A View From The Back Of The Room: Delain (Live Review By Debby Myatt & Tony Gaskin)

Delain, Stone Broken & Damian Wilson, KK’s Steel Mill, Wolverhampton 16.11.24

After such a fantastic night last night here at KK’s, it was hard to be honest to drum up some enthusiasm and drag ourselves the thirty odd mile round trip to Wolverhampton for tonight's gig. But we hadn’t seen local band Stone Broken for some time and we were eager to hear the latest Delain set up.

First on tonight though was an act neither of us were familiar with, Damian Wilson (10). He has a huge list of singing credits to his name, mostly within the world of Prog, and is much sort after for his incredible voice (he’s even performed in Les Miserables). Tonight though was a short one man acoustic set to get us warmed up for the main acts, and he did that with the consummate ease of a seasoned performer.

The first thing that struck me was his voice. Big, strong and booming, not like in a Brian Blessed sort of way, more like a Shakespearian actor sort of way. It carried out over the audience effortlessly. At one point he sang without the mic and you could still hear his voice still able to coney a sense of passion, and at times, sorrow. His songs are wonderfully composed and his arrangement of Iron Maidens Evil That Men Do was a triumph. And if that wasn’t enough, he tops it off by being a very funny man with his stories and banter. A very pleasant and unexpected surprise and our spirits were lifted.

Tony’s connection with Stone Broken (9) goes back to their very early days when he worked at Midlands Rocks and he said then that they had the talent and drive to go places. To some extent they have. Three excellent and highly acclaimed albums, numerous high profile tour supports and always in demand for festival appearances have kept them busy for more than a decade now. Tonight sees them in front of a local partisan crowd, their hometown of Walsall is just a few miles down the road, so they were guaranteed a warm welcome.

With those three albums to call on they have plenty of material to pick from and waste no time in kicking off with the title track of their latest album Revelation and begins a set of their most popular hard rocking songs. Stay All Night, Remedy, The Devil You Know are the highlights for me, but every song bounces along, the crowd sing along to every word and the set flows along so fast that the forty minutes or so is over before you know it. They end with the rousing anthem Not Your Enemy, a splendid end to a splendid set.

Tonight’s headliners are Dutch symphonic metallers, Delain (7). A band that began has a cathartic side project for former Within Temptation keyboardist, Martijn Westerholt, but grew into a popular international act that had an adoring army of fans around the world.

In early 2021, long time vocalist Charlotte Wessels decided to part ways with the band and the fans wondered what the future would hold. Westerholt said he would keep the name Delain going and went back to the studio to write new material with the intention of returning back to the more fluid and organic project he originally envisaged. It wasn’t long before he announced he had recruited some former members to join him in this new chapter of Delain and he unveiled a new vocalist in the form of Diana Leah, a relatively unknown singer from Romania previously known for more dance and trance orientated music.

So with a new band and new material, an album was recorded and released, Dark Waters followed by an EP Dance With The Devil. There is a sense of anticipation in the crowd, and roar goes up as the band members take their place on their designated plinths. They open up with the track The Cold taken from Dark Waters and unfortunately, it left me cold. I found Leah’s vocals weak and overwhelmed by the rest of the band. Not sure whether this was a sound issue or what, but it wasn’t a great start. 

It picked up a bit with the next track, going deep into the back catalogue with Suckerpunch off the 2016 album Lunar Prelude, followed by The Reaping off the latest EP. This was better, Leah seemed to be getting into her stride, she definitely looked more comfortable with the tracks she’s recorded. The must be an element of knowing what a great singer Wessels was, the proverbial big boots to fill.

It didn’t help that she didn’t really interact with the crowd inbetween songs, guitarist Ronald Landa did most of the talking, but I’m guessing that’s probably down to a language thing rather than any lack of confidence. But the high points were very few and far between, Leah continued to look awkward on stage at times, I’m afraid I really wasn’t warming to her, despite a sudden spark of life and energy with the song Dance With The Devil.

The set finished with their most popular track We Are The Others and this is one of the older tracks that Leah actually seemed to be making her own, the wave of enthusiasm from the crowd must have gave her a boost. I don’t want to sound too harsh, she obviously has a great voice, but I’m not sure whether this is the right fit for her. The rest of the band were on point, faultless and I reserve judgement on Leah, I would like to see them again to see if she can grow into this role, but tonight just wasn’t a great night for me.

Review: Opeth By Matt Bladen

Opeth – The Last Will And Testament (Reigning Phoenix Music)

Elephant in the room time: Yes the growls are back and if you foolishly left the band behind after Watershed then welcome back! For your efforts here is a load of jazz! Well sort of. So yes dear reader Opeth have returned with their new album, The Last Will And Testament, a concept record set in the WWI-era, it tells an “unfolding the story of a wealthy, conservative patriarch (who is infertile) whose last will and testament reveals shocking family secrets.”

There’s a lot of mystery and intrigue here, part Agatha Christie, part F Scott Fitzgerald, part Ernest Hemmingway, set in a period where certain things were discussed only in private, but here made public in the most impactful way. Perhaps it's because of the mysteries nature of this story that has brought back the death metal influence Opeth seemingly put in their past.

In keeping with the concept it has no track names except for the last one, it’s a deliberate choice as each song is another paragraph of the will revealing another part of the story. It’s Opeth’s first proper concept album since Still Life and it may just be their best album yet. Combining all of the elements you want from Opeth with the veteran spirit you'd expect from the Swedish progressive metal act.

As if inspired by the time it is set, The Last Will And Testament features a metric tonne of jazz, as well as the aforementioned growls and death metal. These are things that they left behind on their Watershed record. Since then of course they've still been a fantastic progressive rock band, leaning more on the style of music produced by Camel, Jethro Tull and even Can. I've loved the Heritage to In Cauda Venenum era immensely but there is a huge portion of their fandom that kept the decrying the fact that they let the growls go. In Cauda Venenum took a darker turn that continues into The Last Will And Testament.

I'm not in that number that decryed the loss of the growls, as you can probably appreciate, but I'm sure huge amount of them will really enjoy the fact that they're back on this fourteenth record. It’s just another element of what is a multifaceted album, with so much happening the metallic aggression is met with huge rock swells, folky melodies and of course jazz counterpoints. I'm not going to go on about the return of the growls because really I want to concentrate on this record as it is. So as I said welcome to the jazz club. Nice.

What this album is full of is, mellotron something that has become synonymous with Opeth as a band, I'm really glad it's still there it's almost like their calling card now, those lingering eerie chords such an intrinsic part to their sound that it's almost become its own genre. Opeth now are a band that are veterans/legends/superstars, however you want to put it. Because of how they sound there are thousands of brands that try to emulate them meaning that they are almost their own genre now right?

There are bands that “sound like Opeth” we mention that phrase a lot in this publication, due to their union between the extreme side of heavy metal and the 70s influences brought in by their frontman Mikael Åkerfeldt. The Last Will And Testament definitely still resides in the 70s, §6 for instance has heavy Hammonds from Joakim Svalberg, oddly timed riffs and some brilliantly bonkers drumming from Waltteri Väyrynen, who makes his recorded debut with the band.

If it weren’t for the death growls, which Mikael still pulls off effortlessly, there would still be a heavy prog vibe to this track, as there is on §1, Martín Méndez’s bass tapping out the rhythm for the rest to follow. Fredrik Åkesson and Mikael Åkerfeldt’s guitars coming in for some of that “Opeth sound”. On §4 there’s a folky middle section featuring a Cittra and Ian Anderson’s flute, the Jethro Tull man returns with more flute on §7, but drops in throughout the record with spoken word elements to continue the narrative.

He’s not the only guest, Europe’s Joey Tempest adds some bluesy backing vocals to torrent of time switches that is the jazz/death of §2. This second chapter highlights an element that has again been explored more with this album, there seems to be a bigger use of backing vocals on this album, it gives the album a cinematic feel because of it, the last track A Story Never Told a fitting finale to this tale of mystery and intrigue, piano driven balladry, dreamy atmosphere's, harp from Mia Westlund and as a guitar solo plays to fade out the London Session Orchestra arranged by Dave Stewart, mushrooms into brilliance.

Cinematic is a perfect term for this record, the strings are used wonderfully for a full pantheon of soundscapes, be it desolation, anger, shock, all of the emotions that the characters deal with on this record and with a contrite 50 minute run time total, their shortest since Damnation, the band deliver every twist and turn of the story with focus and precision. There’s no wasted time, nothing lingers longer than it has to, there’s an immediacy which takes hold right from the beginning.

Even on §5 the longest cut on the record, which has a bristling acoustic section in the middle, set to a stirring orchestral base and Latin percussion. Åkerfeldt’s sonorous cleans shifting into the growls to enforce drama. As with first nine Opeth records, the prog rock influence has always broken up these phases of quite brutal aggressive death metal but on The Last Will And Testament the two are symbiotic, one leading into the other and back again.

While their last four albums were incredible, the band still sounding like them, but perhaps trying to break away from their youth, getting a bit mellower with age. The Last Will And Testament is Opeth angry again, it’s them reigniting the “Opeth Sound” mellotrons, heavy riffs, off-kilter riffs and yes growls. It could be their finest record. 10/10

Reviews: Burial, Veuve, Veilburner, Grey Attack (Reviews By Mike Pickett, Rich Piva, GC & Liam Williams)

Burial - Rejoice In Sin (Apocalyptic Witchcraft) [Mike Pickett]

Burial returns with their fourth full-length studio album, Rejoice In Sin, delivering a powerful blend of rawness and precision that reminds you why black metal continues to thrive as a genre. The UK-based trio—Dave Buchan on drums, Richard Barraclough on guitars, and Derek Carley handling vocals and bass—shows how much can be accomplished with just three members. This album is a masterclass in creating a full, immersive sound without relying on overproduction.

The title track, Rejoice In Sin, opens the album with what feels like the distant wail of a horn, leading into a scream and a guttural growl that immediately sets the tone. The guitars and drums carry an organized chaos, while tempo changes at the start and near the end keep you engaged. The track closes with a cleaner guitar sound that still maintains its intensity—a strong introduction that draws you deeper into the album.

Wretched Is This Life, the second track and my personal favourite, showcases an incredible balance of guitar and bass in the intro. A standout tempo change after the first verse brings back the opening riff, blending classic black metal elements with a modern edge. The bass line here deserves special mention—it steps out from behind the main guitars at times, delivering sharp, rhythmic punches that elevate the song. This track is a perfect example of how Burial blends precision with raw energy.

Across the album, the vocals are haunting and guttural but never feel gimmicky. Derek Carley’s delivery feels authentic and perfectly suited to the gritty tone of the music. The blast beats from Dave Buchan are a highlight—they aren’t a repetitive blur but instead vary in tempo and add depth to each track. The bass guitar, often overlooked in this genre, is prominent throughout, acting as both a foundation and, at times, a rhythm guitar. This attention to the bass gives the songs a layered, full sound that’s hard to achieve with just three members.

For a black metal album, Rejoice In Sin brings in some welcome variety. At times, it leans into atmospheric black metal; at others, there’s a hint of Symphonic influence or even a black-n-roll vibe. The production feels deliberately raw, as if you’re sitting in the studio with the band, which adds to its edgy charm.

After a dozen playthroughs, I can confidently say there isn’t a single track I’d skip. Each song is carefully crafted, and the precision in the tempo changes is impressive. Burial has created an album that’s gritty, immersive, and engaging from start to finish. 8/10

Veuve - Pole (Go Down Records) [Rich Piva]

Italian stoner/psych rockers Veuve are back with a new record called Pole, which is a pretty pedestrian title for a record that is so good and so complex. This is Veuve’s third record and the first since 2019. The time off allowed the band to create six gigantic soundscapes that blend the best of stoner and heavy psych at over almost an hour of run time, which may be a bit much for some, but totally worth the effort of you hang in.

You would think that a record almost an hour long with only six tracks would lean heavily on the psych side of the house, but the first two tracks, Land Of Denial and The Thaw are just straight up killer heavy stoner rock goodness. Land Of Denial has a killer bass work and enough fuzz for all of us. I love the guitar tone on this one and on all of the tracks on Pole. The Thaw gives me Fire Down Below vibes, which of course is very welcomed, and has my favourite guitar work on the record. The first two tracks are the shortest on Pole, the next three is when it gets intense. 

Each track clocks in at around twelve minutes, but they are all excellent. Quest For Fire slows it down, brings a bit of doom in, and takes the vocals to the next level. There is nothing overtly psych on Pole, but it is there, with this one being a great example of it lurking behind each note, especially during the different tempo and mood changes. Look out for some grungy bits too. Next is Inner Desert, that brings some really great riffs and is a sprawling track that actually reminds me of when Muse was good. This one takes quite a turn about half way through. 

The third of the 36-minute trilogy is The Sudden Light, my favourite of the three, and boy does it bring the atmosphere to go along with the heavy. I hear some Jane’s Addiction going on here musically and I am all about that. The trippiest of all the tracks on Pole, but still brings the crunch. The closer, while shorter in comparison at eight minutes, Thrive On Empty Temples is still some epic stoner goodness that shows these guys really know how to put a complex (for stoner rock) composition together. It is a bit long, especially for six tracks, but Pole really delivers some killer, epic stoner with grunge and psych elements. Veuve have really taken it to another level and should impress a lot of listeners with their new record. Don’t get scared off by the song length, hang in there and get ready for quite the adventure. 8/10

Veilburner - The Duality Of Decapitation And Wisdom (Transcending Obscurity Records) [GC]

When I see something from Transcending Obscurity, I immediately think death metal and usually quality death metal at that, however Veilburner have been listed as black metal and of course labels need a variety of different acts to keep thing interesting, so The Duality And Deception Of Wisdom is Veilburner’s new album, and this is my take on it.

I’m instantly struck that its seven tracks are all exactly seven minutes long and not sure why that is or if there some hidden meaning to it all? Bit weird really, anyway it all starts off ok on Tem Ohp Ab In Mysticum which is chock full of blasting drums which are the highlight because the rest is a bit stop start and ragged, with loads of different time changes thrown in and differing types of vocals that are at one point decent but then in an instant a bit cringeworthy and about halfway through it all just gets to repetitive and drags on till the end.

III Visions Of Hex-Shaped Hiss, Behead The Howling Spirit is an unnecessarily long song title but it does show more depth and has some nice djenty string bending riffs to kick off with, then it gets all ‘’spooky’’ and atmospheric complete with goblin vocals that are again on the cringey side of the spectrum after the promising start, not much really happens for a couple of minutes and then it sparks back into life and has decent mix of almost tech death but it also leans on melodic death metal too, but the vocals are doing nothing for me and the run time is again too long as it just gets sort of meanders to the finish. 

The Duality Of Decapitation And Wisdom Part 1 throws a spanner in the works and is introduced with some soft and grandiose guitar work mixing in with some background atmospherics and it builds and builds and finally about 3 minutes in the black metal nastiness is unleased and it’s the juxtaposition between the styles that actually pays off here the scathing nature of the black metal bounces perfectly off the more laid back beginning of the track, then The Duality Of Decapitation And Wisdom Part 2 just carries on the feeling of its sister track and doesn’t really seem like a part 2 is needed as they obviously wanted 1 long song but needed to break it down to 7 minutes exactly for some still unknown reason? 

Shadows Of A Shadow is another good track full of gothic undertones that create another epic feeling track that you would imagine would be the perfect soundtrack to burn a church to, it has a feel of a death march and once again uses a slower pace for the most part but when they do ramp up the pace its done really well and has all the things you need and if there is such a thing then this may be a great showing of melodic black metal, Woe Ye’ Who Build Crosses…Are Those Who Will Serve Us Till Death takes almost seven minutes to type but zero time to unleash a savage death metal assault upon us.

Rammed full of cutting riffs and off kilter drums, with some nice time changes to keep everything interesting, the vocals are actually one of the high points on this track finally, there are a few different styles and they all work well and so its onto V.I.I (Voured Ichneumous Icon) to close proceedings, and it manages to achieve this with aplomb as it feels like they have saved the best till last as this track is superb everything is brimming with menace and dark atmosphere that creates a suffocating feeling and adds the icy feel of the first wave of Norwegian black metal into the melting pot and shows that they really are capable of some fantastic stuff.

This really summed up my feelings on black metal, it can be great and really devastating at times but then in an instant can sound ridiculously stupid but still wants to be taken seriously? There were parts on The Duality Of Decapitation And Wisdom that I really enjoyed but equally there were parts I just rolled my eyes at and wanted to skip, it’s a decent listen but whatever you do don’t take it too seriously!! 6/10

Grey Attack – Back To Greysland (Metalapolis Records) [Liam Williams]

Back To Greysland is the 4th album by hard rock quartet Grey Attack. This is going to be quite a short one because I’ll be honest, I really struggled to get through this album. I can appreciate the bands efforts to bring back a more 80’s glam rock sound and mix in a bit of grunge and metal to try and keep things updated but it still sounds like something straight out of the 80’s. It’s like they’re just trying to sound like a heavier Bon Jovi, but it just doesn’t work. Each part on its own sounds decent enough, but altogether it’s very rough.

The guitars and bass are pretty good, some of the solos are great, but most of them just lack any soul. I do like some of the riffs and I appreciate the experimenting with different effects in some parts. The drums are ok but in most of the songs they sound way too loud in the mix compared to everything else. As if they thought making the drums louder made the songs sound heavier but it just sounds really bad. The singer can definitely sing, I actually quite like his voice, he sounds a lot like Scott Weiland, one of my favourite singers. 

But the overlapping vocals in most of the songs just sound all over the place. And the lyrics, easily the worst part of the album for me. I could do my best to ignore the other issues if the lyrics weren’t so bad. They’re very uninspired and repetitive at the best of times but just absolutely pure cringe inducing stuff at other times, especially on the tracks Turn Me On and Get Over Me. Really not great. Which is a shame because like I said, otherwise I think the dude is a pretty decent singer.

Some of the other glaring issues is when the band attempts to add any other sounds into the songs like piano and strings. They just sound off to me. The mix is really rough and it ruins their inclusion in the tracks. I really did try to give this album a chance, I listened to the whole thing from start to finish in one sitting hoping that it would get better as the album progressed but unfortunately it didn’t. There are some decent parts but nothing that’ll make me want to give it another listen. I’m giving it a very generous. 3/10

A View From The Back Of The Room: Planet Rock 25th Birthday Bash (Live Review By Debby Myatt & Tony Gaskin)

Planet Rock’s 25th Birthday Bash, KKs Steel Mill, Wolverhampton 15.11.24

We’re at KK’s in Wolverhampton tonight to celebrate a milestone in the life of a radio station! Namely, Planet Rock

Through many ups and downs, the station has survived and grown and continues to provide rock fans with a dedicated station for all things rock, and along with a whole bunch of presenters and crew, they’ve brought along some friends to entertain us.

‘First up is rising star, Dan Byrne, who is the latest in a long line of young British artists that the station has championed over the years, His track Death Of Me is on heavy rotation at the station at the moment and it’s an obvious to choice to include in the set list for tonight, along tracks like Hate Me and Control which show what a great song writing talent this young musician is. 

He is in no doubt that he owes the station a huge debt of gratitude, which the next band up, The Answer, also acknowledges. Frontman Cormac Neeson, in his soft Irish brogue, shares his appreciation for what the station has done to support his band over the years. This is a more seasoned act who have been around almost as long as Planet Rock and their live shows are a pure masterclass in soulful, bluesy rock and roll. 

They open up with the catchy Blood Brother, Neeson is animated throughout, bouncing and jigging along. He’s like some evangelical pastor eagerly preaching to his congregation who are only too happy to get carried along, and he has them transfixed with the incredibly powerful performance of The Beatles classic With A Little Help From My Friends, an apt track for a night of celebration.

The climax of this birthday bash the rare appearance of Black Star Riders, who, because of the various band members other commitments, haven’t performed live in the UK for some time, this being their only UK gig this year.

Ricky Warwick has been incredibly busy with the return of The Almighty and his solo stuff, but he’s taken time out to call round a few friends and pulled together a version of Black Star Riders that consists of Marco Mendoza(Dead Daises et al)on bass, Sam Wood (Wayward Son) on guitar and journeyman drummer Jimmy DeGrasso (just about every rock band you can name at some point!)

The kick off with All Hell Breaks Loose and barely pause for breath as they jump into the first Thin Lizzy track of the night, Are You Ready. The songs come thick and fast, they want to cram as much in as possible, but they’re also having the best time of their lives, I don’t think Wood stopped grinning all night!

As always, Warwick is front and centre, smashing the chords out. We get Bloodshot The Killer Instinct, Another State Of Grace in quick succession before the raucous anthem Better Than Saturday Night

Warwick leads his troupe through an array of BSR favourites, but its the instantly recognisable intro to Crazy Horses half way through the set that send the crowd in to a frenzy (I’m not ashamed to say that the original Osmonds version kick started my love of rock!)

Second Thin Lizzy cover of the night was the iconic Jailbreak, dedicated to Scott Gorham, another emotional highlight of the night. But we’re not done yet, there’s more to come. Another couple of BSR tracks including Bound For Glory close out the set, but in time honoured fashion they come back on to rapturous cheers and bring Neeson on with them to do one more Lizzy track, and of course it had to be The Boys Are Back In Town No S’*t Sherlock! And in almost arrogant style they finally end their 19 song set with Finest Hour (well about an hour and a half actually!)

All in all a great night of classic and modern rock to celebrate a rock institution. Thank you Planet Rock for the last 25 years, here’s to many more! 10/10

Reviews: Voodoo Circle, Mammoth Grinder, Second Sun, Monolithe (Reviews By Simon Black, Mark Young, Rich Piva & Joe Guatieri)

Voodoo Circle - Hail To The King (AFM Records) [Simon Black]

I’m picking this one up at the last minute on release day, as one of my colleagues ran out of time, so I’m having to forego my usual technique of giving a record at least three full spins before going near the keyboard, but I’ve got an editor with a deadline breathing down my neck.

Voodoo Circle, for those who have not encountered it previously, started life as a side project for Silent Force (Former Primal Fear) guitarist Alex Beyrodt, who clearly felt that there weren’t enough tributes being made to the big hair, big shoulder pads and big sales of the colourful mid-80’s when MTV made it happen big, baby big for bands. 

Well MTV has long since shot its load with regards to anything to do with the music industry, hair spray is definitely out of vogue in these climate-sensitive days and the concept of big record sales is up there with other Boomer mis-remembered dreams of bygone decades that leads to ill-considered decisions in the voting booth, but this kind of classic 80’s hard rock has never gone away, even if the acts that carved the groove have long since hung up their shoulder pads (if only because they tend to get in the way of their walking frames).

This isn’t some flash in the pan supergroup either and has managed a solid six full-length records since 2008. Like many acts, the personnel changes have been tough on consistency, but Hail To The King sees a return to the core line-up of both David Readman on vocals and Markus Kullmann on drums re-joining Beyrodt. There are no keyboards credited, and whilst they still exist in the mix, they are not as front and centre throughout as would be expected. 

OK, syrupy power ballad Castles Made Of Glass is very AOR and keyboard heavy, but the bulk of the record is much more stripped back and Hard Rock in sound. This reliance on the rhythm section to drive the songs through works very well, and despite the fact the band feel obligated to nod distinctly to Whitesnake and Rainbow, this back to basics allows the core song writing strengths to shine through.

And that’s why it works, as despite the quite lengthy run-time of an hour seven minutes across the twelve tracks, this is a record that flows well, because it’s been well-crafted by some very skilful players who know exactly how to make the medium work. The length of tracks is surprising, because many hard rockin’ acts still rely on the three to four-minute ‘Wham, bam, thank you ma’am / sir / individual’ approach to keep the attention-deficit generation engaged, but to be honest only the opener Lay Down Your Lovin’ takes that approach. 

Thereafter, although a strong riff nearly always opens things up, thereafter a more measured, thoughtful and incrementally intensive layering technique, more common perhaps in the prog world builds the intensity very well indeed. This means that even the longest of songs feels and flows and builds well without having to resort to the splice and dice techniques commonly used in when bands have got two or three good song ideas but none of them are strong enough on their own, so mashing them up seems like a good idea.

These songs all stand on their own two feet, and we are left with an album that accomplishes the unique combination of the Hard Rock solidness whilst being a complex and eminently listenable album that’s going to keep on giving to the repeated listener, and this in an age when getting anyone to listen to a full song, never mind an album seems like a major achievement. This may have landed last minute, but I can’t help but give it that time to appreciate, because it really is worth the investment of time. 8/10

Mammoth Grinder - Undying Spectral Resonance (Relapse Records) [Mark Young]

And now a 5 track EP that promises pure grime and grit, a heady throwback to when OSDM wasn’t old (I’m paraphrasing their words to an extent). They have been releasing music since 2009 with a line-up that has changed as time has moved onwards. Their current line-up includes mainstay Chris Ulsh (Power Trip) plus Ryan Parrish (Iron Reagan, drums) along with Sebastian Phillips and Andy Horn on guitar and bass respectively.

And it is as old school as you would expect. It is a pleasurable throwback to when the genre was young when guitars had six strings and all that was wanted was a bunch of riffs played at manic speeds with drums to match. Growled, impenetrable vocals all pulled together to act as a punch to the gut. It is one thing to go and approximate that sound and style, its another to do it with songs that make the whole thing worthwhile and with that in mind Mammoth Grinder have done what they set out to do. 

There are no weak tracks on here, each has that narrow focus applied to ensure that it ticks the boxes of what we wanted in our extreme metal back in the early 90s. It won’t change your world, but as a decent little EP to add to your death metal collection there is not a lot you can argue with. 7/10

Second Sun - Elektriska Mardrömmar (Majestic Mountain Records) [Rich Piva]

I feel like an ignorant American when I type this but I have struggled with albums that have vocals not in English. I think it is because I feel like I am missing something since I value the lyrics so much in my music. I just want to know what the message is. There was a strong exception this year with the debut record from The Flying Norsemen, where the music was enough to transform me. 

This brings me to the new record from Stockholm, Sweden’s Second Sun. This is different than the Norsemen record as the vocals were an afterthought on their psych prog soundscapes. Second Sun have the vocals right up front on their up tempo, 70’s inspired psych rock, that distracts me a bit, but these guys rock, so I am still able to enjoy the ten tracks on Elektriska Mardrömmar.

Tracks like Voigt Kampff-Test rock, reminding me a bit of The Hives while with Så Jävla Lätt the band gets their Swedish Grand Funk on. I really enjoy the proto leaning Glädjedödare and the cool guitar work on Kan man få Slippa?, which I really want to translate because this one is killer. The vocals are very cool on the track Tar Mig Aldrig Levande that almost has a weird pop feel to it, and the closer, Arion Vulgaris, is my favourite track with its complex rhythm and cool dual guitar work. I also really dig the production on the record, it sounds just how I like it, no unnecessary polish, just the guys rocking out.

Yeah, I have no idea why Second Sun is saying on Elektriska Mardrömmar, but what I do know is that it rocks, so if you like 70s inspired psych rock and vocals in Swedish don’t bother you, go check this one out. 7/10

Monolithe - Black Hole District (Hammerheart Records) [Joe Guatieri]

Monolithe are a progressive doom metal band from France that formed in 2001. With a consistent output over the band’s long career, Black Hole District marks the release of their tenth studio release. With details of this being a concept album about a Tech noir decaying city inspired by the likes of Blade Runner and The Matrix, it left me with very high hopes for this record. Starting off with track four, To Wander the Labyrinth, the beginning sounds very reminiscent of The Dark Side Of The Moon era Pink Floyd to me with an organ being played in a high register, mixed with a little bit of Crowbar. 

It’s promising for the first few moments but this song ended up defining a lot of issues that I had with Black Hole District. As the guitar riffs break down and even out going into the verses, they sound like they are entirely contained within a box, bouncing off the sides of it and feeling very predictable as a result. The drums have a resemblance to some sort of attack but they lack the oomph needed to really get me out of my seat, feeling swallowed within the sea of synthesizers and unfortunately you can forget about the bass as it’s very minimal. 

I enjoy some small pockets of guitar and to my surprise there’s two singers, one in the band, that being Quentin Verdier handling the harsh vocals which I enjoy and a guest vocalist, Frederic Gervais, who takes on the clean duties but they don’t do anything for me. Next we go into track six, Unveiling The Illusion, it’s a bit better than the last couple of tracks on Black Hole District but only by a few notches. It’s got good pace whilst balancing that out with more subdued atmospheric sections which work well in tandem together, it breaks up the song nicely. I also think that this has the best vocals on the record, sounding more operatic overall which fits the vibe a lot better. 

Finally we have the last track with that being Those Moments Lost In Time which is my favourite song on the album. It’s got the best riffing and solos here, having a little more grit within the playing but it’s still lacking a lot of bite. It’s the most doom metal here as for the majority of time, it stays within a darker avenue but it just doesn’t go to that next level. 

Overall, Black Hole District by Monolith is a massive disappointment to me. For something that was described as a progressive doom metal concept album, it feels bloated with far too many interludes and some songs always feel a lot longer than what they are, resorting to what feels like meandering for long stretches of time. As I said previously, I am shocked at the lacklustre bass playing on here, for something that’s so important and is supposed to keep me engaged, it feels like a complete afterthought and the drums feel weirdly powerless. 

The most disheartening thing is that this record never wowed me, even in moments where it should connect, it just makes me feel numb. As someone who grits their teeth to heavy music that they enjoy, this album makes me do that for all of the wrong reasons. 5/10

Reviews: Still, Wizard Must Die, Septaria, Hollowkin (Reviews By Mark Young, Rich Piva, Liam Williams & GC)

Still - A Theft (Floodlit Recordings) [Mark Young]

A Theft is the second album from Still and I’ll be honest I wasn’t prepared for how it was going to turn out. The accompanying notes made mention of it landing in different genres whilst bringing a blackened pall to proceedings and you think, well we’ve read this before etc. The opening strings to Yearn tell you its going to be different.

Very different as it just detonates with this expanse of rage. It sounds huge and it continually shifts, not allowing the listener to become comfortable with it or to be able to anticipate and second guess what they will do next. The closing strings bring a tension, an audible stretching of the nerves and it reminds me of the best Horror films where something like this normally announces that an incredible amount of blood is about to spilt. The only clue you have is the song titles. Each one suggests that we are about to enter a dark space with no light to guide us.

Only Time Will Tell brings their own take on what dark music should sound like, there is a jarring approach to their guitar lines that keep you on edge whilst those tortured vocals claw through. Its brilliant and sounds like nobody else, at least to what I am used to. And I’m not used to this at all. 

The way that they use conventional methods of attack i.e. the propulsive drumming on Light that acts as the primary instrument instead of guitar, constantly moving everything forward whilst the guitar is employed to provide base embellishment is something to behold. Everything that their press notes said is true. Their guitar lines do not follow convention, they just are what they are and somehow, they make the whole thing fit together when it shouldn’t.

Oscillate is brief, thankfully so and leads us into the void as Life Eclipses Living starts its painfully slow movement as the guitar rings out, degrading into feedback and then it begins. The early manic feel is replaced by a glacial arrangement, equally measured and furious at the same time. This is a difficult thing to review as I have no real frame of reference to compare against. There is no change in mood, its colour is black. 

Small Mercies Of Falling Apart continues that descent into darkness, and its so hard to put into words what it is like to sit and listen to it in much the same way as every other song on here except that you are being let into an inner sanctum where their most private fears and experiences are being aired for your entertainment. Unresolved is the final act, and to its credit does nothing to lighten the mood. Every guitar strike, every drum hit is the audio equivalent of pulling diseased layers of skin back from a wound.

In all honesty this has been one of the hardest reviews I’ve done. That blackened pall that descends at the beginning doesn’t shift an inch. In trying to review it as I would normally do, well that failed really. This is something that you will either get from the start or not at all.

All I can say is that there are bands out there who when describing their sound as coming from a dark space should listen to this and then think again. It is a piece of art that comes from a place that I don’t want to visit, and Still should be rightfully applauded for committing those feelings to tape. 9/10

Wizard Must Die - L'Or Des Fous (Klonosphere Records) [Rich Piva]

There is a lot happening on the new record, L'Or Des Fous, from the French prog/psych/stoner band Wizard Must Die. There are a number of instruments, a bunch of styles, all sorts of tempo changes, and an abundance of vibes on the six tracks. Most of this is really good stuff, where some of it can make the record drag a bit, giving the feeling the record is a lot longer than its 47 or so minutes. The good mostly outweighs the band, so dive in and see where this murderous plot takes you. Proggy stoner is where we go first with The Breach, as we get some chunky and killer riffs along side a quite-loud-quiet dynamic and some Hum inspired post rock vibes too to give us what is my favourite track on the record right off the bat. 

The twelve-minute The Disappearance Of Camille Saint-Saëns is where we start to bring the length and complexity, as the song starts off as some straight ahead heavy stoner goodness with more riffs in the first seven or so minutes than you think you can fit in that time until the breaks are slammed down in the form of some minimalist piano to grind us to a halt, transitioning to a final four minutes of part jangly guitar and voice and some more crunch, creating a sort of multiple movement arrangement over the length of the track. 

Flight 19 has some amazing drum work and some more great riffs. Is it too on the nose to mention Gojira when reviewing another band from France? Well, I did it anyway. That is until the echoey and layered vocals come at you when all slows a bit, but then builds to more of those monster (ha ha) riffs. Good stuff. Closer To The Edge is a sparce guitar and voice interlude that does rock a bit towards the back half (long interlude at four minutes, but to me still an interlude, given the other compositions on the record) that leads to the title track with a Cantrell inspired riff and more post rock Hum and maybe Failure vibes too that works extremely well. 

The closer, Clouds Are Not Spheres, continues this vibe to start until the back end goes almost Krautrock until the band looks at each other and decides to rip it up as they take it home, even though I would have left off the last three minutes or so that brings the sax to the party. Wizard Must Die don’t take any shortcuts on L'Or Des Fous. Yeah, it probably could be five minutes or so shorter to eliminate any ideas of dragging, and I didn’t need the saxophone part, but that really doesn’t take too much away from the fact that L'Or Des Fous is a heavy and complex record that will challenge you and rock you at the same time. 8/10

Septaria - Astar (Klonosphere Records) [Liam Williams]

Here we have the debut album Astar from post-progressive metal quartet Septaria. I have to say, considering this is the bands first full length studio album, they’ve done a pretty damn good job! They combine some nice heavy progressive metal sounds with some more ambient post-hardcore sections. The songs flow from one track to the next almost effortlessly and considering it’s over an hour long in total length, it certainly doesn’t feel like it when you are listening to it.

The album starts with a 7 and a half minute track, Moment Presént, which opens with some nice acoustic guitars which is joined by a bit of bass. When the full band comes in, things kick off and there’s some great screaming along with some chuggy prog riffs. Halfway through there’s a calmer section with a nice bassline which is joined by some clean guitars which then builds up for the final chorus and outro. Track 2, Centaure, starts off very heavy. Some nice guitar harmonics and some truly epic drumming. There’s a calmer section with some nice clean vocals which builds up to a much heavier part with some really chaotic drumming and some nice use of an octave effect for the guitars for the outro.

Psyché is up next, this track jumps from calm to heavy back and forth and has a really cool bridge section with some more epic scream vocals with a choir doing some backing vocals. Then we get to Abyss, a shorter instrumental track with some ambient background noises like waves, synth and some sort of droning noise. This track starts and ends with some nice clean guitars but the middle section with the full band features some really great playing from everyone. After that little instrumental break we’re back for another epic track, Sagittarius. 

This track starts with a very sci-fi sounding clean guitar intro before the band comes in and things get proper heavy! The cool clean guitar from the intro comes back for the outro, although slightly different, but then continues for the following track, the title track of the album, Astar. This track is shorter than it’s predecessor but doesn’t slow things down at all. There’s some nice low clean singing before it builds up and gets heavy for the mid section before a clean riff once again comes in to calm things down a bit.

We have another instrumental song with yet another nice sci-fi sounding clean guitar intro for the next track, Persephone. Another shorter track. Some acoustic guitars and bass come in with the main riff and there’s a clear absence of drums, with the acoustic guitars kind of taking a percussive role for this song. Even when the track does get a bit heavier there is still no drums. The intro riff comes in with some synth to calm things down once again. But things pick up again with the next track, Being. 

This is a long one, lasting just under 10 minutes. But wow, again some great playing. Some ominous droning vocals. There’s a calmer bridge section but things get heavy again for the outro. The next track, Nocturne is a continuation of Being, really heavy an some nice duel guitar action before ending with the sound of a crackling fire leading into Embers. This track has a really cool intro, some great vocal parts broken up by some more excellent instrumental sections with more duel guitars and a marching band sound towards the end before another calmer outro comes in to end the track.

Skys Words starts with the same outro riff from Embers. This track is another chaotic prog masterpiece. It switches up so much that it keeps you guessing what’s coming next and when you think you know what’s coming it switches again. Really great track, great vocals, great playing, just epic in general! Finally we come to the last track of the album, Psithurism. A really nice acoustic instrumental track which has a similar vibe to Planet Caravan by Black Sabbath. A nice calmer song to end the album on.

It still blows my mind that this is the bands first album. It’s well written, well performed, well mixed. A great first effort from these guys. I cannot wait to see how they evolve with whatever comes next! A truly talented bunch. I can’t think of a single criticism for this whole album. An absolute masterpiece! 10/10

Hollowkin - Confessions & Failures (Self Released) [GC]

Having formed back in 2023, UK based Hollowkin have decided to do the decent thing and release EP Confession & Failures as their first release, I always feel an EP is the perfect way to introduce yourself to the world, a short sharp shock to the system and if its good you look forward to the album, if not then you haven’t wasted much of your time on it! So, with that in mind, let’s see what Hollowkin has to offer.

Tomorrow At Dawn is something that no EP or album, needs an intro, just get on with it or include it as part of your song, pointless and annoying start, thankfully A Pilgrimage does burst into life and has a whiff of tech/djent and then drops into a melodic sparse section but unfortunately they decide to add some singing in and I am sorry to say this but it’s just awful and the track has now fallen back into the more echoey parts and then when another melodic section rears its head, the promising start is forgotten and I’m glad when its over, Leech is a better track and has a groove working its way through the track but for seriously, can we please stop with the singing on these tracks, its awful and just ruins everything, if you need to do it then get someone who can actually sing please? when they actually concentrate on what they are good at they are capable of some decent enough stuff but it seems they don’t concentrate on their sound enough. 

The Devil In Your Garden takes a while to get going and when it does its an ok groove metal track that has the staccato riffing and solid drum work you would expect but it doesn’t really blow you away or stand out from the crowd in any way, it’s like you have heard it all before and you just feel yourself waiting for the inevitable singing that will ruin the song and of course it’s there and is a massive part of this track, Thankfully In Heresy is the last track as I’m quickly getting bored of Confession & Failures and this track doesn’t really do anything to convince me otherwise, its more of the same middle of the road groove metal that follows the same path all the songs on this EP have so far, so it is an overall underwhelming ending.

Some of Confessions & Failures was good and most of it was just ok and some parts of it made me want to cut my ears off. I think they may need re-think on their style as for me it just does not work or make me want to listen to anything else they may release as the overall feeling I had was that I just wanted to turn it off, nothing really inspired or made me think there was something decent there and I don’t want to bang on about it but, those clean vocals need to be binned off or someone else needs to do them because as harsh as it sounds they ruined all of the songs for me. It all added up to an uninspired and bland listen that needs a lot of work going forward. 3/10

A View From The Back Of The Room: Within Temptation (Live Review By Matt Bladen)

Within Temptation & Annisokay, Utilita Arena Cardiff, 16.11.24

A bitter Friday night in Cardiff played host to one of the originators of the symphonic metal scene, and while they have moved away from their baroque beginnings into more modern metal strains, they stay popular and relevant due to their changing sound, excellent musicianship and support of various causes. Most recently their support of the Ukrainian relief effort to help those effected by the on going conflict there.

It's this reason why we had a two band bill in Wales Capital, Blind8 who were set to be the openers for this whole tour have only managed to play a few shows due to the conflict, conscription and visas. It meant that there was quite a late start to the evening with the first band coming on at 7:40 an hour and a bit after the doors opened. Still when we arrived there was a dedicated enough following in the middle of the room.

The support band were German metalcore act Annisokay (7), there's a reciprocal nature between them and the headliners, Sharon Den Adel coming out to sing one of their tracks with them and on previous shows their singer has come out to sing on the track he featured on. Of course if you didn't know this connection you would wonder why a band like this are supporting, something bit lost on the band themselves, their German self deprecation coming through in the between song chatter.

Telling the crowd that they were perhaps a a bit too different to be supporting but that they were grateful to be playing and loved that they were being received so well. Which is true, there was quite a strong contingent of fans who knew the words and joined in with their own material. After saying all this they did play a Linkin Park cover which is one of the oldest tricks in the book to get people on side.

While not really my thing Annisokay perform well with some moody staging, big riffs and clean harsh vocals. It's metalcore but with a message.

There's plenty of messages in the music of headliners Within Temptation (8), be it body autonomy, war, tyranny, feminism, sexual liberation, the music of Sharon Den Adel's metal machine has always carried a message be it with the symphonic beginnings or the EDM infused modern metal. Straight out of the gates it's five from newest album Bleed Out, djenty riffs placed with bristling synths tracks such as We Go To War, Ritual and Wireless show the band Within Temptation are today. Sharon's vocals still soar but bring more depth than perhaps they did in the bands operatic beginnings.

Of course it's the older songs that get the biggest reaction, when they get to them, as there's quite a bit of talking but they are a band with a lot to say, Shot In The Dark and Stand My Ground come in quick succession the long time fans singing along, the diverse crowd (one of them most diverse I've seen for a metal band in a while), treated to a setlist that took in most of their albums.

It also featured a few special guests, up first was Ukrainian singer Alex Yamark who came on to sing A Fools Parade, the song they released to raise money for Ukrainian relief, then the many former Goth girls and boys, let out a little squeal when former Nightwish vocalist Tarja appeared to sing The Promise, her song I Feel Immortal and later Paradise (What About Us?) with the band, the duetting voices taking it back to Scuzz music videos in the early 2000's.

A real treat for fans of the genre to have two of the most famous vocalists together on the stage, Withing Temptation can never be criticised for not giving the fans what they want. With a few sound issues in the venue, there were no opening night gremlins or indeed jitters as Within Temptation are a well oiled machine with Sharon Den Adel the high priestess conducting their live ritual.

A View From The Back Of The Room: Rosalie Cunningham (Live Review By Matt Bladen)

Rosalie Cunningham, The Acapela Cardiff, 13.11.24

Perfectionists usually have a tell, it's a face they make when something isn't quite going right, those of us in the audience may not notice but they know. Rosalie Cunningham is a perfectionist, pre apologising about any mistakes or that some songs may not be as nailed down as others due to issues in practicing but with the set switched around a little since the first show on this tour, there was no need for any apologies as for those in Cardiff's Acapela, myself included we were treated to a killer set of psych rock, power pop and retro rollicking.

Taking the bulk of the set from her new album To Shoot Another Day, sprinkled with a few older tracks, a Purson song and a new one from another band, this was how to do retro rock. Let me explain, back in the day analogue technology could only get you so far so it was with the live show that they had to impress. The main example of this is The Who, perhaps not always too powerful on record, live they were ear bleedingly loud, Rosalie and her band taken the same track. These songs are huge on stage, loud, raucous and heavy, the walls of the old church shaking.

The chunky Spook Racket got us going with the new shiz before diving into the glam stomp of Donovan Ellington, for a band who said they were under-rehearsed there was no sign of it at all. The Bond-like To Shoot Another Day was majestic, close harmonies and that John Barry-like guitar sting pleased anyone who loves the Connery/Moore years. Heavy Pencil, Smut Peddler and Denim Eyes all went down well, sounding bolder, bigger and brasher on the stage.

What I love about The Acapela is that there's no room for encores (or support bands) but there's always an interval, a chance to get or drink or a coffee (more places should do coffee at gigs). The middle part of the set saw a bit more experimentation on Home, a song debuted last time the band were at The Acapela is harmonised ballad between Rosalie and bassist Claudia Gonzalez-Diaz that added a huge amount of emotion, stripping the retro gloss for some folk beauty.

Following this would be difficult but Rosalie handed over lead vocals to her partner/guitarist Roscoe Wilson, the song was Rabbit Foot, the name of her a new band too apparently, the song is a bluesy hard rocker, evoking a bit of Quo, Humble Pie and Wings, it was packed, and I do mean packed with frenzy of solos moving to raw rock n roll. From here it was the anthemic Riddles And Games and then it got darker with the slinky In The Shade Of The Shadow and a cover from Roaslie's Purson days in the shape of Wool.

Rosalie Cunningham is definitely the Ringleader with a grunting Gretsch swaying between rhythms and leads throughout, her vocals are stunning, theatrical histrionics, perfect like they are in the record. The band she brings with her are also brilliant, Claudia Gonzalez-Diaz (bass/flute) is a human dynamo, if not tethered to the Orange Amp behind her she would of happily grooved a marathon through the crowd. Behind her was Aaron Bolli-Thompson (keys), he's Southern rock swagger, as he brings the rollicking keys to Dethroning Of The Party Queen and organs for huge psych swirls and cinematics on The Premier.

Stuffed into a corner but making a mark throughout was Bo Walsh (drums), the pace setter and powerhouse, it's his deft little touches behind huge powerful strikes, that made me keep watching what he was doing, he also extensivly used cymbals. Rounded out by the aforementioned Roscoe Wilson (guitar/vocals) , he's effortlessly cool in double denim and a faded SG, he was peeling off solos and leads with ease.

They're a mighty collection of noise makers taking the set though the power pop of Timothy Martin's Finishing School, a slightly disjointed Good To Damned then the crowning finale of the proggy The Premiere and 'classic' Ride On My Bicycle which closed us out with some Canterbury scene quirkiness. I've missed seeing Rosalie a few times now (once due to my wedding) but I won't be doing so again as even on this tour that was to debut new material, they made an indelible mark. Roll on spring next year! 9/10

A View From The Back Of The Room: Evil Scarecrow (Live Review By Liam Williams)

Evil Scarecrow, King Kraken & Helldown, Sin City, Swansea, 10.11.24

I have been to a lot of gigs in my time, but my recent venture to Sin City (the venue in Swansea, not Las Vegas) might just be one of the best gigs I’ve ever had the pleasure to witness! A night of thrash metal epicness, hard rock grooviness and... some songs about robots, chickens and crabs??? Yes, that’s correct! For this night was the night that Evil Scarecrow came to town!

First up we had opening act Helldown (10), who kicked off the night with 6 ferocious tracks of pure epic thrash metal chaos! They walked out onto the stage to their ominous sounding intro track, Honoured Dead, before kicking things off in spectacular fashion with the first track Nepotism. A very fast and aggressive track with quite a groovy chorus and a nice fast and frantic guitar solo. They followed it up with another fast track, The Watchers, with some great backing vocals in the choruses and another epic guitar solo with a nice little bit of tapping.

Next up we had their newest single, Thrive In Violence. This track featured some great tribal drumming in the intro and the band got the crowd chanting along and raising the horns before the chaos resumed. Another great guitar solo with some very nice divebombs. There was a brief little break while the guitarists changed guitars and then came another intro with some ominous Gregorian chanting leading into the 4th track of the set, Beneath The Veil. I absolutely love the lead guitar riff in this track. They kept delivering the thrash with their last couple of songs, March Of The Damned and ending their set with War Is All. Fantastic set, these guys are amazing, they sound incredibly tight and they gave a very energetic performance.

Following on from that, we had King Kraken (9) up next. Some great old school heavy rock. A little bit more bluesy sounding but still quite heavy! I missed the first half of their first song but got back in time to catch a really great guitar solo with some dual guitar action. Their second track was faster and heavier with some nice groovy sections sprinkled throughout and a nice build-up to another fantastic guitar solo.

The third track was a bit more groovier with more clean vocals, more duel guitars and a great lead-up to the final chorus. Track 4 was nice and groovy, very Pantera sounding, with some epic screams before another gnarly guitar solo. Their 5th song had a really cool chorus and a nice part with mainly the bass and drums leading into the bridge section and the crowd got involved with a bit of chanting before the final chorus. Track 6 had a lovely bluesy guitar intro, a slower groovier section for the guitar solo before the intro riff comes back in to lead into the final chorus. 

They ended their set with a track called Chainsaw Saviour. Which had a very groovy bassline and some more excellent guitar solos. Another great performance, the guitars sounded amazing, the bass was thick and fuzzy, the drums were loud and the vocals switched between clean singing and screams effortlessly.

Finally, we come to the headliners of the show, Evil Scarecrow (10). And they put on a hell of a good show for us! They walked out to an instrumental track which sounded like a cross between evil circus music and a song from a slasher horror movie. Their first track, Nuclear Fallout Machine Sentience, was a slow chuggy song which featured some great backing vocal harmonies and a nice guitar solo. The track picked up some speed before dropping back down in tempo to end the song. At this point it was starting to get a bit more crowded so I decided to get a bit closer to the action and moved forward for a better view of the stage. They followed it up with perhaps my favourite track of theirs, Robototron. They got the crowd dancing along like robots for the really catchy chuggy choruses which I gladly got involved with.

There was some great audience interaction while setting up for the next song, Master Of The Dojo. They had a big inflatable karate dude on stage and handed a giant pair of chopsticks to someone in the audience with the challenge to catch a giant fly during the song to win a free DVD. The crowd were also encouraged to sing along in the choruses with some stage hands holding up signs to instruct the crowd with what to chant. After that absolute banger of a track, we had another slow chuggy number, Morbid Witch, there was a nice little bass solo just before the guitar solo came in. 

There was another little break to set up for the following track and the audience were introduced to the bands anti-gravity machine, operated by a NASA scientist, aka the real Dave Mustaine, aka their manager Jen. There was a great little tease of the main riff from Megadeth's Holy Wars and the singer did a little impression of Dave Mustaine singing Sweating Bullets. The crowd were encouraged to get involved with some Zero G moshing while the band played Space Dementia. There was also a giant robot on stage holding a big box and halfway through the song an alien was popping its head out from the box.

Song number 6 was Polterghost, a great track with some lovely guitar playing and the appearance of a very spooky ghost dancing on the stage with the band. Their 7th track started with some excellent lead guitar in the intro and had some really catchy choruses. They followed it up with a performance of their newest single, Release The Krakhen, which featured a giant chicken on stage along with some big inflatable tentacles. Very fun track! Just before their next track they invited the real Dave Mustaine (aka Jen) back on stage to wish her a very short Megadeth/death metal inspired happy birthday. After that was their “last” track of the set, Hurricanado. Where the vocalist asked what is created when 2 forces of nature collide and form something completely destructive? To which someone in the crowd quickly clapped back with “Your mother!” and also won himself a free DVD

After a brief break, the band were back for an encore of 2 tracks. The first of which being The Ballad Of Brother Pain. A great slow track with an amazing guitar solo at the end. Then there was the real last track of the set, Crabulon. Such a good song to end the set with. There was a giant crab on stage and the crowd were encouraged to shuffle from side to side like crabs during the choruses. It seems like the band were having a lot of fun and really didn’t want the show to end, and I can only speak for myself but I definitely felt the same way! 

There was some nice solos, followed by introductions to the band members before the vocalist channelled his inner Freddie Mercury and got the crowd singing along with him, really dragging out the end of the song which I was absolutely fine with. But alas, the song and the show finally had to come to an end and so it did. They were fantastic, great performance, a lot of fun and they even stayed for a while before exiting the stage to interact with the crowd, shake hands and give away goodies. So good to see a band treat their fans like that!

So, I had a fantastic time, really enjoyed the show. All of the bands gave great performances, great line-up. Lots of fun and I really hope that Evil Scarecrow don’t leave us waiting too long to come back to Swansea! If you haven’t seen any of these bands, you really need to!

Reviews: Thy Catafalque, The Rattlebacks, Empires Of Eden, Apocryphal (Reviews By Richard Oliver, Simon Black, Matt Bladen & Mike Pickett)

Thy Catafalque - XII: A Gyönyörű Àlmok Ezután Jönnek (Season Of Mist) [Richard Oliver]

Thy Catafalque has come a long way since its origins. Started as a duo project in its early days but soon evolving into a solo project of multi instrumentalist Tamás Kátai, the music of Thy Catafalque was originally rooted in black metal but as the years have progressed the music has taken on a far more progressive, avant- garde and experimental nature with a multitude of different soundscapes employed across the previous eleven albums. 

It has become much more than a solo project as well with collaborations with many different musicians and singers and in recent years it has transcended from being a purely studio project with the first live show taking place in 2021 (recorded for the fantastic Mezolit live album) and it has remained a live entity since. 

With Thy Catafalque’s twelfth album XII - A Gyönyörű Àlmok Ezután Jönnek, the progressive and experimental nature of the band is in full flow with ten songs which vary in mood, atmosphere and extremity. Tamás performs the majority of the instruments on the album but there is a plethora of guest musicians performing instruments as varied as fretless bass, saxophone, violin, French horn, clarinet and trumpet as well as a huge cast of guest vocalists and friends from inside and outside the Hungarian metal scene. 

This album has the biggest guestlist to date for a Thy Catafalque album with more than twenty collaborators. Although the album does have a huge variation of different sounds and instruments throughout, it is still a very metal album with plenty of brutal and ferocious moments but interspersed with moments of artistic flair as well as the avant-garde and unorthodox. 

Songs such as Vasgyar, Vilagnak Vilaga and Alahullas are traditional metal songs at their heart but there are plenty of moments in these songs that show that Thy Catafalque are anything but a traditional metal band. This is an album that really keeps you on your toes as there is so much going on and a lot to digest. The more experimental nature of the band can be heard on the second half of the album with the traditional Hungarian folk of Lydiahoz, the spaghetti western influenced Vakond and the deeply progressive and atmospheric Kodkiraly. 

Despite this album coming only a year since previous album Alföld, XII: A Gyönyörű Àlmok Ezután Jönnek shows that Tamás really isn’t running out of ideas and influences when it comes to Thy Catafalque. It is another excellent album which absolutely demands multiple listens to fully appreciate and digest. Every listen reveals nuances that were missed on the previous listen and Thy Catafalque really live up to their reputation as a progressive, experimental and avant-garde metal outfit. 

If you are looking for something heavy which has no boundaries then this album is absolutely worth a listen, If you want something straightforward then XII: A Gyönyörű Àlmok Ezután Jönnek
will not be the album for you. 8/10

The Rattlebacks – Sidewinder (Self Released) [Simon Black]

I’ve been really impressed by how many high quality, more traditionally-orientated hard rock albums have emerged of late. It was my original route into all this through bands like Yes, Asia and Magnum back in the early 80’s when I was young, and they were not, and it comes back into fashion from time to time.

To be honest, it never went away, given a few of the stalwarts are still out there producing new content (if not always treading the boards as relentlessly), but every 15 years or so the next generation discovers their parents (and indeed grandparents) musical tastes and runs with it. These newer acts generationally run the gamut, and quite a few of the more noteworthy discoveries in recent years are assembled by older musicians who have cut their teeth in different styles, but equally there are acts with much younger members blasting out with the freshness and energy that attracted me to the genre in the first place.

The Rattlebacks definitely fit into this niche, like a glove. (Cue Ace Ventura laugh - Ed)

Hailing from Brighton in the UK, The Rattlebacks emerged in 2021 and so far have a well-respected EP Kink under their belts, with Sidewinder being their first full length album and are one of a number of acts who seem hell bent on youthfully bringing the frisson of the early 80’s for a new generation, and their history of (and indeed ongoing) touring with Tailgunner tells you all you need to know about how string the demand for this classically influenced resurgence is.

Some acts have made the mistake of trying to emulate the studio sound of that period, but The Rattlebacks and the acts like them kicking the doors down wisely choose to take the ethos and atmos, whilst absolutely making the sound reflective of the massive leaps in recording technology that this decade offers. This album is richly produced, but it’s got such good material to work with that even if they had chosen the faux analogue path, it would still have worked, because this is mature, heartfelt and focussed Rock ‘n’ Roll of the kind that always just works, because it knows how to grab you by the groovy parts and twist baby, twist.

Musically these songs have a hell of a lot of variety, from bangers to mood pieces, this record flows so well from track to track, whilst retaining enough variety and distinctiveness between them all that it never gets chance to get stale. Vocally Josh Clarke knows how to hit the emotive bits, with a soulful and broad range to his pipes that flows effortlessly between the cleaner, moodier bits, but with enough Rock ‘n’ Roll gruffness and Grunge-era groove to just simply sound of all those eras, but more importantly this one too.

Despite distinguishing between distinct lead and rhythm roles, this record is fuelled by the kind of guitar riff weaving that goes right back to Messrs Richards and Woods, or Perry and Whitford this whole album screams out loud of a bunch of players whose chemistry is locked in exceedingly tightly whilst sounding free and loose, which is exactly what it should be. Old and young at the same time, this hit the spot very well indeed. 9/10

Empires Of Eden - Guardians Of Time (Massacre Records) [Matt Bladen]

Australian guitar hero Stu Marshall may be more recently associated with US power metal band Death Dealer and originally known as the axeman of Dungeon but since 2008 he has had his solo project Empire Of Eden. A collaborative effort, it's basically Marshall on guitar, bass, orchestrations and production, alongside drummer Jasix Manewell and plethora of guest musicians.

Most of these are vocalists, including Jonas Heidgert (Dragonland), Louie Gorgievski (Night Legion), Rob Rock (Impellitteri), David Readman (Voodoo Circle). There are few bassists with John Gallagher (Raven) and Mike LePond (Symphony X), a few guitarists and another drummer. Marshall makes sure to match the song to the artist meaning that we have a mix of Avantasia/Ayreon/Phenomena, as power metal meets prog, thrash and AOR.

No matter the genre, the talent is huge, but I do think it's a little disjointed in parts the best songs for me featuring Sean Peck (Death Dealer) and Jeff Martin (Racer X) as I think this is where Marshall does his best work. Empires Of Eden is still Stu Marshall's entire skillset on display and he's got plenty to show off. 7/10

Apocryphal - Facing The End (The Circle Music) [Mike Pickett]

I wasn’t sure what to expect from another atmospheric death metal band, as the term always seems to have a different meaning depending on the group. But with Apocryphal hailing from France, I had high hopes.

The opening track, Smells Like The End Of The World, didn’t disappoint—at least from a musical perspective. Don’t get me wrong, there’s nothing wrong with the vocals; it’s just that there’s a bit too much clean singing for my taste. However, once I adjusted my expectations, I was pleasantly surprised by the track’s composition. There are some fantastic tempo changes in this opener, some of which really caught me off guard—I even rewound the track a few times to replay a couple of those transitions.

Each track on this album shifts from an aggressive death metal sound to a more power metal vibe. I was hoping for more "atmospheric" elements, but this doesn’t detract from the album as a whole. It’s still an impressive mix of gritty vocals, driving riffs, and pounding drums in the heavier sections, with well-placed clean vocals and harmonies layered over ethereal lead guitar parts.

The fifth track, Plague Doctor, finally brings in some of the atmospheric sounds I was expecting, with a few additional touches throughout. However, even here, the album leans more on music and vocals than ambiance. Lyrically, the album delves into socio-political themes, tackling topics like ecological concerns, dishonest politicians, religion, and more. It’s a refreshing departure from the genre’s typical themes and adds a layer of substance.

This may not make it into my regular rotation, but I’m sure I’ll revisit it again. If you enjoy both power metal and death metal, there’s likely something here for you to appreciate. Die-hard death metal fans may find it challenging to embrace, but I think power metal fans will be more receptive to the harsh elements than purist death metal fans might be to the power metal aspects. 7/10

Review: Sergeant Thunderhoof By Matt Bladen

Sergeant Thunderhoof - The Ghost Of Badon Hill (Pale Wizard Records)

All of Sergeant Thunderhoof's albums are brilliant let's get this straight before we start but their 2022 record This Sceptred Veil was rightly regarded by many publications as possibility their best. It's certainly their most progressive, an atmospheric masterclass in emotion and depth, so where do they go from there? How do you follow up a masterpiece? 

Well with a fifth album that takes a few risks and is centred on the local mythology and folklore from Somerset region. More specifically it's an album that focuses on the Battle Of Badon a battle between the Britons and the Anglo-Saxons as is purportedly the first mention of the figure that would be King Arthur, now the history behind this is a patchy but what's history in place of a good story.

The Ghost Of Badon Hill is an album that made The Hoof focus, known for writing songs that often sprawl over a long run times, when they set foot in the studio alongside Josh Gallop (Phoxjaw) who is now a full time member of the band on guitar. Frontman Dan Filcroft wanted to set boundaries, writing songs that would have to be contained on two sides of vinyl. No double albums, no special editions, just 22 minutes per side and packing in as much Sergeant Thunderhoof as they can.

Recorded by Gallop and mastered by Tony Reed (Mos Generator), The Ghost Of Badon Hill takes the analogue-hued, sonic scope of Reed's work and the modern day machinations of Gallop's, and allows The Hoof to explore lyrically and musically. With the concept in mind, the album took an emotional turn as they put together the songs. That's why there seems to be a cloud of mysticism and perhaps even regret over the record, the theories, stories and tall tales that surround this battle all pitching different ideas from a time where history was oral so nothing could be taken as read.

Badon begins with the "Delicate Sound Of Thunderhoof", acoustics are used to begin the folky beginnings of this tale, it builds from there into a gothic atmosphere, the longing in Filcroft's vocals cutting through the dark approach, the field recordings at the beginning are mirrored at the end of the album too, giving it a cyclical nature of constant repetition. It is an album you need to repeat though, perhaps not as instant as This Sceptred Veil, it’s a record that needs time and repeated plays. As Blood Moon comes next, putting post metal shimmer alongside the sludge of bands such as Mastodon or Baroness, it's a newer sound for the band, Gallop's influence here very clear as he and Sayer shift their riffs towards the proggy side of those bands at the end.

Two tracks out of six and there’s lots happening, much of it in keeping with a band trying to expand their sonic horizon. Keeping the 'old school' Thunderhoof vibe is The Orb Of Octavia, drenched in psych and real slow burner it's got the huge doom riffs many fans will expect, the distortion high on Sayer and Gallop's guitars but with their now being two they can express a bit more, the counterpoint riff here showcasing that perfectly. Jim Camo and his fuzzing bass controls the rhythm and rudders this boat of riffs, setting the crawling pace at the beginning of this 7 minute wonder that shifts between quiet and loud. He’s also the major instrument on the brooding, esoteric Sentinel, a pseudo ballad, it’s the most personal and raw lyrics here, while also being the darkest track on the record.

For me Dan Filcroft's voice doesn't get any better than on Salvation For The Soul, an psychedelic, bouncy number with bags of emotion and personal lyrics, inspired by Sabbath (much of the record is) there’s a big fat riff on this track that will be perfect for the stage, a huge chorus hook well I can already hear being sung back. If Salvation... is Filcroft's then it’s also drummer Darren Ashman's, the drumming here is sublime, not that it isn't elsewhere but there's some jazzy fills and the general forward march here that had me air drumming, he also has a star turn on Badon but Salvation… is blueprint Thundehoof

Culminating in Beyond The Hill, a sweeping anthemic closer where catharsis is let out and the spectres are laid to rest, The Ghost Of Badon Hill is another masterpiece of a record from Sergeant Thunderhoof, they’ve not only followed up their last record but surpassed it, like all myths and legends give it time and it will unfold into a favourite, put some respect on their name Sergeant Thunderhoof are more than an underground sensation. 10/10

A View From The Back Of The Room: Sepultura (Live Review By Mark Young)

Sepultura, Jinjer, Obituary, Jesus Piece, The Academy, Manchester, 08. 11.24

Tonight, the Academy is sold out. With Sepultura rolling into town on their Euro leg of their Farewell tour, they have brought with them a stacked support that brings in Jesus Piece, Obituary and Jinjer. This of course means that doors open at 5pm and given that getting into Manchester is sometimes dependent upon stars aligning in the right way you wonder how many will in attendance for opening act, Philadelphia’s Jesus Piece (7). There is a healthy number present when they kick off with a tight 30-minute set. 

It was a first time for me, so I can’t tell what they sang but will say that they come in with an attitude and an intensity that sets the bar high for the bands that come next. It’s a brutal affair, with Aaron Heard giving the crowd no respite from start to finish, constantly cajoling and barking instruction whilst their songs run from the rapid to crushingly slow, the constant being that they have this massive sound which is used to hammer the audience into submission. 

This stuff swings, and they use their allotted time so well in a brutal but brief set. It's good to see the crowd reacting to it too, a far cry from some of the gigs I’ve seen recently where there is little or no movement. By 6.20pm they are done and have set a high bar for the rest to follow.

Obituary (9) are next and well proceed to show that as they close in on their own 40th anniversary there is still plenty left in the tank. Choosing a set list that enables them to maximise their 40 minutes must have been murder but kicking off with a 1-2-3 of Redneck Stomp, Threatening Skies and By The Light is a welcome selection. Trevor Peres has one of the most recognized sounds in metal and one Obituary do is bring it live. Its heavy, loud and front and centre is John Tardy, hasn’t lost any of the vocal power and sounds immense. 

By The Light is massive, the drums especially so that they every time they land, the fillings are rattling in my mouth. Their newer stuff sits proudly with the classics with The Wrong Time coming in, reinforcing that Trevor Peres is underrated as a supplier of diamond sharp riffs. A highlight for me is the medley (for the ages) that starts with Chopped In Half that ends with Turned Inside Out and they are just on fire tonight, managing to cram as many bangers as possible in 40 or so minutes. The sound of guns opens the next one as War brings tons of groove with Donald Tardy doing his impression of a death metal octopus as arms and legs are everywhere. He is spot on as always, the core that never fails to deliver.

They end with Dying Of Everything and Slowly We Rot, with the former a raging beast that is delivered as a statement of intent that you come for them at your peril. Slowly We Rot, oh my. The opening bars have been slowed down by design in order to really hit hard. It is monstrous, and when it’s time to speed up, the pit kicks off. It has lost of its brutality since its release and is a perfect way to end their set. They are touring a full set later in the year, go and see them. Thank me later.

Ah, Jinjer (7). Now, I must be one of the only people who haven’t heard any of their material and have been told that they are one of the ‘must see’ bands. I could use Setlist FM (similar apps are available) to inform of what they performed, but that would be slightly dishonest. I’ll approach this from the perspective of how well they went down for me and the rest of the crowd. Bearing in mind, by the time they start its only 7.20pm, but the place is rammed and for the next 50 minutes they play a faultless set that keeps the crowd up and moving. 

Each song is received incredibly well and there is no sense that anybody was disappointed by what they played or didn’t play. What cannot be denied is that Tatiana is the absolute focal point for everything that happens on that stage. Everything she does is done in complete synch with the music, the moves, the looks, everything is set and carried out with laser like precision. Watching her just own every inch of that stage whilst singing/growling and all points in between with no audible transitions between styles is breath-taking. As a performer, I’m not really sure who comes close to her.

So obviously you are thinking why just a 7? Well, its because that music itself doesn’t have a visceral energy to it. Its almost mechanical in its delivery and whilst it is heavy it just didn’t excite me. Opinions will no doubt vary especially when you consider that the place was probably full for their set.

So now for the main event. So, just for the sake of argument, there will be no Max/No Max discourse here.

Sepultura (8), in their own words have a lot of songs to get through and burn through a set that captures everything from Schizophrenia to Quadra. As the opening video montage unfolds there is an audible rise in volume, the audience has waited long enough and then its an explosion as they unleash an opening of Refuse Resist, Territory and Slave New World, each one as potent as the day they were written, and the place just goes nuts. Its glorious, and I should point out here that Derrick Green is covering a lot of ground here, the human definition of perpetual motion. 

Everything he does is in perfect unison with the music around him and with it comes a commanding performance which goes a long way to pick up the slack from having only one guitar on stage. We have a rough idea of what they will do tonight, and of course there is material from the later albums which is heavy but doesn’t have (at least for me) the same impact as those from the Max era. In any event, the Academy is lapping it up, from the very old school Schizophrenia’s Escape To The Void which is magnificent. Kaiowas is a highlight for me, the way they get friends on stage to assist to make sure that percussion driven sound is in place and is respectfully received too.

And they keep rolling them out as we enter the final stretch with the inclusion of Orgasmatron which I really didn’t think I would hear live. Arise closes off their set, and still a lightning in a bottle moment for extreme metal.

One complaint is encores. Please just play to the end and go.

Anyway, return they do and drop with Ratamahatta/Roots one-two which causes an explosion of movement, arms, legs the lot as the pit collectively lose their minds until the frantic last seconds. I suppose that its fitting that they finish on what was once considered a divisive song upon its release and is now one of their must play tracks. They depart, and we leave, safe at least in the knowledge that if this is the end for them then we have seen them deliver a genuine classic set.

Well, nearly. No Beneath The Remains.

A View From The Back Of The Room: Winterfylleth (Live Review By Rick Eaglestone)

Winterfylleth, Wormwitch & Bizarrekult, Billy Bootleggers, Nottingham 06.11.24

A Post Damnation trip on a windy Wednesday for a showcasing of black metal was just what I needed for what would be a series of firsts for the evening

First up were Norway’s Bizarrekult (7) who are on this current tour as first time visitors to the UK, their set was well attended and even with the slight technical hitches early on they still managed to deliver their own brand of mournful sorrow with a crestfallen wave of post black metal.

In stark contrast to their predecessors were Canada’s Wormwitch (9) who used their UK debut to deliver a fast, snarling outpouring of menacing ferocity for entirety of their set Much like their self-titled offering from the mid-point of the year it was technically brilliant and it is certainly a performance that isn’t going to slide out of my memory anytime soon.

This was the midway point for headliners Winterfylleth (10) as part of The Imperious Horizon tour. I’ve made no secret that their latest album which shares its name with the tour has taken my top spot for 2024 so the excitement was two-fold as it would also be the first time myself and may others in attendance had heard the newest material in a live setting for the first time.

For me it was a very much in the moment performance as for the first time in a long time the music seemed to take me away from everything else, this may have been down to my position at the front left of the stage (Ear Defenders I love you) but from that opener the sweeping instrumental First Light into the blistering Dishonour Enthroned the set included album’s title track The Imperious Horizon which was absolutely glorious alongside some nice surprises such as Mam Tor (The Shivering Mountain) and Whisper Of The Elements which only amplified my enjoyment of the whole performance all but confirming that not only had I made the right pick for the year but further cemented its top spot

Reviews: Yoth Iria, Shattered Hope, Tidal Shock, Shinigami GR (Reviews By Matt Bladen)

Yoth Iria - Blazing Inferno (Edged Circle Productions)

The second album from Greek black metal veterans Yoth Iria is another slice of Hellenic extreme metal from one of it's originators. Yep Yoth Iria still march to the savage beat of Jim Mutilator's bass, just listen to Rites Of Blood And Ice. With the doomy, mid paced stomp of the title track starting the record off, it's a slow build into the rest of the record where the drumming of Vasilis Stavrianidis is an absolute stand out, no matter the pace or direction of the track he's a powerhouse.

While the debut EP and first album were Jim re-announcing his importance on the Greek extreme metal scene, this second album is them it full power, the flame is indeed blazing, the ravenous black metal growls of HE, conjuring evil spirits and the the unholy ones while guitarists Nikolas and Naberius trade off grubby distorted riffs, trem picked melodies and classic metal lead breaks/solos on Purgatory Revolution.

These basic sounds augmented by extensive use of traditional Greek instrumentation and folk traditions, the clarinet in Our Father Rode Again His Ride. However they never shy away from the scene Jim help build, Mornings Of The One Thousand Golds proudly still exclaiming "Non Servium" with an epic extreme metal backing. Yoth Iria keep the fires of early Rotting Christ and Varathon burning strong, Hellenic Black Metal at it's most vital. 8/10

Shattered Hope - Memoir (FYC Records)

Nick (vocals), Sakis (guitars), Thanos (guitar), Thanasis (bass) and Yiannis (drums) make up Greek doom/death band Shattered Hope. A band who are definitely classed as funeral doom, without keys since 2014, they use heavy guitar riffs and feedback to portray the sense of dread and foreboding.

This three track record is their first new music for a while and feature two long, heavy doom tracks, playing with harsh and clean vocals throughout they're typical of Shattered Hope. Then there is a cover of Ble Himonas (Blue Winter) a song originally recorded by Greek language post punk/alt rock band Diafana Krina.

It's this track that's the most interesting if I'm honest as it's a much heavier version but keeps the innate sadness and gothic overtones of the original. Memoir keeps the doom flowing from Shattered Hope, throwing in a couple of new spices to keep it interesting too. 7/10

Tidal Shock - Riffs Of Ha (Self Released)

Tidal Shock are band all about the riffs, so much in fact that don't even let a little thing like vocals get in the way! With comparisons to Clutch and Red Fang, they also have a lot of the Greek stoner scene in their sound with Planet Of Zeus and 1000mods comparisons. For me though they sound a lot like Karma To Burn and Earthless, using the full scope of the stoner/psych/doom sound to kick out the jams on this six track record.

Now I'm usually a vocal guy, I love a good singer but there's something about instrumental stoner rock that means I can easily listen to it as is, it's about the power of the riff and there's loads on Riffs Of Ha. Formed in Greece but now based in Luxembourg, Tidal Shock have toured with some of the biggest names in the Greek stoner scene and it shows in the skill that bleeds through the epic title track and the rest of the record. Whether you dig this depends on your opinion of instrumental bands but Tidal Shock had me nodding along the whole time so that's a win in my book. 7/10

Shinigami GR - Borderline PD (Self Released)

Shinigami GR are a heavy metal band from Greece, formed in 2007 they have gone through a few like up changes but they are still led by guitarist Dion and now give us their second album Borderline PD.

The band name comes from a Japanese spirit who guides people towards their death. Produced by Bob Katsionis so it booms out of your speakers, Shinigami GR play classic heavy metal, the vocals of Vasiliki reminding me of Wales' own Krissie Kirby or Ann Wilson of Heart, she's a vocal powerhouse able to tell the story of this cat and mouse, murder mystery.

Dionysis and Leuteris are the guitar duo that music like this needs, Kostas it's percussive backbone alongside new bassist Christina and the keys of Konstantinos adds the theatricality to the this concept album where a detective hunts down a killer, the use of the keys steps up the classic heavy metal style with some prog metal drama on At The Scene Of The Crime or the huge AORisms on The Chase.

Basically this album sounds like Benedictum playing Metropolis PT 2: Scenes From A Memory, so yeah I love it. 8/10

Review: Klone, Neal Morse & The Resonance, Sólstafir, Sol Invicto (Reviews By Matt Bladen)

Klone - The Unseen (Pelagic Records)

I've seen Klone a number of times in the last but the last time I watched them play will stay with me for a while. Supporting Riverside, the French band played an acoustic set, the lighting set to the tonal changes, the sound crystalline perfection of a band stripped back but mesmeric. 

For me they were better than Riverside on the night, the acoustic show deliberate so they didn't blow the headliners off the stage with their ever impressive art-rock. This acoustic expression has come to influence Klone over their past few albums, and here with the percussive Magnetic. The atmospheres and tones of electronic/alternative and progressive music brought into a fusion similarly to the way Leprous have shifted their sound away from djenty heaviness into lighter melodies and emotive warmth.

Klone have taken a similar route for all of the dreamscapes such as Slow Down, there's the heavy thump of grunge and alternative rock. Soundgarden-like metallic sheen to their music on Interlaced but much more reminiscent of Porcupine Tree playing Alice In Chains, much of their music floats in a spectral landscape of undulating colours and textures. Emotive and conceptual, Klone have once again broken new sonic ground and built further on their signature expansive sound. It's a concoction they have been refining since 2019's Le Grand Voyage, gaining them a bigger audience, one worthy of a band on their tenth studio album.

Yes 25 years into their career and they have an album where every member shows what they can do, be it the meticulous, fluid playing of guitarists Guillaume Bernard and Aldrick Guadagnino, the open chords on the epic Spring feeling like Leprous or Steven Wilson via Opeth. In the powerhouse of the rhythm section Jean Etienne Maillard's bass spindly as it takes on a life of it's own set against the dexterous drumming of Florent Marcadet, who brings jazz to interlaced and After The Sun, the influence of jazz also felt by the use of saxophone. 

With tracks such as The Unseen and Desire Line it's Yann Ligner's voice that heals a d soothes you, the vocal guides through these journeys, he's one of my favourite vocalists around and his emotion and fragility on this record is hair-raising. I've played The Unseen countless times and each listen unveils something more, a stunning album from a special band. 10/10

Neal Morse & The Resonance - No Hill For A Climber (Radiant Records)

Whatever you think about rock music that has a strong religious message, the commitment Neal Morse has to his faith is something that must be commended. Since he left Spock's Beard, the band he co-founded, he has dedicated quite a significant amount of his solo material to celebrating his faith going as far as full blown concept records based around passages of The Bible.

What Morse has also stuck to is the sound he pioneered with Spock's Beard, inspired by the prog rock gats such as Yes, Genesis and Emerson Lake And Palmer, Neal Morse albums and those with Transatlantic, are always grandiose affairs with epic run times, cinematic shifts and plenty of virtuoso musicianship invariably from a who's who of prog rock/metal players.

However his new project Neal Morse & The Resonance tries to add a freshness and shake up the formula. It's a record based on Barbara Kingsolver's Pulitzer Prize-winning novel Demon Copperhead, a stark and dark retelling of the Dickens classic David Copperfield but unlike previous projects Morse chose a talented group of local musicians to make up his band here, on the urging of his wife.

Joing Morse on keys/guitars/bass/percussion/vocals is Chris Riley with Andre Madatian on guitars/orchestrations and drummer Philip Martin behind the kit. He also has a dedicated vocalist in Johnny Bisaha, another drummer in Joe Ganzelli, backing singers, string player and horn section. A massive band then for a massive album. Three 5-6 minute numbers wedged between two 20+ epics, the title track nearly 30 minutes long.

It's these middle songs that are the ones where this injection of youth comes in, adding new ideas, but some familiar lyrical content, while the two epics are classic Morse. Sat somewhere between his Spock's Beard latter period and the second Transatlantic release, No Hill For A Climber is another great Neal Morse record. 9/10

Sólstafir - Hin Helga Kvöl (Century Media Records)

Are Sólstafir Iceland’s most successful metal band? Well they’re certainly the most recognised by those outside of their native Scandinavia. As with so many bands who compose and live within the Arctic Circle in the constant darkness or eternal twilight, surrounded by the barren, beautiful, volcanic landscape of their native country, the music the band produce defies a lot of genre tropes. At times it shimmers with crystalline post rock, the next dives into the molten darkness of extreme metal, performing in their native language somehow making it more emotive, relying on how you interpret it (as an English speaker) an not whether you can understand.

 
Aðalbjörn Tryggvason’s vocals carry a power to bewitch, there’s an angst, a longing that comes through with the driving numbers such as Hún andar, the stripped back beauty of Freygátan and when they slow to doomy percussive blows that so often evolve into full bore elemental black metal, such as the title track. As the band shifted focus towards more anthemic tones in their music, they have embraced a type of open chord post punk that incorporates the swagger of a Morricone western. 

I suppose it reflects their country being one of the last few truly wild frontiers. Tryggvason and Sæþór Maríus Sæþórsson’s guitars are a full widescreen experience, the clean open melodies layered for full effect, but then distorted and raw for the aggressive parts, both coming with Vor ás. Svavar Austmann’s bass used to full effect on the wailing post rock of Sálumessa, the steady, studious drumming of Hallgrímur Jón Hallgrímsson a solid backbone here an on the raging Nú mun ljósið deyja. 

Haunting and atmospheric due to stripped back production and the influence of their countries co-existence in both dark and light, Hin Helga Kvöl (The Holy Suffering) encourages you to lose yourself in Sólstafir’s beautiful gloom. 8/10

Sol Invicto - Loosely Aware (Omyac Records)

Loosely Aware are the first three 'official' tracks released by underground metal band Sol Invito. Formed by producer/guitarist Richie Londres, Deftones guitarist Stephen Carpenter and Cypress Hill percussionist Eric Bobo. Originally based in the D&B/Industrial sound, they formed the Sol Invicto Comiti, an experimental members only club that resulted in a double album of demos and experiments. So Loosely Aware then is as I've said the first official release for the band outside of their own comiti.

A track such as Lost In Translation is testament to what Sol Invicto do as a band, Latin rhythms, crushing modern heavy metal, industrial desolation, it's almost like a combination of the members other bands but with a take no prisoners style of composition. With Bobo now off with London Symphony Orchestra's Londres tapped Dan Foord of Sikth to sit behind the drums so they could think about playing live. Every moment of these three tracks is aggressive, the percussion plays a major part of their style as you'd expect but Carpenter and Londres' riffs are choppy and techy with that thump of industrial metal in the background adding dissonance.

With a full length in the works as Sol Invicto and remixes under the Comiti banner there's a lot of music that's left to be explored by this collaboration. 7/10