With members of Iron Altar and Dog Tired, Scottish heavyweights Hammer live up to their name tenfold on their second album, the Penicuik based band with a singer originally from Jersey, create the loudest noises so far here on Trapped as it's a precision lesson in barbarity, spawned from a lack facilities in their hometown, so finding music was the only option, Hammer combine the extremities of metal music with death metal, hardcore, groove, thrash and a lot more besides.
Like a maelstrom that has been building up against adversity and is driven by and uncompromising attitude to not follow the norm, Hammer express themselves through the loudest music possible. The band’s PR cites influences such as Strapping Young Lad and Pig Destroyer, the record is full of progressively minded shifts between different realms of aggression. Mea Culpa hits you straight between the eyes, with a blackened trem picking and technical virtuosity in the battering grooves, it sets the table for a feat of excellence.
Trapped keeps you on edge it’s that feeling of not knowing what’s coming next but you will know it’s going to be loud and destructive. Hammer released their debut album just before the pandemic so Trapped is really a reset for them as they can finally tour new material not material that is a few years old. Trapped has been recorded with this in mind, just 7 songs in length, they pack ferocity into every minute, lyrics inspired by gaming and horror, Trapped In A House With A Maniac brings the bloody bulldozing of Aborted alongside their more modern death metal sound of The Black Dahlia Murder etc.
The vocals from James truly disgusting here as the riffs will give you stank face. So black metal into tech death, never giving drummer Keith Blaikie a moment to stop blasting, even when they hit some crossover thrash bounce on The Hanged Man or the snarling death of Gorehound, there's nuance and technicality in the guitar prowess of Dave Farrell and Adam Poustie, the latter along with Alive also getting a few breaks led by Piotr Kasprowicz's low end grind.
If you want any rest then you won't find it on Golem or Basilisk as Hammer continue to strike again and again. I absolutely loved this record and if you're a fan of heavy music you should too, Trapped is an unstoppable metallic clobbering from this Scottish Hammer. 9/10
Lommi - 667788 (Majestic Mountain Records) [Rich Piva]
Gothenburg, Sweden’s power trio Lommi can be described as riffs on riffs on top of riffs with some riffs on their full-length record, 667788, which may be the total number of riffs on the album. The band is not just about riffs, as the eight tracks on the record are heavy and melodic to go along with, you know what, the riffs.
The opener, Sayonara, exists to rip shit up, and boy does it. This is one tight and heavy power trio with riffs for miles and for days. I get some serious Helmet vibes on this one, both vocally and musically. The middle part has a sludgy feel to it, and chugs you to death. Down is next, and given what it sounds like the title makes sense for sure. Maybe even some Dime goodness in this one too. This is raw and heavy and I am here for it. Blood Moon is killer. Heavy and melodic, riff-filled, a kind of catchier High On Fire song. The three-minute ripper Rather confirms these guys would be fine on a 90s post hardcore bill and hold their own with some of the best.
There is a Prong and Helmet thing happening here. Children sees that 90s vibe continue, but now more like an Alice In Chains grungy thing with a cool tempo change included. Electric gives me more of that “High On Fire with more melody and just as many riffs” vibes, while also sounding like Therapy? at the same time, and it is excellent. Wish is more 90s post hardcore mashed with Pantera riffs goodness while the closer, Fight, hangs in Prong territory and lives there quite comfortably.
Lommi. I am assuming the name has something to do with the guy with the most riffs, and if so, while the band sounds nothing like the legend’s band, the riffs are certainly ever-present on 667788. A heavy, riff-filled, melodic when required, mashup of Helmet, Pantera, Down, Alice In Chains, Prong, Therapy?, and high On Fire. How’s that for a list of ingredients? Great stuff. 8/10
Call Of Charon – Tales of Tragedy (Massacre Records/Mystic Production) [Spike]
Germany’s Call Of Charon step forward with Tales Of Tragedy, a sledgehammer of a second album built for adrenaline and adrenaline fatigue. Clocking in at just over 32 minutes and ten tracks strong, this is deathcore sharpened with midwestern death‑metal riffs and a melodic bite that refuses to let up or give comfort.
Right out of the gate Devil In The Darkness storms in with guttural vocals and galloping drums, like sprinting through a concrete storm. No clemency. It immediately establishes that mid‑tempo breakdowns are rare; instead, Call Of Charon prefer brutal momentum. We Are One (An Ode To Murder) brings a sharp, punch‑to‑the face chorus, while Ocean Grave and Suffer In Silence sustain the onslaught with dense riffage and frantic drumming.
There’s little rest, though they tease it midway with Already Dead, an instrumental breathing space that permits the tension to reset but barely. By the time The Demon King hits, you’ve already been through the wringer. With guest vocals and a fiercely catchy chorus, it’s a standout moment of brutal melody straining against the core heaviness.
Tracks like Insomnia/Paranoia and Words Of Separation deliver jittery guitars and rhythmic disorientation, while They Come At Night closes in with sheer aggression. Final track One More Day somehow feels like the album's emotional anchor: pummelling, determined, and almost defiant beneath all that sonic violence. The production is tight and polished without becoming sterile, the guitars bite, the drums propel, and the vocals land with menace rather than bluster. Call Of Charon refuse filler; every riff hits its mark, every breakdown rips.
This is not an album that waits for approval, it demands participation. It’s built for sweat‑soaked rooms or long drives where nothing else matters. You don’t half-listen to Tales Of Tragedy, you survive it. Relentless and efficient, Tales Of Tragedy is a short, sharp brutalist statement. Deathcore with purpose and few apologies. 8/10
Nighthawk – Six Three O (Herzog Records) [Cherie Curtis]
Swedish rock band Nighthawk are back with a bang with their new album Six Three O. This album was recorded locally in legendary Rockfield Studios (where Queen recorded Bohemian Rhapsody) in Wales. What stood out most for me with this one is that it’s heavily influenced by early 80s classic hard rock, if you’re a fan of Kansas or Foreigner you’d like this one.
The vocals are substantial and powerful by Bjorn Strid accompanied by some dynamic and satisfying harmonies. What sets Nighthawk apart is John Lommyr on the keyboards, he provides an outstanding groove throughout especially in Turn To Me and Loosing My Mind which provides an age – old classic sound which are both invigorating and melancholy at the same time.
Lommi. I am assuming the name has something to do with the guy with the most riffs, and if so, while the band sounds nothing like the legend’s band, the riffs are certainly ever-present on 667788. A heavy, riff-filled, melodic when required, mashup of Helmet, Pantera, Down, Alice In Chains, Prong, Therapy?, and high On Fire. How’s that for a list of ingredients? Great stuff. 8/10
Call Of Charon – Tales of Tragedy (Massacre Records/Mystic Production) [Spike]
Germany’s Call Of Charon step forward with Tales Of Tragedy, a sledgehammer of a second album built for adrenaline and adrenaline fatigue. Clocking in at just over 32 minutes and ten tracks strong, this is deathcore sharpened with midwestern death‑metal riffs and a melodic bite that refuses to let up or give comfort.
Right out of the gate Devil In The Darkness storms in with guttural vocals and galloping drums, like sprinting through a concrete storm. No clemency. It immediately establishes that mid‑tempo breakdowns are rare; instead, Call Of Charon prefer brutal momentum. We Are One (An Ode To Murder) brings a sharp, punch‑to‑the face chorus, while Ocean Grave and Suffer In Silence sustain the onslaught with dense riffage and frantic drumming.
There’s little rest, though they tease it midway with Already Dead, an instrumental breathing space that permits the tension to reset but barely. By the time The Demon King hits, you’ve already been through the wringer. With guest vocals and a fiercely catchy chorus, it’s a standout moment of brutal melody straining against the core heaviness.
Tracks like Insomnia/Paranoia and Words Of Separation deliver jittery guitars and rhythmic disorientation, while They Come At Night closes in with sheer aggression. Final track One More Day somehow feels like the album's emotional anchor: pummelling, determined, and almost defiant beneath all that sonic violence. The production is tight and polished without becoming sterile, the guitars bite, the drums propel, and the vocals land with menace rather than bluster. Call Of Charon refuse filler; every riff hits its mark, every breakdown rips.
This is not an album that waits for approval, it demands participation. It’s built for sweat‑soaked rooms or long drives where nothing else matters. You don’t half-listen to Tales Of Tragedy, you survive it. Relentless and efficient, Tales Of Tragedy is a short, sharp brutalist statement. Deathcore with purpose and few apologies. 8/10
Nighthawk – Six Three O (Herzog Records) [Cherie Curtis]
Swedish rock band Nighthawk are back with a bang with their new album Six Three O. This album was recorded locally in legendary Rockfield Studios (where Queen recorded Bohemian Rhapsody) in Wales. What stood out most for me with this one is that it’s heavily influenced by early 80s classic hard rock, if you’re a fan of Kansas or Foreigner you’d like this one.
The vocals are substantial and powerful by Bjorn Strid accompanied by some dynamic and satisfying harmonies. What sets Nighthawk apart is John Lommyr on the keyboards, he provides an outstanding groove throughout especially in Turn To Me and Loosing My Mind which provides an age – old classic sound which are both invigorating and melancholy at the same time.
Six Three O is definitely an easy listen, It’s fast and upbeat. The guitar and drum rhythms are elevated, consistent and polished, this album is great when you need a pick me up. Nighthawk has been around for a while and has already established their sound, so this album isn't too different to what they have released in the past however this one feel more traditional hard rock and less experimental. Overall, this one is authentic and raw.
Six Three O combines the richness of 70s to early 80s rock with their own electric contemporary spin. 7/10
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