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

Jinjer, Unprocessed & Textures, O2 Institute, Birmingham, 30.01.26



My first time seeing all three bands this evening as Jinjer return to the UK on their Duel 2026 tour with support from Unprocessed and Textures on a wet and windy night in the UKs second capitol city Birmingham, lets get to it.

First up we have Textures (7) from Netherlands, after 2023's reunion and this years release of the bands new album Genotype, the band return to the UK, being this my first ever experience of this band live I was eager to witness the Math Metal madness up close. 

The O2 Institute must of been at least three quarters full by the time the band hit the stage and we get underway to a pretty quiet crowed to begin with. That does not last however, by the time the band finish the first song, Closer To The Unknown, a very hard hitting song from the bands latest album release. Some fantastic and very impressive singing and screaming from vocalist Daniël de Jongh, the energy and power oozes from all members but Daniël seems to have a presence about himself that resonates with me being a vocalist myself. Really hitting all the high notes perfectly and the growls really hit you in the guts. 

As we move through the set we get more from the latest album but also get some earlier songs like Awake from the bands 2008 album Silhouettes, a catchy sing along song that blesses your soul with a great melody and then smart sprinkles of that prog and slightly djent heavy breakdowns that switch your brain into mosh your head off mode very quickly. The band have a very good stage presence all being not having a lot of space on stage to go crazy due to the pile up of gear behind them for the upcoming bands. A very enjoyable experience and a dam good live band that will not fail to get your body moving and heart pounding, I would definitely see them again when they are next around, and so should you. 

After a short break we get our next band, the heavy German prog metallers Unprocessed (8), the band come to the stage after a long build up intro and we get straight into 111, the first track from the bands latest album from last year, Angel. This song really gets everyone going here tonight with its relentless pumping and bouncing bass slaps from bassist David John Levy and some really evil growls and screams from vocalist and guitarist Manuel Gardner Fernandes, who not only is a dam good guitarist but seems so at ease switching from earth breaking screams to Angelic like singing. 

A bit more room for Unprocessed to move about and get into the groove of this now fully packed hot and sweaty O2 Institute. The band go straight into the second song from the latest album, Sleeping With Ghosts, a very brutal heavy song that has a really insane bit of fast almost hardcore style lead but still has all the hallmarks of that technical prog style they are known for. Completing a great opening for the band with a quick guitar change for vocalist Manuel Gardner Fernandes we get the third song from the bands last album, Beyond Heavens Gate. This is a song that had me staring in amazement at the musicianship from all members and I highly recommend you have a listen to it if you haven't yet. 

We do get some older material in the rest of the set in the form of Thrash and Lore from the bands 2023 album And Everything In Between, Thrash being a song that will most certainly leave your gob wide open throughout the entire song with just pure amazement. The only thing for me that let this set down was the fact that it wasn't longer. My first time hearing and viewing Unprocessed and I was very very much impressed by what I saw and heard. 

For me this was going to be one hell of a set to top what I just saw and Jinjer (8) really didn't disappoint musically at all. The band hit the stage to roars of excitement and deafening cheers from the crowed, with all members coming to the stage to start the bands first song, the title track from the bands last album and tour name Duel, with vocalist Tatiana Shmayluk coming on a little later to a huge roar from everyone to give us her very impressive vocal range for the rest of the night. 

The Ukrainians are here to tear up Birmingham and from what I witnessed they most certainly did that, we plough straight on to the next song, a soul searching song called Green Serpent also from the band latest album release Duel. Dreamy singing turns to evil gut wrenching screams with ease and some really impressive footwork from drummer Vladislav Ulasevich on the half time break downs and perfect ghost notes on the snare that keep your body moving throughout. Jinjer have such a wide a varied range of songs it really helps to keep everyone engaged and always anticipating what songs will come next but whatever song that does come like Vortex from the bands 2021 album Wallflowers or the reggae influenced Judgement (& Punishment) from the bands 2019 album Macro they hit every beat and have such a spot on sound that its as close as it can be to listening to the band on record that you can get live. 

The end of the night comes around way to quick with the band ending on the critically adored song Pisces which has every single person apart from security and bar staff singing along, including myself. We get a encore after that with the awesome and brutal song Sit, Stay And Roll Over from the bands album King Of Everything which gets the crowed even more crazy than they have been all night with even more pits and circling around, all members on stage tonight have been so at ease and confident that its no surprise that when all is over we get a more more more chant from the crowed but unfortunately that is it for the night.

If I could some up Jinjer in one word for the live performance I just witnessed it I would have to go with WOW.

Bloodstock M2TM South Wales Interviews: Syndicate - East Heat #1 Green Rooms 07.02.26

Interview with Syndicate - East Heat #1 Green Rooms 07.02.26

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

Syndicate weaves a wide range of styles and emotional themes into their music. From their exhilarating dance number "It means the world" - which speaks on nuclear war (it works trust me). To the intense anthem "Sick of It" - which expresses the specific emotion that coincides being betrayed by those closest to you. Determined, Gritty, rap-metal that leaves the listener feeling empowered and ready for war.

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 have never participated in M2TM before but we are all super excited to establish new friendships and connections through each and every event that we participate in. We look forward to giving it our best shot and having the opportunity to earn a spot at the Bloodstock festival.

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

The local scene is so very important to the livelihoods and careers of not only aspiring musicians but to entire local economies. Local venues provide a platform for upcoming artists to display their hard work and to reach higher levels in the industry.

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

We have played at the Green Rooms before and were excited to play there once again as it’s a great and intimate environment where the listeners and the band can feel a real sense of connection. Big up Jonny.

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

We’re mainly looking forward to meeting new people and having a great time playing music together.

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

We have never played a festival before so if we manage to get through and actually play Bloodstock then it would be a dream come true

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?

Make sure not to miss Scratch One Grub as they’re incredible. The sheer stage presence and ripping tunes intertwined with great production make the experience of watching them play pretty unforgettable.

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

Sure to blow you away

Reviews: Hermano, Predatory Void, Epimetheus, Phendrana (Rich Piva, Mark Young, Matt Bladen & Rick Eaglestone)

Hermano - Clisson, France: Live At Hellfest, 2016 (Ripple Music) [Rich Piva]

Some would call Hermano a supergroup. The guys in the band would call Hermano a group of friends who get together every now and then to play music and hang out with people they love. 

There is no real master plan for Hermano; when the moons align and the band can get together to play, they make it happen. Whenever that is, it is always magical for the fans of a band that is insanely influential to what the stoner rock scene is today.

I say no real plan, but with their recent signing to Ripple Music, Hermano has begun to empty the vaults as they say, with repressing's/remasters and a bit of new material that we have seen or will soon see via the best label in heavy rock. 

This includes Clisson, France, Hermano captured live at Hellfest in 2016. The guys all flew in from different parts of the US, had about two hours to practice after not playing with each other as a band for years, and proceeded to rip the place up and tear the place down with their blend of heavy blues stoner rock and roll.

Clisson, France is somehow a band hitting on all cylinders playing their first show in years. John Garcia is one of the best frontmen ever and he is in top form, both in voice and in banter (he’s not a huge banter guy, but whatever he says is always perfect for the vibe). The dual guitar attack of Mike Callahan and Dave Angstrom pair perfectly and destroy the 10,000 -plus crowd with a mountain-load of riffs. 

The rhythm second of Dandy Brown and Chris Leathers settled in like they have been playing on the regular daily, with the latter showing zero rust after not playing drums for something like eight years before the show. The songs on Clisson, France are a smattering from their three records from the 2000s, a pretty much perfect setlist for a Hermano fan to see them play at Hellfest. 

Opening with Left Side Bleeding and closing with Angry American is perfect, and my favourites, Senor Moreno's Plan, Alone Jeffe, and Cowboys Suck all being represented amongst the twelve tracks included on the vinyl, so, yeah, this rules.

Hermano is a unique band in all possible ways. Let’s all celebrate these guys by grabbing Clisson, France, turning it up, putting your pentagrams down, and rocking the fuck out. 9/10

Predatory Void - Atoned In Metamorphosis (Pelagic Records) [Mark Young]

And now here’s February, after what felt like the longest month in the history of the world, we say hello to a short but very sweet EP, courtesy of Predatory Void. It’s a 4 track EP that clocks in at just under 14 minutes but don’t let that fool you. They leave a mark.

It follows on from their debut album Seven Keys To The Discomfort Of Being, and this is being touted as a more focused and direct set of songs. Make Me Whole is their lead off track, starting with a stripped back sound, a repeated vocal line that expands, guitar stabs in the background. 

It’s the sort of song that could kick off any live show, that gradual build suddenly deploying itself and then spools into New Moon, this is more direct with melancholic cleans morphing into death growls. 

The tonal shift is welcome, with certain aspects changing shape but not the guitar. Rather than drop into standard territory, it keeps its eye on maintaining the melodic line. They blur the lines between the light and dark without sounding forced, and the music itself is brought together so well. The fall into discord in its final act doesn’t sound out of place with what has come before, and in all honesty its one of those songs that move between lanes with ease.

Peeling Cycle is a beautiful piece, Lina R’s vocals are haunting and weary, set perfectly against the jarring melody before burning up with a guttural attack that flips the coin once more. It doesn’t go for the traditional approaches, its subtle in its heavy moments but still hits hard. 

The final entry is Contemplation, and reminds me of gaze/grunge from the early 90’s. This is not a diss on their song at all, its more that the initial build just evokes that response in me, until they go on the attack once more. 

It's build is quality, an arrangement that doesn’t rely on having the most bottom end or double bass to move it along. It simply breathes, and by doing so moves at speed. In the space of those scant minutes, Predatory Void serve up 4 good songs and manage to say a lot more than some bands manage with 10 or more. 

Its driven by purpose, each song landing almost on top of the one before so that there is no time to settle. January was by and large a bit flat, with Predatory Void, February is looking better! 8/10

Epimetheus - Perseus 9 (Self Released) [Matt Bladen]

Throbbing, hypnotic, meditative and grooving are all words you can use to describe the music of Bristol trio Epiemtheus. In the accompanying blurb all is explained as Cillian Breathnach “plays a self-assembled baritone aluminium-neck guitar tuned to drop F” while Ben Price’s “bass is in C standard.”

Both facts are important when understanding the music of Epimetheus, it’s rare that a guitar is tuned lower than a bass but because the baritone guitar, often used in place of bass, gives the record a low end that lets them manoeuvre their way through corridors of sludgy distortion and experimental noise. 

All guided by the percussive rudder of drummer James Jackson. A band focussed on tone, their music undulates with repetition, a style that could only have been born in the accepting and encouraging Bristol artistic environment.

Few cities in the world would be tolerant of a band coming on with this sonic discordance, but if you’ve ever been to Bristol then you’ll know at any given moment you could have a harsh noise show, down the road from hardcore and across the way from dream pop. The baritone guitar bleeds into the bass and vice versa, both laden with effects to make a homogenous soundscape where cavernous riffage is the end goal.

Just check out the massive groove on the title track and you’ll get an ear ringing insight into Epimetheus, the lack of overdubs or additions keeping them true to how they perform live, their tracks crated to be performed by three players and all the limitations and benefits that has, recorded and engineered in one room along with Stan Braddock, they tapped Chris Fielding to master the record and he has given it his filthy overhaul. Incidentally Epimetheus will play an album launch show at Exchange in Bristol on 7th February, so I urge you to pick up this album before going to see if you can spot the difference.

Let’s talk about the record though and it’s inspired 70’s science fiction novels, where dystopia and grief are key themes (Terraform for instance), the loss of humanity or of loved ones all reflected through the soporific quality of their music. I defy you not to nod your head along to these tracks, Epimetheus have a way of swaddling you in their riffs, no matter how harsh of distorted they get, the reverbed vocals cutting through the circumvallation of sound, like a distant voice from beyond the stars. 

Few bands can sound this primal and progressive at the same time, but Epimetheus manage it on Perseus 9. Born in the fertile Bristol scene but poised to go further, Epimetheus should be on your heavy radar for 2026. 9/10

Phendrana - Cathexis - (Independent Release) [Rick Eaglestone]

There are moments in progressive metal that transcend the mere assemblage of notes and rhythms, where atmosphere becomes architecture and emotion becomes entity. Phendrana's Cathexis is one of those examples.

The album opens with Lamento, a haunting instrumental introduction that sets the tone for the entire journey. This atmospheric prelude weaves delicate piano melodies with subtle orchestration, creating an air of melancholic anticipation. 

It’s a bold choice to begin with such restraint, but it proves masterful – the track establishes the album’s emotional landscape before the storm arrives. Chamber music influences blend seamlessly with prog-rock sensibilities, hinting at the sonic diversity to come.

The title track explodes into being with visceral intensity. At over eight minutes, Cathexis showcases Phendrana operating at their most ambitious – the lyrics explore themes of arms eloping away and bodies suspended in time, painting vivid imagery of existential dread. Anuar Salum’s vocals shift effortlessly between soaring cleans and guttural roars, while the instrumental arrangement builds from delicate passages into crushing walls of sound.

Sentience represents the album’s emotional core, a nine-minute epic that explores the ominous presence of despair and listlessness. The lyrics are profoundly introspective – lines like “I am the emissary of despair, no matter the prayer, you’ll remain, forever marked with hidden stigmata under the cloth” reveal a songwriter unafraid to confront the darkest corners of the psyche. 

Musically, the track demonstrates incredible dynamics, moving from atmospheric keyboards and gentle acoustic passages to explosive progressive metal assaults. 

Mafoo’s lead guitar work shines throughout, delivering solos that feel both technically impressive and emotionally resonant. The interplay between Ana Bitrán’s ethereal female vocals and Salum’s harsh delivery adds another layer of complexity, creating a dialogue between hope and desperation. This is Phendrana at their most Opeth-like, channeling that band’s mastery of contrast while maintaining their own distinct voice.

The album concludes with its most ambitious statement yet. The Effigy & The Titan brings together all the threads woven throughout Cathexis – the chamber music elegance, the progressive metal intensity, and the raw emotional honesty. Daniel Droste of Ahab lends his distinctive doom-laden vocals to the track, adding gravitas and depth that perfectly complements Salum’s performance. 

Gabriel Bitrán’s piano solo provides a moment of stunning beauty amidst the chaos and as the final notes fade, there’s a profound sense of catharsis, as if we’ve completed a journey through the states of the soul that Phendrana promised to explore.

Born from the ashes of a long and painful process of introspection, Cathexis truly embodies the existential journey through the states of the soul. Phendrana has created an album where the mind becomes a battleground for oneself, exploring themes of despair, isolation, and the search for meaning with unflinching honesty. The musical evolution on display here is remarkable. Retaining the raw emotion and dynamism from their previous work.

Phendrana has crafted something rare – music that sounds like the work of seasoned veterans while maintaining the hunger and innovation of artists with everything to prove.

A sprawling and ambitious odyssey. 9/10

Bloodstock M2TM South Wales Interviews: Virtue In Vain - East Heat #1 Green Rooms 07.02.26

Interview with Virtue In Vain - East Heat #1 Green Rooms 07.02.26

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

We are Virtue In Vain. We are a 3-piece metalcore band based in South Wales made up of Hywel (Vocals), Mason (Guitar) & Dan (Drums)

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 have wanted to enter in previous years but have unfortunately had other commitments. This year we wanted to give it our all so this will be the first time we are competing and we cannot wait to show you what we have in store.

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

It is the foundation of who we are as a band, and we are proud to be a part of the Welsh music scene. We all grew up watching local bands, and we have been lucky enough to play with so many talented musicians over the years.

 
We all feel that supporting your scene and giving back when you can is so important to keep the scene growing and thriving.

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

We have played the Green Rooms a few times, and it's great to have the opportunity to play the stage again.

It is one of the venues that has grown over the years and is a staple of the music scene in Wales, and so any chance we get to play Green Rooms, we will always take it

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

We really enjoy seeing all the competing bands. Its's great to play and meet bands we have played with previously or make new friends. It's a great way to really get into what the current scene is creating and new music to listen to.

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

Honestly, it would mean so much to us. We have completely redesigned our set and sound this year, and so to be able to reach the final and potentially play Bloodstock would be such a great opportunity while being a great way to show who Virtue In Vain is.

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?

For us it would be Winter. We haven't known them very long, but what we have heard and spoken with them, it's exciting to see the potential of what is to come in the future.

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

We are ready, are you?

FACEBOOK:: https://www.facebook.com/VirtueInVain
INSTAGRAM:: https://www.instagram.com/virtueinvain
WEBSITE:: https://www.virtueinvain.co.uk
YOUTUBE:: https://www.youtube.com/user/VirtueInVain
STREAMS/SOCIALS:: https://streamlink.to/VirtueInVain

Reviews: Wolverine, Paganizer, Sleeping Giant, Qasu (Matt Bladen, Rick Eaglestone, Mark Young & Joe Guatieri)

Wolverine - Anomalies (Music Theories Recordings) [Matt Bladen]

When I saw the name Wolverine I did think that perhaps I'd be in for some heavy metal about everyone's favourite Canadian X-Man but no siree bub as this Wolverine are a prog metal band from Sweden. Anomalies is their first album in a decade and the line up that recorded 2016's Machina Viva remains in tact, Stefan Zell the soaring, emotive, vocalist in the mould of Damian Wilson via Einar Solberg. He brings passion to massive classic prog metal tracks such as My Solitary Foe and a closer more intimate delivery on Circuits which twitches with insistent electronic drums, horns and ambience. 

Behind him the band all play with virtuosity, Jonas Jonsson's guitar jangles with gothic overtones right out of the Katatonia songwriting school, the drumming of Marcus Losbjer gives Nightfall it's potency and anchor. The album is anchored around a trilogy of songs (A Perfect Alignment, Circuits and A Sudden Demise) all linked by the concept of passing time and going back over your life from the prospect of it getting closer to ending. This repeating pattern of thought reflects the repetition that is used in the riffs for these songs, most of which are directed by Thomas Jansson's bass grooves.

The keys of Per Henriksson, are the keystone to many of these songs, be it the synthy electronic thumps, the swathes of 2000's down tempo/ambient, atmospherics on The World And All Of Its Dazzling Lights or the classical piano on the beautiful Automation. Like many of their peers, Wolverine started out in the death metal scene but then shifted towards the gothic and gloomy prog metal and with Anomalies they are still finding ways to make it enthralling. 9/10

Paganizer – As Mankind Rots (Xtreem Music) [Rick Eaglestone]

Drawing from the Stockholm sound's grittiest traditions, Swedish death metal veterans Paganizer return with their crushing assault As Mankind Rots
.
Opening title track As Mankind Rots wastes absolutely no time – a battering ram of buzzsaw guitars and pummelling drums that very much establishes the template for what follows, this feels like a great progression that maintains the elements that have seen Paganizer endure as a staple of the Swedish death metal scene for years.

Devoured finds the album hitting its stride early – guttural vocals, tremolo riffs tinged with melody – this right here is quintessential Paganizer, this is exactly how they've maintained their status as underground death metal royalty – this hasn't been a quick rise but a well-measured campaign of consistent, quality brutality that is very well executed and more importantly, authentic. The band's tight performance throughout contributes such hard-hitting elements, if you need an example of this then go and put Aftermath Bleeder on very loudly – nothing short of crushing with its mid-tempo groove that absolutely punishes.

Only Maggots serves as a brief but necessary intensity shift and introduction to Put On Your Gasmask which features devastating vocal patterns with a great grinding tempo that alongside some brilliantly executed riff progressions ticks all the boxes for me, and this is why I consider this the album's absolute highlight. This is followed by the most relentless and aggressive delivery on Hollow.

A Testament To Madness brings the album back to where it had been previously, again using a wealth of dynamic shifts which on this occasion delves more into the tremolo-heavy passages, but again power, gut-wrenching vocals combined with chaos is certainly a cocktail that Paganizer delivers so well. The guitar tone throughout is absolutely filthy in the best possible way. 

Shades of Entombed and Dismember fire through via Afterworld which instantly appeals to the nostalgic death metal enthusiast, but there is very much a fresh stamp to it, very much in keeping with the overall aesthetic of the album. Rogga Johansson's riffs here are particularly inspired, managing to feel both familiar and ferocious.

The Rotting End has a nice, doom-laden vibe overall, but the bleakness is never too far away and sweeps through into One Way To The Grave, and if you've been following the Swedish death metal resurgence, I don't think you would disagree that this would fit in perfectly alongside the genre's modern classics – the leads into the chorus passages are just so well developed and executed with precision.

Vanans Makt closes the album with a track sung in Swedish, adding a nice touch of authenticity to proceedings whilst maintaining the absolutely devastating heaviness that's been consistent throughout – again using the classic Swedish death metal buzzsaw tone that really lifts it so that when the more crushing mid-tempo parts cut in, they are even more impactful, demonstrating the musicianship as a collective with clever dynamics and absolutely devastating groove.

Now, if there have ever been any questions about Paganizer's commitment to pure death metal devastation, this album should fully cement their legacy, and quite frankly not only from what I have heard on this album but previous efforts, it's abundantly clear that Paganizer more than deserves the respect and attention in this space as honestly its wave upon wave of razor-sharp riffs all wrapped in a ball of unbridled Swedish death metal fury.

The production here is absolutely monstrous, thick as concrete but still allowing every riff to cut through with surgical precision.

A relentless display of old-school death metal fury. 7/10

Sleeping Giant - The Beauty Of Obliteration (Octopus Rising/Argonauta Records) [Mark Young]

A long time coming, The Beauty Of Obliteration is the debut release from Icelandic heavies Sleeping Giant. With a list of influences that take in Down through to early Mastodon and genres from Stoner to Extreme metal, this is a release with many facets and is a rewarding one too. There can be no doubt at all that this is a band that bring you what you want most, gloriously thick riffs, battering drums and super guttural vocals that do that rare act of being both extreme but you can understand as the same time. 

Conqueror starts, and it has a filthy groove to it, especially once it hits halfway and I defy anyone not to nod along to this. Like early Grand Magus, it has that swing to it where the riffs chosen are just perfect. Mobilizer Of Evil drops next, its riffs tightly packed and its one of those songs that you want to jam on. Its been awhile since I’ve said that, and like Conqueror it has that movement to it, tempo changes that come and go without sounding out of place. You can hear their influences at work here, but its not shameless in its execution. 

They take the best and make it their own, building their songs to suit. As opening 1-2’s go, it’s a cracking start and one that continues through the album. They consistently find the right riff, the best arrangement on each track and once we get into it, they show that they are not afraid to go down a progressive route with song lengths to match. The Monk, is quality, with a build that goes where it wants to, constantly moving and taking in a touch of thrash here and there. They are so precise it is easy to forget that this is their debut, such is the way each song drops on you.

Closing the album out is the 3-minute rager, Venom Ripper, Gorgon Blaster which tears along nicely with one of the coolest names you will see and is like a reset switch before they drop in what I believe will be a smasher live: Abysmal Flame.

Bringing that groove in and detonating it to full effect, this is what I consider to be feel good metal. Its hard to explain what I mean by this, its something that you would need to hear yourself to get it. Imagine something that makes you want to dance, delivered with energy and an eye on classic rock. Now imagine that its 9 minutes long and just flies by, its power to make you nod along undeniable. It’s the perfect antidote to a crappy day at work, and if you are of that persuasion you can smoke to it. Personally, it’s one of those songs that I would to learn, the buzz coming from blasting it out.

It sounds great, everything is positioned well and there is no jockeying for position in terms of what you can hear. As debut’s go this is a stormer, as mentioned their influences loom large without dominating and the songs themselves stand tall. Hopefully, it gives them a platform to push on from, and I hope we see them tour the UK soon. 8/10

Qasu - A Bleak King Cometh (Apocalyptic Witchcraft Records) [Joe Guatieri]

Qasu are a three-piece Experimental Black Metal band based out of both the UK and the US. Their debut album which I’ll be reviewing today, A Bleak King Cometh, was made remotely, across the globe from each other. The band has put nothing out before this, I haven’t heard of any of its members before and as far as I’m concerned, there wasn’t much press surrounding this release either and all of that mystery really does fascinate me. I’m going into this record as blind as it gets.

It’s difficult to describe the experience, the seven tracks that are presented here contain these Blackened soundscapes which are terrorised by meteor showers of ideas. Much like with the opener, The Bitter Waters Of The Abyssal Sea, it feels like that three or four songs are all being played at once of completely different genres. To name a few different flavours, you’ll be encountering the likes of, Ambient, Darkwave, Pop and even Harsh Noise and somehow it all fits together miraculously.

The songs as a whole have a habit of washing over me, collectively they are all five minutes in length at least, I enter through a portal into a new world but by the time I’m connecting with a sound that I like, I’m transported into somewhere else. The album as a whole is more focused on the journey then what it is the destination, it’s always searching, never settling.

If I could point to a moment which I enjoyed the most it would be within Jewels Where The Eyes Once Were. The vocals are animalistic and there is a piercing noise that pops up as well, matching the intensity shown, so much so that it’s hard to know where one ends and the other begins. They are not even at battle with each other, they’re just together as one. It paints a picture in my mind of a bear being woken up by accident from hibernation, it’s immediately on the attack and you now have no hope of survival.

Credit to Wayne Adams who mastered the album as it’s honestly so loud, if you turn up the volume of your headphones your brain is going to rattle around in your skull, it’s tinnitus inducing and I love that about it!

Overall, with A Bleak King Cometh, Qasu has constructed a unique listen that always keeps you guessing as to what will happen next. The biggest compliment that I could give the record is that it’s like a soundtrack to a movie that was never made. I’m impressed by what Qasu have done here and will look forward to seeing what they do next. 7/10

Bloodstock M2TM South Wales Interviews: Catalysts - East Heat #1 Green Rooms 07.02.26

Interview with Catalysts - East Heat #1 Green Rooms 07.02.26

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

We’re Catalysts, South Wales’ self-proclaimed “elder emos.” We blend melancholy with big, melodic choruses, emotionally driven riffs, honest songs with hooks that really hit live. Think Paramore crossed with BMTH but with old dude singing.

Our music and our band performance featured on BBC’s Casualty in 2025
https://www.bbc.co.uk/iplayer/episode/m0026q6x the storyline is someone getting stabbed! Of course this never happens at our real gigs. 

Our previous EP “Sparks” had support from Kerrang! Radio and BBC Introducing. We’ve shared stages with Punk Rock Factory, Raiders UK and The Kennedy Soundtrack, and recently recorded new material at Long Wave Studios with GRAMMY-nominated producer Romesh Dodangoda (Bring Me The Horizon, Funeral For A Friend, Kids In Glass Houses, Nova Twins).

Our upcoming EP “Echoes” arriving in 2026.

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?

Metal To The Masses has always felt like one of the most genuine platforms for heavy and alternative bands. It’s about community, great live shows, and giving bands a real chance to be heard, regardless of style.

We’ve taken part in Swansea & Cardiff and we’ve had a brilliant experience, so coming back for 2026 was an easy decision. Every year brings new bands, new energy, and a strong sense of momentum in the South Wales scene.

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

We’ve met so many great bands (young and old) in the past like “I can’t die” and “Zac and the Newman”. It’s always been fun. The diversity of musical styles has always been great. Basically if you’re a loud guitar band, you can take part, you know?

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

Are you excited to get on those stages?

Playing at the green rooms is exciting for us as it’s the first time. We’ve played Bunkhouse Swansea and Fuel in Cardiff many times in the past; those venues are great but we’re very much looking forward to mixing it up. A new venue is a great way to inject a new wave of music and memories!

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

We’re really looking forward to connecting with new bands, new fans and new promoters. M2TM is great for discovering artists you might not otherwise cross paths with.

It’s also a chance to really sharpen our live set, push ourselves, and make every performance count. Anything beyond that is a bonus.

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

Getting to the Day Of Reckoning final would be huge and a real milestone for us as a band. The chance to play Bloodstock Festival 2026 would be unreal. It’s one of the most respected heavy music festivals in the UK, and representing South Wales on that stage would mean everything to us. 

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?

One of the best parts of M2TM is discovering bands live rather than just online. We’re excited to check out as many acts as possible throughout the heats and see what the scene has to offer this year. We’d encourage our fans to come down early, stay late, and support the whole lineup, you never know when you’ll find your new favourite band.

Having said that I’m very much looking forward to seeing and hearing “Remain the Few”

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

What would my Gen Alpha daughters say???

Elder Emos still cooks fr

Here are links to our socials

https://linktr.ee/Catalysts.wales

Reviews: Sidious, Witch, Agenbite Misery, Poor Bambi (Rick Eaglestone & Spike)

Sidious - Malefic Necropolis (Immortal Frost Productions) [Rick Eaglestone]

Sidious return with their latest and genuinely unsettling studio album Malefic Necropolis.

Opening with Shears Of Atropos, the album establishes its credentials immediately with nearly six minutes of unrelenting blackened assault. Named after one of the three Fates in Greek mythology—the one who cuts the thread of life—the track sets an appropriately grim tone for what's to come. You can hear every instrument carving out its own space in this grotesque soundscape, yet everything melds together into this oppressive wall of sonic decay that feels like it's physically pressing down on you.

Rotborn Terror follows, a compact blast of putrid fury that doesn't waste a second of its four-minute runtime. The title alone conjures images of decay and undeath, and the music delivers on that promise with relentless aggression. The guitar work throughout these opening salvos is genuinely inventive stuff—riffs twist and contort like something that has been left to fester in darkness. 

There is a real sense of composition here, with passages that build tension methodically before erupting into absolute chaos. The lead work, when it appears, cuts through the murk like shards of broken glass, dissonant and thoroughly effective at maintaining that atmosphere of dread.

The brief but effective Inversion And Collapse serves as a dark palate cleanser, a minute-long descent into something even more disturbing before Cosmossuary unleashes nearly five minutes of cosmic dread. This track showcases the band's ability to create atmosphere whilst maintaining their savage attack—it's not just mindless blasting, there's genuine songcraft buried in this filth.

Grave offers another brief interlude, perhaps a moment to catch your breath before being plunged back into the abyss Crows Atop The Gallows takes over with more than four minutes of blackened majesty. The imagery evoked by the title—carrion birds waiting for death's harvest—is perfectly matched by the music's predatory ferocity. 

This is where Sidious really demonstrate their range, shifting between tempos and moods whilst never abandoning their core aesthetic of pure malevolence. The rhythm section here deserves special mention, with drumming that's both technically accomplished and musically intelligent, knowing when to blast and when to pull back for maximum impact.

Vortex Of Boundless Unlight is another standout, with its title perfectly encapsulating the sonic experience. There is a genuine sense of being pulled into something vast and terrible here, a maelstrom of darkness that threatens to consume everything in its path. You can really hear and almost feel the bass rumbling beneath everything, adding weight and heft to the proceedings.

Sanguineous Art continues the assault with nearly five minutes of violence, its title suggesting blood-soaked creativity and ritualistic horror. The vocals range from tortured shrieks that sound genuinely anguished to deeper growls that add another dimension to the sonic attack.

The album concludes with Bloodlust Command Infinite, and at over six minutes, this closing track is one of the album's lengthier pieces. It earns every second of its runtime, serving as a fitting conclusion to a journey through increasingly nightmarish territory. The track encapsulates everything that makes Malefic Necropolis work—the savage aggression, the atmospheric depth, the intelligent songwriting, and that intangible quality of genuine darkness.

What really sets this album apart is its atmosphere. This is genuinely dark, oppressive music that creates a tangible sense of dread and every element here, from the production choices to the song structures to the performances, contributes to this overwhelmingly dark aesthetic.

This is an album demands your full attention, drags you into its abyssal depths, and doesn't let go until you've experienced every last malevolent moment of its dark vision. 9/10

Witch – The Hex Is On … And Them Some! (Lost Realm Records) [Rick Eaglestone]

California Chaos of the 80's gets thrust into 2026 with the compilation The Hex Is On… And Then Some – a comprehensive retrospective that serves as both time capsule and testament to what might have been. This double-disc collection assembles the complete studio catalogue from 1984 to 1989, including the iconic 1984 EP The Hex Is On, the 1987 12" single Nobody Sleeps and a collection of rare demos from 1988 and 1989 that have remained largely unheard until now.

Witch were one of those bands that embodied the raw, unfiltered energy of the Los Angeles underground metal scene – full of flamboyance and theatrical swagger yet unfortunately plagued by too much internal strife to ever attract major label attention. Listening to this collection, you cannot help but wonder what could have been. 

The opening salvo of tracks like Nervous Wreck and Bewitched fires through the speakers with a splash of arrogance that feels both earned and infectious. There is an interesting dynamic at play – you can hear elements of early Skid Row creeping into the songwriting, that perfect balance between street-level grit and arena-ready hooks that defined the era's most successful acts. Yet Witch maintained their own identity, refusing to sand down their rough edges completely.

The first disc is where this compilation truly shines. Now, I love the animated 1986 Transformers movie and its accompanying soundtrack – it's a perfect snapshot of mid-80s hard rock bombast – and Can't Take Our Rock would've fit seamlessly into that collection. It has that same anthemic quality, that defiant energy that made you want to pump your fist in the air. But what's remarkable is how the album moves beyond simple nostalgia. 

As you progress through tracks like Take Me Away, this stops being just a trip down memory lane and transforms into something genuinely compelling that demands repeated listens. The songwriting reveals layers that were not immediately apparent on first spin, and I find myself returning to these tracks more and more, discovering new details each time.

The second CD shifts gears dramatically, focusing on the God Box Sessions. This material has more of a blues rock feel, a conscious evolution that demonstrates the band's desire to mature beyond their earlier sound. The production here is notably more polished – and honestly, that's something of a double-edged sword. 

While the cleaner sound showcases the band's technical abilities and more sophisticated arrangements, it simultaneously takes away some of the raw appeal that made the first disc so captivating. That first disc sounds like it was transferred from a cassette, and I genuinely enjoyed that aesthetic – there is an immediacy and urgency to those lo-fi recordings that feels authentic.

That said, the second disc's saving grace is its variation and willingness to take risks. The slower, more ballad-oriented Games That People Play is particularly well-structured, featuring some genuinely beautiful guitar passages that showcase a different side of the band's capabilities. 

Overall, this portion demonstrates a more stripped-down approach and a willingness to demonstrate a more mature attitude toward studio recordings. The two discs are night and day in terms of production and approach – and yes, this does effectively demonstrate Witch's evolution and career arc as a whole.

But here's the thing: there's something in the unadulterated rawness of that pyro-fuelled aggression on the first disc – that whirlwind chaos – that I simply cannot get enough of. It captures a moment in time, a specific energy that can never quite be replicated once you start worrying about production values and commercial appeal.

This is a well-presented set that clearly has love behind it. The packaging and curation are solid, giving these recordings the respect they deserve after decades in the shadows. However, I do think the inclusion of some live cuts would've really highlighted the band's anarchic reputation and stage presence that contemporary reviews often mentioned. Live recordings would have added another dimension to understanding what made Witch special, capturing the raw energy that reportedly made their shows legendary. 7/10

Agenbite Misery – Remorse Of Conscience (Independent) [Spike]

Most metal bands think "literary ambition" means reading a H.P. Lovecraft summary on Wikipedia and mentioning a tentacle. Agenbite Misery, however, are coming from a different place entirely. Formed by a trio with a shared academic background in literature, they’ve taken the Middle English "agenbite of inwit" that specific, gnawing "remorse of conscience" (I looked that bit up) that haunts Leopold Bloom and translated it into eight chapters of experimental, high-velocity violence. This isn't just "concept" music; it’s a systematic attempt to convert stream-of-consciousness prose into aural energy.

The result? It’s a total wrecking ball of a record that manages to be as smart as a PhD thesis and as heavy as a collapsing star.

The record doesn't just "blend" genres; it pulls them apart to see how they work before chucking the pieces into a furnace. You can hear the pedigree of the members, Sam Graff and Adam Richards from the avant-garde chaos of Under Green Suns, and Cam Netland, who clearly hasn't forgotten the blackened stoner-grit of Coagulate. Together, they’ve created a collective voice that sounds like black metal having a violent argument with noise-rock in the middle of a post-punk ambient fog.

Each of the eight songs adapts a specific chapter from Ulysses, and the lyrics are pulled directly from Joyce’s own labyrinthine sentences. It shouldn't work. By all rights, it should be a pretentious, unlistenable shambles. But when the rhythmic force of the drums hits, you realize that Joyce’s prose, all that stuttering, overlapping internal monologue actually shares a common pulse with the more extreme ends of metal. It’s frantic, unpredictable, and entirely immersive. (It made me think how my “O” level English classes could have been so much more interesting).

The production avoids the high-gloss traps of modern metalcore. There’s a "maximalist" honesty to the sound, a dense, multi-layered thickness that feels like it’s physically pressing against your chest. Whether they’re leaning into a suffocating sludge crawl or a frantic, blackened death-metal sprint, the intent remains constant: to challenge the listener to keep up.

I’ve always reckoned that the best art should feel like a struggle. You shouldn't be able to just "put it on" while you're doing the washing up.

By the time you reach the final "translation" of the record, you’re left with a sense of total exhaustion. It’s an album that demands you engage with its abstract ideas, yet never lets you forget the concrete force of the noise. They’ve aimed high, dug deep, and managed to create something that refuses to repeat what’s been done a thousand times before. 

Is it an easy listen? Don't be daft. It’s a rewarding, claustrophobic, and brilliantly intellectual document of survival. In a world of "by-the-numbers" releases, Agenbite Misery have delivered a masterstroke of sonic transformation. Who knew literature could be this interesting. 9/10

Poor Bambi – Skyscrapers Soaring, Yet We're Drowning (Apollon Records) [Spike]

There is a specific kind of momentum that occurs when a band stops asking for permission and simply starts taking up space. For Stavanger’s Poor Bambi, that momentum has been a bit of a vertical climb since they formed in 2020, taking them from the Norwegian festival circuit all the way to a random, rain-slicked stage in New York. Their debut, Skyscrapers Soaring, Yet We're Drowning, is a bold, immersive noise-rock manifesto that manages to capture the vertiginous anxiety of modern life without ever resorting to the usual "look at how clever we are" tropes that usually clog up this genre.

The title track, Skyscrapers Soaring, Yet We're Drowning, acts as a masterclass in controlled chaos. Sarah Hestness’s vocals possess a crystalline, almost defiant quality that manages to pierce through the thick, rhythmic noise provided by Espen Eidem and Simen Amundrud. It’s a literal sonic representation of the album’s name, a melodic line trying to keep its head above a rising tide of distorted guitars. It doesn't just describe a feeling; it forces you to experience the claustrophobia of the climb.

By the time Midtown Madness and You Were My Lifetime arrive, the record reveals a surprising amount of cinematic weight. Eidem, who handled the production himself, has given these tracks enough air to breathe, which is a rare mercy in noise-rock. It isn't "clean" in any radio-friendly sense, but there’s a spaciousness to the friction on Lost In Translation and Let Me Speak that makes the aggression feel properly physical rather than just a muddy mess.

The energy shifts into something far more frantic with This One Is for Free and Cherry Picking. This is the heart-attack pulse of a band that has clearly spent a lot of time in cramped, sweat-drenched clubs where the amps are always one turn away from a total mechanical meltdown. There’s a "North Sea" grit to the rhythm section here, a jagged, resilience that refuses to sound like some polite Brooklyn export.

The back half of the record, Partners In Crime and Turn Back Time, descends into a much more introspective territory where the guitars stop playing riffs and start creating weather systems. It’s a dense, swirling atmosphere that leads directly into the closer, I Don't Want You To Die. It’s a staggering, vulnerable bit of songwriting that refuses to offer an easy exit or a comfortable resolution. It’s a raw, unvarnished look at the fear of loss, wrapped in a wall of feedback that eventually just... stops. No fanfare, no fade-out, just the sudden silence of a city lights going out.

Poor Bambi haven't just delivered a debut; they’ve documented a struggle. It’s an exhausting, brilliant listen, the kind of record for the long nights when the city feels too vertical and the water feels too high. 8/10

Bloodstock M2TM South Wales Interviews: Daytura - East Heat #1 Green Rooms 07.02.26

 Interview with Daytura - East Heat #1 Green Rooms 07.02.26

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

With an authentic sound reminiscent of Led Zeppelin and Heart’s golden era of progressive we command attention both live and on record. Our sound blends razor-sharp riffs and searing vocals with authentic blues grit, creating an atmosphere that is as electrifying as it is emotive.

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?

This is our first time, be gentle we have been actively growing over the past year and we really want to play at Bloodstock, the festival means so much to us all and to play would mean the world.

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

Grassroots is the most important thing in music, I get right on my soap box about this, but truth it is. Without grassroots and local support within the scene bands don’t progress, they don’t learn and they don’t grow. It becomes a stage for the rich and connected rather then the heart expression which connects with people that love and care for music.

4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Green Rooms.

Have you played the venue before or is this your first time?

Are you excited to get on those stages?

I have wanted to play The Greenrooms for a while and we were so lucky to get into this heat because now we can!!

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

I said before but we are actively growing, we’re playing more shows and we want to build connections and a community. That only comes with actually getting out and meeting people in real life. The live music scene is where we thrive and building relationships with people is at the foundation of that.

Over the last few months we have been entering a lot of the festival heats/ competitions/polls etc and even though we haven’t progressed through some of them we have connected with so many more people then before, that have heard our music and actually like it. Which really means so much!

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

It would mean the world, I’m sure everyone says this. To play somewhere you have dreamed of, and being validated for pursuing your dreams would feel incredible.

I found myself onstage, I am free and I feel alive, I just want to keep doing that as long as people let me.

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?

I am so looking forward to Catalysts, I follow them on socials and they are the most fun, I’m really looking forward to watching them perform!

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

You will have a blast!

@dayytura - instagram
@dayytura - TikTOk
@daytura_daytura - YouTube

Reviews: Planet Hunter, Vandor, Jagged City, Wicked Leather (Rich Piva, Cherie Curtis, Spike & Matt Bladen)

Planet Hunter - Soothsayer (Sharkhound) [Rich Piva]

Wellington, New Zealand’s Planet Hunters latest release has the band doubling down on their version of melodic post hardcore paired with fuzzy stoner grunge, once again producing excellent results. 

The seven tracks on Soothsayer flat out rip, showing all the strengths of the band who apparently decided to take their stuff to the next level up. The opener, One Thousand Years From Now, gives me all sorts of 90s post hardcore vibes and flat out rips. Imaging if Foo Fighters didn’t suck after album number one (maybe two, but that could be debated). 

Kaikōura Lights sounds so much like Quicksand I had to do a doubletake. Give me that all day long, because this song kills. Another little ripper is next with Ouija, a track that straddles the line of Helmet and your more melodic grunge bands from the 90s. 

The vocals are just great. Unholy Union, the first single, brings the riffs and shows off the band’s great rhythm section, while doubling down on that Quicksand vibe I mentioned earlier. The guys in Planet Hunter had to have some of the stuff on Revelation Records given what You'll Be Happy sounds like, and I certainly am. What a killer song. 

Cataract slows the pace just a bit and creates this wall of sound guitar and sounds like Walter singing for Catherine Wheel. The closer, Lazarus, slows it down even more and dooms it up a bit but doesn’t wander too far from that post hardore thing they do so well.

Wow, Planet Hunter delivered a 28 minute blast of fuzzy post hardcore from New Zealand that just blows me away. Soothsayer rips it up, touching on all sorts of elements that I love, with great vocals and instrumentation, and a Quicksand vibe that is something I will always eat right up. Great stuff. 9/10

Vandor - The Ember Eye P2, The Portal Of Truth (Dragon Forged Records) [Cherie Curtis]

Vandor brings us their eagerly awaited third album, The Portal Of Truth which is part two of The Ember Eye. This album consists of thirteen impressively loud, rich and intensely vast anthems full to the brim with energy, passion and ingenuity to satiate our hunger for power metal. This album is languid and takes on a journey of their latest concept without it feeling like a drain on your battery.

All tracks are seamlessly blended into a triumphant wall of sound that swings from a gratifying assault to the ear drum to an emotionally loaded piece to turn the tables when you when you least expect it. Vandor brings us the absolute specimen of power metal. If you’re a fan of the genre- you’re going to love this one. 

It has all the hallmarks of what you expect from them; dynamic builds, textured instrumentals and creative riffs which will either have you fist pumping or at the very least, tapping your feet. The vocals are heady and soaring and the pitch is admirable. The lyrics are a blend of melancholy and optimistic and are catchy enough to have you singing when the second chorus wraps around.

Vandor has only been around for seven years (which I believe is a short amount of time for a band to develop their image) and their sound is incredibly well crafted and precise to the minute details. On the first listen I assumed I was listening to a decades old band who were cast into the shadows of the likes of Helloween.

I loved this one. I currently have the tracks Disease and Last One Of My Kind on my rotation. As a fan of this genre, it scratches an itch in my brain, there’s nothing to fault here. 

The overall composition is fantastic and the recording and mixing is professional. For the people who can neither take nor leave power metal, maybe it’s a bit to theatrical but if you're a lover of a catchy chorus with an avalanche of thrilling riffs then definitely give this one a go. 10/10.

Jagged City – There Are More Of Us, Always (Pelagic Records) [Spike]

I’ve spent a fair bit of time wondering why we still bother with the "Post-" tag when most bands use it as an excuse to sound like a photocopier having a mid-life crisis. But then Jagged City arrive with a title like There Are More Of Us, Always, and you realize it’s less of a genre and more of a census. 

It’s a threat to the "Them" and a rallying cry for the "Us", the people living in the gaps between the high-rises and the derelict industrial estates. This isn't just a collection of songs; it’s a sonic map of a city that’s constantly trying to build over its own pulse.

The record opens with (Don’t Dream Its Over), and if you’re expecting a Crowded House cover or a polite singalong, you’ve taken a wrong turn. It’s a totally instrumental piece, a wordless, atmospheric threshold that feels like the quiet before a storm. 

It’s the sound of a city waking up before the noise takes over, setting a mood that suggests that hope isn't something you talk about; it's something you feel in the vibration of the pavement.

That initial stillness is immediately traded for the rhythmic friction of Imaginary Lines and Rain And Sirens. This is where the band’s actual architecture shows through. The guitars aren't "lush"; they’re jagged, stabbing things that dart around a bassline that feels like a persistent, low-grade anxiety.

It perfectly captures that urban background noise, the sirens in the distance, the rain hitting the windscreen and turns it into something melodic yet entirely unsettling. It’s the kind of sound that makes you want to walk faster down a dark street.

Ocean East, Ocean West and Hairspring move with a mechanical strut that suggests the band has spent a lot of time watching the world move from the window of a stationary train. 

It’s hypnotic and repetitive, a masterclass in building tension without ever truly giving you the release you’re looking for. It’s that wired tightness, a feeling that something is about to snap, even as the rhythm keeps its cold, clinical pace.

The production avoids the usual high-gloss pitfalls that rob this kind of music of its teeth. By the time Minus Power kicks in, the energy feels properly depleted, not through a lack of effort, but through the sheer weight of the city’s indifference. It’s a grey-afternoon-in-an-industrial-estate sound. Grim, persistent, and entirely essential.

The finale, (Deluge In A Paper Cup), brings the record back to that intimate space. It’s a messy, beautiful closer that feels like the aftermath of a riot and the realization that despite the overwhelming odds, the crowd is still standing. 

It’s not a "fix" for the urban malaise, but it’s a hell of a way to document the struggle of the many against the few. 8/10

Wicked Leather - Season Of The Witch (Lost Realm Records) [Matt Bladen]

Have you ever wondered what a trad metal band fronted by pop sensation Anastacia sounded like?

Well wonder no more as Wicked Leather sound exactly like that. Occult-tinged, twin axe, traditional heavy metal with vocalist who has a soulful sneer, the band from Barcelona aren't reinventing the wheel with their sophomore album.

It's more of what they brought to the table on their 2025 debut to be honest in that nothing is particularly inspiring but you nod your head, yeah it's got a darker tone but then so have hundreds of other bands in this category.

Unfortunately the vocals ruin any enjoyment as they just don't fit with the music at all, even if you like the voice of the Chicago singer of Left Outside Alone, here it's like bad impression that never seems to change at all. It may be the Season Of The Witch but this brew can't result on magic. 4/10

A View From The Back Of The Room: Gideon (Lee Burnell)

Gideon & Grove Street, Thekla Bristol, 26.01.26

Across the bridge I go on a pouring Monday Evening to a show that was going to absolutely bring the fire, which is dangerous when the gig itself is at the bottom of a boat. After some initial car drama on the way to Bristol, I managed to catch the last two songs (well song and a half) of New Zealand bruisers Xile. 

Showing a tasty mix of Metalcore peppered Hardcore, European Beatdown and Death Metal, it was evident to see that they are crowd pleasers as the pit was spinning and the crowd surfers were in plenty of supply. Although it was short and sweet, they've absolutely made a fan out of me and I'm looking forward to seeing them again. 

Doesn't seem fair to give a rating based on a few minutes but couldn't possibly say anything negative about what I saw.

Next up, Grove Street (9) and what I love about coming into gigs like this is that you're guaranteed to find something you enjoy and having come into this gig having only heard their song Ultimate Penalty featuring Sylosis' Josh Middleton, I was looking forward to seeing what I'd get and what I saw was band truly proving that their up and coming in the UKHC scene. 

With two albums under their belt, it didn't take long before everyone absolutely lost their minds as the intro to Hunting Season kicks in, brutal, almost methodical way into the set as the pacing works through the gears and then BANG, the verse kicks in and the intensity kicks in. 

You can truly see the Suicidal Tendancies/Biohazard influence in this and it's great to see it being made their own. Next was a hint of Power Trip in their latest single, Self Sabotage. This was gearing up to be an awesome setlist and it seemed a shame they only had 30 minutes. 

The setlist comprised of songs from the latest album which was 2023's The Path To Righteousness and singles they've released since then such as the aforementioned Ultimate Penalty along with Divided Kingdom (which seems completely relatable at the moment) it was a setlist that truly satisfied the old school HC fans and it was awesome to see people flock to the merch table afterwards. 

They are absolutely a band to keep an eye out for and be sure to give them some support and buy some merch! Outstanding set and the sound techs did a fantastic job in making them sound their best.

Alabama natives Gideon (9) headline the show and after being warmed up for 2 and a half hours, the crowd were ready for some Metalcore/Hardcore infused filth and they came out the traps with their latest single, Wrong One and boy they really weren't the ones to fuck with. The intensity resonated with the crowd as they flowed into Til The Wheels Fall Off. Both the crowd and the band were egging each other on to bring the best out of each other as they played Push It Back and Locked Out Of Heaven from 2023's MORE POWER, MORE PAIN. 

Have you ever witnessed a wall of death on a boat before? Nah, me neither but speaking of MORE POWER, MORE PAIN, it brought the title track to the forefront and before I knew it, the crowd had parted and so much for the parting of the red sea, this was the parting of the River Avon... Still has the same ring, right? 

The momentum kept going as they stuck with the MORE POWER, MORE PAIN myriad of tracks as they added Take Off to the set. This was flowing nicely and they sounded fantastic, sound techs, give yourself a round of applause. Gideon then dipped their toe in the waters of Out Of Control by playing Take Me. 

The crowd were then instructed that they'd be no encore and that 3 songs remained and they had to make them count and jeez, the crowd lapped it up and the energy was electric. 

The final trilogy of brutality, energy and tenacity came in the form of Cursed, Bite Down and No Love/No One. A stunning night showcasing a bill of superb bands. Gideon were fantastic and demonstrated a perfectly crafted setlist. 

Scoring Note: A point taken away due to jealousy over singer Daniel McWhorter's cowboy hat.