Reviews: The Night Eternal, Holissstik, Cemetery Echo, Vordermann (Matt Bladen)

The Night Eternal - Cold Velvet (Metal Blade Records)

The third album from German metal band The Night Eternal takes them further towards the dark, while also adding more authenticity to their sound by defining it with the use of analogue instruments to make sure they encapsulate the late 70's early 80's influences that are so important to them as a band.

I've always been a fan of the band but seeing them in Manchester supporting Blind Guardian made me realise that they were a band that understood the beginnings of heavy metal and with this new record they owe as much to The Mission as they do Iron Maiden, as much to Type O Negative as they do Tygers Of Pan Tang.

It's still packed with melodic riffs, clean vocals for big choruses and melancholic atmospheres but with an added drive and focus that has come from teaming up with producer Michael Zech. He's guitarist of Secrets Of The Moon and has produced acts such as Sulphur Aeon, Triptykon and The Ruins Of Beverast.

Working like a 'fifth Beatle' scenario he has had input into the record bringing his background in extreme metal to make sure The Night Eternal are tighter and more intense than before. Not a moment is wasted as they charge through tracks such as Eurydice (Don't Look Back) and Caught In A Spell, both evidence of the duality on Cold Velvet.

With a longer recording period than before, helped by a gap in the middle, these songs have been able to develop and evolve from their initial sketches into some of the most impressive yet, the concepts from previous records Fatale, expanded on here.

Cold Velvet is the culmination of what The Night Eternal have been reaching for on previous records. Come hear their final form. 9/10

Holissstik - Chapter 1: This Endless Solitude (Season Of Mist)

There is a huge guest list on this record and I mean huge. Sixteen different musicians join band leader and multi instrumentalist Tor-Helge Skei to create these thrilling dark electronic soundscapes from the depths of Trondheim, Norway.

Coming from the Greek word Hólos Holissstik means while "whole" and that is what drives the collaborative nature of the record, explaining why there's so many extra musicians adding their parts to Skei's musical sketches.

Skei has history with extreme metal acts such as Manes, Høstsol, Atrox, Manii, Syning and Lethe with Anna Murphy of Cellar Darling, appearing here on the atmospheric Scandi prog of Obsession Six, she joins a cavalcade of names that supply vocals, guitars, bass, drums and synths.

Tor-Helge has been tormented by these songs, some for a long time, some more recently, creating the initial versions that are both patchy and fully formed, drawn from his history on the dark side of music, to make enthralling, claustrophobic and foreboding pieces which highlight the contribution of the guests as well as the composition skills of this bands creator.

Handling recording, production and mixing Tor-Helge turned over the mastering to Knut Prytz (ex-Necrophagia), finishing off these eight tracks that straddle darkwave, electronica, industrial, shifting from the progressive grooves of The Rhythm Of Silence, to the haunting Projections, Reoccurring Dreams embraces synthwave and Would You Take This Heart is a lucid dreamscape.

With referrals to Depeche Mode and Apex Twin, Holissstik begins this three part release with a unavoidable darkness and electronic muscle. 8/10

Cemetery Echo - Civitas Lacrimarum (Seeing Red Records)

Some New York "Haunt 'n' Roll" now from Buffalo band Cemetery Echoes who welcome us to Civitas Lacrimarum (City Of Tears - Latin nerds) with some blackend deathrock meets gothic post punk, through thrashy buzzsaw riffs, jangly melodic cleans, moody atmospherics and vocals that snarl and croon in equal measure.

Snakeland's Pull or Dungeon Of Love for instance has gothic overtones from that whole post punk sound while Hell Night or Cannibalistic Underground Nihilist Teens are a savage black metal assault, but much of the album ably blends the both sides for some introspective, blackend goth metal.

There's a lot of inspiration from the original bands that spearheaded the gothic rock sound while also leaning towards the modern bands doing it such Unto Others, Grave Pleasures and Tribulation, the latter very prominent as Cemetery Echo rise from the grave with an interesting hybrid of genres. 7/10

Vordermann - Feeding On Fireworks (Self Released)

Stoke Vordermann pay tribute, in their own weird way, to Wales' foremost maths genius and social justice campaigner Carol Vorderman.

Classing themselves as post-rock/rainbow doom, they follow up their debut EP Feeding On Flowers, with the more dangerously titled Feeding On Fireworks which is a three track manages to create a wall of noise which combines doom, sludge, shoegaze, grunge and stoner.

While there are few direct links to everyone's favourite mathematician there is a lot of esoteric, space noodling that reminds me of Cybernetic Witch Cult as they cross the genre streams as often as possible through their multi-dimensional music.

Ego Shake sees them in space rock weirdness while The Salem Shake manages to bring the heavy riffs of Mastodon as Something Sacred, Something Terrible closes this second EP with a progressive, anthemic post-gaze eruption that gives us the promised fireworks.

So plenty of vowels and consonants along with time signatures you'd need a calculator for, Vordermann bring more rainbow doom with this new EP. 7/10

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

Lacertilia, Cybernetic Witch Cult & Goat Major, Fuel Rock Club, 21.08.26

With my trips to gigs being stunted somewhat by a knackered spine, the ones I'm picking and choosing bands that I know will absolutely deliver on a live stage. I'd try to catch South Wales' psychedelic stoner riff warriors a few times this year already but life and physical pain got in the way meaning I had to abandon them.

However a Friday at Fuel Rock Club with support coming from some fellow Welsh riffers I know always bring the groove and psychedelic space rockers that I had not seen before wasn't going to be a gig I missed so it was a slow walk from the car ready to get as groovy as a man with a slipped disc can be.

Getting the night started, fresh from a triumphant show at Bloodstock festival it was the sludgy doom riffs of Goat Major that made sure the PA was working at full volume as they roared to life with a set full of occult doom for for an Argento movie. Mainly drawn from their debut record, the trio stormed through the Sabbath worshipping songs, with a crushing rhythm section adding the meaty grooves while the guitar brought some technical melodies to join the thunder. Goat Major are the heaviest thing to come out of Pembrokeshire in a long while and the one new track they played bodes well for their upcoming album.

Next up were Cybernetic Witch Cult, psychedelic weirdos with plenty of brain melting melodies. I'd never seen the band before and I'm not too sure if many inside Fuel but the volume did decline briefly when they took to the stage as this cult are much more about classic transcendental journeys than sledgehammer riffs. With a revamped line up, playing a set of mostly unreleased music, their was something if a return for the band and the crowd were receptive though I'm sure the majority would have seen anything they played as new, due to them being a rarity on this side of the bridge.

However they did manage to win over the crowd with dual vocals and spacial journeys through galactic soundscapes. Pushing further into psychedelic realms this witch cult was perfect cleanse from the heavy crush of the openers and moved perfectly into the headliners, they even found time to record the set and release it as live record which is mind blowing in a venue like Fuel.

Then it was time for the headliners, like conquering heroes, they once again stormed the Fuel stage with an unmatched energy. The last time I'd seen them in Cardiff was at their album release show (I think) and as with every Lacertilia show they were unbelievably good (spoiler), but while hearing them play the entire third record in full was a brilliant event, I was very interested to hear how those songs blend with their older material.

There's a nervous energy to frontman Fry, always balancing on the edge between mastery and madness, he's the conductor of this church of riffs, letting loose when the riffs of The Wired And The Weird and Weird Scenes kick off the Lacertilia party. Belting out the lyrics and prowling the stage it's hard to take your eyes off him, the between song asides bringing humor and humility.

Behind him though Lacertilia are band with an ease to them, virtuoso masquerading as your local biker club band, Carl's drumming laser focused driving the groove, probably because he's the only one who knows the setlist! With Ed's fluid basslines joining him they're a formidable rhythm section that can weave their magic between tracks as different as the Jane's Addiction like Tangled Up and the showstopping The Sun Is The Key.

The riffs come from Mike and Lukas, the punk rocking of closer Fire Up The Engine Of God or the stoner chug of Deviate From The Plan are just as impressive as the more laid back moments such as Over And Out and Nothing's Sacred where the leads take a melodic turn into psych and prog realms.

I'll always support Lacertilia, every promoter in the UK should be on the phone to them as there's a magic they bring to the stage and after a decade as a band they're at the best they've ever been. A brilliant night in Cardiff with three excellent bands playing to a receptive and up for it crowd, worth the journey as usual. 10/10

Bristol Extreme Fest Preview

Bristol Extreme Fest Preview By Matt Bladen

End Of The World Promotions, who book such heavy gatherings as Southwest HeavyFest and Blastonbree Festival have brought their love of all things heavy to the city of Bristol this August Bank Holiday and it promises to be one hell of a debut event.

Based at the beautiful Trinity Centre in Bristol, Bristol Extreme Fest is a two stage, day long affair in conjunction with The Gryphon, Black City Records and RS Studios, celebrating all things heavy and on the extreme side in one of the best music cities around!

While we're not versed in every band performing, but that's part of the fun right? We can definitely run through some our picks for the show if you're heading over, but do so quickly as they're down to the last few tickets, so maybe we'll encourage you to snap some up.

The Gryphon Stage

The Gryphon Stage is the outside venue where most of the death side of the day will be taking place, so expect the biggest influx of camo shorts to be here.

We'll be looking forward to catching Public Execution and Visions Of Disfigurement for the first time however our first pick on this stage are local lads Embodiment who have been a staple of the Bristol Extreme scene for years now and will look to be welcomed as home town heroes when they take to the stage.

Next up would be Foetal Juice, possessors of the cleverest name in UK metal, this four man Manchester death squad have taken every stage in the UK by storm by now including Bloodstock, filling them with gore soaked death metal that will get you reaching for the Hawaiian shirts.

Then comes two UK exclusives that for many will be worth the price of admission alone as international slam unit Kraanium bring their putrid, brutal slam to the UK for the only time this year. While the lyrical content may be suspect, you won't really hear much of them behind the furious blasts, skull crushing grooves and bleghs.

Following then are the French kings of brutal death metal Benighted, who will be headlining and probably looking to collapse the outdoor stage with their steamrolling mix of brutal battery and grindcore grit. With nearly 30 years in the game, Benighted have evolved across the years but have defined themselves as one of the premier proponents of brutal death from Europe.

The Black City Stage

The indoor stage hosts more varied audio abuse with a lean towards black metal and while we've not seen Oskaria, Scordatura or Fuath previously but we'll be definitely catching them for the first time.

In terms of things we think you should definitely be watching then it would be South Wales based atmospheric black metal band Ofnus, who we're massive champions of here at Musipedia Of Metal. With a refreshed line up and a third album in production, you would be crazy to miss this potent live force when they take to the stage as it promises to be very special indeed.

Speaking of special, The Infernal Sea will be celebrating ten years of their second album 'The Great Mortality' performing the album in its entirety as part of three special shows. Having recently returned to the stage after a bit of a layoff this will be a set to behold from these plague mask wearing black metallers that will reward long time fans and newcomers alike.

The finale of the day though are band who need little introduction, Greek extreme metal veterans Rotting Christ co-invented the Hellenic Black Metal genre nearly 40 years ago and they have been the leaders of the genre since then, whilst over the years their style has moved away from the abrasive beginnings they now take a more epic blackened death route that is primal and unstoppable.

With a set that is bound to span decades, there's few live bands with the force of Rotting Christ and in an intimate venue it's going to be mind blowing. Raise your fists to the sky as a cry of Non Serviam will be heard across Bristol when these legends gather the black masses to the once consecrated grounds of The Trinity.

Come early, check out all the bands, all the stalls and indulge in some tasty looking food options and plenty of beverages (stay hydrated), Bristol Extreme Fest promises to be the loudest thing in Bristol this Bank Holiday weekend so if you're on the fence we suggest you snap up a ticket here:

https://www.headfirstbristol.co.uk/whats-on/the-trinity-centre/sat-29-aug-bristol-extreme-fest-2026-142662#e142662

A View From The Park: The Cure (Spike)

The Cure, Slowdive & The Slow Readers Club, Wythenshawe Park, Manchester, 21.08.26



Getting to this one felt like a proper military operation. The train trip up from Norwich was a long, muggy slog, and once you get to Manchester, you quickly realize Wythenshawe Park isn't central at all. It requires another local train connection, tracking down the hotel, and then fighting through gridlocked city traffic in an Uber just to get near the site. But all that travel hassle evaporated the second I stepped onto the grass. Standing in an open park with over 35,000 people who are all there for the exact same reason creates a very special kind of atmosphere. You could feel the collective anticipation humming right across the grass before a single note was played.

Before getting into the music, credit needs to be given where it’s due regarding the housekeeping. In an era where gig prices are getting completely out of hand with dynamic pricing scams and obscene service fees, seeing tickets kept under £80 for an event of this scale is a total breath of fresh air. Even better, t-shirts were capped at £25 on the merch table. Robert Smith and the band clearly made a conscious effort to keep this accessible for real music fans, and that respect for the audience set a brilliant tone for the whole day.

I wasn't overly familiar with The Slow Readers Club (8) before stepping into the park, but they proved to be a brilliant way to kick off the afternoon. You could see on their faces just how much it meant to them to be playing a massive hometown show of this size. They didn't shrink under the pressure; they grabbed the opportunity with both hands, delivering a sharp, driving set of dark post-punk that had the early arrivals moving early on.

Then came Slowdive (9). I’d somehow managed to miss seeing them live across all these years, so catching them on an outdoor stage like this was high on my list for the day. They were simply wonderful. Their lush, dreamlike shoegaze swept across the field as the evening sun started to dip and the crowd continued to swell from the traffic jams outside. Layers of shimmering, delay-drenched guitars washed over 35,000 people in a way that felt hypnotic, peaceful, and tailor-made for a summer evening.

By the time The Cure (10) wandered onto the stage, the field was packed solid as far as the eye could see. Robert Smith shuffled out to the edge of the stage, paused, and looked out with a expression that seemed genuinely surprised at the sheer size of the crowd stretching out in front of him. For a band that has been doing this for half a century, that humility and awe was fantastic to witness.

They opened with Alone, the sprawling lead track from their latest record. The long, atmospheric instrumental build-up built up a massive amount of tension across the park. When that music finally gave way to Smith's opening line "This is the end of every song that we sing" it sent an absolute chill straight down the spine. It was a dark, breathtaking entry point that locked everyone in instantly.

What struck me immediately, as it always does with this band, was Smith's voice. Decades into a punishing career, he sounds completely identical to the very first time I heard him on record. That voice acts like a total time machine. It immediately drags up decades of personal history, old friends, past gigs, long-lost times, and the raw emotion of growing up with this music as the soundtrack to your life. Sharing that cathartic moment with tens of thousands of other people, all singing along to every word, was something truly special.

The main set was a masterclass in pacing and stamina, balancing massive chart hits with darker album cuts. They glided through heavy classics like Pictures Of You, High, Lovesong, Burn, and a razor-sharp rendition of Fascination Street. The energy in the field spiked with In Between Days and Just Like Heaven, before they pulled out some rarely played gems like Treasure, a huge, unexpected treat for the diehards in the audience who recognized the intro straight away.

As darkness fell over Wythenshawe, the band dug deep into their darker, gothic repertoire. A towering version of A Forest had the entire field moving in unison to that iconic, hypnotic bassline, before closing out the main set with the emotional weight of From The Edge Of The Deep Green Sea and Endsong.

Between songs, Smith kept his banter to an absolute minimum, letting the music do all the heavy lifting. He summed up his entire philosophy perfectly at one point, noting to the crowd: "I can speak, but I just don’t have very much to say. It’s on the songs; that’s why we sing them." It’s a refreshing lack of ego that so many younger frontmen could learn a thing or two from.

Then came an extended encore that would have been worth the ticket price all on its own. They returned to rattle off hit after hit in a glorious, continuous sprint: Lullaby, Wrong Number, The Walk, Mint Car, The Lovecats, Friday I'm In Love, Close To Me, Why Can't I Be You?, and a triumphant Boys Don't Cry to wrap the night up. To hear a band deliver nearly thirty songs with that level of energy and pitch-perfect execution is nothing short of incredible.

My own rookie mistake in picking a hotel miles away from the main tram and coach routes meant a long, freezing wait for an expensive Uber at the end of the night. But standing in that field watching a band at the absolute top of their game made every single mile of travel hassle and every pound spent completely worth it. An unforgettable night.

A View From The O2: Hollywood Vampires (Spike)

The Hollywood Vampires & The Jesus and Mary Chain– The O2, London, 12.08.26



Walking into the O2 on a Wednesday night to see The Jesus And Mary Chain (10) on a support slot feels a bit strange. Anyone who knows my taste knows what this band means to me. 

From the noise and feedback of Psychocandy right through to the present day, they’re part of my musical DNA. So treating them as an opening act was always going to be a hard mental adjustment.

That said, Reid and company delivered a fantastic, albeit short, seven-song set. They didn't mess about. Opening with JAMCOD, they locked straight into that moody, feedback-drenched groove. Hearing April Skies, Blues From A Gun, and Some Candy Talking back-to-back in an arena was a treat, even if the room was still filling up. 

By the time they rolled through Happy When It Rains, Just Like Honey, and a menacing Reverence, they had shown exactly why their influence still hangs heavy over modern rock and shoegaze. They were in top form, and seven tracks honestly just left me wanting a full headline set.

I’d caught Alice Cooper out in Daytona earlier in the year, so I knew what to expect from him as the frontman for The Hollywood Vampires (8) a proper, full-fat rock 'n' roll spectacle. And they certainly delivered on that front.

The Vampires set is essentially the ultimate high-budget covers night celebrating dead friends and rock royalty, anchored by Alice, Johnny Depp, Joe Perry, and Tommy Henriksen.

I was sceptical about Depp on guitar but he can play, he did a few vocals too but the mix didn’t do him any favours.

The band kicked off with a couple of their own songs I Want My Now and Raise The Dead before diving headfirst into a massive list of classics. Alice sounded great on I’m Eighteen, and the band pulled off a surprisingly dark rendition of Velvet Underground's Venus in Furs and Killing Joke’s The Death And Resurrection Show.

The covers kept coming thick and fast, Jim Carroll's People Who Died (where Ozzy probably got the biggest cheer of the night as he appeared on the film of all the people mentioned in the song was shown), Johnny Thunders’ You Can’t Put Your Arms Round A Memory, Aerosmith tracks, The Who's Baba O’Riley, and a massive crowd-singalong for David Bowie's Heroes. Closing out the main set with School’s Out blended into Pink Floyd’s Another Brick In The Wall was pure theatrical fun.

Then came the encore. Bringing out Ronnie Wood for The Train Kept A-Rollin’, The Rolling Stones' Brown Sugar, and Jeff Beck’s Hi Ho Silver Lining was a genuine surprise and a great moment to end on.

I went to the O2 specifically for The Jesus and Mary Chain, but the Vampires proved to be a thoroughly entertaining bonus. A solid night of classic riffs, nostalgia, and top-tier showmanship.

Reviews: Gorod, Mob Rules, Noveria, Cutthroat (Mark Young & Matt Bladen)

Gorod - The Ember Gone (Base Productions) [Mark Young]

There are some albums that set their tone very early on, its not so much a case of showing their hand almost straight away its more that they can’t help but put their accomplishments in the window. The Ember Gone is one of these albums where they assume you are onboard with them and with the music they are about to bestow upon you. Their lead off starts and we are off on this technical journey. Now, we know that sometimes technical can equal boring, due to the bands themselves forgetting that it has to excite you as a listener. 

Signs has this current running through it where they pull the technical approach in but base it over what you might say is a simple progression. And that is the key in this song being an absolute belter. Because it has that simplicity at its core, it allows them to embellish the song around it with some quality touches that mean more than just a flurry of notes without meaning. It lives up to their bio declaration with an outro solo that is fleet of finger but still has an emotional heft to it. 

Further confirmation of their approach as being basics first is Devise. Its how they knit the different pieces together so we end up a with a song with no frayed edges. It gets the riffs in and done then decides to play around with you. Its exceptional stuff really and while I’m assuming that there could be more ‘technical’ acts out there I don’t think that there are many who can build a song they do. Even the vocal melodies and the overall delivery is in step, its just a complete package which makes me review it so easy. 

Where they extend their songs out, such as on Forgiveness, that additional time is not wasted in meaningless noodling. Its used to further flesh their sound out, moving with a cosmic grace to it. I’m happy to say that they also bring in some fiendish low end riffing on this one and in the course of three songs they have casually dropped in one of the albums of the year. Absolutely no doubt in my mind.

Is there such a thing as a technical-progressive swagger? There is now and its running through this on every song. We look to describe music in lazy ways and I’m certainly guilty of that and if you asked me, I’d say fluid. Which is probably not the best term but there you go. There is no reduction in the intent or execution from them, the later tracks are as immediate as that initial kick off – Ignite being an example of bringing you death metal with a sunny edge. Honest, once it starts you will get it straightaway. 

Remains brings the whole thing to an end, and bookends a strong collection of technical, progressive music, one that doesn’t seek to overwhelm the listener with super crazy rhythms or by playing more notes than anyone else. They have a very simple approach, which to write good songs that define a base from which to leap off from but never forget that they have to return to that base at some point. They treat every song as a new trip, something for us to enjoy and you will enjoy it from start to finish. 9/10

Mob Rules - Stories From The Verdant Vale (ROAR) [Matt Bladen]

This one is all about the vinyl as Stories From The Verdant Vale continues the narrative established on 2025's Rise Of The Ruler, these are songs from those sessions, originally released as part of the special edition of that album, on CD.

They are now getting a second lease of life as a standalone piece, on vinyl as a full length record that features these five "new" tracks as the Side A and as and extra treat on the Side B a few re-recorded versions of older tracks featuring a few guests.

Because Stories From The Verdant Vale links to early Mob Rules records these bonus tracks are ones from that era, re-recorded in 2014 with Udo Dirkschneider, Amanda Somerville, City Somapala and Bernhard Weiß as guest vocalists to make them a bit more than just a standard re-record.

It's the originals that do the legwork here though from the orchestral overture of Savage Land Reprise, through the bouncy Euro Power metal of Master Of The Black Crow. Then from the theatricality of Masquerade Ball, the ballad Above The Maelstrom and the hard hitting Balance Of Power, Stories From The Verdant Vale is Mob Rules taking you back to the beginnings of their career through songs given a new chance to impress. 7/10

Noveria - Becoming After (Scarlet Records) [Matt Bladen]

The cinematic prog metal experience that is Noveria return with a new record of prog/power. There's something about Italy when it comes to progressive power metal as a lot of the biggest names in this hybrid genre such as DGM and Labyrinth hail from the Mediterranean.

However Noveria have been building their own legacy with a sound that draws from the heavier, moodier US style favoured by Symphony X, Dream Theater and Swedes Evergrey. They get darker again with Becoming After, with Middle Eastern tones beginning The Only Way, it bursts to life with downtuned riffs, orchestral swathes and keys/synths that bring depth.

This is the fifth album and features the talents of pianist and composer Mike Moran on the cinematic Through Your Light, keyboardist Mistheria (Bruce Dickinson) on Cold Flames and string arrangement/performance from violinist Abigail Stahlschmidt and cellist Luca Basile. Though the band themselves shouldn't be discounted as they are all virtuosos in their own right.

All of the guests add more layers to these already dense compositions from a group who can bring melodic wonder, sprawling soundtracks, industrial electronics and the heavier side of metal as well through occasional harsh vocals, Noveria stepping confidently into a new era after major line up changes on Becoming After. 8/10

Cutthroat - The Purge (M-Theory Audio) [Mark Young]

Hard Times takes little time in announcing exactly what you can expect from The Purge, a 5 track EP from LA hardcore outfit Cutthroat. If there was band that completely matched their bio description, its these. The opener is as straight as you could find, its built on a foundation of tightly driven riffs and a traditional hardcore vocal delivery, in as much it reminds me of Biohazard from their Urban Discipline days. Its aggressive, its focus is on battering the listener with what could only be described as a massive sound. 

Sick One comes in, again its perfectly acceptable as an example of what hardcore should sound like. Unfortunately herein lies the problem. Historically, I’ve never been a massive fan of this genre on record. I’ve always felt that the live shows are where this music lives and breathes because that crowd energy feeds back to the band and together, the songs dynamically change. I feel that this is the case here; these tracks will take on new life on stage.

Feeling Disconnected continues on that ferocious path laid down, but stays within the lanes already set out, and by this point they have effectively settled down into what feels like the same song, partially rebuilt to suit. I feel that I’m sounding unimpressed by the material on here, that’s not the case. As I’ve said its incredibly tight, and its all about stomping you with some pummelling riffing. 

If you take the title track, Purge, its heavy, and will tick all the necessary boxes required for metal. It’s just that it’s too similar to everything else on here. They close out with Bullet Proof Mind, and it shows that they have no intention of slowing down or backing off in terms of intent. It maintains that aggressive nature that has been in place since track one, without departing from their core sound.

There’s couple of ways of looking at this in terms of reviewing it; If you consider this purely on the strengths/weaknesses shown, then I would say that for fans of the scene hey will lap it up. They do everything that you want from hardcore, massive riffs, insistent approach delivered with an authentic focus on what works for them. You know that live, these will cause the crowd to go off, there is no doubt in my mind. My issue is that I’m not a fan, and it’s not done anything to change my mind. 6/10

A View From The Castle: Scarlet Rebels (Alex Tobias)

Scarlet Rebels, Hollow Souls, The Virginmarys, Marisa And The Moths & Juliet’s Not Dead, Chepstow Castle, 21.08.26

Having been lucky enough to capture a few gigs this summer at Cardiff Castle for their summer stretch of events, now that those are over I’ve switched over to another castle in South Wales — the fantastic and naturally atmospheric Chepstow Castle.

Tonight’s gig consists of Juliet’s Not Dead, Marisa And The Moths, The Virginmarys, Kris Barras’ Hollow Souls and our headliners, Scarlet Rebels. So, let’s pass through the huge entrance gates and go watch this night of rock.

First up this evening, we get North East rockers Juliet’s Not Dead (7), striding onto the stage with all the swagger of a band that deservedly broke into the UK Album Sales Chart Top 20 with last year’s This World Is Ours. This is a band that knows how to entertain — and has the songs to back it up.

From song one, the band deliver huge riffs and addictive melodies that have this crowd singing along right from the get-go. I can hear so many influences running through the band, but one I felt strongly in the big choruses they deliver was Coheed And Cambria, especially in the standout song of the set for me, Open Fire, from the band’s last album.

The crowd got tonight’s party off to a great start, singing out loud, “Take your aim and open fire,” along with plenty of dancing. The band look good live and have a real ease and stage presence about them.

A blinder of a start, and a new fan was made in myself after watching Juliet’s Not Dead tonight.

Having finally had some rain earlier in the day, it did stay dry for the evening, but it had that gloomy, half-and-half sky towering over the castle by the time Marisa And The Moths (7) came to the stage. This in no way impacted the performance we were about to get, but it just added to the aura bursting from the stage from the band.

Throughout the set, we are spoilt with some damn fine catchy songs. Marisa Rodriguez has a voice that is so sweet and tonally perfect, and then, in a bar, can switch to the pitch sensations of the rock end of the late, great Bonnie Tyler.

All together, the band have really good chemistry on stage, and there are plenty of solos to show themselves off amongst the pretty impressive range of songs on offer. We get fast alternative rock mixed with soulful, softer songs like Borderline from the band’s 2024 album What Doesn’t Kill You. Even this has a strong, heavy chorus that leaves you banging your head while feeling the emotions pouring from the lyrics.

Very impressed with the Reading outfit tonight on my first time seeing them. Huge roars from this crowd during the band’s after-set photo confirmed that for me.

After a nice little refreshment break and an awe-inspiring look at the castle grounds as it starts to get dark, our next band steps onto the stage to a huge roar from the crowd.

The Virginmarys (8) are a band that I have been looking forward to this evening, as I’m always intrigued by artists that balance having lots of members — or, in this case, have only two.

Having recently experienced the musical delights that are Soft Play, I was excited to see what vocalist and guitarist Ally Dickaty and drummer Danny Dolan can bring to tonight’s music.

Straight off the bat, we get song after song of pure grit and downright dirty soul oozing from the stage from both men. Raw grunge with a punk edge that compliments the nerve-striking lyrics, especially from songs like White Knuckle Riding, which talks about the struggle of having a long-term mental health problem and the ways it can keep you on a constant edge.

The visceral energy coming from Ally Dickaty during this song makes you stop and stare in the moment. A raw ride of in-your-face songs that doesn’t let up throughout the set, the pair feed off each other well, and it brings your eyes to the section of the stage they are on. It’s a very well-thought-out set but feels very natural and real.

Very much recommend catching The Virginmarys if you get the chance, near you or not.

Another short break for changeover and we almost come to complete darkness in this historical setting this evening. Next up onto the stage is the mighty Kris Barras with his blues-rock band, Hollow Souls (7).

As you can expect, the crowd went completely bonkers when Kris and the band got to the stage. Cheers and screams carried on throughout the first song and into the superb cover of Led Zeppelin’s Rock And Roll for song two. The stacked line-up of talent in this band is very impressive. Vocalist Phoebe Jane is perfect throughout, with the powerful melodies, but also has such a soulful edge during the more laid-back songs.

I Need Fire, from the band’s 2025 debut EP, hits you in the feet and legs, forcing you to bop along to the driving grooves, then explodes with a real gritty solo from Kris as he makes his way close to the edge of the stage. The band don’t skip a beat with solos, keeping everyone here dancing and getting their groove on. The best thing I could say about the band live is that it feels like they have been together for over ten years.

Riffing off each other with ease and looking so happy to be playing music together, I very much enjoyed the bluesy rock change of pace. We all know how talented Kris Barras is, and with Hollow Souls this is a collective band that all look so happy to be cranking out soulful riffage together.

Twenty minutes pass and we now welcome to the stage tonight’s headliners to a huge applause and cheers from this Chepstow crowd: West Wales’ own Scarlet Rebels (8).

The band are greeted by lots of banners draped over the front barrier, with fans here going crazy from song one. Vocalist Wayne Doyle gives us strong and powerful notes galore from a band that has been on a long run of success in the past few years, with classic songs like This Is Happening Now and one that stood out for me, Take You Home from the band’s 2022 album See Through Blue — a song that screams huge rock riffs and carries a message about how music can really bring people together.

Being my first time seeing the band, I was very impressed by the smooth professionalism and just pure rock classic after classic throughout the set. We get the obvious Welsh connection with the crowd tonight, with this being a special gig in a fricking castle, but this is a band that can easily play literally anywhere in the world and just be pure entertainment for everyone watching and listening.

The stage show the band put on was flawless, and the backdrop was great, with the huge red heart framing drummer Gary Doyle, who bursts with energy and smiles non-stop throughout the band’s songs.

What a way to end a really enjoyable night in a Welsh castle.

Scarlet Rebels just confirmed to everyone here tonight why they should be playing big arenas around the globe often. The more chance people get to witness the best pure rock band Wales has to offer, the better.

A View From The Castle: Jimmy Eat World (Alex Swift & Chris Beyond)

Jimmy Eat World, Rise Against & The Get Up Kids, Depot Live, Cardiff Castle, 15.08.26

Alex Swift: Bleed American was a seminal album for Jimmy Eat World. The fact that it has remained an alternative rock staple for 25 years allowing the band to perform the record in its entirety at a sold out Cardiff Castle show, is testament to the strength of the songwriting, and the deeply earned emotional catharsis of its songs.

First up though, is The Get Up Kids (8). Most famous for their Something To Write Home About album, the band's pop-punk ragers make for a brilliant start to the day. I particularly appreciated the way the keyboards intersected with the guitars whilst never drowning each other out. Indeed, despite the fact that the crowd on the whole only recognise a smattering of their songs, it's evident from their performance that this is a band that has been performing for decades, and still carries the excitement from playing that they did on day one!

I couldn't write this review without saying a few words about Rise Against myself. The Chicago punk outfit has been one of my favourite bands for longer than I care to remember. And yet, by fate or happenstance, I’ve never seen them live before. It was one hell of an experience to throw myself into the mosh pit (a rare occurrence for me these days) whilst screaming every word back at Tim Mcilrath and co. They may have only had three quarters of an hour to play, but it was absolutely worth the sixteen year wait

Chris Beyond: How to distil the politically fuelled Rise Against (9) into a 7-song set list, playing within the beautiful backdrop of the Welsh Capital inside Cardiff Castle in a supporting role for Jimmy Eat World? Turns out the answer is quite simple, you give the fans what they want!

If you are a Rise Against fan aware of their extensive back catalogue, the set list speaks for itself. However, if you are not let me explain. The most current song on the setlist was from way back in 2011. Not that I don’t enjoy the new material, however, I am pleased that a band that had an opportunity to play current offerings to a large crowd and push the commercial sale of their new album said NO! Let’s give the good people of Cardiff, fast, rebellious (pertinently relevant) hits from the 2000’s.

Rise Against did they just that from the slow burning intro to the Re-Education Of Labour which set the tone for the next 30 mins leading into their anthem Satellite.

Wasting no time, straight into the relentless Give It All caused quite a dust-storm in the mosh pit. At the front the dust that refused to relent as they went straight into the well-known Ready To Fall and just as the mosh pit was catching its breath Tim asked if Cardiff had their dancing shoes on, before playing the best song in set list the very apt Prayer Of The Refugee refusing to let the (literal) dust settle straight into Good Left Undone.

Ending the set list with fan-favourite Savior, and with the current state of affairs within the world the crowd screaming; "I just want to save you, While there's still something left to save" at the top of their lungs, felt like a fitting way to end a short whistle-stop tour of the epic Rise Against.

It was not all perfect, as for reasons unknown, they were late on stage and after comparing set lists from the tour, Cardiff was deprived of 3 songs under the knife, help is on the way chamber in the cartridge, which hurts as chamber in the cartridge is a personnel favourite of mine.

Having seen Rise Against four times, I also wish Tim’s vocals were a little louder, with the mixing of the vocals a little off this time. The absence of three songs and the mixing issues aside this was Rise Against at maximum tenacity.

Alex Swift: Something I immediately notice about Jimmy Eat World (9) is how crisp, and clear they sound. You might say each song rings out with remarkable clarity. Moments in the vein of A Praise Chorus have me singing at the top of my lungs whilst Hear You Me see’s me sobbing into my overpriced Cider. I loved all these songs when I first heard them, but an element of them I appreciate as an adult is how multi-layered they are. Pieces like My Sundown swell from quiet to loud, working brilliantly in the festival-esque grounds of the castle.

Throughout their set Jim Atkins describes the process of writing songs and how they took him from obscurity to fame overnight - “I can't believe people still want to hear these songs 25 years later”. In one particularly touching moment he describes one of his earliest memories being playing a show with the Get Up Kids, and Rise Against.

In that sense, tonight's show feels like a celebration of everything these bands have achieved. They emerged onto the scene with defined sounds that would influence thousands of other bands. They stand on the stage tonight as elder statesmen, no longer at the forefront of the scene they helped give rise to, but revered nevertheless.

Reviews: Kris Barras Band, Mephistofeles, Famous Strangers, Nekrodawn (Matt Bladen & Joe Guatieri)

Kris Barras Band - Monsters We Made (Earache Records) [Matt Bladen]

There has to be a one of kind career trajectory for Kris Barras, from cage fighter, to bluesman, to frontman of international blues super group and now the leader of both a hard hitting heavy rock band and a new blues rock sensation, you can't say Kris does anything by halves.

After fronting Supersonic Blues Machine, his solo band (this one) took a more modern and heavier direction on their previous album Death Valley Paradise, perhaps taking some long time fans by surprise but doing what's best for him as an artist by gaining a whole new audience along with a lot of high ranking support slots. In the time between that album and this one he has also launched Hollow Souls to cater for his blues instincts, so Barras now has all bases covered, unless he wants to start a brutal death band!

Splitting his time in this way has meant Monsters We Made goes further into the world of heavy rock and metal, Kris himself saying that he absorbed "influence of modern metal and a resurgent nu-metal scene" which can be heard across this record as track such as Fake, Beautiful Lie, Alive and the title track have the swaggering grooves of Godsmack and Sevendust while Riot Of One, Rewind and End Of Me bring the arena ready tones of Nickelback and Alter Bridge.

Inspired by the loss of his mother to cancer, Monsters We Made is about reclaiming your art and your life as your own without the need for outside influences or validation (rendering any reviews a moot point), rather it's about choosing your own path, which Barras has done with this record, joined once again by producer/guitarist/keyboardist Josiah Manning, bassist Frazer Kerslake and drummer Billy Hammett, this forceful foursome, have defined this new path loudly and proudly on Monsters We Made. 8/10

Mephistofeles - Live In Europe (Heavy Psych Sounds) [Joe Guatieri]

Mephistofeles are an Argentinian band who dance somewhere between psychedelia and Doom Metal. They’ve been going at it for years now, forming back in 2013 and establishing a big discography, full of excess in every single sense of the word.

I came to know them a few years back, after going into 3 AM YouTube rabbit holes on Electric Wizard and Doom, they would always appear in my recommended and their song titles would stick out to me like a sore thumb, just seeing words strung together like Into The Night and Black Sunday at 28 would make me think, what planet is this band on? Then listening to these pieces would make me say to myself, oh they’re in a world of their own as their attack struck a chord with me in its darkness and the wah-wah felt like an angel brushing their magic wand against my ears.

I eventually saw them live during their very first UK and European tour in 2025. It was in my city of Bristol and after a very long day of work and then going to a friend's gig beforehand, prefacing as well that I was completely sober as I was putting on a gig the next day, I was then ready to see Mephistofeles at Lost Horizon. I noticed a huge sense of anticipation in the air and surprise as they were meant to be headlining and yet they were the first band on as they had to catch a flight early that morning.

They came, I saw them and they conquered with their raw and wild energy, very appreciative of being in England for the first time! Their set felt brief but the impact was made on me as I got home in a daze, ecstatic going to bed after a stellar performance like that, having a good sleep on that night. They were an amalgamation of all things heavy, The Jimi Hendrix Experience, meets Black Sabbath, meets Electric Wizard, it could not be a better description for them!

Now in 2026, Mephistofeles bring us Live In Europe which makes a lot of sense, having a very successful tour last year and they are currently on another one as I’m writing this. This record consists of two separate shows, with the same set lists, played in both Barcelona, Spain and Arnhem, in the Netherlands respectively.

Starting off with the Barcelona show, this is exactly what you want to hear from this band. The live mix is perfect, guitars, drums and bass right up front and the vocals behind all of the chaos. It not only makes it an album of theirs, but also present in your room, playing a private show just for you.

Listening to it early in the morning, I couldn’t stop bobbing my head, most grooves caught me in their web completely, to the point where my mother was screaming at me and I couldn’t hear her. The drums were pounding in my ears and the guitars were burying me in their majestic noodlings. I couldn’t pick a song out that meant the most to me here, I just simply put the record on and enjoyed the ride.

The gig in Arnhem however is a more turbulent affair. The mix is laid out differently, the bass lacks the oomph that it had before and the vocals are much more up-front here which for me, doesn't suit the band that well and as a result they lose some sense of mystery, as if anything can happen which is the main draw of the band to me.

In some ways it feels more sloppy, more rough and ready like the band didn’t care how they sounded. Some great solos were pulled off, seemingly out of sheer will but compared to the first performance, they band felt second-rate here, not bad, just serviceable, it doesn’t make me want more, I walk away with the thought of, that was it…

Overall, with Live In Europe, the record is just too long for its own good. As I said before, the Barcelona show put me in a space of comfort and enjoyment but with the Arnhem, I just stared at my watch the entire time with brief highlights which were enjoyable but didn’t last as long as they should. I wanted it to have a Dark Side Of The Moon effect on me where I can be taken on a journey and return back to the same place but with a new feel. Instead I’m seeing the same hills over and over again, in a mixture of déjà vu and ear fatigue. I love Mephistofeles and I can’t wait for the new album, it’s safe to say that this release won’t hold me until then. 7/10

Famous Strangers - Famous Strangers (Self Released) [Matt Bladen]

Rock n roll doesn't die it just repeats itself, but then it always has and Famous Strangers have a lot of rock n roll experience behind them.

Formed in 2023 but with a lot of history in their local Edmonton scene behind them, Jeff Kittlitz (guitar), Brian "Beej" Beejerson (drums), Braden Sustrik (bass) and Amanda Kiernan (vocals) the transformed into a adrenaline pumping classic rock band inspired by AC/DC, Judas Priest and Halestorm, running through all these influences across 39 minutes of music.

Now I'm always a big proponent that proper hard rock has to have grit to it and Famous Strangers have more grit than a snow plow in the Canadian winter, Amanda's vocals taking the Lzzy Hale-like snarl as they get the engine roaring with Fire Inside, ripped right out of NWOBHM playbook it's a real ripper of an opener, with Ghost Of Men bringing the 80's sleaze quotient, sticking with that decade on the sultry Please Her.

Famous Strangers have knack of shifting between decades and styles, from galloping punk rock on Desires, modern heaviness on As Your Leader, more NWOBHM on Far Away From Home and even some smoky bluesing on final track Rain. Its a testament to their experience that they have delivered a debut that is fully realised, confident in their skills and songwriting, Famous Strangers won't be strangers for too much longer. 7/10

Nekrodawn - Covenant Of Carnage (War Anthem Records) [Joe Guatieri]

Nekrodawn are a Death Metal band from Sweden who formed in 2022. The band have a lot of pedigree, there members have been a part of so many other acts before this one, Dreadful Fate and The Crown to name a few, clearly these guys know what they’re doing! Their last record, their debut full-length Sculptured By Torture came out in 2024 and now after a quick turnaround, 2026 brings us Covenant Of Carnage.

The first five tracks provide a very feral outlook, they prioritise speed for the most part with some change I there to keep the metal heads on their toes guessing. There are some hits and misses in this first stretch but it provides a good platform for the rest of the album to build upon.

From track six onwards, it genuinely feels like Nekrodawn's prioritises have a change of heart as the songs have a more atmospheric touch to them with plenty of songs that are locked in to hard hitting grooves that just make you want to band your head aggressively.

The aforementioned track six, Crowned Devourer, shows the band at their very best, it’s my favourite song on Covenant Of Carnage. Its not only catchy but it transcends into something which sounds so regal and operatic within its instrumental. It makes me envision a stage show where the world shown and this is caused by fireworks that won’t stop exploding.

Overall, the listening experience provides one of those rare cases where the LP feels particularly back-loaded, keeping you satisfied throughout its runtime. Nekrodawn has my stamp of approval with Covenant Of Carnage, it’s multi-faceted, well performed and a whole lot of fun. Though Death Metal isn’t typically my cup of tea, there’s something about Covenant Of Carnage that makes me come back for seconds. 7/10

Reviews: HAAST, Dysthymia, Risperidrone, Destroy My Brains (Matt Bladen & Mark Young)

HAAST - Dreams Of Home (Self Released/Majestic Mountain Records) [Matt Bladen]

There's a real beauty to the music of HAAST, since they are no longer Eagled, it seems that they have expanded their musical palette beyond the post-metal/sludge/doom beginnings into a cinematic sound where this heavy style is manipulated though progressive atmospheres, the emotional catharsis of grunge and the directness of alt metal.

Their first album as just HAAST,, 2021's Made Of Light saw them embrace new styles, strengthening their change of name, but with Dreams Of Home they have created their best work yet, consumed by a feeling of hiraeth, the stirring strings and clean guitar from opener Black Light sets the tone of the record, epic from the first moments as they move further towards grunge and alt metal.

Dreams Of Home is a record from a band carefully crafting every moments so it just hits right, the string section of this first track in the first moments used an impressive overture before starting properly, the distortion kicking in for some thunderous grooves driven by the muscular bass parts of Elliot Blake and the progressive drumming of Hwyel Williams.

With the strength of this rhythm section creating the foundations for brilliance, the windscreen guitar playing of James Tottle and Adam Wrench bring the melodic contours with plenty of dual harmonies on tracks such as the fabulous National Razor, where the dual vocal approach of Wrench and Williams is used to full effect.

There's also bucket loads of energetic riffs on the ragged Mastodon-like Cratered Pilots, the vocals here counter point between cleans and shouts. With just three tracks into the album and Dreams Of Home feels huge, the scope is phenomenal, increasing again on the glittering Lark Song, a majestic end of side one, where there's some movements from Holst weaved into the fluid progressive rock changes.

Side two begins with something even longer, as Denial In The Lion's Den brings 14 minutes of Soundgarden meets Alice In Chains grandeur, a spoken word middle and Celtic storytelling that continues into the latter part of the album with Clychau Arian and Clychau Celyn inspired by the sunken kingdom (Welsh Atlantis) of Cantre'r Gwaelod and the very real sinking of Capel Celyn in 1965 which is still to this day a driving force of Welsh nationalism.

Both can be seen as one track as the haunting silver bells give way to the dramatic doom of homes lost many years ago. Climaxing with the intense In The Voice Of Rhodri Mawr where Welsh and English lyrics are intertwined between the wise words of three influential Welshmen and more magnificent music where sludge, alt metal and traditional folk instruments combine.

Creating vivid and poignant Dreams Of Home, HAAST's second full length enshrines them as one of South Wales' finest acts. 10/10

Dysthymia - The Morning Darkness (Hypnotic Dirge Records) [Mark Young]

And then a thing of raw beauty appeared.

That’s it, that is the review. 10.

The Morning Darkness, their sophomore release channels a weary, lived-in atmosphere leading to each track standing out as something that is tangible, something that feels more alive. For me, this is a release that you have to sit down with and do nothing else other than absorb it. That’s my recommendation for this. I know we have talked about atmospheric black metal before, and it seems to always follow a pattern or type.

This is different. Yes, the traditional tropes are there – the constant rhythm guitar and its wall of sound played out against a melodic line and of course the extreme vocals (that sound like they are being dragged out of Grushenka) but its not the harshness that does you in. It’s when they combine with relative cleans with those melody line. 

Again, we know its not a new thing but there is something different at play, possibly it registers on a personal level. You might describe the music here as rough, unpolished and to an extent you would be right. Just because it’s this way doesn’t mean it has no value. It is rough, its jagged and torn and uncomfortable.

I realise that I’ve kind of written my main points without actually talking about the songs; I think that if you look to their respective lengths, you could be forgiven for feeling discouraged. After all, the opening duo of I Live With What You Created and We Can Never Go Back combined are 18 minutes long. That is a long time to be sat in darkness. Of the former, they waste nothing in filling that space out. Once it starts you are locked in. 

We Can Never Go Back is closer in spirit to what I class as normal Black Metal, something that is atonal and harsh splintered by lighter guitar lines that almost break into lead territory. The thing is that they never completely move out of the shadows, its like they cannot afford to allow themselves to do that. Like the opening track, there’s no wasted space. 

To Choose Life Is To Choose Grief comes in from the opposite end, a short and focused 4 minutes that is more fury that anything else. The shorter run time gives you the chance to take a breath (of sorts) as their focus here is hammer the song home and be quick about it. 

If you get this on Vinyl, you have hit the end of side A. Get a drink and then settle in for the ethereal beauty that starts Until I Was Nothing, and as expected they kick it over, because there’s no way they could possibly stay that way, the depression has to find its way out.

Even so, those cleans don’t completely quit, dropping in as necessary to great effect. It’s the same on The Morning Darkness, their final act. They use cleans to elevate and give the music that darkened edge. What they do is pick the right riffs, the right changes dropped in at the right time.

I’m sure that those who have listened to a lot of Black Metal, including this sub-genre of depressive Black Metal will have something to say. I have to repeat myself that the music you hear here might be similar in execution to something else. I’m not saying that it is new, or that they have done something magically different. I’m saying that there is something in the way that they have written and recorded this music that lands with me. 

Other releases haven’t, and yes, I can like them because they fulfil one of my core requirements – for example its fast and aggressive – The Morning Darkness resonates in a way that is possibly due to where my head is at. I don’t honestly know, but none of this feels forced or inauthentic in any way. I hope that this pulls you in to give this a listen. If you do, please give it the respect it deserves by providing your full attention. It deserves it. 10/10

Risperidrone - Black Shuck (Self Released) [Matt Bladen]

The debut album from Cardiff sludge doomers has been long away at but Black Shuck has finally arrived and it brings with it more fuzz than a cashmere sweater. After a six year digestion period and honing them with stage time across the UK to get these songs just right, we finally have the first collection of tracks from Risperidrone.

They manage to capture their live stage heaviness with the record, guitarist/bandleader Wigg Grant handles the production/recording/mixing/mastering of the record and makes it sound like those classic doom/sludge records from the 90's. The riffs create walls of fuzziness and woozy atmospheres on tracks such as Spectre where the groove doom metal merges with the prog metal of Elder, the fusion of clean and heavy used really well on the title track as well.

The bass is both fluid and grooving alongside being droning and earthquaking on the synth Dirge. The drums are given room to expand, controlling the pace but adding fills and moments you may not expect, like the jazz/prog on Swamp Ape, with a snap to them that takes me back to those Sleep records. Vocally there's an echo effect on the cleans that clearly has Ozzy/Maynard inspiration while the screams are raw adding groove and death/doom, though Never Again brings some Type O Negative and guest vocals from Root Zero's Sasha Bannister.

The only thing I would say is that Wizard Weed works as a better opener than Reptile, however closing with Anvil makes sure that the Risperidrone's swampy, groovy, doom sludge gives you everything you want from them as they end the record with the song that taps into every part of their influence.

Risperidrone delivers on record what I've seen on stage a fair few times now, a band with a vision born from the darker side of doom, filled with horror and folklore themes. Black Shuck claws at the door, begs you to stare into it's green eyes and listen to it's heavy fuzz riffs. 8/10

Destroy My Brains - WILT (Self-Released) [Mark Young]

Destroy My Brains is the sound of sludge pulled through a unique and extreme Canadian filter that draws from the industrial roles that some in the band complete in their day to day lives. The album itself, according to their bio completes a 5 album journey that commenced in 2018. 

Of those, I can’t tell you if this is a step up or down when compared to those. What I know is that this bio promises a collection of face melting riffola and extreme music, a form of sludge that is completely removed from what I’m used to on these shores. So no pressure, obvs.

OCI is their starting statement of this intent. By their own words, they wanted something that explodes out of the gate, grabs the listener by the throat and doesn’t let up. It is exactly that. Straight forward attack, one purpose in mind, to just crush you. Showing that sometimes simple works as well as complex measures in being able to hammer the listener, OCI takes this approach and batters you. They wrap this in vocals that run the full range from shrieking to the guttural, underpinned by ferocious drumming and you have a starter that makes good on their promise. 

Keen to avoid any repeated measures, Burn The Virgin gives us the first of their long descents into doom territory. Rather than follow a dense, traditional bottom end break out where not a lot happens, this is a well-constructed and executed ten minute special. 

Its there for you to hear; the arrangement is one that is filled with mint riff-building that builds and builds during each section. Does it sound like the wheels could fall off at any moment? Most definitely but that only adds to it. What you have is a release that tells you upfront not to expect an easy time here. It’s harsh and abrasive but accessible at the same time. 

Take Decontribute that mixes in the blasts with an almost laidback riff set. The vocal delivery from Jarret doesn’t alter, its fully on, no respite or quarter given. That mix is almost hypnotic in the way they deploy it and the unannounced stop at doom central takes you by surprise. 

It’s a massive break without resorting to something that is overly produced to get that heavy sound, something that I think is becoming a lost art. It is surprising how their sound differs from song to song, running from sludge/doom to punk to death metal, it comes across as washed-out depending on the style they are dropping, giving each of the songs a unique flavour. 

The closing track, WILT, is where they bring it all together. This is one of THOSE tracks that pulls you in and keeps you entrapped by its shifting arrangement that rips from one extreme to another. It goes where it wants to go, almost as if they had no control over how this turned out. Its brutal, uncompromising and maintains that harsh approach that has been in place from the start. I’ve mentioned before about bands that confuse song length with having something to say. 

Destroy My Brains have no trouble in making the song lengths seem almost too short given what they are trying to fit into that space. Its autobiographical, and in their own words weaponizing certain feelings and experiences. Its not easy listening, but Christ it is something else to listen to. 

WILT, as a final track is up there as one of the best songs of 2026. Put it on your list, and I’m loathe to mention AOTY positions but as a release its criminal if people don’t get to hear this. 9/10