Bloodstock M2TM South Wales Interviews: Exaust - East Heat #3 Green Rooms, 06.03.26

Interview With Exaust - East Heat #3 Green Rooms, 06.03.26



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

Hello, we are Exaust, a crossover thrash metal band from the south west of the UK.
We are a very energetic and passionate band excited to show everyone what we are about

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

We have competed M2TM before (Last year) and we made it all the way to the final and lost by a hair. We want to compete again as we want to redeem what we could’ve done last year! We also played some of our favourite shows from the opening heats last years so looking to get those same memories and feelings back haha!

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

The local scene is what makes us! We believe the local scene within the UK is more important than the major bands right now as venues are being closed all over and the chances of getting the opportunities are getting slimmer, We are always thankful to anyone and everyone who shows a face to local shows!!

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

Yes we saw the venue change from last years Fuel Cardiff to Green Rooms, Tre forest! Honestly we love Fuel and were a little gutted as we are so comfortable at Fuel and love that stage! However Greenrooms stage is outstanding and we love the set up it has there. We actually played our 2nd ever show there back in 2023!!

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

Honestly we just love to put on a great show to some dedicated fans of metal! It’s great to just see and compete with some awesome bands and to make some great friends along the way. Of course winning and playing Bloodstock is what everyone wants including us haha, but we just love showing what we have to new faces and to meet new bands and people!

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

Making it to the final again would feel unforgettable, the same as last year however we really want to seal it and win the whole thing this year, Lots of great bands playing this year and we are really excited to see some of the acts! If we win, playing bloodstock would be the whole bands bucket list show i think i can speak everyone when it comes to that!

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

We are really excited to see Paroxism as we know some of them and they have some great talent. We are very excited to check out Winter as our old bassist Matt is in that band and we wish him the best and nothing but the best for his future with them! Risperidrone are another band to keep your eyes on, we played against them last year and they were phenomenal, we expect nothing less than a hard challenge with them and they are just a bunch of lovely guys!! Virtue in vain are one we are over the moon to see, we have yet to catch them at a show however we know what they are about and am sure they will make it far!!

Lastly we are excited to see where White Leather will go, we played with them in Barry and they were an exciting band to see. we hope to see them make it far!!

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

5 words why you should come see Exaust are..

Energetic
Young
HAIR
Thrash
Moshing

We cannot wait to see y'all at these heats!!!

https://open.spotify.com/album/7flBliLLiEoq3nB46xKu7j?si=_8c7S_fNS8KaMPGAmby63Q

https://www.instagram.com/exausthrash?igsh=OW5qdmE3YTM1aXpq&utm_source=qr

A View From The Back Of The Room: Smith/Kotzen (James Crisp)

Smith/Kotzen, O2 Academy, Bristol, 20.02.26



There is something quietly satisfying about seeing musicians best known for arenas and global tours step into a room where the walls feel closer. That was the mood as Smith/Kotzen arrived at O2 Academy Bristol.

The audience reflected the duo’s unusual musical crossroads. You had long-time followers of Adrian Smith swapping tour memories near the bar, guitar players analysing amp setups from the barrier, blues rock devotees ready for groove-heavy songwriting, and younger fans who’ve found the project organically online. It didn’t feel like a divided crowd, more like overlapping circles meeting in the same room.

When the band took the stage, the presentation was refreshingly stripped back. No crazy elaborate intro, no visual spectacle, just Bad Company blaring through the PA, instruments, amps, and a clear sense of purpose, that being, to melt faces with riffs and solos. The opening run of Life Unchained and Black Light delivered. The sound was warm, punchy, and lived-in, like a group that had spent serious time playing together. 

Julia Lage’s bass lines moved melodically, often acting as a second voice, while Bruno Valverde’s drumming balanced pure power with finesse, driving choruses forward but leaving airy space for quieter moments to breathe.

The setlist drew from across the duo’s catalogue, creating a sense of progression. Black Light and Wraith added early dynamic contrast, the former leaning more into mood and texture while the latter bounced with rhythmic swagger. 

Glory Road and Hate And Love proved early crowd favourites, the choruses echoing back with surprising volume for a room this size. Later, Darkside and Life Unchained deepened the groove-heavy atmosphere.

Mid-set highlights arrived with Blindsided, a moment where the room collectively leaned in and the fuzz-infused Taking My Chances, which loosened them shoulders and drew visible smiles across the floor. 

By the time Outlaw and Darkside came toward the latter half of the show, it felt the band was reading the room rather than following a plan.

Central to the performance was of course the interplay between Smith and Kotzen. Their appeal is not solely in technical accomplishment but in the evident absence of ego. 

Smith’s phrasing is delivered with clarity and weight, based classic blues-based rock tradition. Kotzen responds with fluid, soulful lines that expanded those ideas without competing for space.

During instrumental sections, particularly in Black Light and Outlaw, the two seemed to crossover musically. Trading phrases, echoing motifs, occasionally meeting in harmonised peaks, that all felt like two musicians in collaboration rather than competition. 

As the evening edged toward its finale, the encore felt less like an obligation and more like a final exhale. First came You Can't Save Me, a personal favourite of mine. A soulful cut from Richie Kotzen’s solo catalogue that brought a reflective warmth across the room. 

Then, with a knowing grin, the band slipped into Wasted Years by a little band called Iron Maiden, a playful yet heartfelt nod that instantly ignited the crowd. Voices rose, smiles spread, and for a few minutes the Academy became a shared singalong, the audience embracing the moment as enthusiastically as any highlight that came before it.

As the final notes rang out and the band waved their thanks, there was no grand finale, just lingering applause and the low hum of conversations restarting. People compared favourite moments, debated solos, and slowly filtered out with the satisfied air of having experienced something genuine.

Sometimes the most powerful live music moments happen not under giant stadium lights but in sweaty little rooms where the details can’t hide. Bristol was one of those nights. 8/10

A View From The Back Of The Room: Kataklysm (Nat Sabbath & Mike Chew)

Kataklysm, Vader & Blood Red Throne: KK’s Steel Mill, Wolverhampton, 20.02.26



There’s something reassuring about a proper death metal triple bill on a cold February night. No gimmicks, no posturing; just heavy riffs, ear-shattering volume and a room full of people who know exactly why they’re there. That’s exactly what we got at KK’s Steel Mill on Friday as Kataklysm rolled into Wolverhampton with Vader and Blood Red Throne on the Freedom or Death European & UK tour.

And from the outset, it was clear this was going to be a strong one.

Blood Red Throne (10) don’t make it over to the UK often, which made their opening slot feel like something of an event in itself. Judging by the crowd reaction, plenty of people had turned up specifically for them, and they absolutely delivered.

They wasted no time getting stuck in with Unleashing Hell and Beneath The Means, setting a ferocious tone early on. The set was tight but relentless: Every Silent Plea, Itika, and a crushing Vermicular Heresy all hit with dirty chunky riffs that weight in one. By the time they closed with Smite, the room was fully locked in.

What stood out wasn’t just the brutality, it was the energy. There was a real sense of appreciation from the crowd and a brilliant moment came when the crowd broke into an impromptu chorus of Happy Birthday for bassist Ivan Gujić after the set wrapped up, a genuinely warm, human moment that came out of a brutal set. Love was there, no matter what.

After their set, the merch stand was swarmed. I spoke to a few people who openly said they were there primarily for Blood Red Throne. That says a lot.

They were undoubtedly the surprise stars of the night. If the reception they received is anything to go by, hopefully it won’t be long before they’re back on UK soil.

Next up were the ever-reliable Vader (9). Death metal OG’s, and they always perform like a band that's having a party.

Their set leaned into both power and tightness. Opening with their mid 90’s Sothis and Fractal Light, they quickly reminded everyone why they’ve maintained such longevity. Wings, The One Made Of Dreams, and Reign Forever World showcased their trademark blend of aggression, speed and clarity.

Mid-set highlights included Cold Demons, This Is The War, and Lead Us!, with the latter sparking a particularly strong reaction from the front rows. The closing run of Triumph Of Death, Carnal, and GID sealed things with their death metal mortar

The Imperial March aside, Vader don’t need theatrics. They’re polished, professional and brutally consistent. Watching them live is like watching a masterclass in controlled chaos: tight, efficient and utterly commanding.

By the time Kataklysm (10) took the stage, the room was full of death metal energy. And to their credit, they met the moment.

They opened with Soul Destroyer, immediately setting the tempo high, before powering through Thy Serpents Tongue and Goliath. The sound was dirty and heavy, properly loud in the best possible way, but allowing their riffs to blanket you!

Tracks like Die As A King, Taking The World By Storm, and Blood On The Swans landed particularly well, while the drum solo midway through gave the crowd a brief moment to regroup before diving back into the chaos.

The latter half of the set, As I Slither, Bringer Of Vengeance, Crippled & Broken, Narcissist, and a closing Elevate, kept the energy high. The crowd response never dipped; there were plenty of grins in the pit and more than a few sore necks by the end of it.

Kataklysm played heavy. They played loud. They were engaging throughout. You could tell they were enjoying themselves, and that translated directly into the room.

All three bands brought something slightly different to the table, but together they made for a genuinely strong bill.

Blood Red Throne arguably stole the show, Vader reminded everyone why they’re legends, and Kataklysm delivered a powerful headline set that kept the room moving until the last note.

The crowd were in great spirits all night; loud, supportive and clearly having a fantastic time.

All in all, a brilliant night of uncompromising death metal in Wolverhampton. Exactly what a Friday night should be.

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

Deftones, Denzel Curry & Drug Church, Utilita Arena Cardiff, 18.02.26



Now as I will probably incur some shit for anything I put into this review I will caveat it with the fact that the original person who was supposed to review this show couldn't due to some unexpected issues, so yours truly stepped into the fray so as not to let this very rare outing of Deftones (8) in Cardiff go unrecorded by us. I will say that I am not a necessarily as au fait and obsessed with the band as many who were at the gig.

Deftones have a fanatical following, rightly so, with many of their songs being the soundtrack to people of my age (and maybe a decade before's) adolescence, while there's a whole new generation who have the discovered the bands, can I say erotic (?), style of hallucinogenic music and they were the ones who stampeded to the front, well sort of quickly shuffled as security were enforcing swimming pool rules of no running though I'm sure later there was plenty of heavy petting going on.

Because of my enjoyment of the band but not cult like following it seemed to me that while everything Deftones do live is incredibly slick, from Chino's aloof stage persona that only cracks before My Own Summer (Shove It), to the background videos, lighting and stage presence, musically they felt a little thin. Whether this is the curse of Cardiff's biggest indoor venue I don't know but there did only seem to be some heavy muscle when Chino brought out a second guitar.

Now Deftones play with dynamics, they were one of the first bands to have that loud/soft duality but both seem a little subdued tonight in Wales capital, as Chinos vocals are right up in the mix, though still indecipherable on the lesser heard tracks, at least to the casual listener. The setlist can't be argued with either with seven from the new one, Private Music spread through the night as tracks from Diamond Eyes, Around The Fur, Koi No Yokan, Saturday Night Wrist, White Pony, Adrenaline and Ohms all got featured.

Bringing together new, old and classic tracks each getting a huge reaction but often from different parts of the crowd. For fans though this was pure heaven, the amount of noise people made after this show and at all these tour dates is wild. Second coming stuff of you will! So from I guess an 'outsiders' position, Deftones are a band who perform really well on stage, but sound wise they were a little muddy. I'm sure superfans will give it an 11/10 and think I'm dead wrong but I think I'm being fair to them and to the band with my score.

To get people in the mood for the headliner, they brought with them two very eclectic support acts. Opening up it's Albany, New York post-hardcore mob Drug Church (7) who stormed the stage with their energetic from of punk rock. Stalking the stage and encouraging as many pits and crowd surfers as they can, I think a lot of the Tik Tok kids down the front were taken by surprise by the immediate calls for movement and surfing but soon they adapted to body after body being carried their way to front after constant shout outs not to drop folks.

Drug Church got the energy fizzing, frenetic performance that got the riffs coming from early, warming up the soggy fans in attendance. Them it was something different, Miami rap artist Denzel Curry (7) who came out to spit bars straight from Florida. An impressive, light and video show, fusing with boundless energy as Curry interacted with his DJ, dropping some brilliantly mixed tracks that even featured interpolation of disco classics. Though music nerds would notice this, most of the crowd were locked into the vibes and the big grooves. Pretty much an ideal opener, taking the role of an MC to lead into Deftones, as the final cover of Bulls On Parade crosses those genre boundaries to set the stage for the headliners.

Overall this was show for the fans, Deftones doing what they've been doing for 35+ years in front of those who have been there since the beginning and the new crowd brought from their social media popularity. While I may never been converted to the cult of Chino and co, as a live band they should definitely be on your watch list.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Unburier– As Time Awaits (Independent) [Spike]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For a quiet school night, this was a blast.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Matthew Alexander Powell - Fearless Jack (Self Released)

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

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

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

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

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

Foreword - Exposition (Seek & Strike)

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

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

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

Spencer Mackenzie - Empty Chairs (Gypsy Soul Records)

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

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

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

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

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

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

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

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

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

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

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

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

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

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



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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