Reviews: Black Stone Cherry, Ally Venable, Laurenne/Louhimo, Ernie Graham (Matt Bladen)

Black Stone Cherry - This Is Black Stone Cherry's - RSD Album. The Band Really Likes It (Mascot Records)

Released as a Record Store Day exclusive, the title sort of gives it away, This Is Black...is a compilation split into two sides (this is the digital version of a vinyl release).

Side A is a selection of studio b-sides, covers, and un-released while Side B is full of live tracks a few cuts featuring some of their friends as special guests, joining in the fun with Chris Robertson, vocals/guitar; Ben Wells, guitar/vocals, John Fred Young, drums and Steve Jewell Jr. on bass/backing vocals.

So we get going with American Horse, a cover of The Cult featuring John Cooper of Skillet and guitarist Ayron Jones, this is right in the hard rock wheelhouse of BSC, with lots of similarities to the original but that riffy chug of the Cherry and moves into Out Of Pocket, a recent single in a different version with Jesse Leach of Killswitch on vocals.

So far so good then, as they plump for two covers in a row, Tina Turner's What's Love Got To Do With It and Give Me One Reason originally by Tracy Chapman are both great but for me What's Love works a little better. From here there's a couple of B-sides/additional tracks from extended versions of previous albums and then it's into the live songs.

These will be more familiar, an anthemic acoustic version of Peace Is Free features Lzzy Hale while the three recorded at Hellfest are the biggest tracks from the band; Lonely Train, Blame It On The Boom Boom and White Trash Millionaire. It's a compilation of well known, unknown and new versions that the band likes, the title even says so. It's these curios that always come around on Record Store Day and BSC give you a lot of bang for your buck. 8/10

Ally Venable - Money & Power (Ruf Records)

Ally Venable is a blues rock machine, the Texas based guitar slinger has been fighting for the recognition of women in the blues rock world for a while now, but she has never been more combative than she is on her sixth record Money & Power.

It's about women taking what they deserve, kicking down the door of the smoke filled rooms and claiming their seat at the table. She's got the vocals of Shemekia Copeland and guitar licks of Christone 'Kingfish' Ingram, two forces of nature in their own right, joining her on this album of celebration.

Now Venable is pretty productive, this record following 2023's Real Gone, as Venable took up residence in Nashville with producer/drummer Tom Hambridge and let rip on this sixth album. Dripping with attitude on the title track, calling out for a drink on the thirsty Brown Liquor, where Christone 'Kingfish' Ingram duels with Venable, while Heal Me is a smoky tribute to the power of music.

On all of these songs Ally's gritty vocals singing these tracks with passion while she rips up the guitar like another guitar great SRV, though Ally used a Les Paul rather than a Stratocaster, the scuttle-buttling of Stopper Back Papa very in the SRV vein. 

Money & Power like I said is a record to empower women, with the two tracks Unbreakable featuring the incredible vocals of Shemekia Copeland while Stepping Stone is driven by years of being overlooked and undervalued in the music industry.

Well Ally Venable deserves all of your attention, a blues rocker with a foot firmly in both camps. Bluesy riffs and bags of attitude this is Ally Venable taking the Money & Power. 8/10

Laurenne/Louhimo - Falling Through Stars (Frontiers Music Srl)

The Frontiers label boss loves these sort of collaborations between two vocalists, way back in the mists of time the rising popularity of the label could have been put down to the Allen/Lande albums, since then Frontiers have been trying to recreate that success with varying results.

Laurenne/Louhimo is the collaboration between Noora Louhimo (Battle Beast) and Netta Laurenne (Smackbound), an all Finnish affair both singers come from bands with different styles so their vocals mix plays off against each other well while colliding in union for the whole album.

Netta co-produced the record with her husband Nino, (who also plays guitar and co-wrote) so it has a big sound to it the album taking from several decades. The 70's on Damned and Rotten Gold, 2000's on To The Dark, the 80's influences on the gothy The Cradle and FTS.

So a mix of styles from two powerhouse singers on another duo album from Frontiers. You know what you'll be getting, is it the next Allen/Lande? No but an entertaining listen. 7/10

Ernie Graham - Ernie Graham: Remastered Edition (Cherry Red Records)

Originally released in 1971 the debut album from Ernie Graham, now remastered it's a lost classic for lovers of heartfelt, roots music that takes in folk traditions and rock n roll. Ernie made his name with Eire Apparent who's album was produced by one James Marshall Hendrix, Ernie signed as solo artist to Down Home Management and then Liberty Records.

The acoustically strummed Sebastian has the vocal styles and troubadour tendencies of Dylan by way of Belfast. This record features Down Home Management alumni Help Yourself and Brinsley Schwarz acting as his backing band, like how The Band did the same for Dylan after he went electric.

This debut album is a bit of an overlooked gem, critically successful but not so much commercially, it's now given a new lease of life by Cherry Red with a bigger modern remaster so you can pick out the delicate instrumentals that drive tracks such as the haunting Sea Fever or the bluesy For A Little While or Belfast which is steeped in Irish storytelling.

Ernie Graham's solo record should be heard of you're a fan of that late 60's early 70's folk/rock/singer songwriter style. 7/10

Reviews: Cytotoxin, LIK, Anoxia, Pearl Handled Revolver (Charlie Rogers, GC, Thomas Megill Jr, Matt Bladen)

Cytotoxin - Biographyte (Self Released) [Charlie Rogers]

Germany’s 5 piece nuclear power house Cytotoxin return from the studio with their 5th offering, a 53 minute, 11 song romp across the fretboard about - you guessed it - nuclear disaster and the horrors of Chernobyl. For those of you previously unaware of this band, that’s their schtick, and they do it damn well. 

Arguably one of the most exciting technical death metal bands on the scene, Cytotoxin have gained a well deserved international following from their previous works, including my personal album of the year 2020 in Nuklearth. 

So, with the expectations set sky high, and my eardrums eager to be blasted to Plutonium Heaven - will my hope be terminated, or will that brutal band who could just about pull off another barnstormer?

Leading the record is the first single released from this recording, Hope Terminator; a catchy, bouncy number, with furious riffage, hyper aggressive drumming, setting the table for the album to come. 

Lightning quick drum hits, frantic guitar licks, and Sebastian “Grimo” Grihm’s signature vocal barks, it’s got all the parts we’ve come to expect and love from the band, and given it’s abrupt punchy style, plus with it being both the strongest track on the album, it’s a natural choice to open. 

Jason and Fonzo’s dual guitar work is sublime, with my mind constantly wondering how it’s possible to play such intricate passages with the clarity and precision on display here - these guys deserve to be recognised as some of the best guitarists on the scene from both a technical aspect and from a riff construction point of view. 

The art of being able to play at crazy speeds and pull off mind melting fret wizardry, but then pull back and weave the magic into catchy riffs is the true skill many other high ability guitarists should take note of. V.T.’s bass is equally deserving of high praise, able to keep up with his shorter scale brothers and with a killer tone that punches through despite the audio chaos on display. Tonnes of chunky low end but with the nasally ping at the top that fellow bassists like myself like to hear. Chef’s Kiss. 

This record is the first for new drummer to the fold Maximillian, who had some enormous shoes to fill with the departure of Stocki, who played on the aforementioned Nuklearth and 2017’s Gammageddon, and boy does Max do it and some. 

Raining down a relentless score of hits from both hands and both feet, the drumming on the record is nothing short of perfection for the style of music on offer here - and like with the guitarists before him pulling back now and then to give the riffs space to breathe while other times going absolutely hammer and tongs is pure mastery of the instrument on display. 

Grimo’s vocals on the record are excellent, as to be expected, however in some parts the stylistic choice to utilise more of a mid-pitched bark to deliver the lyrics doesn’t land quite as hard as using a different tone, to which he is a master. Hope Terminator actually has this on display, for example, where the stringed instruments fall away to leave us just with drums punctuating the vocals for a section. 

Given Grimo’s monstrous range, it’s obviously his choice to deliver the lines this way, but I can’t help feeling like it was the wrong one. With the band going for a more well rounded death metal sound, and steering a little bit away from their brutal death origins, there’s less pig squealing or sewer sounds on the record as we’ve seen before, but when Grimo goes in for the ultra lows they still hit just as hard.

Of the 11 tracks on offer, there’s 9 songs and 2 atmosphere building interludes. Despite this, it’s hard to pick out any real stand out bangers that lodge themselves in your head. You get the feel for the record pretty quickly, but unlike the previous records where 3 or 4 individual tracks would stand head above the rest, the album feels like it’s lacking in that department. 

Consistency is a good thing, and don’t get me wrong, all the songs are of an equally high standard, but without the earworms I’m reluctant to give out the top grade as I have done previously to this band, who absolutely remain one of my favourites. 

It’s a very enjoyable record, and I would caution against listening to it on anything less than good speakers due to the sonic complexity. Let's see if another couple of weeks of listening to it allows a song or two to firmly lodge itself in my brain. 8/10 

LIK - Necro (Metal Blade Records) [GC]

When you see a band is from Stockholm you generally know what to expect and usually it is death metal in one of its many forms, the list of great bands that have blazed forward from this place is impressive and some of the most influential music in the genre has come form Sweden.

This can also be a bit of a poisoned chalice as you are initially expecting excellence, so its down to LIK and their new record Necro to show if they too have what it takes to stand out or if they will just be another band in crowded scene.

Deceased is a good way to start and instantly allays any fears you may have, this has an urgent and breakneck pace with the guitars just tipping into the right side of scuzzy but not sounding muddy or paired back, the drumming is impressive and keeps everything moving forward with pace and the vocals round everything off nicely with the sort of savage delivery and no nonsense attack that you really wanted.

The pace continues directly into War Praise and it has the unmistakable influence of At The Gates dripping from every buzzsaw riff and gargled scream, also the harmony shines through impressively well in places on this track especially the solos towards the end but never takes over and dulls any of the viciousness. 

They has a thundering groove to it that runs through the song and it’s something that will keep you coming back over and over, as its addictively good and shows another impressive side to LIK’s style and shows that they aren’t afraid to slow things down to keep it heavy, the foot isn’t taken off the gas for long and Worms Inside blasts out of the tracks in a familiar fashion and absolutely annihilates everything.

It’s the fastest track so far and everything that has been good so far is now compressed and highlighted and they even manage to add in another section towards the that will stick in you mind for a long time, Morgue Rat might have come at the wrong time for me because while it’s a decent song and shows that they can really slow things down and it adds effect and subtlety that has not been heard so far, but its just for me a little too slowed and thoughtful compared to the rest of the album, still a very good song though! 

Thankfully its straight to back to business on Shred To Pieces which clocks in at just over 2 minutes and is as furious and energetic as is needed to really get the flow going again in impressive fashion, no messing, no slow bits, just full throttle death metal savagery, and it’s a glorious listen! 

And then again with In Ruins you think the style and pace is about to completely change but thankfully it doesn’t, they throw you off with a slow and meandering start that then explodes into life with the sort of melodic death metal that has no right to be this catchy and heavy at the same time, an absolute world class song this! 

The Stockholm Massacre relentlessly throws the shackles off again and is another lesson in how to write brutally heavy music that still has soul and melody and then mix it all together to amazing effect. Fields Of Death is another rabble-rousing track that keeps the blood pumping and the head banging to decent effect and once again reminds you of the classic Gothenburg sound in all its glory.

Unfortunately the it goes a bit wrong with album closer Rotten Inferno which is a strange and subdued way to end such a savage gnarling album, it’s a slow crawl that never really picks up and underwhelms right at the last minute when they could have ended on a high note?!

On the whole Necro is a class piece of work and a great love letter to that classic Swedish death metal sound that we all love and hold dear, there was a couple of mis-steps but looking at the whole album these can be forgiven because for the most part its was a fantastic listen, if you love your death metal gnarly, thrashy and furious then this is one for you!! 8/10

Anoxia - Revel In Sin (Brilliant Emperor Records/Gutter Prince Cabal Records) [Thomas Megill Jr]

The absence of oxygen is the dictionary definition of Anoxia, with medical definitions describing it as a condition where oxygen is cut off from vital organs especially the brain. That's fucking brutal. 

I wonder if that was the thought process going through the members minds, along with oxygen, when naming the band. I hope in reality it was an anagram for "I Knocks Ya in the face with my riffs". I seriously question why I'm allowed to have opinions .... or thoughts.

Anoxia blasts Revel In Sin out of a canon into the ether for the death metal masses to enjoy. Released through Brilliant Emperor Records, the Sydney, Australia based quartet delivered 8 new tracks of modernized Old School Death Metal clocking in at just under 34 minutes. 

This album makes me feel like I'm fighting an extremely taxing boxing match and can't quite get above the physical exhaustion of trying to keep up with the utter massacre being performed upon my face. 

It's quite hard to condense this band into a box and find comparisons to other bands as they seem to draw inspiration from literally all of them. 

There's flashes of Death, Dying Fetus, Suffocation, Deicide and without the slightest shadow of a doubt, Cannibal Corpse. While they wear the influence of 90s death metal proudly on their chests, they do so with an original feel and swagger.

Every song on this album is another upper cut, right hook, nasty jab or body shot onto the ear drums that force you to keep pace to survive. Revel In Sin is a brutal assault with savage intensity and it's tactically sound. 

I was hoping that the final track Merciless Sin would be a slower tempo'd ballad of sorts to catch my breathe, but I was mistaken and found a lethal straight right punch driven into my snot cavity, discombobulating my senses and making me question the definition of what is and isn't heavy. 

This is a lean piece of veal and is a must listen for all fans of brutal/old school death metal. 8/10

Pearl Handled Revolver - Tales You Lose (Self Released) [Matt Bladen]

I'm not sure what to make of Pearl Handled Revolver. I was expecting some swaggering NWOCR from the band name but I was very wrong. I'm also late to the party as this Bedford based band have already released five self-produced studio albums, two live albums, and four EPs in their 16 year existence. So more fool me for not having heard anything by them before.

So here I am jumping two footed into their new album Tales You Lose and you fall into a soundscape that's dark, macabre and bewitching, sitting between the gruff vaudeville jazz sounds of Tom Waits, the personal horrors of Nick Cave and the organ driven heavy blues of The Doors, Pearl Handled Revolver's world is uniquely curious.

Low smoky vocals, bubbling keys and organs and plenty of jazz on tracks such as Heart Of Gold, the proggy notes with Gilding The Lily or the swirling Doors’- like psychedelia on Courageous add to the trip that is Tales You Lose. Pearl Handled Revolver are doing something different in the rock scene and should be applauded for it. 7/10

Review: Opia (Matt Bladen)

Opia - I Welcome Thee Eternal Sleep (Hammerheart Records)

Gothic doom metal is usually the reserve of Scandinavia bands however now their is a new force in the gothic death doom scene that comes from UK and Spain. Inspired by the likes of Swallow The Sun, Sentenced, Amorphis and My Dying Bride, Opia make a strong statement on their debut album I Welcome Thee Eternal Sleep.

Now like Ofnus who I reviewed earlier this year Opia are a band who feature musicians I consider friends, a band born from the ongoing hiatus of Welsh black metal crew Agrona, vocalist Tereza Rohelova, guitarist Phoenix Griffiths and drummer Sam Heffernan were all a part of that band in the past but do something new here. Moving out of the black metal sphere into something with more melody but just as much misery.

The remaining members of Opia on this album are Ofnus' Rich Rees on bass, now replaced by Aidan Rutter of Moon Reaper, Jorge Afonso of Canary Island gothic doom band Scandelion on keys/syntha and the other keystone of Opia's beautiful misery, guitarist Daniel Tregenna.

This sextet set about creating haunting, beautifully heavy music that is inspired by personal experience of tragedy, mortality, despair, depression and grief, channelled through a nod to the arcane. Produced brilliantly by Abraham Fihema who captures every nuanced moment and every ferocious blast.

Introspection is met with crushing riffs at every turn as tracks such as Days Gone By where the chugging pace of Sentenced or Amorphis becomes clear, dual wielding guitars with grand piano chords breaking between the Mellotron swathes. It's one of the tracks that has pace to it, but keeps melancholy to it, segueing into the emotional torrent of Silence.

These two tracks sit next to each other and are exemplary in showing the union between the band Sam's drumming galloping and blasting on Days Gone By before becoming measured on Silence. The keys of Jorge bring atmosphere and a tinge of sadness as the chug from rhythm guitar and bass is counterpointed by soaring lead guitars the trio of Dan, Rich and Phoenix fully I'm charge of the riffs on this record.

If you've only heard Tereza's harsh screams then you'll be mesmerised by the full range she displays on this record, her evocative and spectral cleans, dreamily hang over the quieter maudlin moments before a black metal scream rears it's head and shifts into a death growl on a track such as On Death's Door Parts I and II which bookend the album with downcast heaviness.

It's a collection of songs that speak about the darker, side of being alive, The Fade, especially is inspired by the personal experience of one member's journey through caring for a loved one with vascular dementia.

Anyone who has been touched by this devastating illness will feel the emotions pouring out of this track, especially as it is one of the few tracks with just clean vocals, it's probably the strongest track on this album too as I hear a lot of Type Of Negative here.

The Fade may be a hard listen for many who have had similar experiences but Opia manage to deliver it in a way that is reflective but powerful stirring emotion and reflection. The overarching theme of this record being that death is indeed inevitable and in some respects it can come as a final relief from pain and despair.

Man Proposes, God Disposes, for instance is a haunting slab of glacial doom, building from clean beginnings into the extreme middle section the guitars climbing to near euphoria before it's all stripped back again to rebuild from echoed drums and the ethereal keys. While The Eye skillfully mixes church organs with black metal screams, the occult having an impact here, shifting into blast beats towards the end while remaining cinematic in the choruses.

I Welcome Thee, Eternal Sleep is an album driven by veteran musicians who want to create metal that is as affecting as it is anthemic, as heartfelt as it is heavy. Opia's debut is a perfect European gothic death/doom album, you will kick yourself if you don't check it out. 10/10

Artwork by: Natalia Drepina

Photo by: Konstantina Frasia Photography Cardiff

A View From The Back Of The Room: Mayors Fest 2025 Saturday (Debby Myatt & Tony Gaskin)

The Main Event – KK’s Steel Mill, Wolverhampton, 05.04.25

So, number 9 of Mayor’s Fest, and as mentioned previously, we’d never been to one before now! Criminal I know, but better late than never! And what better place to hold it than the best rock venue in the country. KK’s Steel Mill has become a mecca for rock fans and the gig list for future events is sublime!

But today it’s all about raising money for local charities and showcasing some of the best UK rock acts, which at the moment, is as strong and as vibrant as it’s been in a long time. Also under the broad banner of classic rock or NWOCR there is a great variety of bands to please even the most discerning of fans.

Opening up were The Soul Revival (8) a four piece that have only been around a couple of years but they clearly know their stuff and driven by the already packed room here at KK’s they grab that energy and run with it, blasting out some hard rock tunes that get that early crowd right into the mood. Front man Ste Stetson literally doesn't stop moving around the stage, revelling in the space, whilst the guitarist Andy, and bass player Matt, are obviously having the time of their lives.

Not to be out done local favourites White Tyger (9) take it up a notch, producing one of the sets of the weekend. These guys are fast becoming a much sought after act on the rock circuit with their high octane heavy rock show. And not to be outdone, Takeaway Thieves produce a completely different set, but equally as explosive. Taking their cue from the old school rock ‘n’ roll of the likes of Dogs D’Amour and the Quireboys, Takeaway Thieves (9) keep the pace fast and hard. I’ve never seen anyone get as much air as The Rev on bass, he even manages to snap his strap at one point but simply kneels down and plays the bass upright!

After two impressively exciting live sets you’d think that any band would be reluctant to try and follow that, but The Karma Effect (10) are consummate pros and prove why they are hot at the moment. Riding on a crest of a wave with their highly acclaimed latest album Promised Land and in the middle of a mostly sold out tour. They are tight, slick and play sexy rock ‘n’ roll. They bring the 70’s to a modern audience, and do it well.

Which is a problem for Hollowstar (8) who have been away for a while, but are back and ready to pick up where they left off. Although they were on the rise pre covid with great reviews for their releases and some excellent support slots with the likes of Grahame Bonnet and Dan Reed Network, the pandemic saw them take time out to focus on family, but they are back, entertaining crowds with their hard, but soulful rock and many of the crowd tonight have not forgotten them and show them how much they’ve been missed. Spine tingling moment of the weekend went to their brilliant rendition of ‘Simple Man’. Welcome back guys

Continuing with the incredibly high standard of performances were the duo of Danny and Ally otherwise know as The Virginmarys (8). A band that defies any attempt to pigeon hole them, they play a bludgeoning set of hard hitting rock that is unique to them. They have an army of admirers from all walks of the rock and alternative community which has seen them perform their ear melting sets at all sorts of events, and tonight, despite a few technical issues, they have probably added more fans to their ever growing community. 

It’s rare these days for a band that dares to be different to get a foot hold in the dirty business that is the music biz, but these guys have stuck to their guns and so far its going well for them, and I’ve never seen a drum kit so abused before!

Taking of bands doing it their own way and sticking a middle finger up to The Man, there are non better than Lancashire’s own Massive Wagons (10).

Rock with a punk attitude. Roll with tongue in cheek. Massive Wagons have been ploughing their own way for over a decade now and with true Northern grit and determination they’ve fought against the haters and doubters and can now truly claim to be up there as one of the best home grown rock bands on the live scene right now. Baz Mills is the epitome of a what a front man should be, he has the crowd eating out of the palm of his hand. The sold out venue is heaving and the band play the best set of the weekend, justifying their headline slot. 

A superb end to a fantastic day and a great showcase for UK rock. Huge congratulations to Doddy, Brett and their crew of volunteers, to Rich and Phil at KK’s for once again providing the best venue an event like this could ask for. Their team of bar staff and security are among the best in the country. Sound and light was superb all day.

So, Number 10 next year and we’re promised something special. To be honest they’ve really got to pull something very special out of the hat to beat this year, we can’t wait to see what they’ve got planned

A View From The Back Of The Room: Mayors Fest 2025 Friday & Sunday (Debby Myatt & Tony Gaskin)

Mayor’s Fest 2025 - The Giffard Arms, Wolverhampton

Surprisingly, despite this being the ninth iteration of this event, this was the first time we’d managed to get along and we weren’t disappointed. Three days of some of the best modern and classic rock the UK has to offer split between the intimate but iconic Giffard Arms (The Giff!) and the fantastic main stage of KK’s Steel Mill.

The now annual event was set up in 2013 by Doddy White (Rockers Through The Ages) and the then Mayor of Wolverhampton, Ian Brookfield to raise money for local charities. Sadly, Ian lost his battle with cancer in 2023, but his legacy lives on with each successive Mayor or Mayoress pledging their support and nominating charities to benefit from the thousands of pounds raised.

Musically, the emphasis is on showcasing some of the best live acts on the British rock circuit with a warm up night of three bands on the Friday at the Giffard and an after party day on the Sunday, also at The Giffard. The main event was held at the Midlands premier rock venue, KK’s Steel Mill which featured seven bands on the main stage and an acoustic stage in the bar area to keep the punters entertained during change overs.

 
Friday Night - 04.04.25

Kicking off the weekend were three bands at The Giffard, right in the heart of the city centre of Wolverhampton and right in the hearts of many rock and metal fans down the years.

First up were a young trio, Jaotar (8). Tony had previously caught these lads at a gig at The Sunflower Lounge in Birmingham when they went under the name of Rat Salad! For such a young band they play a confident set of 60’s inspired psychedelic rock and look the part, it’s great to see that young musicians are keeping that classic rock legacy alive.

The party really kicked into gear though with Alabama Crow (8), a five piece hailing from north of the border. They kick the party into top gear with a rip roaring set of southern rock inspired tunes that get the sold out venue dancing away. Front man Billy Jack has the Scottish banter to go along with the rocking tunes, I would definitely like to see these guys on that bigger stage at KK’s.

Finishing off tonight's party are East Midland hard rockers Doomsday Outlaw (8). Veterans of the UK rock circuit, they are slick and ooze confidence on stage. They blast out some hard rock tunes that bring a good counter balance to the other bands. Groove laden with punchy rhythm sections that round off a cracking night of live music.

 
Sunday Night - 06.04.25

We’ll get to the main event in a bit but I’ll just skip to the goings on at The Giffard on the Sunday. It started off with a nice chilled out afternoon of acoustic acts in the downstairs bar, which unfortunately we couldn’t get there in time for, but by all accounts everyone had a great afternoon, and it was well supported. We did get there in time though for the first of tonight's three band bill upstairs.

That first band was local lads Lynus (9), who we’ve seen a few times previously and enjoy their heavy rock which has vibes of Black Label Society, Alter Bridge, and Shinedown (to my ears anyway!) One of the sets of the whole weekend for me, Woody has a great voice that’s full of powerful emotion.

And now for something completely different! Never heard of Autumn Killers (8) before tonight so wasn’t sure what to expect. A three piece from South Wales, they play an alternative style rock, with keyboards/loops in the background giving an almost industrial feel to some of the tracks and more proggy stuff in others. They definitely fall into the category of a power trio with complex layers creating an interesting overall effect.

Finally, the last band of tonight and of the weekend. The honour of closing out Mayor’s Fest 2025 went to local band Seize the Void (8). Another trio that are full of groovy licks and kick ass rhythms that are definitely going down the path of a more progressive style rock. Not quite the out and out progginess of Rush or Tool, but you can see the influences there. Seize the Void bring it up to date and give a fresh clean sound to their tunes. 

Their latest track El Dorado is a great example, complex time signatures, but with a heavy grooviness more akin to QOTSA. A brilliant way to finish off a great weekend. On a personal note, I can’t than Brett at The Giffard enough for helping to accommodate me with my mobility issues, allowing us to get in early to make sure I was comfortable!

Reviews: Bleed From Within, Spiritworld, Warbringer, Sonus Mortis (Matt Bladen)

Bleed From Within – Zenith (Nuclear Blast Records)

There seemed to be a time where every gig I went to featured Glasgow metalcore crew Bleed From Within, but this road dog attitude has meant that they have been playing and recording for 20 years now, which is not to be underestimated in the current music industry climate. Personally I think the main reason for their success and longevity is that they embrace the changes in the music industry without losing their identity, refining and rebuilding their sound across every record to become the most potent version of themselves.

No wonder then that this seventh album is called Zenith as it genuinely feels as if they have reached the peak of their powers, how they’ll follow it I have no idea but for now they have an album that will become their magnum opus, one that any other record will be compared to. With the title track they dabble with choirs, bagpipes (In Place Of Your Halo) move into deathcore breakdowns for crushing heaviness but also keep one foot in thrashy metalcore on God Complex, Scott Kennedy barking with the confidence and swagger of Corey Taylor on Vol.3, his cleans coming on A Hope In Hell, the vocal production skills of Dan Weller, bringing out the best in Kennedy.

Craig “Goonzi” Gowans and Steven Jones trading riffs like their musical heroes putting the melody in the aggression but also unleashing distorted hell as Wes Hauch (Alluvial) and Rabea Massaad (Toska) provide some guest solos. Davie Provan’s bass gives a low industrial throb to Dying Sun, his bottom end keeping the breakdowns chunky. Elsewhere the band showcase the groove metal influences on Immortal Desire, which features Brann Dailor of Mastodon on guest vocals and has Ali Richardson playing his proggiest drum patterns of the record, the speed again increasing for Chained To Hate, all shredding guitars and blast beats.

Zenith is definitely Bleed From Within at their most triumphant, the euphoric choruses of Known By No Name sits comfortably against the savage Hands Of Sin, featuring Ali’s Sylosis bandmate Josh Middleton on guest vocals. The future of British metal is secure so long as bands such as Bleed From Within exist. 9/10

Spiritworld – Helldorado (Century Media Records)

Much like how Tobias Forge, tightly controls the image, sound and overall presentation of Ghost, Stu Folsom is the driving creative force behind Spiritworld a band with a unique stance in the metal world. With Spiritworld Folsom not only shows his skills as a musician/composer but also as an author, all three records are steeped in lore created by the Folsom, terrifying stories of Lovecraft level horrors, embraced by a Western sheen, if Argento collaborated with Leone, this would be the soundtrack. 

With their third album Helldorado, Spiritworld show off their influence in the metal scene by having Zach Blair (Rise Against), Sgah'gahsowáh (Blackbraid) and Frederic Leclercq (Kreator) all getting guest spots, it seems that the Las Vegas band’s brand of ‘Country Thrash’ has made wave. Abilene Grime kicks off Helldorado with Folsom’s raw vocals and country punk drum pattern before things go all Slayer, the thrashing continues on the dual guitar wielding No Vacancy In Heaven. 

This all out hardcore thrash assault maybe jarring against the visuals of the band but that’s what set them apart from the other bands in the genre, they take musical risks alongside sartorial ones (are Western Outfits in?), with Bird Song Of Death has Social Distortion cowpunk, acoustic picking and finger clicks as it leads into the ‘true country’ of Prayer Lips. Spiritworld do for Country and Western what Volbeat do for rockabilly, make it heavier, louder and more fun than before. 8/10

Warbringer – Wrath And Ruin (Napalm Records)

Southern California, is now and has always been a hotbed for thrash metal so it’s no wonder that Warbringer have been held in such high esteem. Their previous albums have all been lauded as great additions to the thrash pantheon so with Wrath And Ruin they look to do the same again. If you like thrash that has duelling guitars, technical nuances and complex compositions while always retaining that lawlessness, aggression and groove that thrash has always been about then you’ll be reaching for the volume on tracks such as the chugging Neuromancer and stomping around your living room.

Warbringer are a band who try to redefine thrash metal with each album, on Wrath And Ruin they have done so by letting some death metal influences on The Jackhammer, a song with breakdown so thick Power Trip fans will be salivating. The rage of the record, coming from the snarled vocals is born from the constant class struggle we find ourselves in, thrash as a means of rebellion, they really are taking it back to the beginnings of the genre. Songs about imperialism, A.I (Cage Of Air) and free will are age old themes within the thrash genre but Warbringer give them a historical bent on The Sword And The Cross and the occult/black metal leaning Through A Glass, Darkly.

Wrath And Ruin closes with The Last Of My Kind, thrash and melodeath in union, cementing Warbringer not only as one of the more innovative thrash bands around but also one of the best. 8/10

Sonus Mortis – Synapse The Hivemind (Self Released)

Kevin Byrne returns with another symphonic death/doom/black metal record under his Sonus Mortis guise. This is the third in a trilogy of concept records dealing with the dystopian journey of humanity’s downfall, Synapse The Hivemind is the moment when Human consciousness is surrendered to technology in order to continue its existence but of course hubris intervenes and we’re all doomed. Upbeat and hopeful then…not.

Synapse The Hivemind is a sinister record then but played with top level musicianship, Byrne is a skilled guitarist and bassist, playing 7 string electric guitars and 5 string/fretless basses (solo on The Perfect Host), he shreds all over this record especially on songs such as I Used To Be Human and The System Shock, though on the latter there are moments where you know the drums are generated, however Byrne has a mastery of electronics too, creating huge synth and orchestration layers on The Unravelling Array.

Synapse The Hivemind keeps the level of technicality as high as it has been on the two previous Sonus Mortis records but with each one Byrne seems to get more ambitious. Fans of Septicflesh, Fleshgod et al rejoice. 8/10

Reviews: Those Damn Crows, IQ, Leper Colony, Exorcism (Matt Bladen & Thomas Megill Jr)

Those Damn Crows - God Shaped Hole (Earache Records) [Matt Bladen]

The pride of the Welsh rock scene, alongside Scarlet Rebels, Those Damn Crows are now bonafide headliners, playing packed houses across the country and as they move up the arena size their music reflects this change, they now write anthems, massive rock tracks with shout along choruses and ballads that deserve their lighter-to-the-sky moment.

Yes you could argue they have moved towards the American FM rock of band such as Alter Bridge or Godsmack, but this will only heighten their appeal outside of the UK. What seperates them from the many bands attempting this is that they have never abandoned their working class Welsh roots.

No matter how big they get or how many thousands of people they play too they're still a bunch of friends from Bridgend playing in a band. It's just within 10+ years they've reached a position many only dream of with many high profile tours and support slots and a Top 3 place in the UK album chart for their previous album Inhale/Exhale.

That record seemed a little more introspective, but God Shaped Hole turns the dials up to 11 with the biggest riffs, most powerful vocals and the sweetest ballads of their career. Dancing With The Enemy gets this new album going with a one-two drumbeat, a jangly guitar riff and then the weight comes in with a massive guitar riff and those huge vocals, it's not an immediate opener by any means but it is a very modern sounding rock anthem, showcasing the mature side of the band.

From here it's the poppier strains of Glass Heart that lead into the orchestral backed Fake, a song that gives me the feeling of Biffy Clyro as Dreaming adds acoustic scrubbing of a band such as Nickelback as does the heavy riffing of Let's Go Psycho. Yeah I said it Nickelback, no matter what you think of the Canadian veterans they are one of the most popular bands in the world and with God Shaped Hole, Those Damn Crows borrow a lot of what makes them great.

Frontman Shane say "I almost feel like this is an album of singles," and he's right you know! There's a lot of variety on this album, each track feels individual, adds something different, shows another side of the band and most importantly sets them up with another set of bangers to play on the live stage, I can just hear the crowds sing The Night Train back now.

Maybe not the heaviest, maybe not the fastest but God Shaped Hole is the most diverse and definitive album so far. 9/10

IQ - Dominion (GEP Records) [Matt Bladen]

Six years ago British Neo-Prog group IQ released their last album Resistance and now in 2024 their 44th year as a band they release Dominion, a five track epic that inspired thoughts of classic IQ with what the band do now. 2019's Resistance was a double album and Dominion was nearly a double album but it seems the band thought one 22 minute track, one 13 minute track and two tracks over 5 minutes was perhaps enough. They released a live album in 2022 celebrating their return to the stage and their 40th anniversary but in 2025 they bring us their 13th studio album Dominion and it's a thorough celebration of the band. 

We'll start with the middle of the album with the acoustic balladry of One Of Us which is just over 3 minutes of emotive song writing built on Michael Homes guitars and Peter Nicholls lead vocals, this is the pastoral side of IQ, a prog rock band without all the epic trappings. However Dominion will be noted for it's epics and while No Dominion is only 6 and a bit minutes it's got the insistent keys of Neil Durant and a beautiful solo from Holmes leading into the 13 minute Far From Here, a slow burner, Nicholls' vocals haunting as the drumbeat of Paul Cook locks in with Tim Esau for a modern prog groove that was spearheaded by the likes of Marillion all those years ago. 

It's the beginning and end of the record that will bring in the prog heads though. Never Land, the is a euphoric finale fitting into that neo-prog style perfectly with epic vocals and an anthemic quality, this is IQ celebrating what they do best with a buoyant finale. IQ though are a band who take a risk and they open with a 22 minute epic The Unknown Door bringing together every element that is to come on this album, it's a dark journey with thrilling peaks and troughs that keeps you involved for the entire run time. A majestic beginning to a fabulous album. 

IQ are still experimenting and exploring with their music even after all this time and while this is only album 13 it may prove to be very very lucky. An overnight success 44 years in the making. 9/10

Leper Colony - Those Of The Morbid (Testimony Records) [Thomas Megill Jr]

The musical excellence displayed on Those Of The Morbid, make me question whether or not the musicians responsible truly hail from a Leper Colony, or if these individuals actually suffer from leprosy. Lepers generally don't perform down-tuned thrash disguised as death metal very often, if at all. Usually those suffering from leprosy do not display a level of song writing maturity found on this record that very few bands possess these days. In fact, leprosy victims, at least I think, are usually thinking about things like, "Ouch, my skin is burning causing me great agony" or "My limbs are literally falling off!"

Well.... I stand corrected after a brief research break, Leper Colony are not gifted musicians with leprosy, but instead a gifted old school death metal supergroup from... all over Europe. Håkan Stuvemark is a very busy man, as he just released another album with Wombbath earlier this month. I see you Håkan. This is Leper Colony's second album since their 2020 inception. After listening, I'm now ready for their third. Those Of The Morbid will be released through Testimony Records. I implore all fans of heavy music to listen.

I would go song by song to describe how much I love this album, but I'm not trying to write a novel. Every song has an intoxicating structure that will not let the listener lose attention. As an example I was so immersed in my listen that I blissfully ignored the excreting canine in the corner, well past his scheduled walk, as he stink bombed the house. The vocals are decipherable without lyric sheets, the compositions are concise and well arranged, and the lead guitar... *chefs kiss*. 

This album is catchy, awesome and fun. It's as if Obituary, the real Sepultura, and Death had a death thrash lovechild with the best features of each. A high quality must listen. 9/10

Exorcism - Spectral Aggression (Self Released) [Thomas Megill Jr]

As a thrash fiend, I am fervently tickled by the renaissance of not only thrash as a genre, but the E standard, skank beating frenzies of old. When music pulls out the primal urge to whip my head on a swivel like a tasmanian bobblehead, and pops into a New York 2 step, I'm in. Spectral Aggression is the latest curator of skin bashing thrash mania, and it's wild fun.

The debut E.P. by Exorcism out of England is a bare bones, raw, thrashterpiece that should excite any lover of all things hard, fast, and heavy. 4 songs of throwback riffs, gang chants and wild guitar solos. The bass break in Strike Of The Match would make David Ellefson proud. In fact he might..... never mind. This record is filled to the brim with youthful angst and raw energy. I could only imagine seeing this band live. Perhaps circle and push pits may come back instead of the passive aggressive karate that.... *sigh* I'll stop.

For all fans of early Bay Area thrash, Power Trip, you name it, this is an E.P. for you. Spectral Aggression, by Exorcism, independently released on April 11th. What an awesome debut. Leaves me wanting more. I can't wait to see what these lads do and I'm sure after listening, all of you shall too. Exorcism, please write a full length ASAP? 8/10

Reviews: Church Of The Sea, Braveride, Nightsteel, Chestcrush (Matt Bladen)

Church Of The Sea - Eva (These Hands Melt)

Darkly sensual, ethereal and otherworldly, the music of Church Of The Sea puts hypnotic Liturgical chanting with the industrial-meets-rock throb of Depeche Mode, with a slanted Orthodox cross pointed towards the doom rock worship of Sabbath.

The title track being the first and most obvious example of the sermons this church give, it's got that Gahan/Gore pulse to it and a carnal rhythm. This second album, Eva, reimagines the story of Eve, the first heroine of The Bible and tells the story as one of defiance and knowledge beyond that which is doctrine. Weighty lyrical concepts then but suited to the ambitious musical pallette of this album.

The spectral vocals of Irene embody the rebel spirit of Eve as she rejects what has been sent down from heaven and makes her own mind up. With the thump of Widow, Alex's electronics lay the industrial percussion down as he gives Portishead meets Tori Amos moodiness on Churchyard. Vangelis' guitar meanwhile brings the doom metal meatiness on Garden Of Eden. The shoegaze bleeds perfectly into the gothic doom as the electronics glisten and pulsate.

Eva is a brilliantly delicious and dark new record from Church Of The Sea, goths and doomsters take heed. 8/10

Braveride - The Great Awakening (Rockshots Records)

Braveride is a band formed by guitarist/composer/lyricist/orchestrator Marios Christakis in 2004 in Kastoria, Western Macedonia Greece. Fun fact: my wife is also from Kastoria so it was a major suprise to me seeing, that there was such a long established metal band from the city. More importantly a metal band who are actually right up my street with the style of metal that they play.

Braveride are a symphonic power metal and have released three albums previous with various memberships but on their 2025 release, their fourth, Marios is joined by Brazilian vocalist Marcello Vieira, Greek drummer Antonis Gerogiorgos and Italian bassist Wolf De Iuliis, with these men in place, The Great Awakening is the most evolved form of Braveride's style, inspired by Blind Guardian, Angra and most prominently Rhapsody (Of Fire).

All of the Braveride albums are concept records the sword and sorcery saga that takes from Marios' love of Warhammer and D&D, this fourth release continuing the storylines that have driven the previous records but with a bigger cinematic impact than before, utilising additional bass from Grigoris Giarellis and soprano vocals from Gabby Koss on Temple Of The Unholy, The Gate and Gionis.

As the acoustic beginnings of Twilight sets the folksy, fantasy tone The Great Awakening is built on epic tracks such as Nightmares Are Real, full throated vocals, layered choral backing and virtuoso guitar playing while Souls Are Marching comes from the more theatrical side of a band like this. Delfekor has some emotive strings at the beginning before unleashing into galloping Euro power metal.

I will definitely be delving into the Braveride back catalogue on the strength of The Great Awakening. Cinematic power metal inspired by the greats and attaining a similar level of excellence with their latest vision. 9/10

Nightsteel - Nightsteel (Cosmic Fire Records)

I've reviewed this album before, I wasn't sure then if it was an A.I band as there was no information about them. However I was quicky corrected as Nightsteel a very much a real band and with the advent of a record label their whole story can be told. Inspired by 80's metal they former in 2022 by bassist Bill Sam who brought drummer Mike Foudotos.

As Bill wrote songs he enlisted Travis Wills of Crimson Glory to sing but he only managed to complete five tracks on the album so Craig Cairns (Tailgunner), Rob Lundgren (Reveal) and Mauro Elias sing on the rest of the tracks with Jasmine M playing guitar and keys as Igor Paspalj adding some solos.

So a bit of mish-mash of a line up but the results speak for themselves as I'd you're a fan of the more Teutonic (German) style of 80's heavy metal you'll be playing Nightsteel at full volume with your broadsword in the air. Last time I mentioned that the production was a little all over the place and that is still the case, the songs feel a little like they are a collection of singles than an album.

That's a personal thing from a mixing perspective and it has got a few dud lyrics but that's part of the fun. Mostly though this debut album is still as fun as I remember it. Classic heavy metal from a Greek band finding their feet. 7/10

Chestcrush - Ψυχοβγάλτης (Self Released)

Chestcrush...yeah that's about right. Ψυχοβγάλτης (Soul Extractor) is the second album from this Greek extreme metal crew. It's a vile, bludgeoning, sludge of brutal nihilistic death metal, riffs come in a flurry of highly distorted suffocating riffs, relentless blasts and vocals that are blood curdling.

The songs though don't do anything simplistic, these are complex arrangements of extreme metal, as death metal chugs are joined by blasts of glacial black metal on I Shall Be Devoured By The Offspring Of Our Own Flesh. Chestcrush are inspired by the horrors of the world and within the psyche and they make music that is horrific and crushing to listen to.

Tracks such as the claustrophobic Existence Of Punishment or the sledgehammer beating that Every Single Word That Comes Out Of Your Filthy Hole Is An Infectious Lie Spreading Disease (say that 10x fast) gives you.

Chestcrush live up to their billing, smothering music for unhinged mind, it's like a hydraulic press in aural form. 8/10

Reviews: King Kraken, Melvins 1983, Epica, Final Dose (Simon Black, Dan Bradley, Rick Eaglestone & Mark Young)

King Kraken - March Of The Gods (Self Released) [Simon Black]

South Wales doesn’t half have a darned fine talent pool these days. When I first relocated to this part of the UK from the Midlands nearly 2 decades ago, I quickly fell in love with the area, but initially the music side of things seemed less strong. In the last 10 years or so that has noticeably changed, improved and developed to the point where I firmly believe that this region sits at (or bloody close to) the front of the UK’s talent pool for hard and heavy music. 

Bloodstock’s Metal 2 the Masses has a lot to do with this (and not just in Wales), but it really has keenly focussed bands that this coveted slot in a field in Tamworth is as important a milestone for upcoming acts as playing their first show, recording their first tracks, getting a manager, getting signed, playing arenas, etc.

M2TM forces acts to hone their skills, and the bands that go through do so not on the basis of their mates turning up to vote for them in the heats, but on the opinion of the judges (most crucially that final judge from Bloodstock itself) that this is a band that could pull in a passing punter and turn them into a fan. 

King Kraken are an act who’ve gone through this experience, and if you go and see one of their shows today either supporting someone established and mainstream or blowing the roof off of a smaller venue as headliners in their own right, you can see why M2TM is so valuable for this scene.

They always deliver live, but they pack a suckerpunch in the studio too. Their 2023 first album MCLXXX was a belter, was itself a massive step above their Chaos Engine EP, but this new highly anticipated album sounds like what it is, the next step in the highly promising journey of a highly polished and professional group of talented musicians and songwriters.

If you like good old fashioned gutsy hard rock infused metal built around absolutely solid riffage, the better with which to beat the living daylights out of you, then March Of The Gods is not going to disappoint. 

These 10 slabs of catchy and beefy riffage do not outstay their welcome either, delivery a crisp and punch forty minutes of no filler music. Hard rock often faces the accusation that everything has been done to death already, but King Kraken are here to point out that that’s not the case, with extreme prejudice. 

Even when you think you know where a track is heading, such as Preacher, which makes you think it’s a slow heavy grinder, before twisting into an absolutely galloping ride that’s going to be making pits live across the country with refreshing and on the nose accuracy. It’s an absolute classic, and do you know what, it’s probably the weakest song on here…

The production is rich and fat, allows each contributor to be heard clearly, whilst accentuating the cohesive feel they have as a living breathing band. The boys also feel like things have turned up a notch as well, both in terms of the technical precision of their delivery and the smooth writing of each and every song on here.

This album delivers and deserves to take this band to the next level, because it’s records like this that got me into this scene in the first place, and why I make a point of supporting the Metal 2 The Masses, because this ladies, gentlemen and beings of indeterminate classification, is the future. 

I really can’t find anything to complain about here, so I’m going to stop writing now. Then I’m going to play this beauty again. I think I’m going to be doing that a lot over the next few months... 10/10

Melvins 1983 - Thunderball (Ipecac Recordings) [Dan Bradley]

Even after four decades of writing, collaborating and touring, the Melvins show no sign of slowing down, with their Melvins 1983 guise here

Following 2024’s Tarantula Heart (https://musipediaofmetal.blogspot.com/2024/04/reviews-melvins-big-wolf-band-quantum.html), another solid entry in their unclassifiable and sprawling art-rock/sludge catalogue, Thunderball unites Buzz with original 1983 drummer Mike Dillard, bringing the familiar driving punk and hard rock drumming they’re renowned for, but expands their sound with avant-garde noise and electronic contributions from Void Manes and Ni Maîtres.

Thunderball opens with King Of Rome, a three-minute banger building on chugged riffs, rumbling bass and Dillard’s driving beats, elevated by complimentary vocal and guitar melodic lines and subtle but complex electronic textures. 

After this fiery opening, the unsettling ambient interlude Vomit Of Clarity feels underwhelming, and a rare instance of filler in the Melvins 1983's otherwise excellent catalogue. That said, it does tease some exciting potential directions for such collaborations in future.

The rest of the album is built on 3 longer songs of around 10 minutes each.

Short Hair With A Wig opens with glitchy electronic noise before Steven McDonald drops a muscular sludge bass riff that sets the pace for the rest of the track. By the time the full band come in, you’ll probably already be bopping your head and pulling a face. 

Buzz has such a gift for weaving hypnotic lead lines around the beat and exploring the full band dynamics – claustrophobic verse sections expose Dillard’s pounding drumming and bring forward the weird sci-fi noises and electronic textures, before the main guitar hook and full band returns – that longer workouts like this never outstay their welcome.

Victory Of The Pyramids opens with the melodic bombast of Trompe Le Monde-era Pixies, before mischievously swerving off into snarling hard-rock territory. The song makes a few more assured gear changes, handled like a band who know exactly what they’re doing, before a noise-soaked outro.

Venus Blood introduces another lumbering sludgy bass riff and melodic guitar hook that could easily slot into their live set between classic staples like The Bit, Night Goat or Honey Bucket.

While the album feels all too brief at 34 mins, with 2 minutes of that being ambient filler, wanting more from a tirelessly creative band who have uncovered even more ground to explore is no bad thing. 8/10

Epica – Aspiral (Nuclear Blast) [Rick Eaglestone]

Innovative Dutch symphonic metal ensemble Epica return with their ninth studio album Aspiral.

Coming in at just shy of an hour and constructed around eleven tracks Aspiral is swarming with a plethora of elaborate concepts and extravagant orchestrations and really highlights just why Epica are still very much stalwarts of the symphonic metal scene.

Opening offering Cross The Divide is fast paced with riffs reminiscent of Nightwish’s Once era with a flawless vocal delivery which leads into the orchestral laden Arcana with dominant basslines and hypnotic melodies all wrapped in a ballad Esque presentation.

Moving into Darkness Dies In Light – A New Age Dawns Part VII delves into quintessential Epica territory with the combination of dual vocals which has been a constant since The Phantom Agony which also includes some blistering drum patterns. This then weaves into Obsidian Heart effortlessly which has a wonderful narrative.

Combining varying soundscapes, Fight To Survive – The Overview Effect continues the wave of dominance into Metanoia – A New Age Dawns Part VIII does a stellar job of keeping the album on a steady wave of symphonic superiority and much like its predecessor encapsulates the aesthetic of the album wonderfully.

A shorter interlude of sorts T.I.M.E. uses it slot effectively with swirling solos with Apparition firing into a future live favourite spot. Eye Of The Storm musically is phenomenal and incorporates a subtle folkier element encased in a web of harsh vocals.

Lastly, the album concludes with the combination of The Grand Saga Of Existence – A New Age Dawns Part IX which again delivers goosebumps with its pure Therion worship, easily the most ambitious out of the trilogy that has been presented with title track Aspiral shows that Epica have certainly not become comfortable or complacent but have instead further thrusted themselves into Mount Rushmore status – and long may that continue. 8/10

Final Dose - Under The Eternal Shadow (Wolves Of Hades) [Mark Young]

Final Dose are the definition of short but certainly not sweet, delivering black metal punk that comes and kicks your teeth in before raiding the fridge and heading off into the night.

10 songs is just short of 23 minutes is the clue here, with absolutely no messing about – no intro tracks or ambient noise it is literally wallop and we are off.

Eternal Winter is the starting point and it’s a good mix of that black / punk approach with what I would call a steady away type of pace. Its not rapid but at the same time there is enough momentum which comes via the powerful shrieking vocals from Bruno F which kicks Weathered Axe off. The punk aspect comes through on this one but what you find is that they don’t do speed just for the sake of it.

Rite Of Spring has more of the forward push and as a result more bite to it, especially with the frenzied micro solo but then they pull up the rug with Servant, which leans more into an industrial slant but doesn’t get the chance to get going and feels like a missed opportunity.

Initially, its an interesting set up, pared back black metal twinned with that punk ethos but one of the things about it is that once those first three pay out it effectively paints the picture for the remainder of the album. 

That’s not to say it isn’t any good, I think your enjoyment will boil down to how much you love this style of extreme music, or if you are really into punk because that aesthetic is in the driving seat here. 

The two styles work well together, especially on the longer tracks like Dark Paradise where the added run time gives them space to develop the song a little more. Wretched works in this manner and has a larger scope to it when compared to Eternal Winter which has that balance in place but doesn’t feel as vibrant or as punishing. 

Funeral March gives Bruno a 46 second sandbox to play in but its over before it has time to really get going and by the time that they launch into Locked in the Black Dungeon it feels as though they have lost sight of what it is they are trying to say (if they are trying at all) as its not quite black metal, not punk. Obviously, this could be just me being a dummy but that earlier vicious intent has been replaced, at least to these ears.

Revenge is next up and they are back on track, but then change it round again with the ending piece that is Drag The Light Down which is as stripped back as it could possibly be before it terminates in white noise. And then that its, over and out. Generally, it works, as I’ve said the songs drop in with just enough time to register before its on to the next one. 

The longer ones have a little bit more to them but something seems to get lost as we head to the end, either they ran out of steam or thought that we will just do whatever we want to do, which is surely at the heart of being a punk? 6/10

Reviews: Messa, Mika Häkki, Strategy, Rock Out (Matt Bladen)

Messa - The Spin (Metal Blade Records)

Messa get gothic with their fourth album, The Spin, 10 years into their career and it serves as their most accomplished to date. Having spent three record defining ‘Scarlet Doom’ on The Spin they produce a an album that exemplifies the muscular power of classic occult doom with post punk/darkwave synthesisers, gothic rock propulsion and all the mystique of a lost Argento soundtrack. 

From the jangling The Cult-like guitars of Void Meridian, Messa define the major influence of the 80’s on this record. The sort of style that works so well for Unto Others or Grave Pleasures, as they draw inspiration from Killing Joke, Sisters Of Mercy and even Vangelis with the pulsating synths of Andrea Mantione of Nuovo Testamento the major element of Fire On The Roof.

Using as much vintage equipment as they could, they paid a lot of attention to how this record was recorded, from the reverbed drums, the spectral vocals, ambient guitars and throbbing basslines, The Spin could have easily made waves in the early 80’s alongside records such as Juju/A Kiss In The Dreamhouse by Siouxie & the Banshees or Pornography by The Cure. Fire On The Roof for definitely has the psychedelic gothica of both these bands, with that doom underbelly and plenty of searing guitar. 

This is a band with a decade of synergy, expanding their sound through pushing boundaries, be it a stripped back and haunting Immolation or the jazzy doom of The Dress that follows, which features a trumpet solo from Michele Tedesco, Messa have crafted every moment of the album to reflect its inspiration but make it most importantly their own.

Rocco’s gated/reverbed drumming is a focal point for many of these songs, adding that authenticity as Alberto’s lead guitars are clean and melodious, varying from huge rock solos to jazzy breaks with ease as Marco’s rhythm guitars and bass, manoeuvre the reptilian rhythms and heavy moments on a track such as The Dress but also the Southern blues-meets-Sabbath of Reveal. 

Sara too has almost redefined her singing style with The Spin, reaching new heights with cathartic tracks such as the closer Thicker Blood, giving her most varied and impressive vocal performance on The Spin. All these elements combine so perfectly on this album, it’s got immediacy so you know it’s good but it takes a few spins to realise how good it actually is. 

Give it time an multiple spins and you’ll love it as much as I do. 9/10

Mika Häkki - Mørker (Majestic Mountain Records)

Now if you were to listen to the 60's psychadelia of Take This Light Away, all scrubbing acoustic guitars, echoed vocals and snare drum you wouldn't immediately think Monolord. The crushing doom of that Swedish band are about as far removed from the sounds of 'the summer of love' as you can get. 

However on his second solo album Mørker, Monolord bassist Mika Häkki plays a more stripped back, dreamy heartfelt music, joined by Klas-Henrik Hörngren on keys, Krister Selander on bass and drummer Kristoffer Ragnstam. 

While his debut was country and singer songwriter influenced, this one is more of trip inspired by Neil Young (When You're Old), Syd-era Pink Floyd (Another Reason To Stay), some The Stooges wooziness on Couch Sofa.

Häkki's acoustic/clean electric guitar and deep vocals are the cornerstone of this album, and while it's nothing like Monolord, Mørker has a retro charm of it's own. 8/10

Strategy - Love Tactics (Metalapolis Records)

German AOR, it's going to be cheesier than a Allgäuer Emmentaler stuffed with ButterKäse but if done well AOR can be very fun (The Night Flight Orchestra?). Formed in Munich by guitarists Lennard "Lenny" Hammerer and Jakob Struve, Strategy's sound and your enjoyment of it will be dependent on how you feel about the vocals. 

They're...ok... listenable without detracting too much from the sound but perhaps would suit NWOTHM rather than AOR. That said Strategy's AOR is much more rocky similar Boston, Night Ranger or Styx, with some prog inspiration too, looming large on Into The Lens which was originally from the controversial 1980 Yes album Drama. 

It's a decent cover and Love Tactics is a decent melodic rock/AOR album but there are things that the band can improve on with their next record. 6/10

Rock Out – Let’s Call It Rock’N’Roll (Frontiers Music Srl)

When I hear of a rock band from Switzerland I always do the Krokhard test. Will it sound like Krokus? Or will it sound like Gotthard? Well the answer is Krokus, well to be honest AC/DC. Rock Out play pub rock, based in the blues but with a big classic rock choruses that are fit for singing along to.

Though perhaps avoid singing some of the verses as things can get very cringe with American Way, I Wanna Live (apparently until the day they die) or the absolutely awful Hcrnrsm. “Why you staring at the Tik-Tok Screen” is a fairly basic shot across the bows of modern media, that opens a throwaway song called Pump It Up, where the title is sung so many times that’d rather watch the latest dance craze.

Yeah Rock Out have no-frills but they also have songs that’s sound like Airbourne album tracks, there’s no originality in what they do, there’s a 1000 bands playing AC/DC inspired rock music so you need something to stand out. Many of the themes they write about will cause many an eye roll, even from the generation who were there the first time. Let’s Call It Rock’N’Roll, more like Let’s Leave It Alone. 4/10