" will become a major part of their live show I'm sure, sung with that powerful fragility.

This is definitely Warning, the heaviness, the pathos, the underlying mixture of hope and despair that carries through every song, the title track firmly establishes that this is Warning back to their atmospheric best with long, read very long, form songwriting, the first part of the track shifting into a different groove that comes from the solo section and leads into the last part of the song.

These shifts are subtle never going full prog madness but also acting as a new chapter in these journeying stories Warning create. With the rebirth of Warning begun things get heavier with the downtuned dirge of Stations, another cavernous set of riffs underpinned by the sterling drum work, where fills are used to great effect.

I realise I go on about Patrick Walker's voice but it's so unique, emotionally resonant and heart breaking, somewhere between Sivert Hoyem of Madrugada, Gord Dowie of The Tragically Hip and Steve Hogarth from Marillion, seeing that Walkers took a lot of influence from that band was a very pleasant surprise for me due to my own love of Marillion.

You can hear it, in the choruses, those pace shifts, and the lead guitar breaks that only need a few chords to prove this point, tracks like Night Comes Down, owing as much gratitude to Marillion as they do the likes of Sabbath, it's a shorter piece but still just as effective while with Landing Lights the spirit of Rothery and Hogarth burns brightly, showing that while doom Warning are storytellers with a love of prog, they just make everything heavier.

The chorus on Landing Lights is one of the tracks that if you haven't had a good sob yet, this one will break you, as the transition into Teacher will keep the levels of emotion high, a keening, baring of the soul that closes this return from Warning, even the most stoic, unfeeling of human will be brought to their knees with this one, the last refrain of "And I Can't Count To The Ways I Love You" carrying a deeper meaning to the listeners who have begged and pleaded for this band to return.

Whether Rituals Of Shame will carry the same cult status as Watching From A Distance I don't know, that will all be revealed in time, however it's a magisterial return from Warning after 20 years. 10/10

Reviews: Lauren Lakis, Spread Eagle, Witch Piss, Lockhart (Rich Piva & Matt Bladen)

Lauren Lakis - Deadlights (RidingEasy Records) [Rich Piva]

90’s music is the best. I will die on this hill. Not just the heavy stuff, or the grunge, the punk and hardcore, the indie rock and adjacent, the 1000s of other subgenres that kicked ass, or the fact Duran Duran returned with one of their best songs ever, the 90s ruled. 

In the 2020s more than ever, artists sure are grabbing on to that era; I would argue Alice In Chains is as influential as any rock band ever in what is being put out today. Lauren Lakis, one of the new signings to RidingEasy Records, unabashedly loves the 90s, and you can hear this on her debut record for the label, Deadlights, where she wonderfully straddles the shoegaze-grunge-indie rock line like she has been doing it for decades, over the ten tracks.

It is a trip down 90s memory lane without being any kind of re-tread. Liz Phair, early Radiohead, and Velocity Girl vibes emanate from I Fall Apart. Maybe a little Catherine Wheel and Swerverdriver too. MBV meets the Cocteau Twins come across to me on the opener, There. Pixies or Sonic Youth your thing? Maybe early Hole or Belly? You will certainly dig The Other Side. 

Lakis voice is great on these songs, as she has a familiar voice but really sounds like no one else that immediately comes to mind. Yes, Disintegration came out in 89, but the bassline that opens It’s So Amazing reminds me of something from that classic. Or maybe I am getting Smashing Pumpkins vibes when it gets loud. 

When it does get loud, this controlled wall of sound hits you just right. I love the dissonance on the title track, which goes back to some of those British bands like Ride who mastered this sound. The simple beauty that Lou Barlow got from Sebadoh lies under No One’s Around Here, while I Want You Here sounds like it should be playing at Roadhouse on Twin Peaks. Love Like A Dog is the highlight for me, as she uses all of her influences and highlights her voice for a song that should be on every playlist. The dreamy With That Body floats us to the finish in a beautiful way.

You can worship the 90s while making music and still have it sound like and be your own, just like Lauren Lakis does on Deadlights. Yes, I named dropped a bunch of 90s bands, but she sounds 100% her own thing on this record, of which everyone should check out. 8/10

Spread Eagle - The Brutal Divine (Frontiers Music Srl) [Matt Bladen]

For god sake don't Google them without adding "band" at the end unless safe search is on! Though it is worth it as New York band Spread Eagle have an interesting history and new record that is a real tribute to their legacy and longevity.

Founded in the very, late 80's they like many others released few record and then found themselves on hiatus for a while until the 2000's returning with a new record proper in 2019. The Brutal Divine is only their fourth studio album but it seems them leaning towards their roots in the New York underground as the songs are leaner and rawer than many bands of a similar ilk.

There's a strong vein of NY Punk that runs through it, coming from the vocals of Ray West especially, while the rhythm section of Rob (bass) and Rik (drums) De Luca keeps a pace fit for a runaway train, pure energy and no need for flair or flash just groove. Though guitarist Gianmaria “Jommy” Puledda never pulls his punches, be it with the rough and ready riffs or the sleazy solos.

The Brutal Truth is Spread Eagle staying true to their hard rock image, cultivated over their career but sees these veterans getting leaner and meaner with age, check out their Street Noise if it sound like your thing. 7/10

Witch Piss - The Devil Doesn’t Burn (Ardua Music) [Rich Piva]

Witch Piss. It is an interesting name. The Devil Doesn’t Burn. This is a very interesting album. Also interesting is that there is a California band named Witch Piss. This is not them, this is the band from Mechelen, Belgium, who bring the riffs on their second record. I really dug their first, self titled record. The Devil Doesn’t Burn continues with the heavy stoner doom that had their debut stand out back in 2023.

First, I have to say I love the cover art. Everything about it is great. There is this White Zombie vibe with the art and the use of the old movie clips on the record that really add to the vibe. The record is filled with riffs. Big filthy riffs, like the one on the opener, Black Tongue Driven. There is a sludgy Mastodon vibe lurking under their stoner doom heaviness they bring, which is very cool indeed. 

Bad Juju slows the pace just a bit but still brings the riffs, but leans more towards the proto side of things which is just fine by me. Think Sahg. This is followed by Witch Cries Boy, which has a punk vibe to its delivery and tempo. Cool stuff. Beggars And Horses rips it up with a more straight up heavy stoner vibe and has a nice gallop to it while incorporating a cool tempo change as well. 

The title track is all sorts of sludgy doom goodness, while Catelyn’s Broken Hope speeds up and tears the place apart. Venus Rising and Rubicon River close out the record strong with a killer one-two punch, with the former really reminding me of early White Zombie and the latter is probably my favourite track on the record, and shows the band gets melody along with the heavy.

So yeah, I dig the new Witch Piss record. Is it breaking any new ground? No. Does something have to break new ground to kick ass? Also, no. The Devil Doesn’t Burn is a great listen and has a lot of stuff for us lovers of the heavy stuff to enjoy. 7/10

Lockhart - City Pulse (High Roller Records) [Matt Bladen]

Journey, Toto, Don Henley, Yacht Rock, these are all the words I wrote down when I was listening to City Pulse from Lockhart.

An AOR band from Canada comprised musicians closely associated with the NWOTHM revival. Bassist Jason Junlop as underscored Goat Horn and Cauldron, Devin Kerr (vocal/guitar/keys) shreds in Axxion while drummer Fabio Alessandrini has been in the engine room for Bonfire, Enforcer and Annihilator.

However Lockhart take a much lighter approach than any of those bands, music driven by synthesizers and pop mentality, it's a real 80's throwback but instead of leather and chains we're talking neon and pastels. City Pulse is their first full length album following on from their 2022 EP.

They cite a lot of the bands I mentioned as their influences and in some cases they're obvious, the multi-tracked guitar, the analogue synths, even some electric drumkit all takes it back to when these songs ruled the airwaves and vocal choirs and fluffy keys were de-riguer for any self respecting rock band, hell even Jefferson Starship did away with the psych rock for pop stardom.

Rather than perhaps being shunned by the trad metal set like so many Frontiers releases, the metal pedigree of Lockhart, and guests including Mike from Municipal Waste and Ian from Cauldron, means that although different, there's still that deference to the underground scene and a retro sound of the time.

If you want galloping rhythms and shredding guitars this isn't the album for you, however if bubblegum AOR gets you all fizzy then feel the City Pulse of Lockheart. 7/10