A View From The Back Of The Room: Avatar (Simon Black)

Avatar, Alien Weaponry, Witch Club Satan – O2 Academy Bristol, 18.02.26

Tonight, it pisseth. OK, for those of us here in the UK it’s been raining continuously for over 40 days, but this is truly biblical downpouring going on over the Bristol Channel, so much so that the normal 70-minute jaunt from Wales takes nearly 2 hours and makes me late for the scheduled start time for Norway’s openers Witch Club Satan (6). 

This doesn’t seem to be a problem at first as when I arrive there’s no-one on stage apart from lighting and backing music, so I breathe an initial sigh of relief that I’m not the only one running late. Turns out I’m very wrong. Our lensman Alex has already left the pit for the designated three song grace period, and it turns out that the reason the band have departed the stage is for a fairly fundamental costume change. Or removal…

Corpse paint has always been a fundamental part of Black Metal’s vibe, but it takes me a moment to realise that these three ladies that this layer of white and black, plus some strategically placed long locks from their wigs, are the sum total of their stage gear for this half of their set. 

This sort of thing it appears is par for the course for this fiercely provocative trio, and it’s not surprising that Avatar have selected such a unique band to open the tour for them. They certainly have everyone’s attention as their shriek and roar through the brutally intense remainder of their set. The challenge I have is that musically this didn’t live up to the theatrics, and I find the songs to be a little unfocussed and in need of structure.

I reserve final judgement until I get to see a full sot and dig a little deeper, but this didn’t quite hit the spot in this barn of a venue, although I can see this working far more effectively in a more intimate and enclosed venue. I don’t have an issue with polemic and commentary, but with inter-song banter that is intended to provoke and disturb throwing everyone off and diminishing applause by not giving space for it, they didn’t get so much back from the audience as they put in.

It’s an older crowd here tonight, and this might have been a step too far for some of them. I imagine 20 years ago that the same was said of the headliners…

Alien Weaponry (8) are a band that I’ve wanted to see for a while. It’s long way to travel from New Zealand to give us that privilege, but this antipodean threesome make short work of tearing the crowd a new hole or two as they lay into their dynamic, groovy, catchy but kidney-rattlingly brutal set. 

It’s the first time I’ve seen a set opened with the drummer delivering a full-blown haka, and from his drum stool to boot, and it’s as disconcerting as it is for a rugby team coming up against the All Blacks for the first time after what went before, but they very quickly stop gimmicking and let the music do the shouting. 

I’m quite impressed how all three of them are working some complex vocal harmonics together – mixing clean lines, death growls and all shades in between hugely effectively, but I do feel a little cheated towards the end of the set when as they get a bit shorter of breath it becomes clear that there’s a vocal click track in there creating some of that layering.

Having both the audience and the band standing stock still for the openers means that the audience is more than ready for a bit of groove, and very quickly this room is buzzing with the band’s infectious energy. I have one gripe and that was at five songs this set was far too short, but then leaving people wanting more is the name of the game for any support act, and that they very much delivered.

I had forgotten how much I disliked this venue when it is full. From a plus side the sound is usually top notch here, but the layout sucks as unless you are lucky enough to be on the front at the balcony or in the pit the chances are your view is going to be obscured by someone when it’s as rammed as it is tonight. 

The fact that it this is so, is a testament to how hard Avatar (10) have worked their schtick to the point that despite pretty much doing what the fuck they like when they like in the face of all convention is why this crowd have shown up. They’ve been on my bucket list to see again for a while, and they have come a hell of a long way since I saw them unexpectedly take a main stage slot at Bloodstock back in 2014, but apart from the Ages series of live streams to celebrate their 20th anniversary (where they played all 8 of their studio albums to date back to back without boring anyone), I’ve not had the chance again until tonight.

The first surprise is that despite their headline status, there’s no significant setting or scenery in play, but despite the size of the venue the actual stage ain’t that big and it would not be the first time that a headliner used to squeezing out every inch of theatricality had to scale back their rigs to fit in here. 

As in 2014 that means that apart from a few significant props and gimps dressed up stagehands, the main focus has to be the band. It’s just as well, because tonight proved that they don’t need all that to deliver an over-the-top theatrical performance when you have such a well-oiled clockwork set of performers, who endlessly impress with their quirky movements from the drum stool, or synchronised moves from the rest of the instrumentalists that totally capture the attention. Then there’s frontman Johannes Eckerström…

This man’s vocal delivery and moves are totally enthralling in and of themselves, but it’s his inter-song banter with the crowd that really grabs you. Whereas earlier performers tonight jarred when sounding off-tradition, Eckerström takes the concept of ‘being a bit odd’ onstage and turns it into an artform. And my word is he funny with it…

Then there’s the music. Their look might be seen as either derivative or inspired from almost anyone since Arthur Brow and Alice Cooper onwards, but no-one sounds quite like Avatar. With ten albums worth of stuff to draw on, they can afford to be choosy, and it’s a broad and varied set that bounces around stylistically as each and every one of those records do. 

Yet each song is also clearly Avatar, and their eclectic groove runs like consistently through like Blackpool rock, whether they’re digging up Metalcore of old, Melodeath of more recent times or the frankly bemusing Folk-Death opener Captain Goat from their most recent opus. I counted 17 tracks here tonight, and that’s value for money, and almost makes the thought of swimming back to Cardiff in the floods worthwhile.

Reviews: Cryptic Shift, Matador, Unburier, Scratch One Grub (Dr Claire Hanley, Mark Young, Spike & Matt Bladen)

Cryptic Shift - Overspace & Supertime (Metal Blade Records) [Dr Claire Hanley]

Cryptic Shift, the Ambassadors of Astrodeath, return to earth after a six-year absence with their second full-length offering Overspace & Supertime.

Launching straight into jazz-inspired licks, Cryogenically Frozen, sets the tone for this progressive masterpiece. A real atmosphere builder as we settle into stellar story time. Filled with dynamic tempo shifts, you are forced out of your comfort zone as relentless drums meet panic-stricken riffs before giving way to a momentary psychedelic sense of release. 

Cryptic Shift truly excel at holding the listener’s focus while demonstrating jaw-dropping feats of technical prowess. The mix assists by exquisitely accentuating each and every strength, never leaving the stunning fretless basslines buried behind the flurry of double kicks and intricate guitar flourishes.

Now invested in the journey, Stratocumulus Evergaol is primed to test your patience; one of two tracks exceeding 20 minutes in length, representing an incredibly bold choice that defies the average human attention span. Laid back, ethereal beginnings give way to uplifting, galloping groove, laced with erratic higher pitched vocals to compliment the signature cavernous growls (think Paul Baloff, Bonded By Blood era Exodus). 

A welcome nod to their thrash influences and reminiscent of earlier material such as the Beyond The Celestial Realms EP. Despite possessing multiple personalities, the lengthy track retains cohesion as a consistent whole. An auditory dodecahedron. Shades. Textures. Colours. You got it. Cryptic Shift have used every crayon in their cosmic colouring box to create a completely immersive experience. Even at the triumphant finale, you wonder if another seamless transition awaits.

Hyperspace Topography is an instantly more punishing track. The soundscape is still bright and elation-laden but is layered with bludgeoning chugging, and discordant guitar and drum patterns emerge after a jazz-fuelled break. The menacing aura intensifies with Hexagonal Eyes (Diverity Trepaphymphasyzm), culminating in eerie banshee-scream guitar effects. 

The depths of light and dark engineered throughout are awe-inspiring and catapult the album towards its thrilling conclusion, title track Overspace & Supertime. Once again, straddling the fine line between melodic, dreamlike calm and unabated chaos, while embedding Theremin to enhance the aural sci-fi aesthetic.

Cryptic Shift’s mastery of composition is indisputable. It was evident in the band’s 2020 debut Visitations From Enceladus and has only been strengthened here. However, the additional ~30-minute run time does little to enhance the overall experience. Ironically, where this record falls ever so slightly short is rooted in its abundance. Call it too much of a good thing. The sheer vastness of the album eclipses the detail and the magic is somewhat diluted.

 As much as each track and the album in its entirety make for a seriously impressive and satisfying listen, there is an absence of standout moments. The memorable riff that embeds itself in your brain. That drum fill that commands your attention, which compels you to return to the record time and again. Such is the pitfall of pushing the boundaries of truly progressive music. 

Repeat exposure to the unexpected with such clinical precision only conditions you to anticipate it and as a result, novelty subsides. Many will disagree, I’m sure, but when you’re orchestrating such complex material, less is more. 8/10

Matador - Above, Below and So (Church Road Records) [Mark Young]

February keeps bringing the treats as Matador drop their latest via those fine folks at Church Road Records. With labels that run from doom through to post-rock, depending on where you read with one thing that you can depend on is that this is a set of songs that are unique to them, effectively built and delivered with aplomb.

The House Always Wins just kicks in, a guitar tone that sears and an arrangement that moves with intent. J Kirk has modelled an opening track that is devastating in how it deploys, moving in a way that is conscious of its weight. Its not speedy, but at the same time isn’t static. Everything about it is positioned perfectly without losing sight of the need for this to land with immediate effect. 

As an acid test for the songs that follow it sets them up to succeed because it drags you along, making you invested in what they will say next. Glitter Skin announces itself, super dense and continuing that theme of movement without needless speed. There’s a jagged beauty here, the clean vocal lines giving it a fragility until the grit comes in. Its ambitious, changing lanes on a whim to squeeze as much as possible into a near 7-minute runtime. Over the course of 14 minutes they have give you some indication of the breadth of ideas at their disposal, and how well they can deliver them.

The Flood, changes that dynamic slightly. An instrumental with a spoken word piece that comes in towards the end, it is in-keeping musically with the pair that preceded it and is on par with those in terms of its content whilst O Suna follows with chiming guitar lines and an expansive sound that holds for ever. A shorter instrumental piece, and it’s a bold move that sees the two paired together in the middle of the album. 

It’s a decision that could make or break it really, so obviously they casually throw A Virus at us and suddenly its different again. The build and approach is similar, but the intent behind it is different. Here, there is a more aggressive edge to it even in the moments of restraint. Its one of those songs that seeks to tell a complete story, hence the 10-minute runtime which Matador continually move forward with. It has everything in it that makes for incredibly engaging music and the middle instrumentals take a back seat.

Hooks is the climax, with a solid set-up that when held against the others feels somewhat simple. It doesn’t stay that way for long. Once it gets into it, it takes flight and suddenly its done and gone. Like A Virus, these latter songs represent the flicking of a switch into a more aggressive state. The way they are put together doesn’t change and the length of these songs is exactly the length they should be, no more or less. At no point do you think that could be shorter, or that should be this or that. 

Taking it as a whole, once you get to the end the positioning of the Flood and O Suna makes perfect sense. Both act as a kind of palate cleanser for the songs that follow, wiping that slate clean so you are ready for that epic one-two that closes this album out. On reflection, you can see why there are so many tags attributed to Matador, just for the number of lanes they touch down in. Reading back, I don’t think that I have done justice to this. I am hopeful that I have written enough for you to take an interest in it, because it is a stormer. 9/10

Unburier– As Time Awaits (Independent) [Spike]

The name Unburier carries a specific, restless threat, a suggestion that what has been put in the ground isn't going to stay there. Featuring the seasoned hands of Justin DeFeis (Wreck-Defy) and Fabrizio Giani, this debut EP, As Time Awaits, is a three-chapter document of atmospheric blackened death/doom that prioritizes the slow, agonizing build over the cheap payoff. It is a record that feels like a physical manifestation of patience, the sound of something massive and ancient simply biding its time.

The descent begins with Abyssal Uncertainty. It’s a track that lives up to its name, establishing a soundscape where the melodic lines are constantly being eroded by a thick, subterranean distortion. DeFeis trades the high-velocity thrash of his other projects for a much more calculated, obsidian-edged riffing style. It doesn't rush to greet the listener; instead, it creates a climate of lingering dread, allowing Giani’s vocal delivery to act as a ragged guide through the gloom.

The momentum shifts into the central movement, Continuum. Here, the band explores the "blackened" side of their vocabulary, weaving in a sense of rhythmic instability that prevents the doom-crawl from ever becoming stagnant. It moves with a sticky, inevitable force, a sonic representation of time as a weapon. The production is exceptional, maintaining a "boutique" clarity that allows you to hear the strings groaning under the pressure of the low-end, even as the atmosphere threatens to swamp the entire arrangement.

The experience is capped off by the most visceral moment on the record: Survive The Vermin. If the first two tracks were about the wait, this is the inevitable collision. It’s the most aggressive of the trio, a biting bit of blackened death metal that finally allows the pent-up tension of the EP to explode. There’s a raw, snot-and-tears honesty to the aggression here that anchors the more "celestial" doom elements, bringing the record back to a very human, very desperate reality.

Unburier hasn't just delivered a "heavy" EP; they’ve created a cinematic study in tension. They’ve proven that you can take the precision of thrash and the atmosphere of black metal and forge them into a doom-weighted monolith that feels entirely its own. It’s a brief, three-track immersion that leaves a significant mark, suggesting that while "time awaits," the band themselves are already moving well ahead of the curve. 8/10

Scratch One Grub - One (Self Released) [Matt Bladen]

A debut record of heavy grooves ripped straight from 2000's alt/nu metal scene now as six piece Scratch One Grub let loose One. Yes you read that right a six piece made up of Aled Trigg (vocals), Lewis Griffiths (drums/vocals), Sean ‘The Grub Man’ Barry (samples/vocals), Evan Cook (lead guitar), Alex Lewis (rhythm guitar), and Zac Cross (bass).

They're a band that melds multiple genres from the industrial dirge of SYL (Bad Habit), through the American groove sound (Vagabond) and into Slipknot's (#1) pure aggression, Scratch One Grub are hard to classify but their drive is strong and their sound unflinching. Their Valleys heritage can be heard in the spoken word parts especially, the trio of vocalist all adding something a little different.

However with a track like the synthy Absolution, I think they really should leave the clean vocals out completely as they are not great, the harsh style is much more fitting overall. There is also a little bit of issue here the experimental side of the band, yes it's great to be kept on your toes, but much like a the now spilt up The Defiled, there's possibly a little too much happening, some of it quite jarring due to the tonal change, and there's a significant dip in the middle for sure, with not enough of the heavy stuff they do best overall.

The production is all over the place too, like it hasn't been EQ'd properly, whether this is deliberate I don't know but on their debut, Scratch One Grub show a lot of musical skill however they never really fully become the band they want to be, out of the multiple they aim for. My advice is try it for yourself, especially if you're a fan of any of the bands I've mentioned. 6/10

A View From The Back Of The Room: Fozzy (Simon Black)

Fozzy, Tailgunner, & Marisa And The Moths - Tramshed, Cardiff, 17.02.26

They should be cheering the venue up, pushing their new single and getting everyone ready for their new album, but instead Marisa And The Moths (8) are really, really hurting tonight. A key member of their touring team passed mere days ago, and yet here they are contractually obliged to be warming up a cold room on an even colder night when in all honestly no-one would have blamed them if they had cancelled the tour and focussed on dealing with what is quite frankly an awful experience.

The show tonight is dedicated to the memory of Dave, and Marisa Rodriguez is struggling to hold it together as she tells the audience straight after the opening number what has happened. Their performance is a radically different one from the last time I saw them, in the sunny days of July when they really warmed up the Welsh Valleys at Steelhouse, and the emotions they are experiencing are challenged into one of the most powerful and soulful performances I have ever seen. Rodrigues, dressed more demurely that we are used to delivers a powerful, gut-wrenchingly and heart felt performance.

What she loses from the impact all this is clearly having on her voice trying to reign things in, gets torqued and transmuted into a sheer, raw, emotional power. That blend of Grunge and Hard Rock vibe becomes something truly deep and impassioned that leaves many of us with slightly damp eyes. Their professionalism and commitment deserve the utmost respect, and quite frankly the whole place wants to give them a huge hug. They turned a pile of awfulness into something quite special tonight, and we love them for it.

Tailgunner (10) are seemingly unstoppable. When I first saw them in the tiny sweatbox that is Fuel in 2023, they blew me away with their youthful energy and solid retro NWOBHM delivery, having seemingly stepped out of a wormhole in the space-time continuum from circa 1982. 

Since then, I’ve seen them quite a few times, and been hugely impressed by the way they’ve scaled that performance up to much larger stages and crowds effortlessly, and all still off the back of their debut record Guns For Hire. They clearly aren’t going to have a problem with a stage this size (or at least the parts of it left that aren’t taken up by the headliner’s gear), but despite being here to push the recently released sophomore Midnight Blitz.

They still have a few flies in the ointment jar for this leg of the tour, with half of their twin axe attack Rhea Thompson being temporarily substituted for this leg of the tour due to health reasons. She’s a vital core of the band, so the unexpected presence of Jara Solís (of Hunger) on stage is a surprise, but not a concern. Hunger are pure Speed Metal, and Jara can shred with the best of them, so effortlessly and seamlessly steps into the fray. She may not be familiar enough with the material to prowl the boards blindfolded (or the handful of them that are available), but she doesn’t miss a beat, and her performance is top notch.

As indeed is the whole of the band's performances.

I’ve not had a chance to spin the new disk fully yet, but it’s gone a bit more mid-80’s for sure, with more of the more commercial kind of pitch that bands like Judas Priest were aiming for when they aimed for US radio hits back when these things actually made you money - so lots of studded leather as per, plus a load of reverb and gloss, but that also reflects the fact that this is a much bigger and slicker act than the raw upstart of their debut. 

Their performance is short, given there’s three acts to get through, but the sheer pace at which they deliver the seven songs, four of which are new, is whirlwind fast and seems to be over very quickly. This band is incredibly tight and blisteringly expert at bringing an audience with them, so once again I notch up watching another performance for which the review scale of up to ten is not quite sufficient. I suspect the next time I seem them in this building, they will be headlining it…

Fozzy (9) are one of those bands that when you mention to people that you are going to see them, tend to sneer and scoff a little. This is something I have struggled to understand. Tonight’s the first chance I’ve had to see a full set from them, as twice now I’ve only caught the tail end of their set at Bloodstock and both times kicked myself for not going earlier. 

I’ve reviewed a couple of their more recent albums and enjoyed them, and this venue is pretty darned full for a Tuesday night in February, so again I have to query why some folks have a downer on them. I suspect that this has more to do with the influence of social media over lived experiences… That and some of the early antics as a covers band and shenanigans regarding Chris Jericho's alter ego, which given that he was more about wrestling than rockin’ in those days, with the band very much a side project at the start. Not so now, and it really is time some people updated themselves.

The band hit the stage bang on 9.30 p.m. and proceed to deliver value for money, and a full ninety-minute set. For a man the same age as me, Chris Jericho is in remarkably good shape. He may have lost some of the bulk as he heads towards his sixth decade, but he’s still toned enough to get away with nothing but a series of ever-changing sequined jackets over his otherwise bare chest, and has a huge amount of onstage energy. 

The band sensibly split vocal phrases to allow for him to both move and for the flow and mix of the vocal lines to be done as live very effectively, because quite frankly there is nothing worse than a vocal click track in my opinion. In that respect Fozzy are true rock ‘n’ roll in their delivery, and the ethos of ‘if you can’t play it live, don’t record it in the studio’ seems to be in play here tonight apart from a few backing tracks for intros.

For a band everyone is supposed to deride, it’s a remarkably full house for a Tuesday night, and Fozzy play the crowd like a sixth instrument, such is the love here. Welsh audiences are always wonderfully vocal, and this feeds the band like nectar, with smiles and energy all round. Even when things get a bit random with a mid-set cover of S.O.S. the audience is still lapping it up, and there are few sights so heart-warming as a room full of metal heads singing ABBA tines at the top of their voices.

On the subject of songs, special mention must be given to the first global performance of the Slug And Lettuce song. For the benefit of our global readership, The Slug And Lettuce is a chain of fairly naff high street pubs here in the UK serving overpriced generic beer, non-descript microwaved UPF meals and absolutely zero atmosphere, but there happened to be one next to Jericho's Cardiff hotel last night. 

It’s the kind of branding decision that completely bemuses a Canadian, or indeed anyone outside of the UK where this kind of self-deprecation in marketing happens a lot (the yanks would probably spend a fortune with a global marketing firm and come up with something like ‘The Lucky Lettuce’, but hey, this is the country that gave the world Marmite and it’s love it or leave it marketing approach). 

Jericho asked the audience if it was a good restaurant, which inspired a singalong with the name, and thus history gets made. Maybe we will see it on an album or EP soon…

For a quiet school night, this was a blast.

Reviews: Dimscûa, Suplecs, Clawfinger, Internal Decay (Spike, Rich Piva, Cherie Curtis & Mark Young)

Dimscûa – Dust Eater (Big Scary Monsters) [Spike]

If you’re going to name your band Dimscûa and specifically instruct your audience that it is not pronounced "Dim Skewer" you’re already establishing a sense of distance. You’re asking the listener to do a bit of legwork before the first chord even rings out. 

Hailing from the relatively leafy environment of Berkshire, UK, this trio has managed to craft a four-track EP in Dust Eater that feels entirely disconnected from the suburban sprawl, opting instead for a brand of atmospheric sludge and post-metal that feels like it was excavated from a much older, much bleaker landscape.

The record begins with Elder Bairn, a nearly eight-minute immersion that serves as a masterclass in sustained tension. The guitars don't just provide a riff; they create a climate. It’s a slow-burning opening that allows the "atmospheric" side of their post-metal tag to really settle into the room, building a sense of ancient, heavy-set dread that feels more like a physical weight than a musical genre.

The title track, The Dusteater, is where the "sludge" element truly shows its teeth. It moves with a glacial, sticky momentum and there’s a specific grit that refuses to be polished away. The vocals are cavernous, buried just deep enough in the mix to sound like they’re fighting against a rising tide of distortion. It’s a relentless, rhythmic chug that captures the exhaustion of the titular "dust eater," leading directly into the existential crisis of Existence/Futility.

What’s impressive here is the band’s refusal to rush. Existence/Futility isn't interested in a quick payoff; it’s a study in layering and texture, where the "futility" isn't just a lyrical theme but a sonic environment. The production is raw and unvarnished, allowing the natural friction of the instruments to speak for itself. It feels honest, a record made by people who understand that in post-metal, the atmosphere is the message.

The true tectonic heart of the EP, however, is the finale: On Being And Nothingness. Clocking in at over ten minutes, it’s a sprawling, ambitious bit of songwriting that finally allows the band to stretch their legs. It’s a cinematic descent that moves from a contemplative, almost fragile opening into a wall of feedback that eventually just... collapses.

By the time the final vibration of On Being And Nothingness fades, the lore is complete. Dimscûa hasn't just delivered a "post-metal" EP; they’ve documented a state of mind. It’s a heavy, thoughtful bit of survival that suggests Berkshire has a far darker undercurrent than the postcards would have you believe. 8/10

Suplecs - Hymns Under A Blood Moon Sky (Ripple Music) [Rich Piva]

Suplecs are a band I never thought I would hear from again. I remember buying one of their CDs purely based on the wrestling themed album cover and it being in the “Heavy Meal” section at my local store at the time. I absolutely loved it, and tried to get all I could from the band. 

This was around 2002. Not hearing anything about them for many years after that, I pretty much gave up on the band still being a thing. Fast forward to last year, when Ripple Music swoops in to not only announce reissues of the band’s amazing back catalog but also a new record from the band, which is why we are all here today, to discuss a new freaking Suplecs record! Hymns Under A Blood Moon Sky is the first new material from the band since 2011 and we should all be grateful to have more Suplecs material in our lives.

If you are not familiar with the New Orleans trio, they give out a high energy, stoner metal with punk rock leanings sound that just rips. Hymns Under A Blood Moon Sky is twelve tracks of ripper after ripper, both punk and fuzzy, with the killer track I See You being the perfect meld of all of the stuff Suplecs do well. The opener, Got Nothing, is more straight up heavy stoner rock, with fuzzy riffs and a killer groove. Lead vocalist and bassist Danny Nick spent some time in Eyehategod, and you can certainly hear a bit of that influence in the almost sludgy Forest Of Fire. 

Speaking of, the six-minute Damn These Pills is like a sludgy Fu Manchu, which is as cool as you think it may be. I love the riff on the song Mountain, and the punk comes out in the band on $6 Man. The trio gets melody too, sounding like a stoner rock Descendants on Heartless Bodies. I really dig the closer, La Ti Da, which has a surprise horn section and a serious New Orleans death march vibe.

I am so happy to have Suplecs back. I can’t wait for people to hear their old stuff that Ripple is re-releasing, but don’t sleep on the new material on Hymns Under A Blood Moon Sky, because the 2025 version of the band is as killer as the stuff from the turn of the century. 8/10

Clawfinger – Before We All Die (Perception) [Cherie Curtis]

Clawfinger are no strangers to the scene with an extensive career in their back pockets so much so; they have previously toured with the likes of Anthrax and Alice In Chains. Clawfinger now has presented us with 12 loud and extremely defiant anthems. Each track is a furious middle finger to crappy world leaders and holds up a mirror to hold accountable those who are ignorant to what’s now suffering the consequences of inaction.

Before We All Die, is essentially a protest of our current world structure with themes such as the world's environmental crisis, fascism as well as personal issues like self-mortality, complacency and finding inner–directed free thinking. The album itself is quite short; 12 tracks seem like a fair amount but with a run time of about 3 to 4 minutes per track, it’s easy to get through, and it doesn’t take away from the overall hefty substance the album provides.

This one is emotionally charged and fiery, with substantial depth that’s handled expertly to feel raw and honest without coming across as either preachy or performative. This album is endlessly energetic and biting with a much-needed morbid sense of humour, and what really stands out is that even while the overall message is dire, there is an undercurrent of hope that feels like a complete riot – It's very fun.

Clawfinger in style feels nostalgic; it’s very late 90s rap metal mixed with old school alternative rock that shines through in the catchy choruses and punky earworm hooks. Clawfinger is a melting pot of genres with deep and distorted instrumentals and sharp, whiny riffs contrasted with slow paced 90s rap style drums. This isn’t something I would usually listen too but I'm glad I did because these guys are indescribably interesting.

As a whole, Before We All Die is brutally honest, grisly and disorganized in the best way possible. Its delivery is forceful and invigorating, and the different styles mashed together make for an overall satisfying listen. 9/10.

Internal Decay - Fires Of The Forgotten (Hammerheart Records) [Mark Young]

Returning with new music, their first in 30 years, Internal Decay have dropped a tidy 3 track EP that shows that to them, writing melodic death metal that still sounds fresh is the same as breathing for the rest of us. I’m assuming that the three tracks are acting in much the same way as dipping your toes in the water. Is there an appetite for them? Well, there is based on the three songs here.

Fires Of The Forgotten (Dance Upon Your Grief) leads us off and is replete with all of those chef kiss melodic moments you might expect from them. It eschews velocity for an arrangement that looks to make its point using deft touches rather than hammer blows. It is a cracker, a blend that doesn’t forget that you need a little brutality in there to keep the momentum going. I’d mentioned elsewhere that February has shown signs of 2026 finally waking up, with some quality extreme metal coming through. 

You can add Internal Decay to that list. A Demon’s Bow opens with a gentle piano led segment that gradually makes way for the guitars. It’s a bit more in the face than Fires, and I’m perfectly happy with that. It dives in with great use of atmosphere, not overladen with it but used enough to give it a difference. There is quality descending line around the 2minute mark, with cleans used to support. It’s a grand song, with an expansive and in some respects epic feel to it. 

Both of these lead us to Dying Wish, the closing track that further refines that methodical and melodic approach. Its position as the end track is no mistake, its set up perfectly to properly show off that you don’t always need super-speed. There is a killer lead break here too, which just arrives at the right time, does its thing and leaves. It’s the attention to detail that gives the EP its strength.

My main take from this is that there is more where this came from, should they so desire it. Appreciate that its only three songs to go off, but if you consider that they are three well crafted and delivered melodic tracks, which you can’t go far wrong with. 7/10

Reviews: Matthew Alexander Powell, Foreword, Spencer Mackenzie, All Seeing Eyes (Matt Bladen)

Matthew Alexander Powell - Fearless Jack (Self Released)

Originally conceived by musician and friends Matthew Richards 10 years ago, Mathew Alexander Powell (Puzzle Tree/Shadow Of The Sun/Theme From Alex) recorded his debut solo album over the course of two days with only two microphones a pocket full of songs and some good friends. Recorded live in the studio alongside long time collaborator/co-producer Lee Howells and Matthew Richards, Fearless Jack still feels intimate and involved even with a decade gone by.

It features several guests joining Powell to record, everything picked up by just those two microphones, as if you're there in the studio with them, Richards plays guitar on a couple of tracks, while Puzzle Tree bassist Jamie Roberts adds four strings, Shadow Of The Sun bandmate Dylan Thompson adds guitar/vocals while there's features from Lionel Thomas and Wes Packer playing Cajon and Samuel Bees on additional vocals.

It's an album that has also taken on another significance as between now and then Matthew Richards passed away so this album is a tribute to him for and from those that loved him. With that in mind Fearless Jack then is celebration of musicians making music but also a record of deeply felt emotions, with Powell bearing his soul with that expressive voice right up front.

Capturing your heart on the intimate Glass Smooth until the bluesy What If I Am? the influence of Jeff Buckley, Elliot Smith, Chris Cornell or any of those early 90's MTV Unplugged sessions can be felt on this excellent acoustic record. Re-released in part to commemorate one of its creators, as well as the beginning of a wider, reissue campaign leading to a full band solo record.

Whether it's solo, Puzzle Tree, Shadow Of The Sun or Theme From Alex, Matthew Alexander Powell is an artist long established in the South Wales music scene, but one who's work is only now being appreciated properly for how good it is. 9/10

Foreword - Exposition (Seek & Strike)

Foreword are metalcore band from the USA and they combine emotionally honest lyrics with modern metalcore, where atmospheric synths, and electronic music merge with crushing breakdowns and vocals that move between melodic cleans and disgusting gutturals.

They are well aware of their influences but bring them into the 21st Century like bands such as Paleface Swiss and I Prevail. Exposition is their new EP inspired by futuristic video games such as DOOM and Cyberpunk and recorded in a collaborative atmosphere with producer Cory Brunnemann (Nonpoint, Upon A Burning Body, Zahna).

It's a five tracker where the band bludgeon right from the beginning, picture of a band developing their style, the heaviness is pulverising but it's balanced by the anthemic choruses and the industrial sounding electronics. Foreword are a modern metalcore band with all the trappings that entails, music to mosh to, but nothing revolutionary. 7/10

Spencer Mackenzie - Empty Chairs (Gypsy Soul Records)

When I pressed play on Canadian blues player Spencer Mackenzie's new album, I instantly thought of those early Joe Bonamassa records when they had a rawness to them, inspired just as much by rock n roll as they were blues greats, it's gritty and dirty, washed in the Bayou.

Recorded mainly as a four piece of guitar, organ, bass and drums, though with a few different drummers. There's a blues rock ethos behind these songs, which is what makes me think of the early Joey Bones albums, heck there's even a Rory Gallagher cover as Mackenzie brings his own version of Don’t Know Where I’m Going.

On the evidence of this third album Mackenzie is a soon to be superstar, his guitar skill is incendiary, cranking out the blues rock riffs with passion, which also comes through in his soulful vocals, he's got a number of virtuoso players surrounding him. Miles Evans Branagh (piano/hammond/keys), Stacey Shopsowitz (bass) and Adam Canon (drums) with Sandra Bouza and Chantel Williams adding the backing vocals.

For two tracks, Frozen Hearts and Helping Hands they swap out the rhythm section to Steve Pelletier (bass) and Matt Burns (drums) but not much changes in terms of the style as the production job from 2X JUNO-nominated producer/Emmy Award winner/guitarist of The Commoners Ross Hayes Citrullo gives the record an honest, live feel , so you can pick out the skills on display but also it's ensconced in a warmth that can be felt on records from bands like Rival Sons.

Soulful but gritty blues rock with great guitar playing and big organs, Empty Chairs will get the bums in seats when he plays these songs live. 8/10

All Seeing Eyes - We Are The Revolution (Self Released)

All Seeing Eyes is the project created by UK power metal veteran Ben Colton (lead guitar/vocals) and multi-instrumentalist Kenny Fraser.

Formed in 2014, they released an album but after a time of hiatus they came back with their most recent record Reinventing Time in 2021, and the duo refined their approach to be a more melodic style of prog power metal where radio friendly AOR and grungy hard rock also feature. 

Drawing comparisons to Crimson Glory, Queensryche and Savatage, they have returned with their third record We Are The Revolution, a politically driven record, that takes it's lyrical theming from a record such as Empire and ours it together with some brilliant performances from the two members of the band.

With Colton's massive, Blaze Bayley-esque voice, which moves through some Matt Barlow lows on Firetribe, he takes on the frontman role well, delivering big on the lyrics about society and modern age. He's also a great guitar playing brining the searing leads to Beyond Judgement Day and the full on power metal of The Prophecies as well as the more restrained power of Forever.

Fraser meanwhile showcases his virtuosity on every track handling pretty much every other instrument from the bass, to drum programming, through to the flittering keys and synths, on the anthemic Rise Again. He also gives the album some epic production and orchestrations on The Cure For Insanity and the two part track The Lonely Road To Redemption.

We Are The Revolution lights the beacons and calls to fans of sophisticated prog power metal to come and listen. A highly skilled duo creating excellent music that picks out all the right bits from the genre leaders. 9/10

Bloodstock Metal To The Masses Interviews: Soul Fracture - West Heat #3 The Bunkhouse, 01.03.26

Interview With Soul Fracture - West Heat #3 The Bunkhouse, 01.03.26



1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band.

We’re Soul Fracture, a groove-driven metal band focused on heavy riffs, deep grooves, and undeniable rhythm. Blending styles from metal, rock, funk, and even disco, we create a sound that’s crushing, infectious, and built to move people as much as it hits hard. Formed originally in late 2024 with a full set list ready to rock. Influences include Rick Astley, Steps and 70s era Cher.

2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your first time?

We had all competed before with different bands, all getting to the final, we know what it takes and that it's hell of a ride.

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

Without the local scene there is no live music, no next big thing, and we don't get to perform without out, so selfishly it's rather vital.

4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Bunkhouse/Green Rooms. Have you played the venue before or is this your first time? Are you excited to get on those stages?

Soul Fracture haven't played either venue before, but we all have in previous bands, both venues have had renovations in recent years so be exciting to get on a fresh stage and Swansea crowds always deliver the hype so we're excited.

5. What are your expectations from being a part of M2TM?

We’re approaching Metal to the Masses with an open mind and high energy. Our expectation is to give everything we have on stage, connect with potential new audiences of the supportive metal community, and prove what Soul Fracture is about. Learn from other bands and push ourselves. If we can grow as a band and leave our mark along the way, that’s a win for us.

6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?

The Day of Wreckoning sounds like such a fun day out for all involved with the whole takeover almost a mini-festival in itself that would be great to be a part of. All bands love playing festivals, they always have amazing crowds and such an opportunity to win over new fans, and to play one as big and established as Bloodstock would be a real privilege

7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?

We don't want to spoil the performances for ourselves, we're looking forward to be impressed and everyone bringing their A game. Metal is such a wide genre of music and everyone has their own tastes, we encourage the audience to give a try to bands they haven't seen before and maybe usually wouldn't listen to.

8. Tell us in five words why people should come and see your band?

Why use 5 when can do it in 3 ;)
LOUD HYPE ENERGY

Reviews: Fossilization, Oreyeon, Patriarchs In Black, Rules For Radicals (Spike & Rich Piva)

Fossilization– Advent Of Wounds (Sentient Ruin/Everlasting Spew) [Spike]

There is a specific kind of pressure that comes with a debut full-length, especially when your preceding EP was hailed as a subterranean masterpiece. Brazil’s Fossilization carry a heavy burden on Advent Of Wounds. It’s a record that attempts to document the slow, grinding entropy of the earth itself, but while it possesses a tectonic level of force, it occasionally feels like a series of monumental landslides rather than a single, cohesive tremor. It is a work of immense potential that sometimes struggles to find its own connective tissue.

The album opens with Cremation Of A Seraph, and the mission statement is immediately clear: this is death/doom intended to be felt in the marrow. The guitars emit a low-frequency dread that fans of Incantation or Dead Congregation will find familiar, yet there’s a professional sheen to the rot that suggests a band aiming for something more architectural. It flows into Disentombed And Reassembled By The Ages, a track that lives up to its name with a rhythmic structure that feels like bones being clicked back into place.

However, as the record moves through Scalded By His Sacred Halo and Terrestrial Mold, a certain disjointedness begins to creep into the frame. The band is exceptional at creating "moments", a sudden, blackened blast beat here, a suffocating doom-crawl there but these elements sometimes feel like they’re being held together by the production rather than an organic songwriting impulse. It’s a collection of brilliant ideas that haven't quite fused into a singular, breathing entity yet.

There is a noticeable shift in intent during the middle of the record. Servo and While The Light Lasts lean heavily into the "cavernous" aesthetic, utilizing dissonance and thick, clotted-cream distortion to create a sense of genuine peril. When they lean into the slow-burn, the atmosphere is undeniable; it’s when they attempt the more complex, high-velocity transitions that the gears occasionally grind with a bit too much audible friction. It’s the sound of a band pushing their technical limits, which is admirable, even if the results are sometimes slightly fragmented.

The finale, Temple Of Flies And Moss, brings the record back to its primary strength: pure, unadulterated weight. It’s a four-minute study in decay that finally allows the atmospheric dread to take the lead without being interrupted by the record's more restless tendencies. It’s a strong, if somewhat abrupt, closing statement for an album that seems to be in a constant state of internal debate.

Is it a triumph? In terms of tone and sheer sonic presence, absolutely. Fossilization have managed to capture the sound of a world being reclaimed by the soil. But as a cohesive piece of songwriting, Advent Of Wounds feels like a high-end prototype, stunning to look at and terrifyingly powerful, but still waiting for that final, unifying spark to turn the potential into a masterpiece. They’ve dug the hole deep enough; now they just need to find a way to make sure every part of the collapse happens at exactly the right time. 8/10

Oreyeon - The Grotesque Within (Heavy Psych Sounds) [Rich Piva]

La Spezia, Italy’s Oreyeon are such a great band. I have loved all of their releases, as they leverage influences from late 60s psych, to 70s rock and proto, to 90s grunge, a bit of prog, a dash of punk...all of which turns into a big bowl of awesome. This delicious dish continues on the band’s latest record, The Grotesque Within. Album four is a darker affair, bringing a bit of bleak atmosphere to their version of psych-leaning stoner doom.

Echoes Of Old Nightmares opens the record up in blistering fashion with a killer riff and a great stoner rock, melodic groove. Dig those harmonized vocals too, which is a nice addition to their already great sound. The guitar tone is perfect here. Nothing But Impurities Pt.1 has a crushing riff with some other great guitar work, reminding us why grunge is listed in their bio, in the best kind of way. Love the psych-y solo on this one. 

Nothing But Impurities Pt.2 turns up the grunge a bit more and turns the tempo down, bringing some serious AIC vibes which I am sure everyone will be there for. The title track brings the heavy, but the band’s sense of melody and the harmonized vocals creates this perfect balance for this track and across the seven songs. 

The cool bass line on Something Over There is what jumps out first, before the riff kicks in and what is probably the heaviest track on the record is unleashed. But never does the heavy overwhelm, with this one again heading out to the Pacific Northwest territory with zero complaints from me. 

The quirky I'm Your Mistake is different from the other tracks with its weird tempo and changes, but still keeps us on target. This may be my favourite on a record filled with great songs. The closer, Dead Puppet Eyes, has what may be synths opening up this spacey, proggy, but still nice and heavy coda to another great effort from an excellent band.

Let’s not take Oreyeon for granted as they keep steadily releasing killer record after killer record. Let’s put these guys up there with the leaders of the genre where they belong, especially given how excellent The Grotesque Within is. 8/10

Patriarchs In Black - Completely Covered In Black (NoLifeTilMetal Records) [Rich Piva]

Veteran rockers Dan Lorenzo and Johnny Kelly have been super prolific over the last five years or so with their doomy metal project with multiple guest vocalists Patriarchs In Black. Like a bunch of EPs and full length albums prolific. So why not continue the output with a covers album with some cool versions of 70s and 80s classics, with a couple of surprises along the way.

Did they need to do three Kiss songs? For me, sure, I love Kiss, but I am not sure everyone will want to hear Strange Ways, Almost Human, and Hotter Than Hell so close together on Completely Covered In Black. I might even say just give me a whole Kiss covers record with different vocalists, but that’s just me. All are great though, especially the guitar work on HTH. My other favourites include a slowed down version of Motörhead’s The Chase and the quirky Queen song selection, Dragon Attack. 

The Zeppelin covers are executed well, but I am not sure how many more versions of The Ocean and Immigrant Song we need, even if they are two of my favourites. The real treat here is the version of Peter Gabriel’s Games Without Frontiers, all metaled up but never mistreated, this one is worth it alone. Rob Dukes (former vocalist of Exodus) did a great job on this one.

Did we need a full covers record from Patriarchs In Black, with multiple Kiss and Zeppelin songs? Who cares, here we are with some fun stuff from the guys doing versions of songs they love on Completely Covered In Black. 7/10

Rules For Radicals – Rules For Radicals (Trench Art Noise) [Spike]

There is a specific, lean power in the number two. Without the safety net of a bass player or the decorative clutter of a second guitarist, a duo is forced into a constant, exposed dialogue where every missed beat or thin chord has nowhere to hide. 

Bury St. Edmunds’ Rules For Radicals don’t just inhabit this space; they weaponised it. Featuring Shannon Hope on drums and Jay Mills on guitar, their self-titled debut is a masterclass in sonic economy, a record that somehow translates the flat, windswept horizons of Suffolk into the vast, sweltering soundscapes of a high-desert psych-noir.

I caught them recently supporting IAN, and the transition from the stage to the studio hasn't robbed them of their ability to utterly swamp a crowd. If anything, the isolation of the recording process has sharpened the edges of their "dialogue."

The record opens with Suffolk Sands, a track that acts as a bridge between their local geography and their global sound. It’s a shimmering, atmospheric threshold that feels like heat rising off a tarmac road, quickly giving way to the rhythmic grit of Oxblood. Mills has a gift for finding that specific frequency of fuzz that feels like it’s vibrating in your sternum, while Hope’s drumming is less about "keeping time" and more about providing a physical counterweight to the guitar’s erratic, bluesy stabs.

On Outriders and God's House, the band moves with a mechanical, almost predatory intent. These aren't just jams; they are tightly wound compositions that rely on the silence between Hope’s snare hits to create a sense of impending disaster. It’s a stark, unpolished sound that manages to feel massive through sheer conviction.

The tectonic heart of the record, however, is Dry Crop. Clocking in at over eleven minutes, it’s a sprawling, hallucinogenic journey that demands total submission from the listener. It begins as a slow, parched crawl, a study in sustained tension, before eventually exploding into a feedback-saturated delirium. It captures that "swamping" live energy perfectly, showing a band that knows exactly how to build a crescendo until the room feels like it’s being reclaimed by the earth.

The energy shifts into a final act of defiance with the title track, Rules For Radicals. It’s a sharp, jarring finale that brings the focus back to the immediate friction between the two performers. No overdubs, no studio magic, just the raw, unvarnished sound of two people making a hell of a lot of noise in a very small space.

Rules For Radicals haven't just made a "minimalist" record; they’ve created a document of sonic survival. They’ve proven that Bury St. Edmunds can produce a soundscape every bit as vast and terrifying as the Mojave. It’s honest, it’s loud, and for those of us who saw them tear the roof off while supporting IAN, it’s the definitive proof that there are indeed "more of us, always" lurking in the gaps of the local scene. 9/10

Reviews: Worm Shepherd, Uncultivates, Greyhawk, Belonging/Inny (Mark Young, Spike, Simon Black & Rich Piva)

Worm Shepherd - Dawn Of The Iconoclast (Unique Leader Records) [Mark Young]

Coming back from a two-year hiatus and with a new line up, Worm Shepherd bring a supergroup ethos approach in delivering 5 tracks that will either excite or discourage depending on what kind of extreme metal floats your boat. Their description accompanying this release notes that it is a masterclass in blackened brutality from the newly returned deathcore band.

The version we reviewed did not include the instrumental versions of the same songs, which given my distaste for instrumentals that are included for the sake of it is a bonus. Getting into the guts of it, they start with The Omen and from the off you can hear that they are attacking the material with all the energy they can. 

What it also does is spell out that it has an incredibly familiar sound and build, one that you will have heard elsewhere. I’m getting this out in front before we go to far. It has all the core ingredients – drums that are off the charts in terms of speed and dexterity, guitar sounds that flatten all in front of it and a vocal performance that is lower than low. 

As an opening song, its trying to break you in two and leave a mark so that they become your new favourite band. For me it hits like a band that is trying to move beyond one label and just make a lethal listening experience for you.

Soulless Lament, well this is a burner of a track. Again, it takes the traditional approaches and then puts them through a grinder in order to align with where they see this music going. If you look at this from the following standpoints: Is it heavy? Yes. Does it do melody? Yes. Do I like this in music? Yes, then you have two songs that will kick you up hill and down dale. You just have to give them the chance to do it.

Feast repeats the trick, this time using a restrained edge to proceedings. The way that the song (and others) have been put together is focused on satisfying their own need to make art the way they want to do it. There are other bands that would have taken the starting point of Feast and then thrown out a slow start into frenzied end type song. Not here, they just unfold it at the same measure, using air to give it room to breathe. It takes a lot for a band to this and shows that they are truly comfortable in their talent. Sanctified Rot is probably the most normal/traditional track here. 

In saying that, it shares a common approach with the others on here, but its execution sounds like could hear it elsewhere. It doesn’t have the same kick to it as the preceding tracks whilst Whispers Of A Buried Land with its 7-minute runtime closes out what is a very good collection of heavy metal. Its 5 songs that show that there isn’t any hangovers following their break. Going back to their notes online, the content actually backs up their statements of this being a masterclass. It is, genuinely is the sound of a band pushing themselves to make the best music they can.

On reflection, I’m probably being a little hard on Sanctified Rot. 8/10

Uncultivates – This Will Become Clear Later, Like The French Revolution (Horsebox Records) [Spike]

If there is one thing the city of Cork excels at, it’s a specific brand of perverse, high-intellect stubbornness. It is a place that refuses to be categorized, and Uncultivates have taken that local trait and turned it into a "Math Post Metal" manifesto. Their third release, This Will Become Clear Later, Like The French Revolution, is a glorious, disorienting collision of sounds that shouldn't be in the same room together, let alone on the same record.

The experience starts with a bit of a curveball. The Intro leans into a distinct bluegrass vibe, almost a western saloon feel, a bit of acoustic twang that suggests a shift toward the pastoral before the floor drops out. The transition into I Am Your God, Your Father And Your Boss is a physical jolt, trading the acoustic for a post-metal crunch that feels like a low-hanging cloud over the Lee. It establishes the record’s central dynamic: a constant, jarring tension between the rustic and the industrial.

What really sets this record apart, however, is the wordplay. There is a sharp, caustic wit here that feels like a direct descendant of the Mclusky school of lyrical combat. Titles like Great Minds Think Of Mike and the spectacularly descriptive Every Day I Wake Up On The Bonnet Of A Different Car aren't just jokes; they are the framework for a sound that is as clever as it is loud. The lyrics are delivered with a dry, knowing smirk, cutting through the dense math-rock structures with a surgical precision.

Tracks like Oliver and Flatley (a title that suggests a very different kind of Irish footwork) showcase the band’s technical dexterity. The rhythms are knotty and unpredictable, shifting under your feet just as you think you’ve found the groove. It’s a sophisticated bit of "math" that never loses the "post-metal" heart, a credit to the way they’ve managed to balance technical complexity with raw, unvarnished force.

The momentum takes a breath with Rory's Interlude before descending into the final act. Dread First and Rental Snake are short, sharp shocks of noise-rock instability, leading into the record's massive conclusion. The Ice Bed World Tour Of North America is the standout here, a four-minute-plus sprawl that manages to synthesize the record into one cohesive, feedback-saturated exit. It’s a chaotic, brilliant mess that refuses to resolve into anything comfortable, leaving you exactly where the title promised: waiting for the clarity to arrive.

Uncultivates haven't just made a "heavy" record; they’ve made a literate one. They’ve proven that you can be math-nerds and sludge-fiends at the same time, all while maintaining a healthy sense of the absurd. It’s honest, it’s noisy but don't expect it to explain itself on the first listen. 9/10

Greyhawk - Warriors Of Greyhawk (Cruz Del Sur Music) [Simon Black]

I’m normally a bit wary when another example of cheesy Power Metal lands on the platter, because let’s face it, there’s an awful lot of it out there, and the vast bulk of content rarely lifts its head above the bar of notable delivery because despite being of perfectly serviceable quality there’s nothing to differentiate it from the thousands of other acts treading the same territory. 

However, I’ve not been very active when it comes to reviewing in recent months for reasons that I won’t bore you with, so I find myself quite surprised at Greyhawk’s delivery landing rather well here.

It’s very much Power Metal of the well-trodden European template – fast paced Speed Metal pace, up-tempo major chords, musical roots that clearly balance NWOBHM (particularly Judas Priest) and big four Euro Power (Helloween et al) tropes, a sword and sorcery theme and the first contender for this year’s cheesy album cover awards (because nothing says “cheese” more than a painting of the lads in armour, swords aloft … with aviator shades). 

Two things surprise me however, despite everything else that’s got the cliché alarm ringing up to eleven. Firstly, these guys hail from Seattle in the USA, not Europe; secondly, and more importantly it’s rather good, and very fresh sounding to boot.

The band have been going since 2018, with a couple of EP’s and two full length albums under their wing already, so we are at that dangerous stage so many bands hit when album number three and their tenth anniversary looms of running out of road, with all the material they had hanging around and finely honed over time running dry and having to sit down afresh with a full album to deliver in short order. There’s no need to worry on that front, however.

There’s clearly been a fair amount of churn in the line up over the years but changing vocalists at this stage in your career is a dangerous moment for many acts, given how intrinsic to their sound the frontman frequently is. The departing Rev Taylor was apparently quite distinctively operatic in his style, but not having heard his predecessor, I can’t really compare them. 

However, new lungsman Anthony Corso is a formidable addition to the line-up. He’s very much the traditional Heavy / Power Metal singer – with a broad octaval range, a huge amount of power and his energy, talent and charisma ripple throughout the piece, to the point where it sounds like he’s been a part of the furniture for some considerable time.

Musically, the balance between trad and power metal works well, and we’ve also got some very crisp and well arranged songwriting going on here. All the numbers have a strong sense of melody and structure, and that crucial anthemic catchiness that is needed for an unknown act to get a festival full of newbies chanting along like they had been following them for years, which is again surprisingly European in style. 

Clearly this young act have got the essence of this rather better than many of the cookie-cutter acts cluttering up the European scene, because this is an enjoyable, well-crafted and perfectly delivered romp that made me want more. Well, not of the cover, that you can keep boys… 9/10

Belonging / Inny - The Dog (Dipterid Records) [Rich Piva]

Portland, Oregon is a hotbed of awesome heavy music. It feels like every other band I interview for my Show (The Rich & Turbo Heavy Half Hour) has a band from that part of the Pacific Northwest bringing some more amazing form of the stoner/doom/metal/whatever you want to call it, and it is all some level of great. Continuing on that, we have a split from two Portland bands that are new to me: Inny and Belonging, who bring to us a split EP of three songs each, titled The Dog. You didn’t think, based on my opening, I was going to tell you anything else except that this EP rules, right?

Well that is exactly what I am telling you. Let’s start with Inny. Their contribution starts with their version of the title track. Inny is more 90s Post Hardcore than anything else, in the best possible way. Think bands like Fugazi, Jawbox, Steel Pole Bathtub, early Girls Against Boys, and that will give you an idea. Melodic, lo-fi, indie post hardcore is the best I can do here, and yeah, it’s great. 

Vessel slows it down but keeps the same vibe while also reminding me of some of the very early At The Drive In stuff. I love when it all kicks in about half way through. Their third track, Morsel, rips it up, doubling down on that Fugazi thing (total DC vibes) but I also hear an old band from up their way, Seaweed, making their way into the picture. A great set of three songs that will leave you wanting a lot more from Inny.

The three songs from our second band, Belonging, are also on the post hardcore side, with Quicksand being a good reference point for their first track, Hellkite. There is something delightfully lo-fi indie rock going on here too and boy does that make this guy happy. Their track titled The Dog screams post hardcore, maybe even emo, but the good stuff like Thursday, let’s not get crazy here. Dead Reckoning closes out the Belonging side, reminding me of all the great 90s noise rock bands who were signed to one of the bigger indie labels in the 90s, which could not be a higher compliment coming from me.

What a fun little split EP that gives me two more killer bands from Portland to scream about. I am sure there will be more to hear from Inny and Belonging, but this EP is not a band place to start. 8/10

Bloodstock Metal To The Masses Interviews: Blindburn - West Heat #3 The Bunkhouse, 01.03.26

Interview With Blindburn - West Heat #3 The Bunkhouse, 01.03.26



1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band. 

Hey! we’re Blindburn, nu-gaze quintet hailing from Cardiff/Swansea. We’ve been jamming together for just pushing 6 months now and things have come together pretty smoothly for us in the short time we’ve been a collective. We released our debut single “in the skin” back in December and have big plans ongoing through this year and the future.

2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your first time?

 
We wanted to participate in M2TM as we believe the opportunities, friendships and connections that arise through being part of the competition are second to none. The friendly competition and final outcome is exciting to be a part of, even outside of striving to win.

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

The local scene is the MOST important thing as a young band. All of us hold the local music scene close to our hearts and know strongly that without it, the bands we know and love would never have had a platform to grow from in the first place. SUPPORT YOUR LOCAL SCENE! and if you don’t have one, MAKE ONEEEEEE!

4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Bunkhouse & Green Rooms. Have you played the venue before or is this your first time? Are you excited to get on those stages?

 
We’re performing M2TM West at The Bunkhouse, our debut headline show was at Bunk and we were overwhelmed with the support we received. Our vocalist hailing from Swansea has been attending Bunk for numerous years, and was even a part of the opening of the business several years ago, holding a lot of love for the place & the people that run the show. It was a fantastic feeling getting to play their stage, and we are equally as excited to return.

5. What are your expectations from being a part of M2TM? 

 
Honestly, we haven’t necessarily set expectations for being a part of M2TM. The opportunity in itself and to just simply take part is more than we could ask for, but if we are to set any expectations- then they would simply be expectations for ourselves, to get better, play tighter, cause more chaos, have more fun. We know in confidence the opportunity here with M2TM will grant us all of these and more.

6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?

To reach the final for us would be an insane feeling. As such a young band surrounded by so much talent through the competition it would be an honour to get such an opportunity. We only hope to do our best, and whether we make it to the final or not we will be rooting for those that do. Everyone on this competition deserves it.

 7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?

This is a tough one, like previously mentioned there is so much strong talent in this year’s competition that we would be at every show of every heat if it were possible, to name a few bands we’d say; Inscape, Paroxism, Soul Fracture, Mould & Virtue In Vain! support everyone as much as you can!

8. Tell us in five words why people should come and see your band? 

5 words.. if like nu-metal, come!

Reviews: The Magus, Sneaky Mustard, AmongRuins, Leatherhead (Matt Bladen)

The Magus – Daemonosophia (The Circle Music)

The Magus is a bit of lengeend in the Greek extreme metal scene, we’ve covered all this before, on previous album ΒΥΣΣΟΔΟΜΩΝΤΑΣ, but he co-founded Necromantia and was also a member of Rotting Christ, so two out of ‘Big Three’ of Hellenic Black Metal ain’t bad as they say. 

After the death of his Necromantia co-founder Baron Blood in 2019, he formed his solo project The Magus as an extension of the Lucifer praising, anti-dogmatic scene he has been a part of his entire career. The Magus himself takes vocals and bass here joined by long time conspirators El on guitars and Maelstrom on drums.

Daemonosophia represents a “journey into demonhood” strongly influenced by the Infernal Triptychon, it’s the idea so six is three is one, united under one unholy union in direct opposition to the trinity of the Christian faith. 

Unless you’re really into this stuff and subscribe to Crowley et al then I guess it would all be an ecumenical matter, but be aware The Magus take this seriously and like the Christian metal bands out there, the conviction on the other side is just as strong. It’s these beliefs that brings out the theatrical/devotional side of the band allowing them to go into broader styles than just black metal.

So a record rich in Satanic and occult teachings, played by genre leaders as a follow up to an already well received debut? Daemonosophia is going to be good right? Yes if you’re a Hellenic Black Metal fan you’re going to love this record, however it’s more than just black metal, these are occult soundscapes, diverse in stature but still potent. 

From gothic haunting female vocals on the title track or the macabre vaudeville of La Llorona Negra, to the glacial creep of The Era Of Lucifer Rising, which is a reimagining of a Thou Art Lord song, there’s depth to the record beside the ferocious blasts of black metal. These are still there on such as Pseudoprophetae or the more melodic Magia Obscura through to chuggy blackened death of The Chapel Of Iniquities, but even they feature layers of musicality over raw nastiness.

The Magus returns with more sermons to Mephistopheles, a grand conjuring, through cinematic framing, Daemonosophia will have you embracing your inner demon. 9/10

Sneaky Mustard - This Will Explain Everything (Self Released)

Sneaky Mustard are a Groove Alt/Prog metal band from Athens. They live by the motto of "weird riffs, big choruses” and there are plenty of those on their debut full length This Will Explain Everything. They've released an EP on 2018 but after a long time they finally show what they can do for more than five tracks.

On this album the foursome of Nikos (guitar), Stamatis (vocals), Dimitris (bass) and Manolis (drums) play music where virtuosity and left field sound merge with heavy grooves, they're compared to the likes of Tool, Audioslave and Nothing But Thieves and this eclectic collection of influences mirrors the myriad of sounds they use in their music.

Be it grunge/alt rock tones, math rock oddness, prog metal and even just some good old riffs Sneaky Mustard mange to lasso all of these things into one place adding a few curve balls for anyone who gets too comfortable. From the stop start opening of Full Thrust that wanders into some dreamy psych meets garage rock, Sneaky Mustard starting as they mean to go on with music that makes you never take anything for granted.

The slickness of the production and in particular the vocals gives them quite an American sound which is where they pitching their music, there's some QOTSA on AM Calls and the woozy All We Are Is What We Are, moving into ambient post rock on Scathel3ss while Aftermath is a fit for radio with it's emotional sound of pop.

On This Will Explain Everything, Sneaky Mustard deliver some very weird riffs and big choruses, just like they promise. If groovy alt progging is what you get down with then don't let them sneak by. 8/10

AmongRuins - Advent Of Chaos (Theogonia Records)

AmongRuins are another entry into the ever growing list of Greek bands playing Melodeath. With Nightfall and Nightrage the genre leaders, AmongRuins draw from bands such as Insomnium, Wolfchant and others, merging dark aggressive styles with brighter melodic elements. 

They follow up Land Of The Black Sun with new record Advent Of Chaos, refining what they do as a band to create songs that really display their talent as a band. AmongRuins call Advent Of Chaos a "dark, cinematic journey through loss, rage, and transcendence" so by bringing in Christos Mitros on keys, they are able to give these songs the extra gravitas they are trying to achieve.

From the first moments of Frozen To The Core, you can hear that AmongRuins are band who want to prove that they can hang with the big boys. That first track is a slow burner, the clean atmospheric guitars leading to chugging riffs and guttural vocals as orchestrations crest in the background. The keys playing vital role in the increasing competition between the blistering death blasts of A Symphony Of Loss and Chained and clean melodies that come in the solo sections that come on Red Divine and the modern heaviness of Night Mother.

There are more guests with George Prokopiou (Mother Of Millions/Poem) adding vocals to the dramatic Open Wounds, where AmongRuins go further down the prog path, which they can do with relative ease. While Christianna of Elysion joins on Into The Flame, blurring the lines between Melodeath and the symphonic/power metal sound. Both singers countering each other and merging well and adding to the already excellent vocals of AmongRuins. 

If a style of melodeath where they don’t always follow the rules but respect their influences sounds like a bit of you then I suggest welcoming the Advent Of Chaos. 8/10

Leatherhead - Violent Horror Stories (No Remorse Records)

Mercyful Fate, Overkill, Helstar and early Queensryche, Greeks Leatherhead owe a lot to these bands. With Violent Horror Stories they take lyrical inspiration from 80's schlock B-Movies and Video Nasties, framing them with some razor sharp speed metal.

Signed to No Remorse Records this is the second full length album from Leatherhead and while they don't mess with the formula too much of their debut album and their EP, they double down on the aggression here fitting the horror metal sound, Dreamcatcher for instance begins with a creeping bass before the frantic gallops kick in to a constantly shifting rhythm.

Through screaming vocals, plenty of rough and ready, gallops and drum beats along with dive bomb happy guitars, Leatherhead rip through Thrashers such as Summoning The Dead and Incubus while Children Of The Beast and Something Evil (This Way Comes) has a flair for the dramatic, the hope theming strongest here.

Clean the head of your VCR, put it in and press play, these are Leatherhead's Violent Horror Stories. 7/10