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

Reviews: Fires In The Distance, Gideon, The Carburetors, David Thrussell & Shinjuku Thief (Mark Young, Matt Bladen, Cherie Curtis & Joe Guatieri)

Fires In The Distance - Circadian Promise (Prosthetic Records) [Mark Young]

Some more of the epic, expansive and atmospheric black metal for you? With some quality influences on their sound – Amorphis, Type O Negative, Paradise Lost to name but three bands which should at least give you an idea of what they are like. 

What they don’t believe in is short songs, and this is simply derived from an unshakable internal belief that in order to remain true to themselves the songs have to be what they have to be. Pretty sure that there was a band Called Earth that had one song that was 50 minutes long, but that’s another story.

Anyway Of Radiance And Levitation is their near 10minute opening statement. Its difficult for me to accurately explain it but if you imagine that they decided that they were going to tell you a story and basically grab you from the opening seconds. I’ve said before that there are some bands that make 3 minutes feel like a lifetime and some that make ten fly past in seconds, that is what this is like. The way it moves, develops from one stop to the next without losing you shows, at least to me that they have something very special happening when they get together in a room. 

Its heavy when it needs to be, soft and gentle elsewhere but never do you look at your watch and think ‘I wish to Christ this would finish’. Its chock full of what I call the good stuff, and then they go and do it again with To You, Author Of My Fade. I’m not quite sure how they made two songs that hit 18 minutes in total seem so brief. They don’t let anything sit, there is a constant sense of movement in place that remains, even in the softer parts. 

I don’t mind the clean singing either, I think because they haven’t tried to do anything to it other than allow it to happen within the song. My fear is that with these grandiose songs that they forget that they need to move you too and that is an accusation that cannot be levelled at them. I’m not suggesting they are setting any records in terms of speed, but they know that to have an opening gambit such as this the material has to be special.

Spoiler – it’s pretty damn good.

As are the songs that follow; Lightless Days Of A Songless Bird has a lighter vibe running through it, which given the title is surprising. I’m not sure if this represents their slow third track moment, and I wouldn’t like to say that it is this album’s stop gap but it feels like that. Now, before fans get all broken up, let me just say it is a good song. Its just that it comes after an opening where anything would pale in its shadow. There are some stunning lead breaks on here, as well as thundering double bass it’s just that I would have loved for them to have made this one a little shorter.

Which is what they do on By This Time Tomorrow (Ft Johan Reinholdz) and despite its lumbering tempo it doesn’t allow itself to drag. That perception of movement is in place, and on reflection this is the palate cleanser/hold-point because once it wraps, they push up the gear again with Once The Silence Takes Your Place, mixing in those belting riffs and now melodic piano lines. A percussive belt is the order of the day here; this simplistic approach gives them space to move at later points and on here those cleans really take flight as the arrangement behind them allows them that space to do so. 

They make the most of the time available to them here, and as it hands over to Agonal Dreaming and that finish line is in sight. Somehow, they have managed to do this number of songs at the lengths they are and make them as interesting and individual as possible. They share a common DNA where there has to be a constant movement, they plainly cannot sit still at any point. This closing track is practically triumphant in its execution; there are some belting riffs on this one that would be fabulous to play. Absolutely stunning stuff from them.

Being honest with you, looking at these run times and based on the fact that I’m not a massive fan of what I consider to be overlong music, this has been a revelation for me. I don’t pretend to assume that other bands are capable of being able to sustain music like this across the album in this way (Maybe there are loads of them and I’ve never heard of them, but for now let’s pretend) and it’s the fact that they have kept me engaged from start to finish. Quality stuff, 10/10

Gideon - 4x4 (Sumerian Records) [Matt Bladen]

Like the big blue legend of the mighty monster truck world Bigfoot, Alabama metalcore band drop a heavy surprise EP that's set to crush your speaker like car under the Ford truck's massive wheels. Daniel McWhorter (vocals), Tyler Riley (guitars), Caleb DeRusha (bass) and Jake Smelley (drums) are the foursome behind Gideon and they've decided to drop another five tracks onto an unsuspecting public.

They use a lot of Southern, country and western in both their imagery and in the samples they put through their music. Their music itself? Well that's ultra aggressive, beatdown heavy metalcore with plenty of low end groove, dirty riffs and rabid vocal screams and growls. With tracks such as Till The Wheels Come Off and Yeehaw, Gideon bring a blistering style of Southern, blue collar metalcore which is designed to pulverise, using samples and soundscapes to make the impression more vivid as they breakdown into chugging crushes for every song.

These new tracks are going to sound massive on stage and they show just why Gideon are quickly climbing the ranks with fans of massive metalcore. 7/10

The Carburetors – We Ride At Night (Fast Forward Records) [Cherie Curtis]

Norwegian heavy rock band The Carburetors have been around for two decades and for their newest album - We Ride At Night, their experience and time spent in the scene really pays off. They have a well-established sound and a hard rocking image that brings to the table a relentless amount of infectious energy. If you’re a fan of hard rock’n’roll with a splash of traditional heavy metal then We Ride At Night is the album you’ve been craving.

This new album has 10 tracks for your ears to feast on, which is the standard and only runs for about 30 minutes in total; it’s on the shorter side, but they play it hard and fast so listening doesn’t feel like chore, it feels like a thrill. This album feels nostalgic and only slightly cheesy in the way that would feel gimmicky if The Carburetors weren’t so damn good at bringing old school to the modern day. They have pure excitement and a reckless demeanor that gives off an interesting vibe that’s a mix between Van Halen and The Ramones, We Ride At Night has the heavy metal instrumental splendour similar to Van Halen with raw and gritty vocals like The Ramones.

My favourites from this album are Shot At Dawn and We Like To Boogie, that's because - and i hate to say it, they make you want to boogie; they’re both sleazy, blood pumping, catchy and will get your foot tapping at the very least. Most of the album follows in this format but track 9 Sharpen The Blades shakes it up slightly and showcases everything the band does well. It’s vocally and emotionally deeper and more anthemic and makes for a real staple as it takes the time to showcase the best of what they have to offer and really drives home the fact that The Carburetors are experts and, in my opinion, this track has the best guitar solo in the album. If you have to listen to just one song from the album, make it Sharpen The Blades.

Overall, We Ride At Night is a safe bet. The album is mixed well and coherent with all the marks of professionalism, and it has everything you’ll like. There's not a dull moment even though there’s nothing too extreme or unique, it’s still a solid album that’s really easy to listen too and will liven up your day. 7/10.

David Thrussell & Shinjuku Thief - The Call of Cthulhu (Metropolis Records) [Joe Guatieri]

Before I start this piece, I would like to present a trigger warning to the potential listener of the project that I’m referring to. This re-telling of H.P. Lovecraft’s The Call Of Cthulhu contains racial slurs. Listener discretion is advised.

Recently I’ve had the task of taking on and reviewing a narrated soundtrack of H.P. Lovecraft’s The Call Of Cthulhu, performed by David Thrussel of Snog and Darrin Verhagen of Shinjuku Thief. I’ve been writing for Musipedia Of Metal since June of 2023 and this so far is without a doubt the strangest thing that I’ve ever done for them. 

I make it no secret that I love weird music and art, my taste is like a sledgehammer ploughing through a TV that has been stuck on a channel with no signal for five hours but this is on another plane even for me. With an experience like this, it’s difficult to even find a place to start.

Everyone has had stories read to them at some point during their lifetime but this strips away the human interaction. You’re being told this through your ear buds or your speakers, you don’t have any guidance as this story insists upon itself and is there to be taken in whether you want it or not.

One of the most famous stories in horror by a legendary writer is read out to you in a gruff manner. David Thrussel’s words are slow and direct, you can follow them for sure but without concentration you will be left alone out at sea very easily. His words are joined by Darrin Verhagen’s creepy stylings which are supported by Matthew Murana. These two instrumentalists paint the skyline as the narrator describes the goings on to you.

The soundscapes erected make your nerves shiver, its at times a barrage of noisy textures riding on top of a horse made out of Industrial Techno that propels you forwards, deeper into unknown territory. As The Call Of Cthulhu reveals itself slowly over time, the sound amps up astronomically and wants to kill you as the narration sounds shocked in every breath.

The language used acts as newspaper clippings, ramblings of a mad man who is trying to make sense of a situation which is impossible to describe. They stick with you but disappear quicker than what you’ve heard of them, nightmare corpse god, we live on a placid island of ignorance. Were they ever really there?

I was on the edge of my seat for the last piece as the volume and sheer attack cut through my person like a chainsaw in reverse. David’s telling's of H.P. Lovecraft’s tale takes on its most brutal form, detailing the personal destruction this monster of the sea Cthulhu has caused. Broken bones, blood spray and lives that were cared about were taken away in an instant.

Again to reiterate, it’s hard to describe a listen such as this, every single person will have a different reaction to this endeavour. I can see people dismissing this as boring and others praising it for the picture that all the moving pieces at play paint. It’s a soundtrack and a reading of a celebrated piece of fiction and it’s there to be digested by members of the public who are patient and open enough to do so.

Overall, with this iteration of The Call Of Cthulhu by H.P. Lovecraft, David Thrussel and Darrin Verhagen have evidently shown their love for this narrative, putting a piece of themselves into it. They’ve taken something established and put a new ear onto it and they have kept me engaged throughout the run time. 

Musically it’s interesting in many ways but with the narration although I’ve given it all my efforts, it’s not quite taken me to that next level. The storytelling has the danger but it doesn’t have much else for me, I needed more emotional weight here. 7/10

Reviews: Exploring Birdsong, Mortiis, B*tthole Surfers, Duir (Matt Bladen, Cherie Curtis, Joe Guatieri & Adz Redpath)

Exploring Birdsong - Every House We Built (Long Branch Records) [Matt Bladen]

The debut from Exploring Birdsong has been long expected and anticipated, so long a brilliant live staple at shows and festivals, they have managed to find enough time to head to the studio to record their first full length record.

Every House We Built is a conceptual metaphor for the creating a relationship, exploring human connections through a particularly intensely emotional and diverse musical style that is cinematic and intimate all at the same time.

This thematic tether, means these songs are filled with refences to homes, foundations these things that build both places to dwell and relationships, poor quality of either leading to disaster, while the strongest last forever.

Throughout the album, these themes are tested and tried, sense is made, lives changed, hearts broken but somehow there's always a chance for renewal, a feeling feeling of what comes from the ground, goes back to the ground and can always be rebuilt no matter how hard.

Every House We Built opens with beautiful piano balladry of Archipelago that will stop you in your tracks, before we start properly with 42 where the likes of The Dirty Loops is the influence due to the funky slap bass, twinkling keys and lashings of groove.

While Romanticise brings the 80's synthwave vibes of The Midnight, pulsating drum beats, electronic atmosphere and piano before the huge industrial power comes crashing in during the middle eight, the Djent influence of a band that has featured at Radar festival amongst others still a huge part of their sound. This is despite Exploring Birdsong using it like so many artists as a way to make their poppier approach heavier.

With Every House We Built, the complexity of the are arrangements means that the loud metallic riffs are augmentations for other styles of music, here to get you grooving, or indicate catharsis and release. There's a glut of bands that I would call metal adjacent in that the influence is there and the music appears but it's in brief flashes behind something that's ultimately pop.

For instance Sleep Token have been doing this for a long time so it's no wonder that Exploring Birdsong's Lyndsay Ward is part of the live Sleep Token line up, and has taken some of these tricks over into Exploring Birdsong, using them to accompany her fantastic vocal prowess while the impressive instrumental side comes from Jonny Knight (bass/synth) and Matt Harrison (drums/percussion).

Mainstream pop acts are even incorporating these palm muted riffs into their work. However bands like Exploring Birdsong manage to get the mixture just right. Yes they're band driven by piano so with Spy In The House Of Love, where I can hear the Celtic influences of Steeleye Span and the electronic pop of Phil Collins or Mike & The Mechanics, but the heavier end comes on the darker edge of You Like It Best When It Hurts.

I_You is an empowering song about love, while Cartography is another dramatic piano ballad, both of these bring to mind one of my favourite performers Sara Bareilles, while The Warning gives me the ethereal, string driven chills of Kate Bush.

The innovative musical style of Exploring Birdsong means they can create a kaleidoscope of emotions with their music, though it's the title track that hits hardest as a "devastating portrayal of heartbreak and the sudden collapse of something once thought unshakeable" there's layers that build into a crescendo which serves as the collapsing endpoint, leading to Meadowlands where the cycle can start again.

The expectation for this record has been high, personally Exploring Birdsong floored me when I saw them at Radar festival so I've personally been waiting for this for a long time. Every House We Built is the story of every experience, every foundation, every brick that has been built emotionally so far by this brilliant Liverpool act.

This however is their debut and just the beginning, Exploring Birdsong are special, mark my words. 10/10

Mortiis – Ghosts Of Europa (Dark Dungeon Music) [Cherie Curtis]

I’m embarrassed to say that this album is the first I've ever heard of Mortiis and it’s real shame because I've been missing out all these years. I’ve found what I've been looking for and they’ve been under my nose this entire time and now I have a lot to catch up on.

Mortiis has been lurking in the shadows since the 90s and previous albums like The Smell Of Rain has done well so it’s safe to say they know how to put out a great album. Mortiis has an addictive sound, one we never get to hear unless you dig out a dusty gothic rock record from the attic, they melt together an amalgamation of electronic rock and dark wave creating what you may know as dungeon synth.

With their past successes tucked away in their back pockets, Ghosts Of Europa has 8 tracks of stunningly crafted groovy and yet hauntingly bitter and intense tracks to our scorching hot summer heatwave. This album is atmospheric and gloomy much more than their previous work by leaning heavily into their stylised and high fantasy image they’ve spawned in their earlier days. 

This album primarily contains long and textured intros with layers of synths and keyboards that builds steadily before launching into a powerful swell of Ellefsen’s signature tortured vocals; The Faith That Fades Away is a prime example with airy female vocals to knock it out of the park with some energetic bangers like Tundra, Heart Of Hell and which sounds like classic Mortiis for the long-time fans.

Ultimately, Ghosts Of Europa is a very strong album. Its deep and impactful and musically creative that shows a lot of thought went into it. You’re guaranteed to get goose bumps, and all that passion and energy is captured beautifully within an underrated genre that feels more like the score to a cinematic masterpiece, this album somehow makes music visual. 

It comes to no surprise after 32 years, Mortiis gives us a sharp and professional piece of work. The overall mix and layout is great especially in the build ups and as you work your way through, there’s a captivating increase of tension. There’s a track that will make you cry, a track to make you dance, and a track to make cry again all the while feeling like the hottest version of yourself.

As a Mortiis newbie, I have added this album to my favourites as well as all the others – and there’s a good few out there. I can’t recommend these guys enough if you aren't already a fan. 10/10

Butthole Surfers - After The Astronaut (Sunset Blvd) [Joe Guatieri]

The Butthole Surfers are a legendary American rock band who formed in Austin, Texas, all the way back in 1981. They were known for constantly pushing the envelope and challenging audiences both in the studio and live as well, their experimentation lead to a boom of creativity within Punk and in art when it needed it the most. 

Records like Locust Abortion Technician and Hairway To Steven sound like no other, they constructed planets made out of people’s nightmares, developing a catalogue that is both genuinely deranged and terrifying. The most unexpected thing happened as in the 90s as songs of theirs like Pepper from Electriclarryland had chart success and were in constant rotation on MTV, how unfortunate for the general public.

Gibby Haynes and Jeff Pinkus previously had a House project called The Jackofficers where they were indulging in new creative pastures in hopes of progressing their production and experimentation. After that brief fling of an endeavour, the Butthole Surfers were now finding themselves as a crossroads, they were looking at these trends and the rise of outsider music, Industrial, Hip Hop and Nu metal and seeing if they could grow big wings from that sphere and attempt to try and fly high to gain admiration again.

Continuing on from that, today I’ll be having a look at an album of theirs that was never released until now, originally scheduled for 1998, After The Astronaut sees the Butthole Surfers playing catch up with their contemporaries and bands that were inspired by them like Ween, The Flaming Lips and Nine Inch Nails. They were flying the freak flag high and going even further than what the Butthole Surfers ever did, amplifying weirdness to an extreme volume which is hard to describe. 

To provide some context, After the Astronaut was originally going to come out after Electriclarryland but due to a strained relationship with Capitol Records and splitting off from their manager Tom Bunch, the LP was shelved. The songs were later repurposed for Weird Revolution which came out a few years later. Now with After The Astronaut seeing the light of day, what will I say?

The record opens with Weird Revolution, a four minute song where Gibby Haynes leads a political rally with a big Martin Luther King Jr.-esque speech about the weirdo’s of the world wanting complete separation from normality and freedom of self. The instrumentation is represented by an electronic Hip Hop beat which is the basis for most of the album, its paired Paul Leary’s classic guitar stabs which put impact upon the statement being made, it's anything but easy listening, it makes me want to get off my seat and take charge of my life.

The following track Intelligent Guy (Astronaut Version) presents a more Boom bap flavour style of Hip Hop which is very much in the vein of the band's unexpected hit in Pepper. The guitar follows this click clack approach in a thick and fuzzy style, trying to give this song more of a soul. I can see what Intelligent Guy (Astronaut Version) is trying to do, it’s going for a more hypnotic feel, something for the listener to get lost in but unfortunately, with Gibby’s Run-D.M.C style rhymes, it doesn’t make it all the way there.

Moving on we get track four with Mexico where a Pungi Flute becomes the star of the show. It makes for a beautiful melody in which the listener can finally tune in too. Gibby’s lyrics take the form of religious experiences, feeling like they were being dropped in a subconscious state, completely spontaneously. The instrumental sweeps me off my feet and just makes me want to dance like a cobra answering a snake charmer.

Getting deeper into the track listing we get track seven with The Last Astronaut. Maybe the most unique song on this album, it’s glitchier than anything else here and feels both makeshift and broken at once as a result. There are heavenly pianos which stretch across the background like a comforting hug, finding a place of solace. 

Those are at odds in battle to the death against buzzing synthesizers and noise throughout the duration of the piece. It all puts the song on red-alert, it has its guard up and is ready to evacuate spectators when problems escalate. It’s a tightrope of emotions between joy and anger. Much like the narrator at the end of the song, I’m only left with questions, “Control, are you there?”, “Is there anyone left?”, “It killed all of them”. Your sleep paralysis demon has come to life.

Later on we get track ten with They Came In. Out of everything shown on After The Astronaut, this is definitely the most complete song here. Every element at play from King Coffey’s live busy drums, synths of all shapes and sizes that add colour to the mix and the groovy forever moving guitar, it’s not only got a pulse but it’s own style too. There are beat changes also which keeps the listener guessing from spacey psychedelics to the all out assault of guitar fuckery. They Came In is without a doubt my favourite song on After The Astronaut!

Overall, the Butthole Surfers have seen a gap in the market that they didn’t need to feel. Some of the songs presented here feel so demo quality and primitive, like a ready-made template for Hip Hop beats but they all have that special Butthole Surfers sauce which makes them stick out like a sore thumb. 

At its best After The Astronaut provides jams for people to get lost in and at worst the record is an afterthought. No matter what the Butthole Surfers do, they can’t avoid being themselves which has always been their best quality. They’ve never sold out! 7/10

Duir - Catarsi (AOP Records) [Adz Redpath]

Duir seem like a driven and focused group having toured extensively since their formation in 2013 they have shared stages with names like Darkend, Garea & Elvenking amongst many others they have evolved their image from the more classic black metal style to a more modern masked style in keeping with the likes of Batushka and aforementioned Gaerea which might not set them apart but certainly looks badass in the promo shots if seen. This is their second full length release after 2022's T.S.N.R.I - Impermanenza and a new chapter for the band it would seem.

At over 45 minutes for 6 songs this is quite the opus, clearly recorded in a studio with zero programming and with a feel and production harking back to true early Scandinavian black metal in the most positive way this release has a refreshingly live and real feel to it. 

Well layered vocally and with clear musical expression throughout incorporating eclectic traditional instrumentation ( Flute, bagpipes, hurdy gurdy ) in a way that adds and doesn't distract from the music and compliments and thankfully doesn't have any "cheesy" aspects at all. This may not be the most progressive black metal or musically adventurous having clear styling and feel that is consistent throughout, this has the vibes any true fan of the genre would gravitate towards all day long With solid playing and vocals from start to finish.

My main critiques would be that the songs really are a touch too long, they have several repetitive riff ideas although despite this It does feel that it is represented more as a theme throughout the release similar to early Emperor or Immortal just not to such a captivating standard as the aforementioned. 

The tracks Impeto and Oltre l'Alba are particular standouts with a great feel that truly takes you down that old school nostalgic black metal road where I almost wish I was listening to this on a cassette back in my teens in the best possible way. I would personally recommend these guys massively and would love to catch them live at some point and recommend you do also. 7/10

Reviews: Voivod, Druidess, Tidal Wave, Mascot Moth (Rich Piva & Matt Bladen)

Voivod - Symphonique (Centruy Media Records) [Rich Piva]

It seems these days a lot of people, who may not have known before, know now how awesome Voivod is. The entire back catalog is anywhere from very good to God tier, and their influence is blabbered about by countless musicians. 

Even their latest studio releases are essential listening. I am not sure if anyone saw this release coming from the Montreal legends. Not because it is a new live record, but because Symphonique is a live record of all the Voivod classics with the. Quebec Symphony Orchestra. 

Now, metal bands doing live records with orchestras is old news, but what makes Symphonique unique to this particular form of live records is how complex Voivod compositions are and how hard it seems the band had to make the orchestra work to keep up. This is no string section playing along to Enter Sandman, this is some serious virtuoso stuff.

I mean just listen to the perfect opener for this record, Experiment (indeed). Everyone is playing crazy shit with insane changes and nothing straightforward. Oh, and it’s killer. You get the chug of a track like Holographic Thinking while the orchestra builds behind it. 

There is so much to love on here, but my favourites are the huge Forgotten In Space, which sounds like a deranged 50s sci fi movie soundtrack, Nuclear War, from their classic first record, and, of course, their take on the Pink Floyd classic, Astronomy Domine, which is even more mind blowing with an orchestra. The recording sounds amazing and the band(s) are super tight.

Voivod fans will love this, because we are nerds and Voivod rules. This is no gimmick and no re-tread. The Voivod classics come alive (again) on Symphonique, breathing new life into songs we have been loving for decades as fans of one of the best and underrated bands out there still today. 9/10

Druidess - Trip Meadow (Self Released) [Matt Bladen]

Once More we plunge into the world of psychedelic stoner doom with Newcastle based Druidess present their debut album, Trip Meadow, having shared stages with some of the riff world's best and brightest.

The band follow up their 2024 EP Hermits And Mandrakes with a a record that pulls more sonic inspiration than just Iommi worship, though of course you can hear Tony all over this record in Daniel Downing's guitar playing, his tone is sharp and fuzzy (Descended From Giants), rarely going fully clean, though he switches to sax to bring a slight jazz flair on Witches Sabbath, it's the riffs though that matters most.

With Trip Meadow they taking more mind altering route through 60's psychedelia (Mandragora) as James Hill's keys/organs as muscular as the thunderous riffs on the Green Lung-like Title Track which shifts from heavyweight classics rock thunder to bass/drum driven grooves.

Sam Armstrong's drums are huge, setting the steady doom pace on the title track while on Knightingales there's a drive to them. Shonagh Brown meanwhile gives us the head nodding bass rhythms and reverbed, otherworldly vocals, drawn from the astral plane.

Druidess fit comfortably into the modern occult doom crowd, guitars and organs bleeding together, lyrics drawn from Albion's history/mythology all wrapped in retro trappings. Trip Meadow defines Druidess' journey so far. 8/10

Tidal Wave - Volume Tree (Ripple Music) [Rich Piva]

Tidal Wave started like a good morning, with Blueberry Muffin, their debut record that blew people away. It was a hard act to follow but The Lord Knows they were able to with The Lord Knows. 

Now, Ripple Music brings us their latest record, the cleverly named Volume Tree. It took me a second, but their take on doomy stoner rock once again has these guys from Sundsvall, Sweden stand out amongst the throngs of bands doing this today both with their excellent playing and witty lyrical stylings.

The Orb kicks it off, a doomy number with the great vocals we have come to love from Tidal Wave. You even get a nice death growl. The album is recorded expertly, really capturing the band’s sound, and a special shout to 'Raz' Sundberg who kills it on the drums throughout Volume Tree. I love the groove on the next one, Hangman, that is until it gets a bit trippy to make the riff even more filthy when it returns as he is swinging his axe so hard. I love the different tempos on this one. 

Earth is some serious Sabbath worship done Tidal Wave style, and it works so very well. Temple Of Humanity is an interesting one. It almost reminds me of one of those slowed down early 80s metal tracks, and it works very well within the confines of the record. Good stuff. The dual guitar adds to that 80s metal vibe. 

Sideburns is where the sense of humour comes out, but it comes with a killer riff and excellent vocals (as usual with these guys). Shapeshifter has this rawness to it and kicks ass while Manuscript: 512 is the stoner rock banger everyone expects from Tidal Wave. Skitliv closes the record out in an interesting and chill way, with more 80s vibes from which I hear Scorpions all over it. Oh, and that solo.

Volume Tree is another great record from Tidal Wave. Don’t compare the previous works from the band because they are all great, just let Volume Tree live on its own and enjoy it for all that it is; a very cool imagination of the genres of heavy music these guys love. 8/10

Mascot Moth - MOTHerSHIP (Self Released) [Matt Bladen]

Since 2015 Mascot Moth have been the premier prog, jazz. rock combo from Cymru (that's Wales for you non Welsh), they cross musical boundaries several times on all of their records.

Journeying into the outer reaches of space with psychedelic wandering of Hawkwond, the depths of the earth with blues, through smoke filled clubs with sax driven jazz of Krautrock and into the gardens and rolling hills of their homeland with pastoral folkisms drawn from the Canterbury scene.

Their new album MOTHerSHIP is another hour of sonic exploration that sees this experimental crew of Sioned Camlin (drums/vocals), Rob Harrison (flute/saxophone), Eric Heath (synths), Jack Hunter (bass/keys/vocals), David Thomas (guitar/trumpet/vocals) and Gavin Williamson-King (synths) combining their powers.

Ellis The Horn comes from Captain Beefheart jazz, while (I Think I'm) Grooving It goes into some funk shaking, Whatever It Was combines Frank Zappa with Can and with just three songs you can hear the sort of band Mascot Moth are, paying homage to a particular era when prog was daring and leaned into other genres.

The dreamy Lullaby In Giliminour the first prog rock masterclass on the record with sweeping guitars against flutes, You're On Your Phone meanwhile puts funk with Styx synth/vocoder, it's an alchemic mix of styles that keep things quirky but catchy. Fans of Krautrock, Psych and Canterbury prog will love this record, the MOTHerSHIP has landed and if this is your first contact be not afraid. 8/10

Reviews: Elder, Prince Of Failure, Alunah/Samavayo, Leoni Jane Kennedy (Rich Piva & Matt Bladen)

Elder - Through Zero (Stickman Records) [Rich Piva]

I have heard whispers from long time fans that Elder, one of the biggest bands who have broken through out of the heavy underground, have gone too soft. They are too prog, they are more Yes than anything else at this point. 

I also saw that Elder’s new record, Through Zero, finished at number one on the May Doom Charts, and it wasn’t even close, even with All Them Witches putting out a record the same day. Is Elder more proggy now? Absolutely. Are they a better band musically now? Yup. Is Through Zero amazing and some of the best stuff they have ever done? A resounding yes indeed.

Sigil To Ruin, the opener, simply rules. How clean the recording can sound without being overproduced is pretty amazing. The guys rip it up on this one too, as we get some seriously killer guitar work to go along with the atmospheric prog. The synths on Capture/Release add to the complexities of the proggy/Krautrock composition that, when it kicks in, is a beautiful piece of art, with Nick DiSalvo’s vocals never sounding better and the guitar work from him and Michael Risberg at another level, even for Elder. 

The changes are so great as these guys are just locked in. The title track has a nice chunky riff no one will say is too soft and the build on this one is just epic. If people want to say there is too much Yes going on listening to Through Zero they may call out Strata. This one is eleven minutes of proggy atmospheric goodness, with layered vocals, cool changes, and a ton of complexity. I wonder if the same people who say Elder is too proggy love King Buffalo? To be clear, I love King Buffalo, but I digress. 

Sight Unseen goes towards Krautrock again in parts, but there is always this underlying heavy in these songs, no matter if the naysayers want to hear it or not. Just listen at about 5:30 and you will see what I mean. Closing with the most chill song on the record, Blighted Age, is a nice comedown from all of the complexity on the record, and doubles down on the beautiful atmosphere Through Zero brings.

I am probably (absolutely) overstating the new Elder naysayers, but I think they come across louder because there really has been no pushback before on their material. Rest assured people, Through Zero has everything you want from Elder, and more. Yeah, it is not recorded in a garage or shed, and yes more time and money can now go into the recordings, but the songs are still top notch and the band continues to grow as musicians and songwriters. 

This is top top top shelf stuff that should not be ignored because they are bigger now. Elder still rules and this record is truly something to behold. 9/10

Prince Of Failure - Prince Of Failure (Kscope) [Matt Bladen]

Daniel Tompkins is one of the premiere voices in the metal world, his work with Tesseract has made them one of the best modern metal bands to come out of the UK in years, moving away from their initial Djent groupings into something more well rounded and brilliant than us lowly journalists could have predicted in the beginning.

Away from that though he's and in demand guest vocalist and has his own solo project where he can show a side that's not always heard in Tesseract. Both of his solo albums Castles and Ruins were just as inventive as his day job but added soundscapes that you may not have heard, one was also a reinterpretation of the other so clearly Daniel has a mind that is ever creating.

From that mind comes Prince Of Failure a project that deals with "neurodivergence, masking, and the psychological weight of living out of alignment with expectation" created over a long period of time alongside Paul Ortiz aka Chimp Spanner another originator of that Djent sound that is now so ubiquitous in both metal and modern pop too.

Rather than being a solo project or having it compared to either man's musical legacy, Prince Of Failure is it's own creation, a true collaboration that has grown into something familiar but different. The blending of oscillating electronics, intense guitar workouts and floating ambience with the intimately emotive vocals highlights the skillset of both men but never takes this album off into needless virtuosity.

It's an album that is song focussed and projects it narrative theme through the dynamic music this duo create as Ortiz's instrumental brilliance drives a darker edged sound than falls back to those djent early days but retains all the modernity of where it is now with track such as the menacing Phantom where Daniel's vocals are at their rawest and most melodic too, the deeply personal lyrics about living in shame of who you really are and masking that for the everyday really resonating.

It's told with a narrative arc, from the initial self pity though to self acceptance, built within a world of progressive, atmospheric and expertly crafted instrumentals by Ortiz that accentuate the vocal brilliance of Tompkins, joined by Krystyn Hope of Daedric. Fans of Tesseract, Chimp Spanner will obviously love this but it's also hinged on the style of Karnivool or any band that is signed to Kscope.

No sign of failure here Ortiz and Tompkins are a winning combination. 9/10

Alunah/Samavayo - Embers Of Belief (Heavy Psych Sounds) [Rich Piva]

I love a good split album. Labels like Ripple Music and Heavy Psych Sounds have really perfected this form of release. The latter are up now with their latest split from two killer bands: UK’s Alunah and Germany’s Samavayo. These two bands have released some killer stuff before, and this does not stop on this split album, titled Embers of Belief.

Starting with four tracks from Alunah, who are now featuring a new lead vocalist, Daisy Savage, who brings a more Pat Benatar poppy feel to the big riffs and proto sounds of the band. When I say “poppy” this is a complement; Savage’s voice fits perfectly with the sound of the band, with case in point being the opener, On Blacklow Hill, which comes along with a killer riff too. 

La Pucelle has some killer guitar work and shows a bit of Savage's range as a vocalist. The other two Alunah tracks are live and feature Savage’s debut as the new singer, taking on two previously recorded tracks, Hazy Jane (from 2024’s Fever Dream) and a melody from their 2019 record, Violent Hour. Both sound excellent and show how Savage will be a welcomed addition to the band.

Samavayo brings their heavy stoner psych stylings to three tracks. First, the crunchy BAVAR, which has interesting origins to the point that is worth checking out the description of it on their Bandcamp page, but all you need to know here is that it is very, very cool. Mottainai is an aggressive number that shows the band’s heavier side and rips it up. California Sky is an interesting one. A ten minute acoustic psych number inspired by their US tour and trip to the desert. Very cool stuff.

Another cool split from Heavy Psych Sounds. It was a great move by Alunah to get some tracks out there with their new singer to show how perfectly she fits in the band, while Samavayo do their thing like they seem to always do. Good stuff from two great bands. 7/10

Leoni Jane Kennedy - Synthetic (Self Released) [Matt Bladen]

There aren't many artists who can tour with both neo-prog outfit Solstice and veteran blues man Walter Trout, but Leoni Jane Kennedy is just that sort of artist. The PRS Guitars sponsored artist, multi award winner and recipient of the Freddie Mercury Scholarship which financed her university tuition.

She's previously released acoustic versions for Rush classics on New World Woman but returns with an album of her own material that was financed by her fans through Kickstarter in just 6 days. A few of these songs have been with Kennedy for many years but they are all presented here for the first time to an audience that are now well aware of Kennedy's style of inventive, progressive rock.

Leoni takes vocals, guitars on the record, co-producing with Eliot Kennedy who mixes, masters and Nick Andrew who assisted in production and engineering while also playing synths and Midi Guitar. It's a record that sounds lush and vast, which lets Leoni express her inventive sound fully, moving away from the covers many will associate her with and into a world created by her own compositions.

Will Plunkett plays bass, James Jackman plays drums, the driving, expressive rhythms to Kennedy's fluid playing and soulful vocals ala Susan Tedeschi. From the orchestral title track, through the jazzy Closer, there's musical dexterity to this release with the dreamy Sloe reminding me of Jeff Buckley while Test The Water and Different Kind Of Woman brings a bit of bluesing.

Synthetic is an excellent record from Leoni Jane Kennedy, blues, prog and more there's lots here to love. 8/10

A View From Blackweir: The Cure (Matt Bladen)

The Cure, The Twilight Sad & The Joy Formidable, Blackweir Live, Cardiff 24.06.26



Remember folks: "Goths Die In Hot Fields" and it didn't get much hotter than today, the warmest June day on record saw 35,000 decamp to Blackweir Fields, Cardiff newest outdoor event space, to take in the indie/goth/rock pioneers, and Olivia Rodrigo's favourite band.

Before all that though we made our way across the vast field filling up our water bottles and looking for the promised additional shade, which didn't appear, we settled into place for Flintshire alt rockers The Joy Formidable (8).

They began the evening loudly with some jangling post rock guitars, alt rock grooves and dual vocals from guitarist Rhiannon "Ritzy" Bryan and bassist Rhydian Dafydd, accompanied by their current drummer and another member who shifted between keys and singing saw, they're a big sounding band, despite basically being a duo, at a crossroads where post meet alt rock.

With the final "Diolch" they left the stage to applause from the early arrivers as the files began to fill for the headliners. This meant that The Twilight Sad (7) had a bigger crowd and while their style is a bit more theatrical, their music did sort of blend into one grungy post punk noise at times.

The issue is differentiation, the music is suposiyto be the focus here, each track adding to the stage performance, the licks and melodies of guitarist Andy MacFarlane, flowing through the body of vocalist James Graham who releases them into the world through his voice. I get it, but I did find little variation in what they do, still, it set the right moody atmosphere for what was to come.

Now the field felt like 35,000, all here to worship his gothness Robert Smith and as the chimes began the lights came down and Robert along with his band of misery makers took to the stage in Cardiff to a heroes welcome. Smith took his bows, stepped up the microphone and the magic began with Plainsong, Cardiff bewitched by The Cure (10) and the usual mammoth set list.

Much like New Jersey's favourite son Bruce Springsteen, The Cure setlists are fluid beasts, often hooked around a few "key songs" and then drawing songs from across the various albums and styles The Cure have adopted over the years. Be that electronic industrial bruising, driving post punk, moody goth shoegazing or shimmering new wave pop.

There's even time for, as my colleague put it, "Mr Smith's House Of Funk" all bass and choppy guitars but mostly this was The Cure in goth opulence as six from this set of twenty eight(!) songs came from 1989's Disintegration, with four from Head On The Door and the rest from another seven of their fourteen albums, even busting out Burn (very apt for the day) from their rarities collection and Wrong Number from their 1997 single release, as well as Hot! Hot! Hot! which too was apt for the day. 

Ultimately though, amongst the sold out crowd those that were down the front would have been hanging on every single song but for the rest it's Pictures Of You, Just Like Heaven, A Forest, Disintegration , Friday I'm In Love, Lovecats and Boys Don't Cry that illicit the biggest cheers.

With these in their arsenal and the shifting setlist, it's easy to see why so many people would put The Cure as their favourite band and it's a testament to the enduring legacy, as they managed to indoctrinate this hardened metalhead into the cult of Robert Smith.

A View From The Back Of The Room: Drowning Pool/Spineshank (Alex Tobias)

Drowning Pool/Spineshank & Silly Goose, Tramshed, Cardiff 16.06.26

There are gigs that ease you into the evening, and then there are gigs that kick the doors off their hinges before you've even finished your first drink. The June 16 stop of Drowning Pool and Spineshank's UK run at the legendary TramShed belonged firmly in the latter, delivering a sweaty, bruising celebration of nu-metal's legacy. With Atlanta chaos merchants Silly Goose opening proceedings, Cardiff was treated to a three-band bill that never once let the energy dip.

If anyone in the room arrived unfamiliar with Silly Goose (7), they certainly weren't by the end of their set. The Atlanta outfit stormed the stage with the kind of swagger and reckless enthusiasm that feels increasingly rare. Blending rap-rock attitude, hardcore aggression and a non stop energy boost that lasted the entire time they were on stage. They turned the packed venue into a bouncing mass of limbs within minutes.

Their performance felt less like an opening set and more like a challenge issued directly to the audience: keep up if you can. Frontman antics, relentless grooves and a wall of low-end punishment immediately established the tone for the evening. As support acts go, this was a masterclass in how to win over a room.

Spineshank (8) have always occupied a unique place in my music collection and brain ever since I heard the bands first album, sitting somewhere between industrial precision and nu-metal groove. On stage in Cardiff, they sounded anything but nostalgic.

From the opening moments, the Californian veterans were razor sharp. We start with four songs from The Height Of Callousness album, Asthmatic, Synthetic, (Can't Be) Fixed and Cyanide 2600 which everyone in the building sings at the top of their lungs before the band switch to material from their other albums to mix it up. 

Vocalist Johnny Santos states that he and the band are so humble to have had been given the amazing welcome the band have from Wales all day before praising new friends Silly Goose and oldest brothers in the game, Drowning Pool. The mechanical riffs hit with machine-like accuracy while the electronic textures that helped define their sound add a layer of menace many modern bands still struggle to replicate. More importantly, the songs have aged remarkably well.

The crowd response suggested many had waited a long time to see these tracks performed live again. Circle pits erupted throughout the set, while every recognisable chorus was met with a roar from all here tonight. The band round off the set with Dead To Me from the bands 2003 album Self-Destructive Pattern which sent everyone into even more of a frenzy of pits and joy. Rather than feeling like a reunion cash-in, Spineshank looked and sounded like a band with unfinished business.

Drowning Pool (8) took the stage and this Tramshed crowd was primed for absolute carnage.

The Texas metal veterans have spent years proving that they're far more than a one-song band, but let's be honest: everyone knew what was coming eventually. The band get going with classic after classic in the shape of Sinner, from the bands first album then switching up through the bands very impressive back catalogue with Feel Like I Do and no stops straight into the classic Step Up from 2004s album Desensitized. This is a set packed with groove, aggression and crowd participation.

Jasen Moreno remains a formidable frontman, effortlessly commanding the room while balancing the band's heavier moments with an infectious sense of fun. The rhythm section hit like a wrecking ball, while CJ Pierce's riffs still possess the simple, devastating effectiveness that made Drowning Pool such a force in the first place.

We then come to the awesome cover of Rebel Yell which sends everyone here crazy with surfs and pitting with singing almost louder than the noise coming from the stage. When Bodies finally arrived, the reaction bordered on predictable chaos. Hundreds of voices united, the floor became a sea of movement and for a few glorious minutes Cardiff collectively lost its mind. It was exactly the moment everyone wanted and the band delivered it flawlessly.

This wasn't a nostalgia trip. It was a reminder that heavy music built on riffs, hooks and genuine crowd connection still works exactly as intended.

Silly Goose brought the unpredictability. Spineshank delivered precision and intensity. Drowning Pool provided the anthems and the payoff.

Three bands, three very different approaches to heavy music, and one of the most relentlessly entertaining metal shows Cardiff has hosted this year so far.

A View From The Back Of The Room: Garbage & Skunk Anansie (Dean Palmer & Matt Bladen)

Garbage, Skunk Anansie & Du Blonde, Depot Live, Cardiff Castle, 22.06.26

Matt:

The first open air gig of the year as part of Depot Live at Cardiff Castle and it's a 90's grunge/alt rock feast for Generation Xers, before all that though was the opening act Du Blonde (7), the stage name of British musician Beth Jeans Houghton.

This was just the right sort of music to kick off the evening as Du Blonde play gritty grungy, punky, pop with confessional lyrics and high energy power rock. Having collaborated with Laura Jane Grace, Ezra Furman and Shirley Manson, there's no doubt why she was chosen to open the show.

Dean:

A great person, I have no idea who, once stated “There are levels to this”, and whilst it’s a quote which has been refused for many scenarios, I can only assume that the real origins of the quote came from somebody who had just seen Skunk Anansie (10) live and had realised that in the live sphere there are virtually none their equals.

This is a band who have headlined Glastonbury (1998), survived cancer (seriously, look up the story about bassist Cass’ journey and eventual all clear), founded charities, stood up for human rights and been on a 32 year journey and in that time have pretty much mastered the live show.

Taking the stage as the first of the headliners Skunk Anansie smash through opener This Means War in such an intense manner that you know frontwoman Skin is using this as a declaration of the next 80 minutes, prowling the stage whilst delivering a vocal assault that most singers wish they had the pipes to belt out.

And for the next hour and change the band deliver over and over, hitting every make musical food group with powerful singalong anthems such as Weak, Shame and Hedonism (Just Because You Feel Good), going hard with belters like Yes It’s Fucking Political, Cheers and Charlie Big Potato, and bringing main party vibes with Twisted (Everyday Hurts), I Can Dream and An Artist Is An Artist. During all of which guitarist Ace is tearing through some incredible riffage, Cass is hitting every bass note perfectly and drummer Mark simply doesn’t miss a beat. This is a live band that has everything honed to perfection, but can improvise as a unit with zero hesitation.

And improvise they have to, as the queen leading the group is not afraid to take the show elsewhere and as such the band have to play around this (and do so, perfectly). Skin is, put simply, an icon and legend of the alternative world. For me there isn’t a single frontperson on this planet who comes even close to the levels of charisma, talent and being as much of a sheer force of nature as her. She crowd surfs for fun, she heads to the middle of the audience to create a female-only mosh pit and she carries her “Skin-cam” around with such style that by the end of the show everybody remembers why this band deserve all their flowers.

Ending with seminal belter Little Baby Swastika the band exit the stage and the crowd are left to catch their breath. Special.

As impossible to follow as that is, Garbage (8) grab the reigns after an interval and take on the task in fine style. Bring brutally honest, I’ve seen Garbage many times and whilst some shows have been earth shattering, I’ve come away from equally as many slightly flat and that has always been down to what I can only describe as some very odd setlist choices (except that one time somebody thought it would be a good idea to book them in the concourse of a football stadium, but that’s another story).

Thankfully tonight is not one of those nights as Shirley Manson takes to the stage on a mission to absolutely lay waste to Cardiff castle with menace in her eyes and a band of musical royalty in the form of Butch Vig, Duke Erikson and Steve Marker (with Veruca Salt’s Nicole Fiorentino on touring bass duties) to give maximum firepower so she can do so.

Tonight we get a far stronger setlist from the band, with some heavy hitters like Vow, Stupid Girl, I Think I’m Paranoid and Push It being delivered to maximum effect, and keeping the crowd happy whilst they worship at the altar of Shirley.

There are still a couple of odd choices, such as The Day I Met God closing out the set instead of Only Happy When It Rains (which is played just before, and it is noticeable how many are making an early break for the exit afterwards, instead of staying for the last song) but this doesn’t detract from a phenomenal night in one of the best outdoor venues in the UK.

Seminal.