Reviews: Dauðaró & Pantheïst, Wolfbastard, Gotthard, Zepter (Matt Bladen, Mark Young, Cherie Curtis & Simon Black)

Dauðaró & Pantheïst — Af Holdi Og Málmi (Melancholic Realm Productions) [Matt Bladen]

From the frostbitten, isolated, alien landscapes of Iceland comes the figure known as JTS. Draped in mystery, this musical enigma has singlehandedly created a scene all of his own within the Icelandic underground. JTS is the anchor point for numerous projects but one of the prolific is Dauðaró, one that expresses the introspective outlook of a musician at the end of the earth through doom/drone/ambient textures.

Who better then, to collaborate with then than funeral doom maestro and ambient soundscape creator Kostas Panagiotou of Pantheïst. An internet/social media friendship that has birthed a sprawling, claustrophobic, intense 77 minutes of music, that plays with dissonance and directness, the slow repeating drone, the gothic ambience and a sense of foreboding, engulf this record in maudlin brilliance.

It's complex but never flashy, the musical skills of JTS creating most of what you hear, from the riffs that cave in reality itself, to a low end that will threaten to dislodge the tallest building and drums that so often are there to set a glacial pace, the layered, all consuming style of his JTS performance is what fans of Dauðaró will switch on for.

However here the addition of Kostas' terrifying vocals, that are often manipulated to be made more intense and inhuman than they are on a regular Pantheïst record and of course his mastery of the keys which bring a whole other level of sacred synthetism with his keys/organs and general otherworldliness to this conceptual piece.

Af Holdi Og Málmi, which translates to Of Flesh And Metal, delves into the philosophical argument between humanity and A.I and what truly defines as the record moves through an Asimov inspired story where an A.I built to protect humanity determines that we are flawed and uses it's technological superiority to correct the behaviour of human beings.

It's filled with existential questions, philosophical arguments, asks wider questions on autonomy and ideology as more people are able to do incredible things with A.I at what point do states have to intervene on individuals rather than other states and ultimately it tries to answer moral questions that with our own debates about the A.I explosion currently raging, are all very pertinent and perhaps may prove to be a little prophetic too.

There's little point trying to pick out individual parts of this work as it's meant to be heard in one sitting, a complex, cavernous record of two masters of the craft coming together with shared ambition and creative flair. A testament to our digital age that it can bring together like-minded individuals from across the globe, but as this record deals with very well, a small fleck of silver in a huge black cloud. 9/10

Wolfbastard - Satanic Scum Punks (Apocalyptic Witchcraft) [Mark Young]

This is going to be a relatively brief review. You just have to look at that top line to basically get all of the information you will need prior to diving into this album. Throw in that its for fans of Venom, Exploited and Extreme Noise Terror and is a savage welding of black metal with crust punk, and you can be under no illusion about how these 11 songs will sound.

If you are looking for soft, gentle melodies that escape into the spring air, this isn't the band. There are no ballads, introductory soundscapes with cod orchestral movements (in the dark) or anything approaching subtlety. This is a full on, boot to the head old school assault. They don’t attempt to be anything other than true to their art and to themselves. 

By the time this review lands, they will have kicked off their national tour at the Star And Garter in Manchester, and I cannot think of a more suitable place to start this tour. For me, this is a good album that doesn’t stray from a path in any respect. It starts and expects you to stay with them from Its Fucking Dark to B-I-F-F-O, taking in a frenzied 30 minutes along the way. There are some pearlers on here, lyrically very funny but always backed up with a feral punk approach. It may sound like a joke, but they deliver it in a completely straight way.

Wolfbastard are one of those bands where the live show is what its all about. It’s a powerful album, but I get that feeling that once they are in front of you, marshalling that crowd and absorbing that energy then they become something more than what is committed to tape. Its not for the faint of heart, or for those wanting technical wankery. This is straight forward, stove your skull in music that your parents warned you about and the clergy bathe in holy water for. 8/10

Gotthard – More Stereo Crush (RPM) [Cherie Curtis]

Swiss Rock legends Gotthard bring More Stereo Crush to follow their previous hit album, Stereo Crush, and it’s just that: the icing on the cake. This release offers 8 tracks, including unreleased songs, a radio edit, and a fan-favourite duet featuring Marc Storace from Krokus.

It's straight- up hard rock: catchy, nostalgic and feel- good. It isn’t revolutionary, but it doesn’t have to be; Gotthard has been around since the early 90s and doesn’t have to knock your socks off to prove their worth. Their tracks are solid enough to speak for themselves, bringing just enough spark to a classic formula to keep you interested.

It's an album that's felt like an old friend you haven't seen in years - you may not be enraptured, but you're glad they are there. There is a contrast throughout that works; Gotthard provides hard rock nostalgia with a polished and contemporary sheen, so it doesn't feel overdone. This is a difficult balance and marks them as true professionals.

More Stereo Crush features sharp, bristly riffs and gravelly vocals, delivering a lively and satisfying rock n’ roll all-rounder with sprinkles of sentiment. It’s perfect for a long drive or a productive Sunday afternoon, as the tracks are undeniably punchy and raw; they’ll certainly get your hands drumming on the steering wheel. It’s a fun, casual listen; that’s undemanding and feels effortless. Their strength shines through their consistency and their understanding of what their fans want from them right now.

Overall, it’s a textbook hard rock LP. Gotthard hasn’t reinvented the genre here, but they have executed it very well. After all, who doesn’t like a bit of hard rock? I liked what I heard; while it won’t make its way into my daily rotation, i certainly won’t skip it if it comes on. They have stuck to their guns and, once again, produced something high-quality and very likeable. 7/10

Zepter – Zepter (High Roller Records) [Simon Black]

Zepter hail from Austria, and this is their first full length LP. It’s very much trying to sound like it was found behind the back of a filing cabinet in a studio from the early 80’s, following the continuing trend of bands aping analogue sounds with digital kit. Unusually it does that better than most, as the mix has a good low-end rumble that does have the analogue feel I get through my sound stack when I play old vinyl records of the period, with enough crispness and clarity from the digital sounds of the current era. 

That however misses the point I have laboured many times before, that the energy and zeitgeist that those old recordings often had early in an act’s recording career were more often the product of the need to cram the recording process into very tight time windows at ungodly (and cheaper) studio slots, aided by adrenaline and chemistry, rather than whatever benefits the actual ageing recording kit gave.

Musically this is twin guitar traditional Heavy Metal and does this by the numbers. Which is part of the problem… It has a very demo-sounding feel to it, despite the fact time was spent in the studio doing this properly, the net result is the desire to capture the single take effect was of more importance than getting the best out of the arrangements.

Vocalist Lukas Götzenberger also delivers synth and half the guitar parts, and although it’s not specified in the press release, I would lay odds that he’s mostly doing the rhythm parts as his vocal phrasing synchs with these. That works well in other styles of the period, like early Thrash where the staccato delivery of the vocal arrangements aided the overall sense of brutality, but here it has the effect of detracting from the vocals, which is a shame as he has quite a good vocal timbre and range. The net effect is his vocal lines get lost in the mix, which is a shame. I would recommend splitting the tasks in the future, as freeing him up from the six string gives space to expand the vocal delivery into the songs, rather than being a slave to the instrumental arrangements.

Don’t get me wrong, I love the musical feel which works really well instrumentally, it’s just missing that final bit of pizazz that would dial things up a notch or two. A promising start however, and definitely something to build on. 6/10

Reviews: N.M.B, Fangus, Red Sun Atacama, White Skies (Simon Black & Rich Piva)

N.M.B. (Neal Morse Band) – L.I.F.T. (Inside Out Music) [Simon Black]

There was a time during the most frustrating depths of lockdown when Neal Morse seemed to be at his most prolific. Let’s be honest, the guy is an absolute cornerstone of all things prog, and with his various collaborators and frankly formidable array of projects seemed during that period to be cranking out something new every month. 

I suspect that this was more to do with the inability to cut anything new face-to-face back then meant that projects that never saw the light of day, plus a plethora of live recording got to see the light of day in a positive bow wave of releases.

The master of all things progressive varies his style enormously, but for me the releases branded under the Neal Morse Band (or N.M.B. as it has morphed into this time around) always ticked my boxes more than many projects have because fundamentally it was often a bit heavier than Transatlantic, Morse, Portnoy and George, Flying Colours and most definitely Worship, despite the fact that musicians were shared across so many of the projects. 

Absolutely a cross-project cornerstone of the last few decades has been former and once more current Dream Theater maestro Mike Portnoy, and the NMB output often felt closest to that of that most successful of Prog Metal acts in style, whilst clearly being Mr Morse at its heart.

This album may mark something of a change then…

Portnoy’s much publicised return to Dream Theater means a huge chunk of his availability just disappeared well into the medium term, because DT are both globally successful, and fairly prolific as well in terms of recorded outlay, so the reality is that we are unlikely to see Portnoy sitting behind Morse live or in the studio as frequently. 

It’s also been a while since the NMB released a studio album, and clearly Portnoy’s shift back to DT has precipitated one (I am reluctant to say) final studio opus from this fluid and frankly spot on line-up. Time was a pressure here, with a limited window of Portnoy’s availability for direct collaboration compressing writing and recording somewhat, yet as is so often the case that pressure has resulted in one of the most dynamic and fresh sounding releases of the NMB range.

OK, there’s a bit of after the fact polishing going on here, with all the members of the band able to come back and tweak the core tracks cut in the studio from their home studios, but that hasn’t taken away the energy and dynamism of L.I.F.T. A challenge often laid against Morse and his projects is their repetitive nature, but this one feels both of that stable and clearly moving the dial into fresher territory. 

There is a feeling here that they want to cram as much as they can into the record stylistically too, and there are many moments that feel like a nod to heights of the past, but it’s also thematically contiguous, with a lot of lyrically influence from Morse’s religious inclinations, but let’s face it they’re as constant in his recorded output since he left Spock’s Beard as Portnoy.

Unlike many of previous releases though, the energy here makes the album fly by despite it’s run time. When you have an hour and ten minutes of music, sounding concise is something of a challenge here, but the band pull it off because they have distilled all their writing experience together into one polished whole. Not so much a Best of Compilation, as a stylistic compendium of what they all do best, this is one of the freshest slabs of Prog to hit my platter in some considerable time. 9/10

Fangus - Emerald Dream (From The Urn Records) [Rich Piva]

I first heard of the band Fangus when interviewing Sons Of Arrakis for The Rich & Turbo Heavy Half Hour while discussing the Montreal scene and some cool bands that we may not have been familiar with that we really should be. 

I immediately went and grabbed the EP and was blown away by the frantic 70s proto metal vibe, and, of course, the organ. That EP, Meet The Reaper, was so cool and had an aura of mystery to the mad men behind this organ driven goodness. Thankfully, out of the shadows they come with their debut full length, Emerald Dream, and boy does it rip the place up and take that raw, early EP sounds to another level on these eight tracks.

The opener, Howling Hammer kicks it off with a cool, heavy 70s riff that Leslie West would be proud of, the drums kick in and sound great, and then the organ. Oh, the organ. A man named Chub plays all the keys on the record and I bow to his greatness. What an amazing opener and just a frantic, LSD fuelled proto trip that will leave you wanting more and more, which is what you get as Pyre Of Love keeps this amazing energy and vibe going. 

The organ here is next level, which I have now said for two weeks in a row, with the Gjendferd record from last week being another example. While Gjenferd is firmly rooted in the 70s too, they lean a bit more proggy and classic rock, while Fangus goes full Sir Lord Baltimore without ever letting their foot off the gas. 

Layers of keys kick off Psychoïd Telepath, and while the pace slows just a bit, the proto psych vibe does not. This track could absolutely be in a classic B horror movie and steal the show. An organ solo kicks off Quest For Fire before the riff kicks in and the guitar and organ meld to form one epic monster ready to tear up 1976 Montreal. The title track opens up with an operatic organ solo that slowly builds up to that perfect pairing of instruments that is like a freight train off the tracks heading right towards your city center. 

For a second it looks like someone jumped in the engine and took control, until it all goes off the rails again. Fangus has the fast slow/loud quiet thing down pat with the killer heavy psych of Time Gambler. The guitar work on this one is just massive. Shapeshifter sounds like Witchfinder General, with an organ. Enough said. Somehow the band saved the best track for last, as the energy on Stardust Regulator is off the charts, making me try to figure out a way to see these guys live at some point.

Fangus really kills it on their debut full length. Emerald Dream is non stop 70s inspired proto psych heaviness driven by amazing organ and guitar work, great song writing, amazing sound, and next level playing all around. I am not sure how a debut could be much better, given this album has been blasting non stop and am getting really good at air organ. Killer, next level stuff. 10/10

Red Sun Atacama - Summerchild (Mrs Red Sound) [Rich Piva]

Red Sun Atacama are a psych punk band out of Bordeaux, France. Psych punk you say? Yup. Up tempo rippers with some serious mind bending guitar work, cool tempo changes, and a frantic energy that landed their last album, Darwin, in my top 20 of 2022. The band is back with their new record, Summerchild, with very similar (killer) results.

The band self describes as “desert punk” and I can certainly get behind that, especially with the stoner gallop of a track like Conveyor, with its big chunky riff and punk rock tendencies all encompassed by a nice thick layer of fuzz. The opener, Passenger, is a straight up punky QOTSA style ripper that sets the stage nicely for the rest of the record. The snotty vocals add to the desert punk thing they have going on too, which all works great. 

It’s not all breakneck punk speed, as RSA can plant their feet firmly in the (French?) desert with a trippy slow burn too, like on Weightless. At least that is what you think you are getting until you remember these guys love big riffs too. I dig the guitar work on the back half of this one. Great stuff. Speaking of rippers, Commotions lives up to its name with the drum work standing out on this psych punk explosion. That is until it slams on the breaks and goes all quiet…until the (of course) big riff breaks through the wall and the reverb drenched vocals grab you. 

Graze The Sun may be my favourite on the record, with some more killer guitar work, a 90s feel, but also this Hanoi Rocks with lots of Fuzz thing that I hear. Not sure anyone else will but I hear it, and it is wonderful. The riffs are endless on this one too. This one shows how RSA have mastered the start fast, slow down, end fast formula. The title track is ear worm material, showing off the band’s pop sensibilities while still channelling Rated R/SFTD era QOTSA. 

Thankfully Ragdoll is not an Aerosmith cover, but it is eight minutes of what RSA does best; snotty desert punk with a side of psych, with the psych being layered on heavy over this one. The closer, the very chill and perfectly titled Sundown, is just the thing needed to come down from the wild ride that is Summerchild.

A worthy follow up to their last killer record, Summerchild will show the Red Sun Atacama are the real deal and in no way any sort of side project or one off thing. Eight driving songs touching on a bunch of genres but never veering off the path of awesome. 9/10

White Skies – Shouting At The Hurricane (Conquest Music) [Simon Black]

I first came across White Skies opening up for Ten at a show in Cardiff about 18 months ago and was hugely impressed by them at the time. It was a tough gig to open, as despite the calibre of the headliner the promoters at The Globe elected to do zero publicity whatsoever, so the room was rather depressingly sparse for them (never mind for the headliners), yet they did an admirable job of delivering their well-crafted Melodic / AOR Rock to an audience that had never heard of them. 

It was good enough for me to splash out on their debut CD Black Tide that night, and the album did not disappoint either, so spotting this sophomore in the slush pile at Musipedia Towers (well, more of a two up, two down to be honest) was a no-brainer for me.

Shouting At The Hurricane does not buck the trend. It’s a consistently strong album, which, as the title implies has a slightly rougher edge to it than its predecessor. Not in terms or recording or quality, but it’s definitely more a Hard Rock affair than their debut, although there’s plenty of steady synth-laden hooks that the fan base isn’t going to see too much of a step beyond their debut. 

To be fair, the band may be new, but the members are all old school pros. White goes all the way back to one of the late 80’s incarnations of Samson, and many things since, but the rest of the band have been around the block some as well. That’s always a help when everyone has a depth of writing and recording experience and often means they tend to cut straight to the point with little padding when the chemistry is right. Which it certainly is here.

When an album kicks things off with the two banging singles, then I usually start to worry that there is a risk of shooting the load a little early, but in this instance, I need not have lost anymore hair than time and genetics have already taken so cruelly from me. These two are obvious singles to be fair, particularly 88 Crash, which has all the anthemic hallmarks of a track that they will be closing their live sets with forever, but quality and consistency are in harmony here. This album is positively dripping with catchy anthems however…

…And so well delivered to boot. The arrangements are crisp, precise and well-tailored, but there’s enough freshness in the performance that this feels neither derivative, unoriginal nor stale. Whichever way you look at it, this is a sub-genre mostly played by and listened to by folks who have circled around the sun for a fair few turns to the power of ten, but when something rocks up feeling that it just fell out of this decade as well as any since the mid-80’s so effortlessly.

Mainly through that reliable formula or good musicians, who know what they are doing and who know how to trim the fat from their work what you end up with is this: a strong, well-crafted and refreshing record for a band who are rapidly becoming a firm favourite. 10/10

A View From The Back Of The Room: The Hara (Spike)

The Hara & Profiler – The Adrian Flux, Waterfront Studio, Norwich, 06.03.2026



There is a specific, claustrophobic magic to the Waterfront Studio. When you pack a couple of hundred people into that upstairs space, the boundary between the band and the audience doesn't just blur, it disappears entirely. It’s a venue that rewards the bold and exposes the half-hearted. Last Friday, it played host to a bill that felt like a deliberate middle finger to genre boundaries, moving from the tech-heavy emotion of Bristol's Profiler to the high-octane, theatrical defiance of The Hara.

The evening began with Profiler (8). In a world where nu-metalcore is often reduced to a series of predictable breakdowns, this lot manages to find a much more vulnerable frequency. Their set was a masterclass in balance; the guitars were thick and bruising, yet they left enough air in the room for the emotive, almost fragile vocal lines to land. It’s a sophisticated sound, properly technical but never cold. They didn't just warm up the room; they filled it with a dense, atmospheric weight that felt far larger than the guys on stage.

By the time The Hara (8) took the stage, the humidity in the room had reached a tipping point. Josh Taylor and his lot don't just "perform" a set; they stage a minor riot. From the opening salvos of Autobiography and Faking It, it was clear that the "genre-less" label they wear is less of a marketing tag and more of a survival strategy. They move through alt-rock, pop-punk, and gritty industrial-tinged anthems with a frantic, heart-attack energy that refuses to settle.

The highlight of the night was the sheer, unvarnished charisma of Taylor. He spends as much time in the crowd as he does on the stage, turning the tiny Waterfront Studio into a single, kinetic entity. Tracks like Okay That's Me and Circus were delivered with a level of vocal precision that survived the chaos of the mosh pit. It’s a polished, professional act dressed up in a "fuck you" attitude.

The setlist was a relentless march through their latest material, peaking with the roar of Afterlife. Without the need for massive screens or arena-sized pyrotechnics, The Hara proved that they are one of the most dynamic live acts currently working the circuit. They have a gift for making every person in a two-hundred-cap room feel like they are part of something exclusive and dangerous.

It was an honest, exhausting, and utterly brilliant bit of work. The Hara provided the proof that you don't need a stadium to create a massive moment. This was a reminder of why we bother with small-club shows in the first place, loud, intimate, and massively important for both bands and the people who want to see them.

Reviews: Neuronspoiler, More, Serpent Gates, Ravenspell (Matt Bladen)

Neuronspoiler - The House Always Wins (Self Released)

London heavy metal brigade Neuronspoiler return with their fourth album The House Always Wins and its definitely a win for anyone who likes their heavy metal from that classic school. With three records behind them, the band have quite a pedigree on the UK scene and you hear their experience in every single moment of The House Always Wins.

It's classic heavy metal with a modern freshness, inspired by the likes of Maiden, Priest, Queensyche and even some of the sleazier acts on the heavy metal scene. The opening bounce of Crazy Love and the muscular balladry of a Hundered Years are both dressed in 80's finery with a Sunset Strip strut, a style that is very prominent on this fourth record as Witness and Barren Soil have the drama of Queensyche as New Thing meanwhile is pure pop metal pomp.

Thankfully for anyone who wants to bang their head there's the likes of Spoils Of War and Ascend To Death to get the neck moving at pace the cutting through slicker sound with good old fashioned thrashing while the lumbering, Manilla Road-like Crimson Tales will make sure the fans of the slower side of metal are catered for, showcasing a wide array so styles here but never moving too far from the foundations of heavy metal.

Neuronspoiler then bring more British metal clout on album four, playing a winning hand for the most part. 7/10

More - Destructor (Warhead Music)

More come from the early days of NWOBHM, the London based band were contemporaries of Iron Maiden on the London scene forming in 1979, they like all the bands who never quite reached Maiden's size have had a bit of potted history. 

Several hiatus, reformations, new names and many new members, however in the mid 10's they seemed fully ready to return, reverting back to the More name after a few years under a similar guise.

They were also joined Chris Tsangarides a man who has production credits as long as your arm, including Judas Priest's Sad Wings Of Destiny and Painkiller, Anvil's Metal On Metal, Thin Lizzy's Thunder And Lightning and Black Sabbath's Eternal Idol. His name will be known to anyone with more than a passing interest in the history of the British heavy metal scene and I made a special trip to find the bench dedicated to him in Regents Park.

With him on guitar and behind the desk, More began to record their third ever album Destructor, however tragedy struck when Chris passed away at 61 years old in 2018, this of course was a huge blow for the band however he had completed the production and the mix on the album before his death, so why it's taken nearly nearly 10 years to release I don't know.

It's also not the best record in the world, good when they stick to some galloping NWOBHM and even when they lean into the likes of Y&T and AC/DC-like pub rock but there are a few tracks that are best left ignored. Destructor then is for NWOBHM completests and fans of Chris Tsangarides', though his legacy lies elsewhere, there's lots to appreciate here at least. 7/10

Serpent Gates - The Veil Of Darkness (Venomoon Records)

If your kids want you to buy Iron Maiden tickets then you can always tell them you have Iron Maiden at home, especially if it's The Veil Of Darkness from Serpent Gates as singer Antony Parviainen is a dead ringer for the Air Raid siren himself.

Oddly he also seems to be listed as a "guest" on this debut record, but it looks as if he's the full time singer of the band now which will be a massive boon to the Finnish classic metal band which was formed by Sami Tapola (bass), Juho Hakalax (drums) and Tuomas Västilä (guitars), the instrumental trio that are responsible for the brilliant heavy metal sound on this debut.

Now I said Iron Maiden at the beginning and there's of course a lot of influence from them, but the more recent Maiden output, Brave New World onwards, with the dramatic thrashy sound of Bruce's solo stuff coming through as well (Down The Cross). However they can throw it back with the horror themed Night Creeper, which would fit perfectly on No Prayer For The Dying/Fear Of The Dark where Maiden embraced horror movies.

We're on to a winner with Metamorphosis which has all the gallops in the right places while the groove locks in on the Tolkien inspired The Beast With The Seven Heads, both setting the pace for the record before The Veil Of Darkness moves into a mid-pace anthem, the cinematics come on Sanctimonious as this and The Goblet Of Tears bring a flair for the dark and dramatic.

Maidenesque metal from this Finnish foursome, The Veil Of Darkness is a strong beginning for Serpent Gates. 8/10

Ravenspell - Obsidian King (Fighter Records)

With a line up that includes, Alisander The Seer (vocals), Ravok Blackwing (guitars), Corvax Crowhammer (bass) and Volpale The Ravenous (drums), I think it's pretty easy to guess what a band called freaking Ravenspell will be bringing to the (D&D) table with Obsidian King.

Strongly leaning on the NWOTHM sound that has is still going strong despite lasting almost as long as the NWOBHM did. Wrapped in mysticism and fantasy storytelling, the Canadian band invite you to join the Black Feather Legion with their debut album of darkened speed metal that has the bite and distorted riffs of members that have spent time in the black metal scene, all of the band having done time in league with Satan.

Lyrically here as well they're obsessed with the occult and the arcane as Book Of The Dead gets groovy with inspiration from Army Of Darkness (Hail To The King Baby!), but there's more standard speed metal inspiration in the shape of wars, battle and Attilla The Hun, the main course of lyrical fascination. As well as Ravens, lots of Ravens!

What Ravenspell do well on their debut is bring a bit of variation to the NWOTHM blueprint, a bit of speed metal ferocity and some symphonic tones as well. Come to the throne of the Obsidian King and bang thy head. 8/10

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Four genres. Four bands. One lineage.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And then it was time.

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

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

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

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

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

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

Black Swan - Paralyzed (Frontiers Music Srl)

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

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

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

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

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

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

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

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

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

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

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

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

ITsALIE - Wild Games (Frontiers Music Srl)

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

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

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

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

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

Transatlantic Radio - Midnight Transmission (Frontiers Music Srl)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Kaleidobolt - Karakuchi (Svart Records) [Rich Piva]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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