Reviews: The Flower Kings, Lesoir, Maiah Wynne, Bruce Soord (Matt Bladen)

The Flower Kings - HOPE (InsideOut Music)

You can always trust Swedish prog veterans The Flower Kings to satisfy your urges. So often today bands write 10 or 11 tracks fit for a CD or a playlist, but with the vinyl revival, there should be a throwback to really using vinyl to your advantage.

Back in those halcyon days, ELP, Yes, Genesis, Pink Floyd, Gentle Giant, Camel, I could go on were all major fans of the double vinyl, usually made up of two epic suites that went over 20-minute search with a couple of one-offs in the middle.

This is somewhat of a lost art but The Flower Kings, who have always taken an analogue, exclusively retro approach to their music looks to review it with this new album HOPE. Their 18th studio album in 30+ years as a band, it's probably their biggest yet.

The tracks In A World Of Fools and Mars & Minerva, bookended by two multipart epics, beginning with Five-Part World Spinning-The Final Curtain and ending with the Six-Part Gods Of Rome, the first over 18 minutes the second a colossal 30, but filled with progressive rock the way it used to be played.

It's bold in its arrangements, cinematic in its scope and always utilises analogue instrumentation rather than any computerised gubbins. This deliberate choice to pay homage to the greats of progressive rock world by sounding a close as they can to them but with all new soundscapes to play.

I mentioned Emerson, Lake & Palmer earlier and a lot of HOPE has huge influences from that legendary band the keys/piano of Lalle Larsson often taking the form of Hammond Organ, while Mirko DeMaio lays down drum patterns where time is just an abstract construct.

Joining those rhythms is Michael Stolt's forward in the mix bass and Moog bass, while the varied guitar prowess and dual vocal of Hasse Fröberg and Roine Stolt is magical, acoustics/12 strings/electrics in harmonic union.

It's virtuosity without sacrificing the songwriting, like score for a film yet made the final, Gods Of Rome merges historical fiction with modern day fact, addressing issues that face humanity through some sonic landscape that is very in the realms of Yes, triumphal and joyous, there’s a deem vein of, well, HOPE, to this 18th record.

The Flower Kings delivering a record that has inspiration from the glory days of prog rock but features a veteran band really leaning into those inspirations to make it work in this contemporary era. 9/10

Lesoir - Tomorrow Is Now Today (V2 Records)

Formed in Maastricht way back in 2009, Lesoir have built a strong following and recording history through thought provoking art-prog where very little is off limits.

Their popularity has always been across Europe, with some of the biggest names in prog rock/metal but after two separate support slots with Riverside (R.I.P) they have found an audience in the UK where they've rapidly become a favourite on the live scene and on record as they always deliver atmospheric and emotional music.

Their new album has them invest in some riffs, carried over fron their previous record, the guitar quartet of Maartje Meessen, Eleën Bartholomeus, Ingo Dassen and Rutger Martens switching between atmospheric bliss and explosions of musical colours, as the band create a sound that is both hugely cinematic, while also being achingly introspective, just check out the instrumental Nadeli for proof..

Lesoir aren't just your typical "rock" band though, yes they have three guitars as well as a compelling rhythm section in Staf Wouters (bass) and Bob Van Heumen (drums) but Rutger brings pedal steel, Eleën adds synth while Maartje not only plays flute and piano but is also the passionate/heartfelt voice of the band, Stay Close To Me, a beautiful solo turn while the other band members all help with the gorgeous harmonies.

It's Ramon Reijnders on percussion/beats who makes the first impression with It Is Nothing, a twitchy breakbeat emerging from the Steven Wilson into an orchestral chorus, it's brooding with a soundtrack element choruses that shifts towards some folksy soundscapes on Back To You, those multiple guitars with the shimmering melodies of post rock and the anthemia of early Muse though the title track draws from Kate Bush.

The collaboration between the band and producer John Cornfield and mixer Paul Reeve still a strong part of their creative process and with Steve Kitch of The Pineapple Thief mastering, Tomorrow Is Now Today sounds absolutely huge, but also very intimate, the experience of the band merged with the guiding hand of the production team capturing that live stage intensity while giving a wider spectrum to their studio output resulting in their most complete record yet.

It's a paean for the future, one that is here in our faces today, Hidden Fire a call to arms through soaring guitars and tribal percussion as the questions of life, humanities destruction of the planet and more are asked in the lyrics and through the musical storytelling, the rage bubbling to the surface on Free Pass which channels a lot of 90's influences musically.

With some heartfelt moments such as Army Of Love, songs of hope and songs of defiance, Tomorrow Is Now Today is a spectacular album for lovers of artistic progressive music that has strong sentiments behind it. 9/10

Maiah Wynne - Into The Waves (Kscope)

Maiah Wynne has been performing since she was seven years old, having played countless folk festivals, written for film soundtracks and even was the first contestant in NPR's Tiny Desk Contest. Many in the rock and prog world will know that she is the vocalist for Envy Of None featuring Alex Lifeson, Andy Curran and Alfio Annibalini.

One can only assume that Envy Of None is probably now on hiatus while Lifeson is out on the road with some band called Rush, but that has not stopped the creative output of Wynne who explored trauma, along with "fear and hope, vulnerability and resilience" but always with a sense of optimism that comes through for a record written by an artist rediscovering themselves.

Written, produced and recorded by Wynne, usually in hotels while on tour, this is very much a solo effort as Maiah plays a number of instruments and lyrically it's inspired by Noah's own journey as an internationally touring artist, her move across the works and other seismic shifts in her personal life.

That's not to say she's alone in all this with Justin Abel mixing and Alan Douches mastering there's appearances from cellist Bethany Joyce, violinist Avelyn Reynolds and flugelhorn player Henry Sheppard. As well as drummers Adam Brzycki and Randy Cooke, while Brooks Berg and Alex Lifeson provide some guest guitar.

So a talented performer/songwriter/multi-instrumentalist with some great guests is what you get with Into The Waves, an album with narrative thread that's is told through the songs here, shifting from dreamy folk on Nothing Stays The Same and Satellites, to the gospel touches of In A Dream and the gothic Americana of Creatures In The Night, the close up, breathy vocals of Maiah captivate as the layered, considered instrumentation sets fires that burn brightly.

The pace picks up on the punchy alt country of False Gods, the alt rock Another Step as Underwater and Don't Wait brings electronics through the latter part of the record which has a lot of emotion running through it on Don't Want To Say Goodbye and Breathe, though it's Girl Dinner that lands the heaviest with some very real, very pertinent observations of the world.

Maiah Wynne continues to evolve her songwriting, on Into The Waves, often transcending folk into prog/rock and other musical influences, driven by her creativity and emotional intelligence it's a record that is as expressive as it is expertly delivered. 8/10

Bruce Soord – Ghosts In The Park (Kscope)

One we missed from earlier this year but there's always something magical about a Bruce Soord solo record. While The Pineapple Thief is his outlet for progressive rock opulence, his solo albums are more about modesty, restraint and introspection.

Ghosts In The Park is a record about finding quiet spaces when the world seems to be falling apart. Written while on tour the solitude of hotel rooms and countless cityscapes led to Soord embracing the quiet at a time where he was dealing with both the health decline and passing of his father and his mother's Alzheimer's.

This grief is a driving force for both the creative aspects of this album and for Soord overall who felt the need to carry on and create in these intimate spaces. It's this intimacy that permeates, the acoustic guitar lies at the heart of everything, recorded often in one take in these quiet rooms, they were then slipped into the bigger compositions.

Soord's skills as producer/mixer are on display, with the slow burning of Kept Me Thinking, which features Jon Sykes adding bass and a soaring electic guitar. He's the only guest in this true solo album with Bruce playing/producing everything while mastering is taken by Steve Kitch.

The layered cuts such as Day Of Wrath and Our Predicament are impressive but this album is most effective when it's just Bruce's voice and acoustic guitar, working through grief with his music. 8/10

Reviews: Virology, Nothing Minor, Avicide, Paradox To Stay (Matt Bladen)

Virology - Sequential Malformations (Self Released)

A death metal duo now as Virology unleash their debut full length record Sequential Malformations. You may wonder just how heavy a band made up of a bassist and vocalist can be and while the drums are performed by a Mac N'Tosh, both the I assume 8-16 string bass and vocals are real(ish) humans.

James Easterbrook aka Bunny handles the riffs/rhythms and stomach churning bottom end with a multifaceted virtuoso bass performance where there's frankly need for a guitar at all, if there is it's way in the background as Virology drive their tracks with some bludgeoning, technically intense bass, even the solo section of songs such as Blasphemy are bass, while Congnitive could be Primus.

Cut with horror movie samples, each track just batters you into submission, shows off Bunny's prowess and features some disgusting barked, growled and screamed vocals from James Birkett who gives a frenzied and intense performance, perfect for tracks such as the more techincal Terminal, Epidemic Naval Spore and the ferocious Consomméted.

How much you get out this album is very much dependent on how much you like guitars, if you're looking for buzz saw snarl then that's not here but if bass-led extremely technical death metal sound alike it's your thing then definitely check out Virology, a band doing something interesting and original in the death metal scene. 8/10

Nothing Minor - Devoted To Dysfunction (Self Released)

Nothing Minor are a band with message behind them. Formed as a way to deal with and highlight metal health, their music merges emo, alternative, goth rock/metal, with soaring, emotive vocals, heavy riffs and anthemic choruses.

Based in the Welsh Valleys they have a strong following here and across the bridge so I was interested to hear their new EP Devoted To Dysfunction and if bands such as Evanescence, modern Within Temptation, Paramore and even Spiritbox are frequently on your play lists then you'll find lots to like here.

Hell begins with a heavy riff as Ellie's frantic vocals, countered by some shouts in the background, a strong opener at the rocker end while Sinking goes into the more poignant side featuring a piano against some sobering lyrics, this introspection continues on Ruined, but things get back into rocking for Crimson.

Crimson and Burn My Tongue both have a cracking riff behind them from guitarist Kieran as bassist Keiron and drummer Oliver bring the grooves to these final cuts, you do understand why Nothing Minor have the following they do in South Wales, a throwback to the early 2000's with a strong message of advocacy. 8/10

Avicide - Respirate EP (Self Released)

Bristol based Avicide impressed in this years Metal To The Masses South Wales, the trio play a heavy version of alt metal with hardcore veins running through it so when I was sent this EP I did wonder if their live fire would translate on record.

I pushed play to find out and I was met with some distorted riffs from Thomas Woods to start, taken from the American metalcore scene but in a quirk to these genes tags some angsty clean vocals from singer/bassist Hattie Cowley, which offers up a bit more aggression towards the end, this angst comes back on the grungy Don't Do It.

Please Just Lie kicks in with an even filthier riff than the first track, the vocals go gutteral as those hardocre influences loom large in the steel sounding snare of Danny Woods and the closing breakdown which takes Avicide into the heavier realms they also visit on the dynamic I Eat Dirt which reminds a lot of Code Orange.

That's the strongest comparison I can give to Avicide who are band with defined duality in their music, closing this EP with the Deftonesesque Leach, Respirate breathes life into Avicide on record. 7/10

Paradox To Stay - Death Of Souls (Self Released)

The new EP by Paradox To Stay features the two previous singles they've released since changing their vocalist alongside two new tracks resulting in 16 minutes of new music from this Welsh (Newport) metalcore mob.

This is a five piece that are inspired by the modern style of metalcore, frantic riffs, grooves and harsh scream vocals with the crushing breakdowns of deathcore lumbering their way into the music as well.

The one thing I will say about this record is that it's extremely well produced, it just sounds huge, Glasgow Smile having that thick industrial chug of deathcore to smash you around the chops, but it also introduces the one thing I massively dislike here which are the clean vocals.

However it does seem to be just this one song as on the NWOAM style Heartless and thrashy Serenity the cleans are much better working well with the harsh screams, in fact the last three tracks on the album sound like a different band to the huge deathcore opener and you know what I prefer it.

Death Of Souls is a little fractured by what it wants to be genre wise but there's a lot of talent on show here. 7/10

Reviews: Godflesh, The Ocean, Lacrimas Profundere, Lustmord Lombardo (Spike)

Godflesh – Decay (Relapse Records)

There are certain bands whose releases don't just sit on a digital wish list; they demand a physical trip down to the local record shop. Godflesh have always belonged in that category for me. 

Ever since the suffocating machine clatter of Streetcleaner rewrote the rulebook for what heavy music could be, Justin Broadrick and G.C. Green have been immovable fixtures in British industrial metal. Knowing that Decay serves as their penultimate record before eventually drawing the curtains on the project made bagging a physical copy on release day essential. It hasn't left the turntable since.

Clocking in at six sprawling tracks across forty-two minutes, Decay strips the band's sonic framework back to its bleakest, most hypnotic core. If you came looking for rapid-fire shouting, you’ll be in for a surprise. 

Broadrick reportedly utters fewer than 150 words across the entire record, letting massive, mechanized grooves and tectonic bass frequencies do all the communicating. Between recent health battles, surgeries, and the decision to retire the band from the live touring circuit, that physical exhaustion and psychological weariness bleeds right into the iron grooves of the music.

The album opens with Master And Slave, an eight-and-a-half-minute exercise in slow-motion bludgeon. Built on a lurching, down tuned seven-string riff and Green’s trademark iron-plated bassline, it locks you into a trance before you even realize how heavy the pressure has gotten. It rolls seamlessly into Living/Ending, which leans into that classic, pulsing Godflesh drum-machine cadence; cold, relentless, and completely indifferent to human comfort.

What makes this record feel so poignant is its atmosphere of deliberate, unhurried restraint. Cuts like Feral Colony and Fear Of Man don't rush to hit you with cheap adrenaline spikes; they let the dread simmer. The repetitive, hypnotic dirge feels like wandering through an abandoned industrial estate at twilight, watching the rust slowly eat away at the concrete.

By the time you reach Fodder and the eleven-minute closer Consume Me, you realise Godflesh aren't going out with frantic thrash; they’re delivering an epic, meditative funeral march. Consume Me is pure, droning catharsis. It’s a haunting, mesmerizing farewell that leaves you sitting in absolute quiet as the needle finally hits the run-out groove.

Decay isn't an easy listen, but Godflesh were never meant to be comfortable. It is a bleak, monolithic, and deeply moving record from two pioneers who have absolutely nothing left to prove to anyone. An absolute must-own on vinyl. 9/10

The Ocean – Solaris (Pelagic Records)

Few bands in the modern heavy realm operate with the sheer intellectual ambition of Robin Staps and The Ocean Collective. Over two decades, they've taken us from the prehistoric depths of the ocean floor right through deep geological time and the dawn of humankind. After closing the door on that era and seeing long-time frontman Loïc Rossetti bow out, Solaris finds the collective looking outward into the cold cosmos and the surreal psychological terrain of Stanisław Lem’s legendary sci-fi opus.

Make no mistake: there are truly epic moments scattered across this record. When they lock into their expansive groove, the scale is staggering. But I’ll be completely honest, sitting down with Solaris, it felt like a bit too much at times. The sheer volume of ideas, long instrumental tangents, and cinematic shifts can feel overwhelming. Maybe as a reviewer, I haven’t given it as much dedicated time as an album of this weight truly deserves, because an Ocean record is rarely something that fully reveals its hand on the first few passes.

The journey kicks off with the coordinates 52°30'11"N 13°26'12"E, an atmospheric intro that gives way to Departure Song. It wastes little time establishing this new chapter, introducing new vocalists Enrico Tiberi and Lane Shi alongside crushing post-metal dynamics. It rolls straight into Light Pollution, a sprawling ten-minute beast that bridges the electronic textures of Holocene with towering, crushing climaxes.

The monolithic centre of the record is Simulacra, clocking in at over seventeen minutes. It’s an enormous journey that drifts through krautrock-inspired synths, ambient lulls, and sudden explosions of heavy groove. It probably needs this massive canvas to do proper justice to Lem's narrative of an alien, living planet projecting hallucinations onto the human psyche, but it also tests your patience if you aren't completely dialled in.

Things sharpen up with Belligerence and Ultima Esperanza, where the heavy brass accents and dense polyrhythms hit with familiar physical force. Closing out with the melancholic drift of Milk Of My Dream and the coordinates 51°28′30″S 73°6′11″W, you’re left feeling completely spent.

Solaris is an ambitious, sprawling work that doesn’t hand out easy rewards. It can feel like a heavy emotional and mental overload at points, but there is so much craft beneath the surface that it demands repeat visits. A solid 8 out of 10 that might well grow into something even bigger once it’s had time to settle in. 8/10

Lustmord Lombardo – The Pulse Of Atoms (Ipecac Recordings)

When you see the name Dave Lombardo on an album sleeve, your brain immediately primes itself for a very specific kind of physical experience. Whether he's driving the thrasher engine of Slayer, navigating the chaotic carnival antics of Mr. Bungle, or anchoring Dead Cross and Fantômas, the man is a human metronome of violence and groove. 

So sitting down with The Pulse Of Atoms, his collaborative release on Ipecac with dark ambient godfather Brian Williams (Lustmord), it was hard not to walk in with high expectations of hearing Lombardo letting rip on a proper kit.

I'll be completely upfront about it: if you come in hunting for double-kick artillery or fast, snarling thrash fills, you are going to be left scratching your head. Lombardo is here, absolutely, but his presence feels less like an equal co-driver and more like a subtle, atmospheric guest artist relegated to the margins. This is very much Lustmord’s territory. Williams built the terrifying, abyss-staring sonic blueprint of dark ambient and industrial rumble decades ago, and The Pulse Of Atoms lives, breathes, and suffocates firmly inside that realm.

The record opens with the two-part suite An Eternal Presence. Part I, Unknown, creeps out of the void with sub-bass tremors and eerie, tectonic frequencies that feel like tectonic plates grinding against each other deep in the ocean floor. Lombardo’s input here is whisper-thin, barely a tap or an ominous rattle. By Part II, Relentless, percussive textures start to take clearer shape, but it’s still far removed from conventional rhythmic songwriting. It’s an exercise in sheer, creeping dread.

Things find firmer footing on Paleomagnetic Resonance and Beyond The Vast Cold Waste. Here, Lombardo steps out from the shadows with jazzy, muted flourishes and syncopated cymbal washes that lend Williams’ icy soundscapes an eerie organic pulse. The fourth track even brings in pulsing, Krautrock-tinged synthesizer lines, keeping the composition from evaporating into a formless, endless fog.

The two-part movement of The Desolate Shore, spanning Submergence and Emergence is arguably the most evocative stretch on the record. It feels like standing on an alien coastline at twilight, listening to the groans of dying ships and distant foghorns while strange metal objects scrape in the dark. By the time the ten-minute drone bath of The Abyssal Deep draws the curtain, you feel like you've been submerged in a pitch-black sensory deprivation tank.

Let’s not take anything away from Brian Williams: as an architectural work of dark ambient sound design, this record is at times genuinely terrifying and technically stunning. It demands to be played at room-shaking volume on a great set of monitors so the sub-frequencies can actually rattle the foundations of the house.

Yet you can't entirely shake the feeling that Lombardo's monstrous talents could have been woven into the tapestry with a bit more muscle. It leaves you wondering whether there is any boundary Dave won't cross, his appetite for adventurous, left-field collaborations seems completely bottomless, and that alone makes anything he touches well worth investigating. 

An unsettling, beautifully crafted drone experience, even if it leaves you wishing the drum throne had been turned up just a notch higher in the mix. 8/10

Lacrimas Profundere – Lay Me Down O Silent Fear (Steamhammer / SPV)

One of the great joys of writing for Musipedia of Metal is the sheer volume of music you run into that somehow managed to slip beneath your radar over the years. With over three decades of existence and fourteen full-length albums under their belts, German veterans Lacrimas Profundere aren’t exactly fresh-faced newcomers. Yet, sitting down with Lay Me Down O Silent Fear, I have to confess this is my very first introduction to the band. And on the strength of what’s blasting out of the speakers here, it leaves me wondering where on earth I’ve been and wishing I’d stumbled onto them years ago.

For someone coming in completely fresh, what immediately strikes you is the cocktail of styles colliding beneath the surface. It wears its gothic rock ancestry proudly on its sleeve, there’s an unmistakable, brooding Ville Valo/HIM swagger in the baritone vocals but anyone expecting polite, dusty goth-rock is going to get their teeth rattled. Across these ten tracks, the band splices melancholic, dark-romantic melodrama with abrasive death metal growls, down-tuned modern crunch, and the kinetic urgency of contemporary metalcore.

The album wastes no time making that point with the opener, Days Of Doom. It hits with an aggressive, punchy tempo and jagged guitar riffs from founding member Oliver Nikolas Schmid before vocalist Julian Larre steps up to the mic. 

Larre is a total chameleon here, shifting effortlessly between deep, smoky croons and ferocious, throat-tearing roars. It rolls straight into Nevermore, which pairs stadium-sized, melancholic hooks with heavy double-kick battery, proving they know how to deliver infectious choruses without blunting their heavier edges.

Things get even more intriguing on Heart I Will Break You Before You Break Me, where the band leans into an off-kilter, muscular groove that balances Anathema-style emotional fragility with genuine Danzig-esque swagger. The centrepiece title track, O Silent Fear, stretches out past the five-minute mark, letting lush, gothic atmosphere build and simmer before dropping into crushing, wall-of-sound climaxes. It feels grand, theatrical, and deeply immersive.

Down the back half of the record, the band keeps their foot firmly on the pedal. Agony (In Dread And Dust) and Faceless deliver sharp, compact blasts of energy, while Arcane Promises taps into the aching, bittersweet melodicism that fans of vintage Finnish gothic metal like Sentenced or Charon will instantly recognize. 

Meanwhile, tracks like A Sinful Desire and Veil XV push the rhythm section to the fore, delivering pit-ready bounce and teeth-grinding weight before the elegiac finale of At The End Of A Dream Lies The Hope You Once Killed brings the curtain down.

Lay Me Down O Silent Fear is a brilliant, dark, and surprisingly heavy record from a veteran outfit that clearly has zero intention of resting on past glories. It’s got huge hooks, plenty of grit, and that unmistakable dark-romantic goth atmosphere done with real bite. As an entry point, it’s completely hooked me, and I’m already off to start digging back through their fourteen-album back catalogue to see what else I’ve missed. 8/10

Reviews: Wolves In The Throne Room, Boss Keloid, Leng Tch’e, Earthbong (Matt Bladen & Mark Young)

Wolves In The Throne Room - Estuary (Century Media) [Matt Bladen]

It's been more than 20 years since Wolves In The Throne Room first emerged from the United States bringing about a new wave of black metal.

They call it 'Cascadian Black Metal' cinematic and explorative, they have never been a band to rest on their laurels, netiher have they been afraid of composing and performing heretical black metal in a country that often goes overboard with it's religious zeal for the Bible.

I would think this is perhaps why WITTR are more respected and celebrated in Europe. With an incredible live show, that consumes you, their albums are always musical journeys though multiple genres, they are often conceptual, always evocative and unwaiveringly brilliant if you're a fan of extreme metal with intelligence.

Their latest album Estuary, looks to be another exemplary offering from this blackened coven, recorded with analogue equipment, with the full skill of this veteran band, they lend and ear to nature yet again, it's always been at the heart of what they do, the unyielding power of nature.

On Estuary we have a concept that takes place "1,000 years in the future, after the death of civilization" and how by nature reclaiming the Earth, full peace and tranquility can be reached, it's got huge whacks of sci-fi in the story with the balance between the the synthetic and the organic.

A duality that is explored musically on the record. The blasts of frigid black metal, are rawer and carry a savagery that WITTR have increased for Estuary, the title track bringing intensity from its opening moments, dramatic and intense it builds towards the end with a kind of catharsis that takes us into the rest of the record.

On the other side, this tenacity and ferocity shifts through the ambience and atmospheres of forests, rain and sunlight, natural elements that are reflected by the Gothic overtones and industrial dissonance on Knights Of Tiamat, exploring numerous musical styles against the black metal intensity.

The intensity comes from the twin guitar prowess of Nathan Weaver and Kody Keyworth who also share vocals for more dichotomy, as Aaron Weaver provides the devastating percussion barrage, the synths (The Orca Cliffs) and even some spoken word, when the storytelling needs it.

Touring bassist Galen Baudhuin plays bass in the studio for the first time, adding a bottom end rumble to the epic Foretold In Reflections. Estuary comes to and end with two of its finest moments, the massive Ghosts Among The Obelisks shifts numerous times in pace, speed and style while Wretched Spirits, Land Of Light, caps off the magnificent Estuary record with a track that has black meeting classic metal.

Wolves In The Throne Room rarely do anything wrong, and with album number 8 they stay at the summit of the USBM scene. 9/10

Boss Keloid - Float & Aperture (Church Road Records) [Matt Bladen]

Boss Keloid are band steeped in magic, a band that truly defines the idea of the progressive side of prog rock, no two of their albums are ever the same but they are always undeniably Boss Keloid.

It's a neat trick and one that many bands would absolutely fail to replicate, but like I said Boss Keloid are magic, and they are able to move from a intense record such as Family The Smiling Thrush into Float & Aperture which is an album that has garage rock, jazz and even flamenco as inspiration on the expansive, storytelling of Landslide.

Landslide is one of the track out in the run up to this record and it's the perfect showcase of Boss Keloid's experimental sound, moving to the out reaches of what a band like Baroness would do, all clean guitar harmonies and gritty vocals from Alex Hurst who is the interpreter of these tales of resilience, going full Tom Waitts on Aros.

Pedestal, which precedes it, puts odd signatures with psychedelic riffs and guitar sound that makes me think of Mahavishnu Orchestra, but it's all part of the Boss Keloid sound, keeping you guessing, retaining their musical dexterity through each record by never rehashing anything they've done.

On Float & Aperture they cultivated a more collaborative writing culture than before letting the entire bands influences bleed into the songwriting, which means that these tracks can take numerous paths, as they bring their heaviness to Weight, before again taking off into sprawling Middle Eastern inspired melodies and funk riffs.

The guitar interplay between Paul Swarbrick and Hurst is on another level, counter-pointed and collaborative at the same time, it's a panoramic palette of pedalboards and virtuosity but the impact of it would be much less if it wasn't for the interesting and serpentine bass Liam Pendlebury-Green and the intuitive, expressive and progressive drums and percussion from Ste Arands.

Float & Aperture is the more blissful and illusory side of Boss Keloid, foregoing heaviness of their sludge beginnings for wanderings through world music and the sonic experimentation of bands such as King Crimson, magic from start to finish. Let go of musical inhibitions and embrace Boss Keloid. 9/10

Leng Tch’e - Hammered Into Collapse (Season Of Mist) [Mark Young]

Well, I think that Leng Tch’e have released the crowning definition of a short, sharp shock with their two track single Hammered Into Collapse. The songs represent their first new music since 2017’s Razorgrind and it sees the Belgium outfit taking no prisoners.

Hammered Into Collapse is just brutal, there’s not really a lot more I can give you. It says that this is for fans of Napalm Death, Aborted to name two outfits but based on how this drops into view its for anyone who tells you they love extreme metal. I don’t know anything of their previous releases and I’m not going to pretend that I do but based on this one song, I want to know more.

When its running, its fast, throwing pelters at you non-stop. When it slows, its massive, crushing you under foot. In either case it is a stunning piece of work, one that wraps up in two minutes. And then they hit you with Voided. This fires like a chain-gun, its glorious in the fact its prime directive is to smash. Voided avoids repeating the same trick as Hammered, it remembers that it needs to change tack ever so slightly, but only slightly.

There is something about heavy music, especially no fucks given, fire breathing heavy music that just gladdens my soul. There isn’t any airs or graces to this, no pretence just pure blissful noise. And that’s that. Two songs, 5 minutes if that. And its probably 5 of the best minutes you will spend listening to music this year. 8/10

Earthbong - Salutations To the Cultivators (Lasting Dose Records/Evil Noise Recordings) [Mark Young]

Blessed are the Cheesemakers…hang on, wrong place. Earthbong have popped up with what can be described as an album that one may (or may not) imbibe certain things to. 4 songs, 39 minutes, which should tell you all you need to know what is coming your way. This is their 4th album,

Bug is a ten minute, lumbering monster that brings you a sound so thick, so dense it anesthetises you during its unspooling. Its not the quickest, but they somehow manage to slow this down to an anguished crawl before they pick it back up again. 

Doom can be hit or miss; with Bug they use every available second to make it as interesting for the listener as they can. Its not short of tempo changes, and that super thick sound is ever present, carrying over onto Third Eye, its bass driving it in a descending move whilst Roy Batty’s words play out over it. 

In all honesty, they could have welded these two together and just had it run as one song. This one brings more to the table, the sound expanding with short, ragged lead stabs that quickly come and go. The final two minutes are exemplary in how they gradually ramp up without dramatically altering how the song has ran.

Harvester starts in a more restrained and melancholic manner, a guitar line that is sublime whilst the drums do the heavy lifting in propelling this song along. That is one constant here, the drums have been a masterclass on this as is their sound. The transition at about 2 or so minutes from one approach to that full throated all encompassing sound is spot on as it is effortless on their part to move between them. 

It’s easy to dismiss doom as being one riff repeated over and over and its just not the case. Harvester is an example of how a morose piece of music can also move you in its own way. Of course, they do give in to the basic form of doom on Herbal Saints, their 15 minute climax. 

As the start of Harvester was (in comparison) soft with smooth edges, Herbal Saints dials that black cloak of sound back in and then just run with it. The opening 3 minutes stakes out the fact that they can bring the riffola at will and then put the brakes on for the main body of the song. 

Those drums are central again to the success of this (and the 4 songs as a whole), they provide the foundation from which everything else comes from (Step forward Tommy!!). We shouldn’t take anything away from Selly, the vocals on this are abrasive, guttural and the bass, combined with Ogo’s guitar sound make this such a great listen. 

Herbal Saints runs out, gradually reducing in potency and moving towards that sorrowful approach again. They don’t use the length as a means of repetition, the latter moments ebb and flow and close out what is a prime slab of doom. 8/10

Review: Iommi - From The Dark (Matt Bladen)

Iommi - From The Dark (BMG)

Tony. Iommi. New. Album.

That's all I need to say about this record and you should be rushing to your local emporium to pick up a copy. The godfather of heavy metal returns a year after the emotional triumph that was Back To The Beginning, with a new solo record.

His last solo record, Fused in 2006 featured Iommi alongside Kenny Arnoff on drums and Glenn Hughes on bass/vocals, it also stands out of one of my favourite records of this century.

I go back to it often and every time I play it front to back and just let those riffs wash over me, more modern in production, the style and skill of the Riff Master General still so obvious, like I said for me it's a modern masterpiece.

From The Dark has been a long time coming, between the two albums Sabbath has reformed and disbanded twice, released their own new music and of course played their final show last year in Birmingham at Back To The Beginning, reuniting the original line up one final time alongside a star studded list of musicians for one glorious day of heavy metal.

With the added finality of Ozzy's passing, it has become one final, loud, bittersweet note in the legacy of Black Sabbath, however Tony (and Geezer) have, like Ozzy, been creative outside of Sabbath and with a cast of top tier musicians Iommi brings From The Dark to life. 

Co-written alongside vocalist Jorn Lande (one of my favourite singers in rock/metal), these songs maintain that dark atmosphere invented by Sabbath all those years ago.

As Iommi peels off the riffs from his Gibson SG, the production of himself alongside longtime creative partner Mike Exeter, gives this record a similar audio quality to Fused, modern, metallic and cavenous, you may argue that it should sound more like the old days but Iommi has always been a sonic scientist, just remember how many things Sabbath innovated yeah?

With Jorn he has the perfect vocals foil, a man who many consider to be the heir to Dio, his gutsy, soulful performance balances perfectly with the heavy rock riffs from Iommi, more Heaven And Hell than Paranoid, the songs on this album feel bigger and a bit more cinematic, keys/synths linger in the background for atmosphere but mainly it's the four musicians here flexing their muscles.

Behind the Iommi and Jorn dream team, Karl Brazil takes up the drum stool, the West Midlands based session man pounds the skins in Feeder and for James Blunt and Robbie Williams (don't tell Jimmy Page!) but here he's hitting harder than on any project before, he's a heavy metal drummer on From The Dark and brings veteran instinct and power to his performance.

On bass is probably one of the UK music scenes best examples of hard work paying off as Becky Baldwin has been playing in bands since she was young, be it IDestroy, Triaxis or Control The Storm, recently she's been laying down the foundation for my beloved Fury and Delilah Bon and as if splitting time between those two bands isn't enough she's officially the bassist for Mercyful Fate and now Iommi as well.

I actually jumped in the air with pride when I saw Becky announced as the bassist as it always great to see someone you know living out their dream. On From The Dark she offers the low end thump in conjunction with the legend himself, bringing the thunder to all of these tracks, from the orchestral Beyond The Dead to the marching chug of Stormwatcher and beyond.

So a band made of three musicians with strong links to The West Midlands and one Norwegian, sounds like a party right? Let's get into the record properly and find out whether my initial assumption that this would be one of my AOTY was apt.

Kicking off with Over The Violent Sun and it's exactly what I wanted, that guitar, playing those riffs, it's an epic heavy rock beginning which has familiarity but don't sound stale or rehashed. It's just the way Iommi plays, he invented that down tuned style, and when he starts to peel them off you can't help but grin as a metal fan.

The pace driven by Karl and Becky, it's a proper Dio-era rocker to open Jorn already going all in vocally like a crazed preacher, that'll definitely do, a hangover from Fused in the best way. 

As things get better from there as Black Times is the first one to bring the shadow of Sabbath, still in the Dio era, all dressed in a evil, theatrical, pomp and one of those creeping riffs that Iommi pioneered that shifts into a sprawling solo section.

This sets the table for propulsive single World Alone. I deliberately didn't listen to anything from this album before it was released as I wanted to hear it all for the first time, but I can see why this was chosen as the first single, it's the perfect distillation of what Iommi is about. 

The classic guitar tone, the constant forward motion, a top tier band backing him, all in that modern sound perfected on Fused, it's the best way to announce this project.

With the hard rock blast of World Alone displaying the fun the band had recording this album, Beyond The Dead as I said is metal in as more dramatic fashion. Featuring orchestration, and a sinister feel that comes from the self titled Black Sabbath album but has been shaped by years in the business, if they formed now, this is what they're sound like, those evil riffs emboldened by strings and those vocals.

As Beyond The Dead is Sabbath worship, Stormwatcher reminds me more of Deep Purple, MKIII, (you know the one with Glenn Hughes), all it needs is some Hammond Organ, and it's there, standing as a testament to the longevity of the heavy metal sound as at some point all these musicians have played with each other, so it obvious why Iommi would wanna play a track that Gillian and Hughes would be proud of.

From The Dark then is not just a celebration of Tony Iommi and if course Black Sabbath but British heavy metal, from it's dinosaur beginnings of monolithic riffs, just wrapped in a modern sheen howeverit's not long before the spectre of Sabbath retuns on Death Wake, another sinister, funeral march, hooked on the drums and bass, slow burning and building into a supernatural spectacle all about quiet and loud dynamics.

With just two songs remaining (on the standard edition), From The Dark offers a little suprise on Return Of The Arbalist with what I'd consider a heavy rocker, screaming guitars throughout, underpinned by Baldwin and Brazil's rhythms, this one's got more more of a bluesy Motorhead-meets-Magnum vibe to it as vocally Jorn gives us full Coverdale and there's even some great use of wah.

The finale is Legacy and it's of course one that could have been a Sabbath track, playing with light and shade throughout the 6+ minutes, there's tolling bells, filthy bass grooves, histrionic vocal shouts, massive drums and of course as always THOSE riffs played by the man who invented it all.

Heavy metal is his Legacy, their Legacy and there's something to be extremely proud about if you're from the UK as we were the epicenter of it all! Emerging From The Dark and into the light, this is record that celebrates the past and embraces the future. Worship at the altar of Iommi. All Hail The Riff Lord. 10/10

A View From The Back Of The Room: The Devil Wears Prada (Alex Tobias)

The Devil Wears Prada, Novelists, 156/Silence & Oversize, The Electric, Bristol, UK 20.10.26

Tonight, I’m heading to Bristol to catch metalcore legends The Devil Wears Prada as they kick off the UK leg of their latest tour, Flowers. With a seriously good supporting line-up in tow, it’s time to get inside and see how the night unfolds.

First up this evening are Oversize (6), the only UK band on tonight’s bill. Hailing from Salisbury, Wiltshire, the band take to the stage in front of a crowd that’s still filling out, but those already in the building are more than happy to give them a warm reception.

The band get things moving with some damn fine music, packed with Deftones-esque riffs and haunting vocals from frontman Nick Nowack. It’s a melancholic but heartfelt opening set, and while this isn’t necessarily music that’ll have you losing your head in the mosh pit, it’s the kind that gets you thinking while you listen.

There’s a strong stage presence from all members, who confidently deliver songs where every riff and beat feels like it has an edge and a meaning behind it. A solid way to kick off the evening, and a band I’d be interested in catching again.

After a short break, it’s time to get a little sweatier and heavier as 156/Silence (6) take to the stage, ready to unleash crushing breakdowns and soaring melodic choruses.

The Pittsburgh outfit waste no time getting the crowd moving, with vocalist Mike Ernst demanding, “I need more crowd surfers, where the fuck are you?” It’s a request the Bristol crowd is more than happy to oblige.

The band have great chemistry with the audience, feeding off the biggest moments in their songs and kicking off the first circle pits of the night. Their sound is on point, too, with booming 808s ushering in half-time chugs that threaten to rip your ears off, balanced perfectly by those unmistakable metalcore vocal melodies that send the hairs on the back of your neck standing on end.

This is another band I’m watching live for the first time, and once again, there’s no disappointment. A crushing set that gets the room warmed up nicely for what’s still to come.

A quick drink break later, and we’re ready for the next act. Parisian outfit Novelists (8) walk onstage to huge roars and cheers, making it clear that plenty of people in the room are here for them just as much as the headliners.

Having watched their set, I can confirm I’d happily count myself among them. I’m seriously impressed by this performance. The guitar work, the vocals, the subtle touches that give way to beefy drum patterns, and the connection between the band members all come together brilliantly.

There are superb solos throughout, alongside that perfect snap between blissfully melodic passages and crushing, face-first heaviness. Just when you’re settling into those soaring melodies, the band slam the brakes and launch into punishing, Jinjer-esque sections that hit like a freight train.

Everything feels tight, dynamic and purposeful, with the band showing just how effectively they can balance technical musicianship with moments of sheer heaviness.

The best thing I can say about watching Novelists tonight is that I’d happily pay to see them again anytime. And honestly, so should you.

Quick changeovers mean that, before long, we’re ready for the main event. I haven’t seen The Devil Wears Prada (8) since 2012, so tonight feels like a long-overdue catch-up. The big question is whether these metalcore veterans can still bring the noise. Spoiler alert: they absolutely can.

Anticipation builds as the crowd waits for the band to take the stage, and the roar that erupts when keyboardist Jonathan Gering appears first in the spotlight is a clear sign that Bristol is ready. He gets things underway before the rest of the band join him, launching us straight into two tracks from their latest album, Flowers: Where The Flowers Never Grow and So Low.

Both songs have the crowd jumping and surfing from the off, driven by huge riffs and hypnotic, singalong choruses — a combination the band have made their own. So Low is particularly catchy, pairing an infectious melody with enough energy to keep the room moving.

From there, the band move seamlessly between the new material and older favorites, including Danger: Wildman and Dez Moines from 2009’s With Roots Above And Branches Below. It’s a welcome mix that gives newer fans plenty to get stuck into while rewarding those who have been around since the earlier days. I had plenty of the band’s older albums and songs on repeat in my younger years, so hearing these tracks live again brings back some great memories.

The Devil Wears Prada ooze confidence, and it’s the kind that only comes from veterans who have spent more than two decades carving out their place in the metal scene. The vocals and screams cut through from every corner of the stage, keeping your eyes darting around as you try to take in everything happening in front of you. A dreamy, circular backdrop of video imagery adds another visual layer to the performance without distracting from the band themselves.

The Dayton, Ohio natives have genuinely impressed tonight. If you’ve ever wondered which metalcore bands have flown under the radar for too many people, or you’ve simply been sleeping on these legends, then you’ve been missing out. With a catalogue packed full of great songs and a live performance capable of knocking your face clean off, they remind me exactly why they’re still going strong more than 20 years on.

I’ve enjoyed every band on tonight’s bill, but The Devil Wears Prada have shown exactly why they’re comfortable headlining a stage like this, anywhere and anytime. A commanding performance from a band who clearly have plenty left in the tank.

Reviews: Entheos, Goat Major, Godzilla In The Kitchen, Savage Grace (Mark Young, Matt Bladen, Keith Boswell & Jordan Griffiths)

Entheos - Empty On The Inside (Metal Blade Records) [Mark Young]

Say hello to one of the albums of the year. Sometimes, a statement like this occurs once an album has bedded in with you after repeated listens. In this case, it is almost immediate. That moment is like the aural equivalent of a ‘lightbulb’ above your head when you hear it, and it happens at the 48th second of Hell Is A Part Of Me, the opening track from Entheos’ new release. You have the vocals running one way and the guitar line behind it goes the other, and it is just beautiful.

Now, I appreciate that A, I am making a lot out of what anyone might suggest is nothing really magical and B, I’m not doing it justice either, but once you hear it you will get exactly what I mean. It’s the hook that vocalist Chaney Crabb throws out that does the damage. We know that Chaney can do the coarse, harsh singing, but here cleans are embraced and employed to devastating effect.

Let’s not forget that at their heart is high-calibre technical metal, refined here to within an inch of its life. Of course, it possesses that new-era tech sound, and you either like it or loathe it. Personally, it’s dependent on the song and here I’ll forgive it because, had it sounded any other way, I don’t think it would have landed the way it does and ultimately wormed its way into your brain.

As soon as this wraps, they pull Empty On The Inside next, which changes direction, going for that NIN-infused industrial vibe with one eye firmly fixed on getting you up and moving. The change, the growth, is there now, along with the confidence displayed in having the cleans in place where previously they would have depended on the extreme side to carry the song along. That is not to say that it’s all cleans, good lord no, it’s just that it’s a measured approach within the context of the song. When it goes full bore, Chaney unleashes full blast.

With Hollow now providing that slow third track, one that moves achingly along with a vocal performance that seems torn from the depths, Entheos have decided to show just what they can do with a three-song barrage that is as good as anything else released this year. 

It can’t get any clearer that they have gone for broke in putting everything they can into this album, all the tricks, and the result falls in their favour. I’ve seen some comments online that, of the songs released ahead of the album, it’s not what people expected. I guess that there is an element of not wanting your bands to move too far from where you think they should be, but I prefer this.

Elsewhere, the technical side isn’t shy in coming forward, it’s just that it’s now tempered with a soul. Call My Name and Golden Crown are examples of this, where they still have that on show, it’s just that their song-building skills have grown to allow them to move beyond pure reliance on that side of them. It’s still there, some of the arrangements are dizzying, but there is a conscious effort to make sure that the song is as strong as the one that preceded it, even if its style differs.

Pale Faith is a latter-stage blaster from them, complete with a tech solo that burns brightly and quickly. They haven’t forgotten the blasts, nor have they forgotten the rule about making the songs interesting. This is the thing: they could have done 10 songs of brutal tech metal and been met with hurrahs. Instead, they have allowed themselves to expand, to allow their music to breathe.

The Earth Will Move closes out in exactly this manner. After a melancholic Never Let Me Go, which threatened to suck a little air out of the room, they could have been forgiven for going all out. Instead, the use of discord comes first, supported by introspection and then full-throated roars. I appreciate that, as a musical approach, this isn’t new, but when a band does it right it’s still royal.

It’s what they don’t do on here that makes the album as good as it is because I guess it would have been easy to stay in a particular lane. Instead, they have made a concerted effort to leap to the next level and make that landing. 10/10

Goat Major - Death Comes Twice (Ripple Music) [Matt Bladen]

Having bene on the ride with Goat Major since almost their inception, to see them releasing a second album through the mighty Ripple Music fills my heart with joy. Something that their debut Ritual did with it's fuzzy, evil sounding doom that owes as much to Mötorhead as it does Electric Wizard.

If Black Sabbath wrote music for Steppenwolf then you'd get this Pembrokeshire trio. After their debut record they took to the road to where they're at their best, slinging their sinister riffs all across the UK including appearances at Stoomfest and Desertfest.

Between the touring they were still writing and with a break in the schedule they hit a studio in their native Pembrokeshire with Tom Chaloner to record a studio follow up, returning to Ripple Music with Death Comes Twice a record that offers up no huge shifts in what they did with the debut.

Except perhaps a more pronounced sense of melody than on the debut, the menacing heaviness still at the forefront of the Goat Major sound but now leaning more towards psychedelic flourishes and claustrophobic atmospheres where the themes of belief and tradition are explored.

Strings and acoustics build a bonfire of occult worship on Voyage Of Cetus, an intro that sets the tone for this record, leading into Firewalk which is the ideal begining for a Goat Major record, Jammie Arnold (guitar) and Tom Shortt (bass), locked into thick fuzzing grooves, then separating out into their own noise of open chord basslines and anguished guitar leads,

Simon Bonwick's drumming a consistent source of power as he introduces some interesting percussion on the tribal Wheels Of Gold which adds sneer and sleaze to the record as Tom's vocals casting spells against the Sabbath worship before the synth driven interlude Sirens, shifts then toward the ethreal before The Sin Eater dials up the riffs again.

Death Comes Twice, is Goat Major enhancing their occult doom stylings with nuanced additions, such as the Title Track giving some phaser pedal and sludge, shifting towards the punkier tones of Under The Moonlight, while they close this second chapter with Detached a rumbling, malevolent track which exhibits that the darkness is still front and center despite the shifts towrad more melody.

Goat Major lumber back with more riffs and wickedness, hail the goat! 9/10

Godzilla In The Kitchen – Termination Sequence (Tonzonen Records) [Keith Boswell]

The Termination Sequence is the third studio album from the Leipzig based Germany band Godzilla In The Kitchen, due for release on the 23rd October 2026.

This contribution to the world of metal has seen the band progress from its previous creations as an instrumental entity to the introduction of vocals to its music, a first for Godzilla In The Kitchen.

As a result the Termination Sequence album, on the Tonzonen Record label, has immediately piqued my interest as I load the album up. Having listened to the album quite extensively it is clear that Godzilla In The Kitchen has lost none of its psychedelic metal groove with nu metal excerpts.

The crunching groove of the baseline is still very evident with melodic sections interspersed, but what is new is that there is a much heavier intensity to the album. This linked with the addition of the varied vocal delivery from a soft eloquence to a gritty guttural type and indeed everything in between makes a potentially average album into a great one. With the addition of Simon Ulm’s vocals and the newer rawer edge Godzilla In The Kitchen have raised the bar from their previous albums quite extensively.

Favourites from the album, for me, include Nothing For None with its melodic opening and funky grooves throughout and the title track Termination Sequence with its heavy overtones and guttural vocals which enable the listener to still understand the words and the gist of the song.

One of the favourite things that I like about the album is the enhanced use of the bass guitar. In my experience, the bass is very much treated as just part of the rhythm section. Godzilla In The Kitchen has given the bass a new lease of life and has brought its contribution to the fore of this record to their credit.

A really good album and well worth a listen. 8/10

Savage Grace - Underworld (Back On Black) [Jordan Griffiths]

My musical education continues! We are stepping into another artist whose music I have not had the pleasure of listening to before! Savage Grace and their Underworld album!

Right out of the gate, with White Trash White Heat, the opening sequence left me with the thought process of, What the hell is this. But then it hits you with that classic 80s Power and Speed Metal, really taking you back to the glory days of the genre with its electrifying guitar riffs and melodies.

Underworld, as a whole, is very much a love letter to the classic sound of the 80s power and speed metal, fully embracing the signature fast-paced riffs, soaring vocals and the unapologetically old-school aesthetic. 

However, I will say that there is very little in the way of experimentation in this album. There are a few sound effects here and there, like the horn in the first track. What you hear is exactly what you would expect from a traditional power and speed metal album/record.

While the commitment to the genre's roots would definitely be appealing to listeners looking for that authentic 80s sound, those hoping for something more adventurous or distinctive may find themselves wanting a little more variety.

At the end of the day, Underworld, in my honest opinion, delivers exactly what it wants itself to be. Delivering a familiar dose of 80s-inspired power and speed metal without straying too far from the formula that defined and still defines the genre as a whole.

It is definitely worth a listen if you enjoy your authentic Speed and Power Metal of the 80s, but if you’re looking for something more experimental, this may leave little to be desired. 7/10.

Reviews: RAM, Haunt, Streamer, Callous Master (Matt Bladen)

RAM - Against (Metal Blade Records)

Nearly seven years since Oscar Carlquist (vocals), Morgan Pettersson (drums), Harry Granroth (guitar), Martin Jonsson (guitar) and Tobias Petterson (bass), collectively known as RAM dropped an album but now they come back with Against, a heavy metal record built on defiance, more direct tracks with shorter run times that make an impact and follow the recording mantra that was “cut the bullshit.”

The Swedes in the past have wandered into complexity and showy technicality, but on Against they shun all that to take it right back to the early days with an organic, an analogue sound that is borrowed from the unpolished early heavy metal acts such as Dio and MSG, two bands they state as influences for this album.

It results in an unfussy heavy metal record, unbothered by genre fragmentation, where attacking the listener with riffs you'll want to bang your head to is the purpose. From the rampaging Ghost Emperor and the anthemic 1984, to the choppy One Vs All and the aggressive Night Blade alongsidethe speedy Abattoir and the doom-laden Leaving, there's a lot of classic metal magic on this record.

While the gestation was long the result is another slab of classic metal from RAM. 7/10

Haunt - Setting Course (Church Recordings)

Ah Trevor, you never let me down, constantly and consistently releasing albums that just understand what heavy metal is about. In a world where so many band ride that retro wave of NWOBHM and proto-thrash, Trevor William Church and Haunt always manage to stand above the rest.

Releasing new music pretty much every year, whether that's an album or an EP, he's prolific and whether it's just him or as they are now a band comprised of Church, Joel Dominguez (guitar), Sammy Harman (bass) and drummer Andy Saldate, though Joel has now been replaced by Fili Bibiano.

It really isn't that much of a shift as Haunt for a long time was just Church and he is still the creative brain behind the band no matter who esle is with him and again Setting Course is another high watermark for Haunt.

Wrapped in brilliant production values that have been a constant evolution from Church, the songs also have the own identity, nothing on the record is similar to anything else, and although that ethos of classic heavy metal is retained and it never recycles ideas from previous records.

Running across multiple genre tropes from guitar hungry Hear Me Now, through the classically laced Title Track, the frantic Simple Life and to the speedy Spent Sanity, Setting Course is another intrepid journey through classic heavy metal from Trevor William Church and co. 9/10

Streamer - Into The Void (High Roller Records)

Catalan metal now from Streamer, who return with their third album Into The Void. Following two previous full lengths, and EP and a Demo, this band now have nearly a decade of experience but don't wildly vary their style on album three.

It's classic metal folks, inspired by the NWOBHM, with some US and European influences as well however there's a feeling of a 'lost' record from that NWOBHM period here, from the production to the riffs, it's retro as you can get, Streamer part of new wave of Iberian bands who are inspired by Maiden, Priest, Saxon etc.

Bass led riffs drive a twin axe attack and vocals that have a snarl to them, Streamer are on the darker side of things lyrically but it's an album traditional heavy metal with a bit of a bite. Youthful, talented and inspired by the greats Into The Void won't change the world but it'll get you reaching for the leathers. 7/10

Callous Master - Callous Master (Invictus Productions)

We get a bit darker now with the self titled debut from Callous Master.

Rooted in the beginnings of what we now call 'extreme metal' you can hear the likes of Venom, Mercyful Fate and Celtic Frost here from the opening moments of the first song, also titled Callous Master.

The production is raw, the guitars rawer, the vocals belched from the otherside as they run through 35 minutes of occult, cryptic lyrics inspired by Austin Osman Spare and the Zos Kia Cultus.

They are obviously anti-religion and dogma in general, and if you like those early days where black metal, thrash and NWOBHM were all interchangeable, then you'll be putting this on (probably on cassette) and lighting a candle to the dark lord. 6/10

Reviews: Insomnium, Shores Of Null, Great Falls, Generation Steel (Matt Bladen)

Insomnium - Netherworlds (Century Media Records)

The intro track to Insomnium's tenth album, Cold Song, could have easily come from Markus Vanhala's other project Cemetery Skyline, it's synth led and gothic but as soon as Shadowlife begins we're back on familiar territory, a blend of gothic doom and melodic death metal that Insomnium have been dealing since their inception in 1997.

From those days, bassist/harsh vocalist Niilo Sevänen, drummer Markus Hirvonen and guitarist Ville Friman are still the core trio of the band with guitarists Markus Vanhala and Tomy Laisto joining later, Laisto only this year, meaning that Netherworlds features a triple axe attack, all three guitarists weaving the sonic tapestry switching between the metallic riffs and anthemic cleans.

They all share the clean vocals too, giving massive gang choruses against the harsh screams, as the drumming moves between ferocious double kicks and nuanced melancholic phases such as on Arch Of The Sky. These complex layers, mean that the songs can take many different paths on this record, from the atmospheric Ethereal Sleep, to the modern Remembrance, the aggressive The Banished and the epic Journey's End.

Insomnium deliberately looking back to their earlier releases where their blistering melodeath had gothic doom and folksier tones that are found on tracks such as The Hour Grows Late, where acoustic guitars bleed into light speed riffage, along with guest features from Tomi Joutsen, Tomi Koivusaari and Santeri Kallio of Amorphis.

By looking back it feels like Insomnium have reclaimed themsleves, after a few albums that upped the directness and historical lyricism, they now address more personal and societal issues, songs about love and death but written now with more life behind them than in front, approaching these themes with a lot of life experience.

The band say that Netherworlds is a 'best of' featuring new songs and it's difficult to not agree. This is about as perfect of an album you'll get from Insomnium, guaranteed to be on your end of year list! 9/10

Shores Of Null - Homesick (Dusktone)

For fans of: Paradise Lost, Amorphis, Swallow The Sun, Katatonia, Borknagar, or so the PR proclaims and that's spot on. Shores Of Null's new album takes them further into the melodic realms of melodic doom metal, with Paradise Lost and Amorphis the biggest influences I can hear on Homesick.

It's melancholic, intense, grief stricken and emotionally resonant, a ten song musing on "emotional states (such as) longing, loss, anger, vulnerability and the search for a place to belong." Its a record that deals with nostalgia, what really is home and how does our upbringing shape us? Filtering these ideas through some anthemic death doom which features melodic moments and big choruses fit for bigger stages, with the performance of vocalist Davide Straccione a particular high point.

Not that the band have tried to create an album of singles, the opposite actually as Homesick is a record meant to be heard in full, each track thematically driven by the last, the collaborative writing in the pre production phase alongside producer Marco “Cinghio” Mastrobuono allowing them to shape theses songs exactly how they want them, so the whole record flows well, the depth of the production meaning you need to listen repeatedly to discover everything going on.

It means that with this fifth studio album Shores Of Null showcase their maturity as band, emerging from their death doom beginnings with a more refined and focussed style that is driven by a melancholic intensity, especially The Numbing Void which features vocals from Natalie Koskinen of Shape Of Despair and violin from Shaun MacGowan of My Dying Bride to bring more legitimacy and a wider sonic approach.

If you liked Shores Of Null before, Homesick is not a massive departure from their past record but it's aimed at getting them more recognition in the death doom world, sounding more, immediate and poignant than on their early records as they mature into their position as one of melodic death dooms modern flag bearers. 9/10

Great Falls - The Bite That Grows Up (Neurot Recordings)

With their debut for Neurot Recordings compared to Ken Mode and Chat Pile, there's going to be a lot to get your head around with Great Falls.

Objects Without Pain saw them play Roadburn, be the support to Botch's final European tour and do US tour with the equally crushing Primitive Man, but soon they were back in the studio with producer Scott Evans to record a follow up, one that was supposed to be a calmer offering but somehow is more intense, aggressive and downright terrifying than their last album.

Chaos is the one word review I can give this record, A Small Weakness tumbles noisily into the frantic blitz of Pinned Against Time, the drumming is Nick Parks never taking any traditional patterns while the bass of Shane Mehling on tracks such as Worse Than Sleep can't decide whether to work with or fight against the angular riffs of Demian Johnston.

The 25 year friendship of these two integral to the fervor of these off-kilter, eccentric cuts of brutality, driven by non linear time signatures, weird tunings, percussion with anyhting they can find and pained often single sentence vocals, with Hailstone Numbers having Johnston sound like he's being tortured, against the thick bass, bristling atmospheres and then that inevitable erruption of volume.

The Bite That Grows up is sheer force, there's going to be those that absolutely hate it, warranted for sure as the music here is very niche, nihilistic math metal is the closest I could get to explain it. However if you're devotee of the fringe bands that play Roadburn or Arctangent then you'll find a place in your listening for Great Falls, but let's be honest you'll probably already have everything on vinyl.

Erratic, explosivity from the Pacific Northwest on The Bite That Grows Up. 7/10

Generation Steel - Steelmachine (Fireflash Records)

It's always telling how dedicated to a musical genre a country is when they get their own genre tag, over in the extreme side the Swedes have melodeath, the Greeks and Scandinavians take black metal but over on the cleaner side there's of course NWOBHM from the UK and Teutonic metal from Germany.

Bands such as Accept, Running Wild and even Halloween all encompass this style and so to do Generation Steel, despite only being formed in 2019, founding member Jack The Riffer, looks to the leather and studs wearing heavy metal of the 1980's with his musical output.

They've already released two albums and now with album three Steelmachine, they look to sharpen their attack as Jack and drummer Marc Laukel are joined by some new blood with veteran experience.

Bassist Fabian Watermann (Mad Max) locks down the rhythms with Jack and Marc while Swede Mike Stark (Stormburner) joins on vocals and the extremely experienced Thilo Herrmann who has played with Running Wild, Grave Digger takes lead guitars for this record.

The latter two also contribute heavily to the songwriting, making for some of the toughest metal Generation Steel have put to record, such as, the snarling Witches Cross, the relentless The Priest (who I assume is named Judas) or the swaggering Wings Of Steel where the melodic side comes in.

Generation Steel fire up the Steelmachine and smelt some more anthemic Teutonic metal on album three. 7/10

A View From The Patriot: Blaze Bayley (Matt Bladen)

Blaze Bayley: Iron Maiden Anniversary, The Patriot, Crumlin, 17.10.26

After finally getting his due for being a singer of Iron Maiden, by performing at this summer's Eddfest in Knebworth. The human dynamo that is Blaze Bayley took his Iron Maiden anniversary tour in the road with the Welsh date landing at 'The Home Of Rock' The Patriot in Crumlin.

While Bayley's tenure at the mic of Maiden is often much maligned, due to his voice not really fitting the Air Raid siren of Dickinson, there's some really good songwriting that came out of that period with a few experiments that would come to define Maiden's modern day output, it also meant that some of the Di'Anno cuts came back into circulation as Blaze can handle these really well.

Personally I've always had a soft spot for X Factor and Virtual XI, though I'm a huge fan of Blaze's solo work and Wolfsbane so perhaps my judgement is a little clouded. Though at the time Steve Harris was quoted as saying "musically we're the best we've ever been".

I have vivid memories of playing both the albums back to back while myself and my brother painted our mother's house, shouting along to the tracks as we did. So to be able to hear these songs live with him at this gig is something I'll hold on to as both of us don't get the time to hang out as much as we did.

But that's what a Blaze Bayley gig is like, the man bewitches you, his intensity and his passion, you can't not love him, the between song stories, the open invitations for comradship and his sheer love of doing this is infectious, backed by the always impressive Absolva, a 20+ song set list flew by in the shortest 2 and a half hours of my life.

Absolva; Chris, Luke, Martin & Aki, began with the instrumental of Doctor Doctor by UFO before crashing into life with Lord Of The Flies into Justice Of The Peace, Judgement Of Heaven, Blood On The Worlds Hands and Look For Truth, all taken from the X Factor album and for many in the crowd, never been heard played live.

From here Blaze explained that songs from his debut solo record Silicon Messiah had been written for Maiden so we got Born As A Stranger and The Brave from there before more Maiden in the form of Lighting Strikes Twice and Sign Of The Cross then another two Blaze tracks that were more recent but just as influenced by The Irons.

The band behind Bayley are brilliant, perfectly recreating the Maiden line up of that time as Martin McNee played with the playfulness of Nicko, Chris Appleton had Dave Murray's tone just right while Aki had Janick's and Luke laid down the foundation with the Steve Harris' nimble bass lines, returning with an acoustic for 2 A.M and Como Estais Amigos.

This acoustic section splitting the more well known tracks such as When Two Worlds Collide, The Clansman, Man On The Edge and Futureal, from Virtual XI while Virus came from Best Of The Beast and there was a rousing rendition of Wrathchild, belted out by Bayley and the Crumlin Choir.

As the apex of the evening came, the band let loose a few solo spots before a couple of instrumental movements that featured UFO, Thin Lizzy, Gary Moore and Budgie as Blaze returned for the finally of Angel And The Gambler.

Though I couldn't hear the terrible guitar synth/keys that make it so endearing, it was a fine way to close out this celebration of Blaze Bayley, Iron Maiden and resilience though doing something you love! Every Blaze show is brilliant, be it solo or with Wolfsbane, he's still got that bellowing vocal, that larger than life persona and just makes you feel welcome and more importantly thoroughly entertained.

Summed up, it was brilliant and I want to do it again! 10/10