A View From Cwmparc: Puzzle Tree - Kingdom Album Launch (Matt Bladen)

Puzzle Tree & The Situation, Kingdom Album Launch, Parc Hall, Cwmparc, 28.09.25

It's not often I venture up into the heart of the valleys but when it's a special occasion I'll make sure to make the effort. Watching Puzzle Tree live is always very good decision no matter where they play but on home turf in front of friends, family and supporters from all across the UK, it was always going to have that little bit extra in terms of memorability.

An album launch so to fully showcase their brilliant new album Kingdom, they packed out the Parc Hall in Cwmparc, a theatre venue that had a big cavernous room perfect for the huge sound Puzzle Tree create. The weeks and months of stress were coming to a head but first there was a chance to warm up for what's to come.

This task had fallen to The Situation but this veteran band were more than up for the task having been a perennial opener for Puzzle Tree in the past. They took to the stage with a set full of melodic pop rock forged by a strong tradition in Wales through acts such as Badfinger, Amen Corner, The Alarm and even Dave Edmunds. The choruses make you want to sing along, the music bounces getting you moving and the whole thing has a very distinctive honesty about it. No frills or fashion just passionate people playing music and loving it. The between song banter was warm, friendly and full of self deprecation, the band were tight from years of playing and their songs were made to be shown on a live stage, it's all original and ready for mass consumption, the crowd couldn't get enough.

Suitably warmed up, fully lubricated by the variety of beverages on offer (some even plumbed for a ham salad roll) the crowd were ready to welcome the home town heroes back with a bang and as they took to the stage eye wide from the outpouring of love in the crowd they started with Portal the intro track from Kingdom and it was quickly into Writhe the heavy rocking first cut from the new record.

Much like it's recorded version on stage it sounds huge the biting riffs of Matthew Powell and Matt John cranking out through the theatre's P.A as the powerful drumming of Tony Jones and thick bass of Jamie Roberts felt like a plane taking off. With a a bounce and kick to the air Rachel Thomas started to belt and we were off to the races.

They followed Writhe with Deadfall, the two big rockers that opened Kingdom coming one after another as they showed the intention to play the entire new record in full for everyone to hear. After Deadfall, the vocals were adjusted to be higher in the mix but everything else remained the same, bold, dynamic and loud as anything. Kudos to the sound guy who was brought in last minute to mix the show and did a hell of job, though a few times looked as if he was going to explode.

The full album play through was confirmed in the short break between songs, the band totally blown away by how many had turned out to see them, I Am Gone and Lost Another Day came next, and I have to say that similarity to the songs on their first record Puzzle Tree's newest works are made for the stage, but unlike the earlier stuff (which came later) the songs on Kingdom are darker, more complex in the arrangements and overall have a darker tone to them.

The title track suite for instance has every ounce of progressive nouse the band possessed, weaving melodic guitars and dual solos from Matthew and Matt, while Jamie brings techy rhythms in the bottom end. It's got that vibe of Soundgarden jamming with Tool, but made for a wider audience. The deft percussion from Tony adding the Eastern flavour and both parts get a full vocal range from the astonishingly powerful voice of Rachel and also from Matthew who harmonize so well.

There's drama and pathos to the new record but also emotion there too, as a few cuts were dedicated to unnamed members of the audience, taking things into ballads that sent chills down the spine. You can hear the emotion and history behind the songs as they work their magic over the crowd. Now playing a brand new, perhaps little heard record in full is always a risk (some of us had heard it of course) however by the time they were blasting though album closers Wayside and Colossus, everyone was right on board with Kingdom.

A short break, a massive reception, a tonne of merch sold and then it was back for seven cuts from their first album. These tried and tested numbers gained more movement down the front but only perhaps become of familiarity. What I realised is how well their older stuff and their newer music fits together, with a setlist featuring both, there is going to be plenty of dynamism to their sets going forward, the whole spectrum of Puzzle Tree's influences on display as they perform at the very highest level.

With the last notes of High Tension, there was a collective release of joy, those in attendance joyful that the band had been magnificent on that stage and the band joyful that it had all gone so well after so much planning and stress. It was time for beers and glasses of wine all round as more merch flew out of the room, kudos to the guy who bought one of everything!

Puzzle Tree are now armed with two stellar record packed with excellent songs, they will be very dangerous on the UK live scene. I suggest jumping on the bandwagon now! 10/10

Reviews: Igorrr, Naevus, Maahes, Degrave (Rich Piva, Matt Bladen, Sasa & Mark Young)

Igorrr - Amen (Metal Blade Records) [Rich Piva]

When you tell me that something is for fans of Mr. Bungle it is an easy way to get me to listen. It is also a way for me to judge a record only based on comparing it to one of my favorite bands of all time. Also, just because a band is all over the place and play 7654 styles on one record (or song) does not make them Mr. Bungle, as this is a lazy comparison. So, here we are with the new Igorrr record. Yes, it is crazy, and there is some good stuff happening on Amen, but is it Mr. Bungle mention worthy?

Well, kind of, considering two current members of Bungle play on the record, Trey Spruance and Scott Ian. Also, Igorrr is using more conventional instruments for Amen, and it makes for a different, and for me, more enjoyable listen. Martyn Clément’s guitar work is great and sounds amazing on the record, especially on the opener, Daemoni. Headbutt sounds like a Mr. Bungle title and has some of those vibes, like how the piano partners with the blast beats, but then the church choir kicks in, until it transitions into a Behemoth track, until it doesn’t, and the siren song begins. OK. Cool. 

More church vibes emanate from Limbo, as I feel like I am watching one of the sequels to The Omen. Trey plays on Blastbeat Falafel and of course he does. This is a cool little funky ditty that gives me Zappa does black metal vibes. ADHD sounds like one of those Nine Inch Nails weird remix CD singles that had 42 version of Sin on it. The 12 second 2020 into Mustard Mucous has a recent Bungle but more electronic thing going on, with Scott Ian making his appearance. 

Infestis is Igorrr’s version of death doom and they do it just fine. Ancient Sun is soundtrack material while Pure Disproportionate Black And White Nihilism is a little of everything I mentioned in a blender. The closer, Silence, is not that, but it is the quietest of the tracks and is more classical music than it is anything else.

I was probably not the best person to review this, but here we are. Classical Zappa Black Metal is the best I can do here. It is unique, it is out there, it is crazy, and it will not be for everyone. I am not sure the Mr. Bungle thing works here, but I get why someone might say it. 6/10

Naevus - Back Home (Dying Victims Productions) [Matt Bladen]

Despite being coming together in 1991, Back Home is actually only German band Naevus' third album.

Back in the 90's they, like so many bands in the doom genre started out a death metal act but clean vocals began to arrive and by the time their first demo arrived they had settled into the classic doom sound of Trouble, Pentagram, Saint Vitus, The Obsessed, and Black Sabbath, getting them snapped up by Rise Above Records and released their debut.

A few shifts in circumstances meant they didn't play together again until 2012, releasing a second album in 2016, from then until now the band who still have the same line up that played on that demo, have been working on this third long player Back Home. It's another record of warming, emotive doom that has familiarity with any Patrick Walker (Warning/40 Watt Sun) project along with the veterans of the genre.

Walker is an old friend of frontman Uwe Groebel so there is a strong association between the two both personally and musically, with a track such as Under A Different Sky and Ghost carrying the emotional weight on top of the thick melancholic riffs. This is the first time the band have contributed to the song writing and the collective ethos has led to the tracks having a much broader feel but still hanging on to what has given Naevus a strong following after all these years.

The fact that Uwe Groebel (vocals/lead guitar), Oliver Grosshans (guitar), Sven Heimerdinger (bass), and Mathias Straub (drums) have all been in the band since pretty much the beginning means that every part is played with maturity and cohesion that only comes from a veteran act. Classic doom full of emotion, welcome Naevus' Back Home with album three. 8/10

Maahes - Nechacha (Massacre Records) [Sasa]

Egyptian black metal

A German band by the name of Maahes, that takes influence of ancient Egyptian concepts within their music, have released a new album by the name of Nechacha. for lovers of early Dimmu Borgir work this is definitely a likeliness to it.

The album consists of 11 songs lasting about 57 minutes in total, this would be the bands second album, this album has a more orchestral atmosphere to it, almost like a symphonic black metal.

The album starts off with the song magic slave it is definitely different from their earlier work as this is a lot more slower and complex with the instrumentals however it makes it much more unique and distinctive from other black metal bands. The song is beautifully put together with the piano playing slowly alongside the speedy drums. The vocals still having that black metal sound and feel but having it coexist with the other instruments which are a lot more slower and atmospheric touch to it, it is Hinestly gorgeously done.

As for the lyrics they are mythical focused and explore the points of civilisations, destruction and Egyptian goddesses and gods. Most bands use the mythology as only a part of the lyrics, but  Maahes has it at the centre. I love it, it is definitely a cinematic album, it is a rework of the bands original work with some of the of original concepts still part of it.

My favourite song within the album is morbid love, definitely the heaviest song within the album and the guitar solo ties it so well and would genuinely have it on repeat. The combination of heavy vocals and softer notes are usually hard to do but Maahes do it very well

I do love how it’s an ancient Egyptian style of black metal which is a lot different to what we would usually see within bands, it is definitely their signature and iconic piece, the album cover is also stunning and gives a good reflection of what the band is about as well as the vibe of the songs. 9/10

Degrave - Metalithic (ShredHead Records) [Mark Young]

Closing off this selection is Degrave with Metalithic, which if online sources are to be believed is the 4th album from the Jefferson City Natives. Its not been the best week for me in terms of reviews, so here’s hoping that they can round things off nicely for me.And our survey said – nearly. 

The opening track, Usurper Of Flame unfurls with an old school build, more akin to buzzed-up doom song that seems to take an age to really get going. But it does, popping in the speed in between lurching back to that lumbering opening pattern. Its not exactly thrilling and given that its 7 minutes long it had better do something quick or I’m skipping forward. Just as I’m about to do so a frenzied lead break springs forth, a stay of execution granted but If I’m honest I’m not feeling it at all. 

Sing The Body Electric is a different proposition, a more focused build which has more bite to it and then bang they step on the gas and it’s a whole new ball game. This is more like it, more aggression that steps onwards with Every Fucking Day, which has a more of a hard rock edge than metal to it. In its defence it moves along at a good pace and the main riff is quality but I’ve got to say that its not grabbing me at all. 

Lockdown reminds me of Nirvana’s Bleach, well the sound of that album as opposed to the music on it. Until they hit Slayer time with at about 2 minutes in, downpicking for fun and having a good time with it which carries on with Abort The Court, a nasty and frenzied track that keeps that momentum going. This is more like it, covering a lot of ground in its 2 minutes and 30 second run time. 

Living In A Smokescreen goes to the same opera that Iron Maiden did, its opening pattern ripping along into a fire breathing beast. It’s a complete about face from them and you have got to take your hat off to them for not staying on one lane and just writing what feels good for them. Its like a different band, this has that 80’s aura to it, the way that they stitch the disparate parts together and come out with this, well I didn’t see it coming at all. 

Following the bass heavy break of Ignis Accendere, they loop back to doom-tinge with Burn Up The Sky. This is all Wah and Black Sabbath, one of the best pairings since Yorke and Cole. It has the hallmarks of a smoked-out jam session that was hammered into form and is more in common with Usurper than Living In A Smokescreen. Death Is decides that it wants to have more of that metallic edge on display but the speed is lacking from what I hoped would have been a scorcher to close the album out. It just meanders along before petering out.

It’s an album that doesn’t seem to know what it wants to be, and it never recovers from that opening track. There are some good moments on here, but they are fleeting which kind of sums the week up for me. 6/10

Reviews: Stone Machine Electric, Moribund Oblivion, Mors Principium Est, White Reaper (Rich Piva, Spike, Mark Young & Cherie Curtis)

Stone Machine Electric - Faces (Argonauta Records) [Rich Piva]

Hurst, Texas psych doomsters Stone Machine Electric new record, Faces, brings a mind-bending heaviness that leverages all sorts of cool influences.

From Alice In Chains, to Led Zeppelin, to Hawkwind, to Southern Rock, to jam bands to just about everything else. The great JJ Koczan from The Obelisk once said about the band “…you know why I like Stone Machine Electric? Because I genuinely don’t know what’s coming next…”. I love this quote, because it is perfect for the band and perfect for the new record as well. 

Faces is less about their improvisational side which gave them the “doom jazz” moniker, and more about straight up song structure for the six tracks on record number six. While the song structure is more traditional, the six songs on Faces are all over the place stylistically in the best kind of way.

The eight minute opener, Just Another Wizard, starts with some synth and a sparse sound until the riff comes in and the plodding psych doom begins. I love the echoed vocals that partners so well with the low-end sound on this one. Great stuff. The middle to end part gets all trippy and it is glorious. Walls Of Hate has a grungy riff and has this very cool, off balanced kind of feel to it that gets all chunky and strangely heavy (in a good way). I love how it gets all proto doomy towards the end as well. 

Chroma has this doomy, grungy Zeppelin vibe to it is and is probably my favourite song on the record. Manic has another killer riff that continues this journey. I love how psych these guys get when they go off and jam for nine minutes, especially the guitar work on this one. Price Of It All has this Crazy World of Arthur Brown/Ghost thing going on and is super fun and evil lyrically. Maybe the most fun track the band has ever done and would easily be their radio hit. The closer, The Alp, gets the trio back to their heavy doom ways. You can’t help to hear some of their buddies Wo Fat on this track.

A band who never stays the same and you never know what to expect, Stone Machine Electric bring their most straight up rock record of their career with Faces, and boy is it great. The guys show they are not just “doom jazz” or a heavy improvisational band. These six songs show that if SME want to, they can write and deliver a record with more straight up song structures along with the best of them. 9/10

Moribund Oblivion – Intertemporal (Theogonia Records) [Spike]

Moribund Oblivion’s Intertemporal is a record that lives in the spaces between moments. From the first note, it grabs you, not with flash or theatrics, but with a sense of immediacy, of being pulled into a world where time itself seems to warp. There’s a tension here that reminds you why black metal can still feel dangerous, even when tempered by moments of melody and atmosphere.

The album opens with A Piece Of Infinity a blast of tremolo riffs and blast beats that threatens to overwhelm, yet it unfolds with subtle melodic passages and occasional clean vocals. It’s a reminder that the band are willing to take risks, to layer contrast on contrast, and it works brilliantly: the chaos never feels arbitrary. Cold The Night leans into melodic death metal territory, intricate guitars weaving around pounding drums, creating a sense of both dread and grandeur. Each song feels like it’s pulling you in a slightly different direction, yet everything is cohesive, the chaos has a logic.

Deceptive Portals flirts with unpredictability, adding minor jazzy flourishes and eerie effects without ever letting the black metal core slip. By the time the title track arrives, with its ethereal guitar tones and haunting female vocals, the album has already drawn you into its atmosphere. The song isn’t just a break in intensity; it’s a mirror to everything that came before, reflective and slightly unsettling, like looking at a memory from another life.

The production is precise enough to let every layer breathe but still captures the rawness essential to the style. You hear the sting of the guitars, the weight of the drums, the way each element coils around the others. Played on speakers or headphones, Intertemporal rewards close attention, revealing textures and nuances that keep pulling you back.

Moribund Oblivion manage to balance aggression and introspection in a way that few bands attempting this fusion do. Nothing here feels forced: every blast beat, every tremolo run, every melodic twist serves the atmosphere. There’s danger in the music, yes, but also space to feel it. By the end of the album, you’re not just listening, you’re moving through the temporal shifts the title promises, experiencing a journey that is both brutal and beautiful.

Intertemporal is an album that demands attention and rewards patience. Moribund Oblivion have crafted something dark, intelligent, and alive; an album that lingers long after the final note fades. 8/10

Mors Principium Est - Darkness Invisible (Reigning Phoenix Music [Mark Young]

Ah, melodic death metal.

The 9th album starts with a lean onto the symphonic side, distorted spoken passages into a deftly built rager that ticks all of the pre-requisite boxes necessary of this genre. Rapid drums, blurred guitar lines that soon drop into what I would say is an attempt at an anthemic chorus. It’s a good stab at getting the song over in the live environment, anchoring the fury with some very effective hooks. 

In terms of putting their best foot forward, Of Death opens their account up nicely. Its not reliant on just hammering you, and the lead breaks that come in near the song end are written with an eye on both technical prowess and having an emotional base to it. You can tell that after 9 albums that they have this approach down to a tee. As good as it is, it doesn’t strike me as being nasty enough with a crisp and clean production in which you can hear everything. For me it needs a level of grit but lets see how the rest plays out. 

Venator comes at you in a similar fashion bursting from the blocks with speed but laced with a deft melodic arrangement. Its energy is there for you to hear, especially when the solo drops but I’m not getting a buzz from it at all. Monuments is more of a mid-paced affair, stepping back from the rapido tempo that started proceedings. That slower speed gives them full reign to throw the melodic guitar lines in at every step but it all feels very safe. 

That’s the overall vibe from a personal perspective, that at this point the band are in safe mode, knowing how to write material that is impressive (it is) whilst possibly forgetting why they do it in the first place. I don’t review music in order to deliberately find fault but as I traverse my way through these opening songs all seem to follow a pattern with only the speed being a variable.

Tenebrae Latebra can’t really offer much in the time its allotted despite it being a wonderfully put together piece. Its orchestral build crying out for longer and could have really changed things up had they done so.

Its then back to basics with Summoning The Dark, until they bottom things out at mid-point and it takes a darker turn and goes heavy with a storming set of riffs. There is no denying that they can solo, combining speed and fury that is dazzling but there is something that is just not happening for me. Is it the familiarity from song to song? 

Or is it just destined to be one of those albums that I don’t get along with? It’s a combination of things really because younger me would have loved this because they tear through the remainder of the songs, from Beyond The Horizon and its faster than light playing, the fleet-fingered and foot In Sleep There Is Peace that touches down like a spinning top. But for all that speed, the fury behind is not aligned.

An Aria Of The Dammed is given longer to imprint on your mind and is another quality piece of music that takes in the orchestral and gives it a measure of life before its time elapses. Which takes us to All Life Is Evil, and they deliver an absolute pearler of a song. I’ve talked before about this music needing a visceral element to it, no matter how good the music is, it has to resonate somehow. All Life Is Evil picks up the classical motif from An Aria and brings it in, giving it an epic feel and as a result an emotional connection with me. 

This is a fantastic track, just fantastic with that choral approach providing that missing piece of the puzzle. From a review perspective, this is frustrating because I’m not suggesting that the music is poor, far from it. You don’t get to make 9 albums by being poor at it, I am suggesting that they have possibly forgotten that this music must have more than just speed or technical ability, it must thrill you and this in all honesty doesn’t. 

Rounding things off is Makso Mitä Makso (Isac Elliot cover) and is, well basically a metal version of Scandi-pop song. I think that fans of the band will be happy with this, but I don’t think it will hold many surprises for them. I’d be interested to see them explore more of that orchestral side because those two short ‘break’ songs are extremely well put together. For me, this is a 6/10

White Reaper – Only Slightly Empty (Blue Grape Music) [Cherie Curtis]

White Reaper brings us 10 fun, feel-good and catchy tracks which offers something everyone can enjoy. Only Slightly Empty is a great album for a long drive or music you might hear at your local rock pub. 

It has summery pop punk energy with raw vocals but a more technical approach to their instrumentals. This album shifts in pace going from an almost floaty, steady bop with tracks like Touch and Honestly which has slower drums and layered vocals with stunning glittery riffs and bass to a faster party anthem like Coma and Rubber Cement.

My favourite from this album is Enemy John, it feels nostalgic and melancholy with a chorus to sing along and rhythm to dance too and Blue consistent with Enemy John but with interesting sound samples. Eraser is striking, the vocals are lilting in delivery leaning towards their garage / pop punk side it was very refreshing to hear yet it didn't feel like the odd one out it was more creative but in keeping with their tone.

Overall, the production, performance and delivery for Only Slightly Empty is great. It can get repetitive around track 5 but if you’re a fan of garage punk or pop rock it's something you’ll enjoy. It may not be my personal preference, but I know a lot of people who would love this album. 6/10

A View From The Back Of The Room: Cardiff Huskies Fundraiser (Matt Bladen)

Raw Conflict, OnlyWayOut, Hollow Blessings & Goram, Fuel Rock Club, Cardiff 26.09.25



Now spending my night with a load of hardcore bands and dude doing karate is not usually on my gig list but when it's a charity gig, from hosted by one of my favourite people on the local music scene, raising money for the Cardiff Huskies, our Para Ice Hockey team, it's a hard one to turn down.

Add to that a chance to check out a live stage favourite and a few new bands who are used to throwing down over at The Cab in Newport it was enough to take me away from prog and stoner into a rarely visited scene. Due to it being a charity gig there's going to be no scores as it never feel right, but make sure you check out all of these bands as they killed it.

Kicking off the night were Bristol act Goram, inspired but the cities tale of two giants, they were definitely that, unleashing some speedy hardcore that immediately saw movement swirling around the vocalist who was shouting from within the crowd. There set was punctuated by breaks after their songs, a bit of drum shifts but this sort of chaotic stop-start nature only added to their D.I.Y charm. Still all quite young they've got time to refine things but their music is pretty much there full of fats aggression.

If there's a band who define the term refined it's Hollow Blessings. A band I've seen evolve on the South Wales stages their mix of post-hardcore, noise and almost sludge gives them an edge on whatever bill they play as they always seem to be the odd band out but actively revel in it. From the Coverage to Botch and a wide variety more, Hollow Blessings tweak their hardcore with electronics, chunky mathematical riffs and a feeling of disquiet. They're always a huge dose of heavy no matter where they play and tonight was no exception.

While things took perhaps and introspective turn it was OnlyWayOut who brought back the commotion. OnlyWayOut are proudly and loudly Newport City Hardcore, hardcore music from the most hardcore city in Wales. Don't believe me? Go there and find out! This was pure energy from start to finish rallying cries of aggressive hardcore with plenty of chug for throwing the wildest shapes.

Members of Proprioception and other hardcore acts joined throughout on vocals as the mic was passed around the room and they stormed throughout their set shouting out to the charity, the organisers, the cab and the scene on the whole. OnlyWayOut are lifers, there's no alternative, get down the front and kick off.

Finally the curtain was brought down by visiting Wolves hardcore mob Raw Conflict, this is the sort of hardcore I would associate the genre with, more towards the highly politicised American style, there was plenty of groove in their set that made for bouncing and throwing kicks, the vocals were balanced between spitting fast dialogue and screams and the songs all carried with them a political bent which was mirrored by the audience.

Despite OnlyWayOut having the home field advantage Raw Conflict were able to get those last bouts of energy out of the crowd while also getting across their message. It left Fuel devastated and no crowd killing in sight. They're a band I would encourage any of our Midlands readers to go see if you're a hardcore fan.

As I said at the beginning hardcore is not usually my go to but in Fuel on a Friday night it was just what was needed to release the week. Great bands, a good cause, loud and frantic just as it should be. Thanks once again to the folks at FHED for having fine taste.

Reviews: Tithe, The Chameleons, Crucible, Walls (Sasa, Rich Piva, Simon Black & GC)

Tithe - Communion In Anguish (Profound Lore Records) [Sasa]

A three-piece extreme grinding death metal band made up of Matt Eiseman (vocalist/guitarist), Alex Huddleston (vocalist/bassist) and Kevin Swartz (drummer), Tithe's new album Communion In Anguish is seven tracks of dissonant death metal.

I absolutely love this new album, it is extreme, dark, and contained political themes. Communion In Anguish has a blend of many genres and even that slight power violence element. The vocals are powerful, and the drums are fast paced heavy and loaded with rage. 

The track Shallow Grave Of Karmic Retribution is my favourite, Kevin Swartz drum skills are very impressive and nothing to laugh at, it is brutal and got that melodic touch to it when it combines with the guitar, bass, and vocals especially on this track, a definite headbanger. The lyrics hint towards calling out narcissism and users, the screams are just so satisfying and pleasing.

Moving onto another track I love is At The Altar Of Starving Children, it talks about being anti war and anti-greed, showing that the band does not shy away from being political at all. Across seven songs, they continue to give nothing but heavy brutal death metal with those powerful political themes. 

The only thing I wish is that there were more tracks and longer in length as I really do love what the band have made, with just 7 song it manages to blow you away with the aggressive bass and deadly speed of the drums.

If you love the dark gloomy vibes then this is definitely the best thing for you, it is diverse and distinctive and different to what is currently happening within the death metal scene. 10/10

The Chameleons - Arctic Moon (Metropolis Records) [Rich Piva]

The Chameleons are one of if not the most underrated post punk band of the 1980s. Them, along with The Wedding Present, at least from an American point of view, never got their due here in the States. Script Of The Bridge and What Does Anything Mean? 

Basically are pretty much perfect 80s post punk records. Bands like Oasis and Smashing Pumpkins site the band as major influences or as being big fans. The Chameleons have broken up and got back together a dozen or so times, but now, in 2025, they are back with album number five, Arctic Moon. 

Two main original members, Vox and Reg Smithies, are in this version of the band and you can certainly tell, as the trademarked The Chameleons post punk, early Brit pop sound is unmistakable on the seven tracks on Arctic Moon.

The opener, Where Are You? is perfect post punk circa 1985 or now, whichever you pick. The guys sound great and the band is super tight. Lady Strange is the same, and shows me that Teenage Fanclub must have been big fans too. 

Feels Like The End Of The World is a gigantic track, with an opening guitar line that sounds like it is from one of their contemporaries, Johnny Marr, and has 60s psych pop vibes combined with what the band does best. 

The piano-driven Free Me could have been stolen by Oasis and played on their stadium tour and no one would have known the difference. Magnolia sounds like it could have been one of their early b-sides. 

David Bowie Takes My Hand is a really interesting track. It is almost nine minutes of slow burn Bowie worship that you just have to hear because it is very, very cool. Saviours Are A Dangerous Thing goes down the more traditional Chameleons path to close the record out. Fans of the band will really appreciate this one.

Fans of The Chameleons getting their first new record from the band in 24 years will be very happy with Arctic Moon. The songs are all a bit too long, but hey, The Chameleons have a new record for the first time in 24 years. 

If you don’t know the band, start with the first two albums, but Arctic Moon is a great addition to a small but mighty discography. 7/10

Crucible – Hail To The Force (From The Vaults) [Simon Black]

I seem to be getting a lot of records like this. It all seemed to start most recently with Tailgunner’s Guns For Hire album, but the reality is that there’s been a glut of old sounding new and very young bands trying to create the era of the parents’ youth, not to mention a bunch of oldsters who never got anywhere at the time dusting off material lost to the intervening four decades, but this is a definite trend. 

Crucible hail from Denmark and this is a clear attempt to point out that this sort of NWOBHM / Speed Metal influenced stuff still sounds pretty good after all these years. If the cover doesn’t tell you where they are coming from, then let’s say that Judas Priest might be entitled to royalties on the basis of reasonable comparison…

One thing in their favour: Crucible have managed to capture the sense of speed and immediacy that old recordings done in limited studio windows very well, without losing all the advantages modern technology has afforded production values. 

Their approach quite originally is to make the full drum mix drums the complete click track for the whole recording, with the drum lines being recorded in real time as live, and everyone else slotting in around this. 

Fortunately, whoever miked this up knew what they were doing, because it absolutely works, and strikes the balance between capturing all the immediacy of the olden days, without compromising overall quality of the end product.

Then there are the tracks. These are all solid, fast-paced and anthemic riff-driven songs with some hugely solid instrumental work creating a highly impactful delivery, wrapped in some well thought out arrangements. The vocals are the one area that I’m struggling with though. 

Philip Butler has a good vocal range and can certainly hit those long high notes in the tradition of Dickinson and Halford, but his melodies and phrasing can come across as a bit repetitive, relying too much on his ability to hold and wail those high notes, which means we lose the impact of the words themselves. 

Don’t get me wrong, he’s naturally gifted with a great set of vocal apparatus, but a little technique is needed here to vary and balance the tone. It's fresh, raw, well-crafted but just needs a little more polish for maximum impact, but rather enjoyable nonetheless. 6/10

Walls - Endeavour Of Destruction (Self Released) [GC]

I always find reviewing new music a bit of a mine field as we usually get a PR kit with releases and sometimes I read them and just wish I hadn’t as some of the descriptions of the artists and their music sound very pretentious and way over the top.

Now I get its their job but it just seems unnecessary to me, today I read Belgian hardcore band Walls PR kit for their new EP Endeavour Of Destruction and it was really something!! There are lots of grand descriptions and promises of things you will only experience listening to this band?! Time to see if they deliver!

I am not instantly blow away by opener We All Suffer because one of the many differing influences they bang on about in their PR kit, nu-metal seems to be the main focus on this track with jilting time frames and squealing sounds covering everything and a bass heavy thud that drags and rumbles along, it never really picks up any pace and seems to form a track without any excitement, and it all just feels very meh to my ears.

White Ghoul attempts to offer more and while it does sound like a more formed song to begin with and has a half decent chug to it, we then get more of the angsty nu-metal woe is me stuff that sounded boring in 2003 so now it’s just not needed at all.

They switch between the heavier and mopey bits with limited success until Viper threatens to make me want to instantly give up and turn it off as it starts with some stupid electronic dance beat which does then actually make way for something with a bit of grit and energy but it doesn’t last for long and then we are back to the basic sounding nu-metal heavy core and its just not for me.

I don’t like the tone of the guitars and the mix feels horrible, I just don’t get this style of music at all and for people to call it hardcore actually really gets on my nerves. 

Gears Of The Cold Machine almost promises to save the day but ultimately fails, it starts out ok enough but, very quickly we are right back to a very basic sounding chugathon that lacks any emotional depth or anything that really makes your hairs stand up on end its all just so insipid and bland sounding.

Thankfully Quicksand Part 2 (Not sure where part one is, but I also don’t realty care as that would be another track I had to listen too!) is the last track and they don’t do anything different to what you would have expected, they chug and holler as loudly as they can but ultimately deliver nothing you can get any sort of feeling out of and honestly I am just glad its all over now.

Walls made a lot of big promises and raised expectations for this EP and they delivered precisely none of them! This felt completely devoid of any real emotion, it felt forced and empty, you can try to be as heavy as you want but if there is no feeling or emotion to back it up you will ultimately fall flat. 

This is exactly what Endeavour Of Destruction has done, I cannot emphasize enough that this is nowhere near a hardcore release this is a nu-metal core release if that’s even a thing? Whatever this EP is, unfortunately it’s not for me. 2/10

Reviews: BEAT, Risen Atlantis, Kepler Ten, Rubi Ate The Fig (Matt Bladen)

BEAT - LIVE (InsideOut Music)

Picture if you will Talking Heads legendary "Stop Making Sense" concert film/live album, but if it was almost entirely made up of post-70's King Crimson performed by a supergroup with a foundation of original members.

That's what you can expect with LIVE the debut of BEAT a live concert captured on video by Scrote (aka Angelo Bundini) with editing from lots involved and committed to record by Scrote, mixed by Bob Clearmountain/Ira Becker and mastered by Emily Lazar/Bob DeMaa. The album/Blu-ray is from the extensive USA/Mexico/South America tour they went on between 2024 and 2025, which captured BEAT at full flight.

But who is BEAT, well it stems from a conversation between Angelo Bundini and Adrian Belew, they wanted to do something related to King Crimson, with Fripp effectively finishing the band, long time vocalist/guitarist Belew wanted to continue the legacy some way so the idea was to pay tribute to the three albums where he and bass man extraordinaire Tony Levin made their first appearances Discipline, Beat, and Three Of A Perfect Pair.

Joining Robert Fripp and Bill Bruford firstly as Disciple but then going back to King Crimson as the noted jazz/prog act embraced New Wave, Post Punk, World Music and rhythmic discordance with complex funk arrangements. As these elements became more used in music inspired by them and Belew and Levin alumni such as Talking Heads and Peter Gabriel, you could say that by Three Of A Perfect Pair they were venturing into what pop was in 1983.

By 1984 this version of Crimson was done but those three albums are a very defined transformation in the King Crimson and the Belew/Levin story as if it wasn't for the appregiated guitars of Belew and Fripp, the uses of Friptronics and the Chapman Stick playing of Levin, then there would be whole host of bands out there that simply wouldn't exist. For instance listen to Elephant Talk and tell me you don't hear Primus, I dare you.

Anyway this three album, three year period has gone on to influence countless bands over the years and was put to bed relatively violently so it's safe to say there's a lot of love for these records from fans. It makes sense then that Belew would want to focus on this era especially when Tony Levin was in on bass, but who to get to fill the other roles? Well on guitar it's the man who has cultivated a career as one of the most innovative guitar players around Steve Vai and behind the kit is Tool's percussion maestro Danny Carey, making BEAT a super duper group.

The first thing you notice is the fluidity, the foursome are all top level musicians and virtuosity comes in droves with every single cut, from the intertwining guitars on Frame By Frame, to the more hopeless romantic notions of Man With An Open Heart or they way they easily incorporate some mid 70's Crimson stuff such as Red or Larks Tongue In Aspic, all four are locked into every moment trying to be the best live band on the planet, which Fripp considered the 1981-1984 line up to be.

Buyer beware, unless you are fan of King Crimson, Primus, Frank Zappa or any of these experimental geniuses then BEAT will go over your head. However for any armchair musos or fans this is hell of a live treat of you couldn't get to any of the shows on the tour. LIVE is a stunning snapshot of top level musicians playing homage to half of their memberships history and the other halves inspiration. 9/10

Risen Atlantis Feat. Frank Beck - Power To The Past (Frontiers Music Srl)

Those with any sort of knowledge of traditional/heavy/power metal should know the name Frank Beck, he's been beside Kai Hansen in Gamma Ray since 2014 as a vocalist, his more soulful delivery a counterpoint to Hansen's snarl. With Gamma Ray on a bit of a hiatus due to Pumpkins United, Beck was ripe for a call from Frontiers about a new project on the label

In conversation with producer/songwriter/keyboardist/bassist and here second guitarist too, Alessandro Del Vecchio, he expressed a desire not to perform anything that may appear on a Gamma Ray record but take a more melodic style, namechecking the likes of Ronnie Atkins, Jorn Lande and Jeff Scott Soto as the major influences. Of course Del Vecchio and co-writer/guitarist Brett Jones have done exactly that tailoring the songs to fit the gritty vocals of Beck.

They along with drummer Mirko De Maio have delivered with a whole album of melodic metal, where there's a lot of the names mentioned above but done with Beck's own unique vocals. There's some muscular balladry on Trapped In Heaven, swaggering heavy rock on Sea Of Tranquillity but also some galloping power metal on the likes of Lost In Time and Glory For The Brace, which brings with Teutonic metal power and twin axe harmonies.

Another Frontiers collab project that results in gold this label so often have. Expect more from Beck and Risen Atlantis. 8/10

Kepler Ten - Random Number Generator: Episode 1 (White Star Records)

Formed by James Durand (vocals/bass/keys), Steve Hales (drums/piano) and Richie Cahill (guitars) in 2014, Kepler Ten evolved from a Rush tribute into a band of it's own that is influenced by Rush, Dream Theater and Queensryche.

Signing to Chris Hillman and John Mitchell’s White Star Records they have released two albums previously after that Ritchie left the band replaced by Mike Tillotson and then Alistair Bell. With family issues, the pandemic and isolation, Steve began writing a multi part story called Random Number Generator, the music was commented and now we have the first part of the concept in Episode 1.

Since then Alistair has left the band but his guitar remains a key part of this new 33 minute record, from the opening wash of cleans on Lost In The Binary, we're brought into this sinister, digital world of Kepler Ten, the guitars getting heavier after the keys come in, it's quite reminiscent of White Star Records founder John Mitchell's projects, so there's a continuity there as the very guitar driven track segues into some pulsating synths and percussion for Fracture.

With Fracture, Kepler Ten lean on that history of Rush, the song taking the form of some latter period Rush as well as often underrated Canadian act Tiles too. There's a real emotion that runs through this record, with tracks such as My Compass Rose, but even when they're going fully into some Dream Theater prog metal on The Truth And The Lie, the lyrics carry weight to them, creating the concept of alienation and digital dominance that this album handles.

Random Number Generator: Episode 1, is a beginning, setting out the storyline through six tracks, the most affecting of being acoustic Sobriquet, but they return to thumping electronic prog rocking on the 7 minute finale SuperVoid. It's a great return for Kepler Ten with this new record but going forward they'll be completing the next parts in their original guise as Richie has returned to the band.

So this next chapters may have more in common with their earlier records, or maybe they won't that's the excitement of progressive music and Kepler Ten for me. 8/10

Rubi Ate The Fig - Desert Electric (Self Released)

Some Bedouin Blues Rock now from the sort of artist that would feature heavily at WOMAD festival. Rubi Ate The Fig is the creation of vocalist/songwriter/guitarist/producer Sharon Eliashar, born in Jerusalem, raised in California, both of these cultural identities make their way into her songwriting with the blissful psych of the Grateful Dead or Jefferson Airplane, fused with Middle Eastern traditional elements that have been inspired by her time alongside the Bedouin in the Sinai desert.

With the experimental ear of Peter Gabriel, there's lots to like here for fans of Goat, Tinariwen and SOBO. Sharon states that all her songs are about "love, sex or death" and it's this dangerous mix of the erotic and exotic that draws you in with sultry atmospheres on tracks such as Gilgamesh, Breathe With Me Slowly and the Zeppelin-like drama of Caress The Moon.

This is Desert Electric after all so there's rock meets Middle East riffs coming from the incredibly talented band featuring Marc Mann (guitars/keys/vocals/orchestration/production) who is a long time collaborator of Danny Elfman, Rich Mouser (guitar/engineer/production) a noted engineer and player.

Ali Paris takes the Qanun, a 76-string Zither, that fills out the third lead instrument role getting some solo sections. Behind this is the bass/saz/cello of Miles Jay, the hand percussion (dumbeq/frame drum/riqq) from Polly Tapia Ferber and drums that come from Danny Montgomery who has performed with Percy Sledge and Taj Mahal.

This record has had a torrid history as the L.A wild fires meant much of the original recordings were lost, but they managed to piece together an album that skilfully blends multiple elements, the husky strains of Sharon's vocals carrying these love songs from the desert which have been a long time coming. If you've ever loved anything from The Tea Party then you'll love Rubi At The Fig, let's hope the next record doesn't take 5 years. 8/10

Reviews: Dreamlord, Blizzard, Toxic Terror, Pellocuse (Matt Bladen)

Dreamlord - Artificial Imprisonment (Self Released)

The new album from Dreamlord, Artificial Imprisonment is an album that "explores the inner struggle of man with artificial isolation, digital addiction and modern social alienation" through the medium of a damn good thrashing (to quote Basil Fawlty). 

Having formed way back in 1995 but not really realising anything significant until 2007's Dreamlord compilation, much of this due to military service. Their full length debut came out in 2019 but in the midst of a pandemic they started writing a follow up as if making up for lost time, they enters the studio on 2023 and out of that came Artificial Imprisonment. 

From the title track you can pinpoint the influences on offer here, Dreamlord owe plenty to Megadeth and early Metallic with a bit of Testament in there's too. Essentially a Greek band playing Bay Area thrash that snarls with political and ideological anger.

Babis' rhythm guitars are razor sharp, all down picked and rapid, while he shouts down the mic with a sneering thrash tone that you would think comes from the USA. Behind him is the rhythm section of bassist Christos Peveretos and drummer Nikos Kousounis who add an Anthrax like bounce to No Room For The Dead and a mighty chug to Against Control or the while with No Way Out they take a more measured approach. 

There's of course some lead guitars, these being the realm of Yiannis Glykiotis who widdles away gleefully when he's not doubling down on the thrashing with Global Decay. 

Artificial Imprisonment brings American thrash from Greece and I'm here for it. 8/10

Blizzard - Forgotten Gods (Self Released)

Some classic heavy metal from Thessaloniki now and it's another band with a potted existence, their most recent reactivation being 2018 and this has led to their first official album entitled Forgotten Gods. Now they have plenty of experience behind them and as they entered Infected Studios with George Stournaras to record this album of music that owes an awful lot to the NWOBHM style crossing into power and thrash metal too. 

The title track is very Iron Maiden as is the galloping (courtesy of Giorgos' bass) Hunters In The Dark, the bass is also the way they lock down the strutting Moonlight as they shift to some sleazy 80's sounds. On the other side of things Alexis Alexandri and Aggelos Eleftheriadis lead the charge with some twin guitar antics on Sum Of Your Fears and Gardens Of The Light where the marching drum beat of John Filippidis drives the track. Vocally Andreas Oikonomidis is muscular and low giving off the style of the US power style rather than the European one. 

After a long existence Forgotten Gods is full of NWOBHM riffs and is a strong debut from Blizzard. 7/10

Toxic Terror - Isolation (Self Released)

Cretan thrash from Heraklion based Toxic Terror now as the faster style of thrashing is unleashed from the first moments of Empty Shell and never really relents. Many of the modern thrash bands try to outpace each other and Toxic Terror do the same, with less influence from Megadeth and Metallica and much more from the scuzzy speed metal sounds of Overkill, Nuclear Assault and Exodus. 

Isolation is as old school as it gets vicious and stays vicious, the guitars like laser guided missiles, the vocals raw and the drumming full of snare on tracks like Song Of Sadness. It's only Imprisonment that slows down a little before getting nearer to death metal than any other track. Then it's back to speed and if Against The Wall, doesn't get you wanting to run in a circle then I don't know what's wrong with you. 

There's plenty of mosh-minded, technical thrash from Toxic Terror to enjoy on Isolation. 7/10

Pellocuse - Burst In Exosphere (Self Released)

Concluding our journey through the Greek thrash/classic metal scene it's another debut album this time from Thessaloniki's Pellocuse. Now Pellocuse are a much younger band than the others we've featured here, not that you can tell as they deliver a mature debut on Burst In Exosphere. Again there's Testament in their sound as soon as your hit play on Underworld, but with Seekers they bring a little bit of classic metal in the leads taking from Motorhead here. 

As they are a new band Pellocuse try to do a lot with their debut, they slow down with Terminal Image and the middle section of Irrational before the solos kick in, they have a bit of atmospheric interlude on Morphine before Substance At Fault takes in some Death Angel prog. The production is very D.I.Y, making for a rough listen but then that never really effects thrash too much as it's made for being a bit raw. 

Burst In Exosphere is a debut with a load of talent, if you're a thrash fan you'll be liking what you here. 7/10

Reviews: Vintersorg, Voidlurker, Sundrowned, Demiurgon (Rick Eaglestone, Matt Bladen, Cherie Curtis & Martin Brown)

Vintersorg – Vattenkrafternas Spel (Hammerheart Records) [Rick Eaglestone]

There is something profoundly mystical about the way Andreas Hedlund approaches his craft under the Vintersorg moniker, and nowhere is this more evident than on his latest offering, Vattenkrafternas Spel (The Game Of Hydroelectric Forces).

From the moment the opening track cascades into existence like water rushing through a mountain gorge, Hedlund has crafted quite exquisite as the compositional architecture throughout Vattenkrafternas Spel demonstrates Hedlund's continued evolution as a songwriter. Where his earlier work often relied on stark contrasts between beauty and brutality, now there seems to be more of a nuanced approach that allows elements to flow into one another with liquid grace.

Vocally, Hedlund continues to astound with his range and versatility. His clean vocals soar with operatic grandeur when the material demands it, conveying both the majesty of untamed nature and the introspective quality of solitary contemplation. When he shifts into harsh territory, there's a raw power that never feels forced or gratuitous – instead, it serves as the perfect counterpoint to represent the more destructive aspects of the elemental forces he's channelling and in particular the Swedish lyrics, while impenetrable to many listeners, carry an inherent musicality that transcends language barriers.

The album's conceptual framework, is centred around hydroelectric power and humanity's relationship with natural forces, provides more than just thematic window dressing. It serves as a genuine structural element that influences everything from the ebb and flow of the compositions to the choice of instrumental textures.

The mixing allows listeners to focus on individual instruments without losing sight of the ensemble, creating an immersive experience that rewards both background listening and intense scrutiny through quality headphones. There are well placed guest appearances woven in too Guest vocals on” Efter Dis Kommer Dimma by Johanna Lundberg and Guest Keyboards solo on Ödsliga Salar by Peter Roy Wester

For newcomers to Vintersorg's catalogue, this album provides an excellent entry point that highlights the project's distinctive blend of progressive metal sophistication and folk-influenced melody. Long-time followers will find familiar elements pushed into new configurations, creating a sense of comfortable exploration that never feels like mere repetition.

Overall the balancing razor-edged riffing with layered clean vocals, icy shrieks, and a knack for songwriting that’s as cinematic as it is punishing suits the aesthetic down to a tee and a the nights turn in an there is a crisp in the air, this is a perfect accompaniment for this time of year.

A captivating mix of atmospheric metal and folk. 7/10

Voidlurker - Loathe For Life (APF Records) [Matt Bladen]

Is Birmingham the birthplace of heavy metal? I mean there's a fairly strong argument to say it most definitely is, so when a band comes from the city with some colossal sludge/doom riffs they are keeping the heavy metal history alive in the loudest way they can.

A trio, made up of Brad Thomas (guitar/vocals), Andrew Rennie (bass) and Mitch Bishop (drums), they've released some singles and EP before this, building a following slowly but surely since 2017, playing the New Blood Stage at Bloodstock and alongside Conan, Crowbar, The Obsessed and many more masters of the riff, so they've paid many dues on the UK stages.

This second EP once again recorded with the guru of noise Chris Fielding at Foel Studios, dialling up the fuzz and distortion so Voidlurker will strike your eardrums like a hammer, kicking off with the vicious Green Ghost, shifting towards more massive sludge/doom on Loathe For Life.

Unfazed by fads or what hot, this is music that comes from the underbelly, sleazy, grimy and menacing, fresh off the streets of Brum, with S.O.B bringing a pummelling repetition and Time Heals Nothing dials up the heaviness towards the end leaving your ears ringing for about a week afterwards.

Voidlurker do more than just lurk they intimidated and threaten, a monster from the shadow that swells into something all consuming. They're from the birthplace of heavy metal but Brad Thomas, Andrew Rennie and Mitch Bishop won't rest until it all gets crushed under their steamrolling slowness. 8/10

Sundrowned – Higanbana (Fysisk Format) [Cherie Curtis]

Sundrowned brings us Higanbana 7 tracks of an ethereal amalgamation of sound complimented by heavily distorted, deep and powerful metal vocals. The album itself doesn’t feel heavy in the way we are used to but the sheer volume of intricacy and resolve shines through each track, it’s beautiful, loud and tranquilizing.

What stands out the most in Higanbana is the drums. It's loud enough to rattle your brain, it’s strong, booming and varies between complex and simple, considering its strength it doesn't pump you up but acts as a pulse for each track. The lead guitar does its job like a flashlight in a tunnel and wields elaborate riffs. What’s interesting to me about this album is that it’s instrumental focused and however strong the vocals are it doesn’t take the shine away from the musical composition.

This album is more of a soundscape than anything else and that’s what I feel sets Higanbana apart from its genre counterparts. As someone who isn’t familiar with Sundrowned, this album isn't like anything I have come across so it feels special. 

Although it’s not something I would gravitate towards normally, and I did find it to be a little slow and longer than expected upon second listen it did grow on me, and I started to really appreciate it. Overall, I did enjoy this one and if anyone needs something to unwind with, I recommend Higanbana. 7/10

Demiurgon – Miasmatic Deathless Chamber (Transcending Obscurity Records) [Martin Brown]

Italy’s Demiurgon return with Miasmatic Deathless Chamber, a record that plants itself firmly in the brutal, technical wing of death metal. From opener Worldwide Grave through to Apoptosi, the formula rarely shifts: fast, jagged riffs, relentless percussion, and guttural growls delivered with precision.

The performances are solid. The guitar playing is sharp, the drumming forceful and locked-in, and the vocals do their job without falling short of their narrow remit. The issue isn’t ability, it’s variation. Track after track follows much the same feel and flow, and very little stands out once the album has run its course. Even the title track Miasmatic Deathless Chamber and Throne Of Derangement, which hint at dynamics, don’t do enough to break the mould.

Production is clear and competent — perhaps too much so. The guitars sit very high in the mix, often overshadowing the bass, which is difficult to pick out with clarity. Drums cut through well, but the balance feels guitar-forward to the point of dominance. The result is a clean, polished sound when what the material could really use is a harsher, grittier edge to match its subject matter. Production is a huge part of the sound character, and here it is bordering on sterile.

Miasmatic Deathless Chamber is fine, but it doesn’t demand repeat listens. It’s an album that shows technical ability without leaving a lasting impression. 5/10

Reviews: Rage, Cosmic Reaper, Terra Atlantica, War Grave (Simon Black, Rich Piva, Matt Bladen & Martin Brown)

Rage - A New World Rising (SPV/Steamhammer) [Simon Black]

Rage caught me by surprise when I first came across them a few years ago. As one of the contemporaries of Helloween and one of the progenitors of what is now called Power Metal, Rage have an extensive and impressive discography, yet over here in the UK they remain relatively unknown. 

This is a shame, because everything of theirs that has crossed my platter has impressed me by sounding fresh and energetic, and definitely not the product of a forty-year-old band on the eve of their twenty-seventh studio release. That said with only bassist/vocalist Peavy Wagner still standing, it’s a lot easier to refresh your sound when the rest of the lineup has revolving doored themselves as much as Rage have experienced.

Regardless of who else is in this year, once again Rage are delivering a refreshing blast of traditional yet slightly heavier Euro Power Metal with far more zest and originality than many of the numerous peers on the circuit, although I would argue that as one of the original five bands in the genre that the real tough competition remains the likes of Running Wild, Helloween, Blind Guardian and Grave Digger – all of who are still going in one form or another. Rage however still retain that Thrashy edge that led to them being one of the original bands on Noise’s roster way back when.

This album picks plenty from currently global and political events and the threats around the corner, following on from its dystopian predecessor, but this isn’t an overwrought conceptual piece. The songs on here all stand up well on their own, with a higher than average number of anthemic bangers, which seems to be something Rage are increasingly adept at. The material is all super speedy in the most part, which really helps with the energetic feel of the piece, which considering its less than two years since we last had a new album is impressive as ever.

The Thrashier side is toned down a lot throughout, and the songs add a little more melodic anthemic chorus lines that add a little depth, but when needed this packs a heavier punch as well, with some really solid production values that really add a finishing touch. After fifty minutes, I find myself wanting to listen again, because there is zero filler in here. It’s hard to be this prolific and not sound tired, but Rage are still bang on the money after forty-one years. 9/10

Cosmic Reaper - Bleed The Wicked, Drown The Damned (Heavy Psych Sounds) [Rich Piva]

The North Carolina scene is really killing it these days. All of the major cities in the state seem to have a flourishing heavy underground scene. Cosmic Reaper is one of those bands, from the biggest city in the state, Charlotte, and they are back with their brand of fuzzy doom on album number two, Bleed The Wicked, Drown The Damned, brought to us from Heavy Psych Sounds. 

Record two starts where their self-titled debut ended, but Bleed The Wicked, Drown The Damned has the band has taking their songs and writing up a notch, invoking some of the heavier bands from the 90s grunge scene even more and incorporating it into their more traditional doom sound, with outstanding results.

I am always here for a band who opens a record with what reminds me of an early Trouble riff, and that is what you get from Hammer. This is plodding, big riff doom at its finest. We do get a bit of a tempo change, which is where I hear a sort of Goya thing going on, specifically from their record from this year, which is top ten of the year for me. Great stuff. More big riffs and Trouble vibes come at you with Bloodfeather, which has a sound right out of Metal Blade circa 1985. 

Pot Of Gold is really where the 90s vibe kick in. In their bio, the band states that they wanted to bring “a touch of 90s angst” to this record. Mission accomplished, as I get The Melvins and Tad, at least musically, with this one. The juxtaposition vocally is what makes Cosmic Reaper stand out. Lead singer Thad Collis has higher vocal register, putting the low and heavy music with the killer higher vocals, and it works perfectly. 

Cosmic Reaper brings the proto on Parasites, a riff filled old school masterpiece, while the three-minute Dwelling is a sort of a psych doom trip that acts as a bridge to the tail end of the record. That tail end includes Perfect Organism, the most despair-ridden track on the record and is some heavy doom goodness with traces of the slower Alice In Chains songs in the mix. 

Bones, which is the most 90s track on Bleed The Wicked, Drown The Damned and invokes the fuzzier side of Seattle circa that era. As well as the closer, Waiting By The Gallows, where Cosmic Reaper waited until the end to bring the slowest and heaviest track to the gathering.

Someone made a comment to me that there are not enough good new doom records out there is 2025. I disagree, but if I need to throw evidence someone’s way Bleed The Wicked, Drown The Damned could be exhibit A. North Carolina is the Portland of the East Coast right now, as there are so many good bands in the region. Cosmic Reaper is right up there with the top bands representing NC, and Bleed The Wicked, Drown The Damned is a great next step. 8/10

Terra Atlantica - Oceans (Scarlet Records) [Matt Bladen]

It feels like it's been a long time since I took to the high seas with Terra Atlantica. In reality it was 2022 that Beyond The Borders was released and we had the last chapter of this German band's nautical concept metal. Richly filled with pirate fantasy, swashbuckling adventure and Steampunk imagery Terra Atlantica have been a favourite of mine since I heard their debut in 2017. It's the guitars, the drums the vocals all playing a role to previously deliver three stellar albums and now look set to again impress with a fourth.

This is symphonically driven power metal which reminds me of Serenity, Twilight Force, Majestica, Dragony and of course they will always be compared to German power metal legends Running Wild, due to both their lyrical content and their style, I mean opener Back To The Sea is just pure Rockin' Rolf! The galloping power metal riffs, full of energy and passion, boosted by the strings and orchestrations and huge choruses that beg to be sung along to. It's all very cinematic, brimming with tales of lost civilizations and pitched battles on the ocean.

They look to their predecessors in the German heavy metal scene too by bringing in Piet Sielck of Iron Savior on Through The Water And The Waves but they are a band creating their own legacy with their music, from the accordion driven jig of Hoist The Sail, the epic battle scenes of Turn Of The Tide, the full speed Land Of Submarines. There's some classical influence on Oceans Of Eternity as the opening strong piece comes from Handel : Suite No 4 in D Minor, HWV 437, Sarabande.

Terra Atlantica also seem to diversifying a bit with album number four as there are a few more slower or mid-pace tracks which brings a bit more theatricality and emotion to their songwriting, similar to what Sabaton have done in recent years. Still for my money they're one of the best new cinematic, power metal bands out there today. Hoist the mizzenmast and set sail once again on these Oceans. 9/10

War Grave – Free Will (Independent) [Martin Brown]

War Grave’s Free Will wears its influences plainly. It’s heavy metal built on classic power shapes, but with a thrash streak running through most of the riffs. Songs don’t drag — three to five minutes, a riff or two to hang on, and always a solo. Free Will and Night Hunter push hard and fast, Break These Chains is written like a live set-piece, and Light ’Em Up slows down enough to breathe.

As Far As You Can Go shows where the band think a bit wider. Around the two-minute mark there’s a guitar break that opens the floor, the drums shifting pattern to carry it into the next section. It’s a simple move, but it stops the track from being just riff after riff. You hear the same approach again in Rise Of The Titans and even the closer Forever With Me — little changes that make the songs move rather than just repeat.

Roman Kantoch’s voice is right up front. It cuts sharp, bright, and often reminds me of Joey Belladonna on Spreading The Disease. That mix of clean power and a touch of theatre glues the thrash-leaning guitars to the more melodic passages.

The production is clean enough. Drums are locked in, guitars have space, vocals sit on top. It’s polished, but not so much that it gets in the way of what the songs are doing. The brightness in the mix lets the leads stick out and keeps the drive consistent across the album.

War Grave aren’t hiding what they are. Power, melody, grit — familiar ingredients, but put together in a way that works. As a debut, it shows a band who already know their lane and how to make it count. 7/10

Reviews: Beyond Extinction, Dying Wish, Abraded, Last Retch (Matt Bladen & GC)

Beyond Extinction - Where They Gather (Self Released) [Matt Bladen]

If you'll allow me to go off topic a little, this one is a bit more personal. While Zach Scott was making his way into the music industry he took a lot of different roles, one of which was writing for this publication. He was a passionate writer and we struck up a friendship but ultimately his focus turned to making music and the band that he founded, Beyond Extinction.

I totally understood his decision to move more in creating music than writing reviews and I wished him all the best and started following Beyond Extinction to see where they would go. There was a lot of noise around them, they rapidly started to ascend the ranks but then the unthinkable happened and Zach passed away aged only 20 in 2023.

This hit those who knew him very hard, of course, and I can't even imagine how his loved ones felt but even those of us who were only in his peripheral were still shocked by the unfairness that someone so talented and so young was no longer around. For the band there must have been a temptation to put it to rest, to move on, but Beyond Extinction decided that Zach's legacy had to continue and that their ascension would be in tribute to their fallen brother.

So with Danny Russel joining on guitar the Essex based band have channelled their collective pain into creation of their debut album Where They Gather, which is a an absolute monster of a record from start to finish, a dystopian, Orwellian nightmare set to disgusting, demolishing modern death metal that suffocates you with intense breakdowns, blistering blast beats and a nihilistic world view where the riffs are used to bring devastation on tracks such as the angular Seven Spears and the mechanical assault of Mansions Burning On Bleak Horizons.

Like their previous EP, Where They Gather is a concept, the final human metropolis which makes Judge Dredd's MegaCity One look like the village in All Creatures Great And Small, fascist oppression around every corner and the last bastion of humanity trying and mostly failing to survive. This storyline of self assured destruction, closes with the technically brutal U-235, an instrumental that is chaotic as it is virtuoso, perfectly befitting of the element that is vital to the atomic bomb.

The lyrical thread was inspired by vocalist Jasper Harmer's late night walks through London and how the city at night built the sort of revulsion that oozes out of Winter Sun and Traitors To The Ropes. Where They Gather was built through suffering and heartache, by reflecting this with their music they connect intimately with the listener, though merciless modern deathcore. 

Rest In Power Zach, your boys done good! 9/10

Dying Wish - Flesh Stays Together (Sharptone) [Matt Bladen]

The album artwork for Flesh Stays Together is very provocative, involving plastic bags and blood red lips, it's an image that very much reflects the music Dying Wish create, politically charged, beatdown heavy hardcore with a brain, writing songs about the constant suffocation we have around us, choking anyone who seems to have a differing opinion to death.

This Portland band have been causing their own brand of chaos since the late 2010's but since the pandemic they have really upped their output, releasing a record in 2021, 2023 and now 2025. This speed of recording probably bolstered by the band having a lot to say about the state of the world.

I genuinely believe there been no better time to be a political hardcore band, we're at our most divided in decades and species and that always translates into the most visceral, vicious and often most personal music, which is what we have with their third album Flesh Stays Together.

The band, Emma Boster (vocals), Pedro Carrillo (guitar), Sam Reynolds (guitar), Jon Mackey (bass), and Jeff Yambra (drums), have all matured as people and as songwriters and that shows on this record. They strike at the heart of racism, genocide, fascism and discrimination as band who have lived through all of these things.

It's metalcore without the fear of experimentation, the entire ethos of the record was to sound as derelict and downbeat as they could, a record without hope, one that increases the heaviness of the band outright but also adds more clean vocals to the animalistic screams on tracks such as Heaven Departs.

It's claustrophobic at times, like the world is collapsing around you but with Moments I Regret and the title track, they slip into something more melodic, though this isn't redemption, just acceptance in another form, their evolution as a band can be charted in the same way a band like Knocked Loose have adapted metalcore/hardcore into their own thing, Dying Wish do something similar the production of Will Putney giving Flesh Stays Together a similar tonality to the Kentucky act.

Boster says that "there’s an underlying theme that God has abandoned us”, a knowingly provocative statement that is echoed throughout America's marginalised communities such as the non-white, queer and disabled. However the band don't offer solace, this isn't an album of answers, it one that wallows in it's misery, hinting that the possibility of "do unto others" would never ring true as the divisions grow larger.

Come wallow and be bludgeoned by the emotive heaviness of these hardcore lifers as Dying Wish hang on to the last shreds of their own humanity with album number three. 9/10

Abraded - Ethereal Emanations From Chthonic Caries (Redefining Darkness Records) [GC]

After reading up on Abraded, I noticed that it says Ethereal Emanations From Cthonic Caries was originally recorded back in the olden days of 2017 and then remixed and remastered in 2024, but technically this is a new album being released this year? I don’t even know where to begin with all that confusion, so I will just get on with listening to it.

Ethereal Emanations leaves little time to be confused and comes straight for you with a disgusting sounding grindcore beating, it is unrelenting in its violent approach and the production is brilliant and highlights every single vicious sound perfectly, the only slight niggle is the snare drum sounds a bit too tinny in places but it’s a small annoyance.

Menticide slows down slightly to begin with and you almost welcome the respite because when it kicks back in it is just fucking savage, the guitars are scathing the drumming is unreal and the vocals have a force behind them that make you wonder if everything is ok at home! Wonderful stuff!! 

Uroboric Incest gets a more death metal influence introduced into the grinding brutality and it’s a wonderfully chaotic and punishing listen, that really challenges you to keep listening as you wonder if they can keep this up all the way through and they really do, they just keep pushing you and themselves with each passing minute and its already been one hell of a ride! 

Collectivized Enmeshment continues with the brutal barrage of disgusting noise and when trying to think of who to compare them to I get 3 distinct (and legendary) names, early era Carcass, early era Pig Destroyer and Insect Warfare are all names that you could use to describe Abraded and I don’t say that lightly, these guys are pushing you as hard as they can and really hark back to a gloriously raw and unhinged sound that made the mixing of grind and death such a vital sound, 

Compensatory Contrarianism doesn’t take its foot of the pedal and even manages to insert a Nailbomb-esqe vibe into proceedings, if you think I’m just dropping in names for fun I’m not I am trying to really portray just how good this thing sounds, it is ridiculously good and has not once sounded weak or boring its is just urgent, vital, heavy and everything you want from this style of music! 

Theonemesis absolutely cascades from the speakers and just surrounds you in a wave of gloriously raw sounding violence that just never lets up, the speed can drop slightly in places but never that much and even when it does you can’t help but just take it all in as it all has such a force behind it that you almost don’t know what to do with yourself.

Mass Formation Psychosis just leaves me grinning form ear to ear, it’s not changing anything sound wise and it really doesn’t need to because it is just the perfect mixture of everything I love, extreme speed, savage vocals and pure unbridled brutality, there is seriously not one second so far that has been wasted time, its been just about as perfect as you can get! 

Cthonic Caries is probably the most death metal sounding track on the album and that not to say its basic, it just feels stripped back and more thought out until of course they unleash hell about halfway through but it never strays too far from the death metal focus and its almost a relief as it give you a bit of breathing time as its all just been so much to take in so far, in the best possible way of course! 

Theodicy is probably my least favourite track as the first section is very slow old school death metal and the grinding parts are slightly clumsy in places which dulls the force of it and I’m not sure what the vocalist is trying on this track but it doesn’t sound right at all and it’s probably a couple of minutes too long for its own good and a strange choice as the album closer, can’t have it all I guess, but despite this I 100% refuse to let anything dampen what has been an utterly phenomenal listen.

Holy shit! I am speechless here! This album has floored me completely, I was not expecting Ethereal Emanations From Cthonic Caries to be this good, I was expecting maybe a slight surprise as I had never heard Abraded before but seriously? This? It’s as close to my perfect sounding album as is possible to be, completely savage and unhinged at every turn, no room for subtlety or tact, it is just full force nastiness all the way and unapologetic brutality from minute one! 

This was an unbelievable record and any fans of grindcore and death metal should really do anything they can to listen to this record because there will be no regrets! 10/10

Last Retch - Abject Cruelty (Time To Kill Records) [GC]

It seems like ages since I last reviewed a death metal album, it wasn’t, it was last month but it felt like ages ago, this was also a bit of a blessing because as if I am 100% honest it was all getting a bit samey and nothing was really blowing me away, so the little break might do me good? Getting me back into the swing of things is Last Retch and their new album Abject Cruelty.

Opening track Abject Cruelty doesn’t really stir much up in the way of excitement, it’s a lurching mid-paced number that has all the usual aspects of a death metal track, the drumming does a good job of adding a menace to the track but the slow pace throughout does not really help sell it very much even with a slight uplift midway its just too pedestrian for me.

Beasley Meth Merchants must be some sort of an in joke as a title but musically it’s a world away from the opener as it has some wonderful groovy guitar work that is just right and crosses over slightly into thrash but melds everything together really well, it threatens too slow down but its just a cunning ruse and it continues to pummel and groove all the way to the end.

Dissecting The Leper takes both of the previous tracks and gets the balance right, its got a slow and crawling pace but also infectious guitar sounds that really kick everything up and provide a little relief that there can be a bit of variation here without is sounding forced. In The Polder They Reek aims to get what the first song couldn’t achieve spot on, the slow and ominous creep of the track actually sounds huge and powerful here and really takes the OSDM and Florida influence and runs with it to tremendous effect, after such a good track.

I find Resinous Drip Of Decay slightly underwhelming as it does pretty much the same thing but in a slightly less good way, you think something might happen and wait, and wait but it never seems to manifest and just sort of ends up fading away in a disappointing way.

Dissolved In Lye (Down To Rot) cranks the dial back up speed wise and give you something to really get invested in again and when they get that groove going again it’s a glorious thing to listen to and really shows what they are capable of producing if they really concentrate, its gets slightly messy at the midway point with some of the time changes slightly missing the mark but when they get back into it the groove wins you back over and makes up for it! 

If there was a title for most death metal song on the album then Oozing Pustules would easily win it and its also as straight forward as you can really get in the form of death metal tracks, and I’m not sure if I mean that in a good way or not? The guitar work is probably the best thing but once again some of the time signatures just feel off and make the songs different sections feel like they don’t all fit together properly, it’s a good song but it’s not a great song.

Gatling Gun gets back on the death metal groove train and shows that this really should be what they concentrate on more than anything as this is easily what they do best and most of the highlights of this album have been this style and had it all sounded like this we may have had a real contender of an album on our hands, a great way to end the album.

So? Did Abject Cruelty get me back on board the death metal express? Yes and no, there were some wonderful parts of this album but there were also some very ordinary parts to counteract them, and it was the hit and miss nature of it that was so frustrating! I enjoyed it for the most part but just wanted it to produce just that little bit more to push it from very good to great, but it just missed out on that for me. 7/10

Reviews: Puzzle Tree, House Of Hosts, Freefall, Hateful Dread (Matt Bladen)

Puzzle Tree - Kingdom (Self Released)

Step through the Portal once again into the world of the Puzzle Tree. The South Wales based band made a big impression on me with their debut album, be it the proggy guitar soundscapes, the heavy riffs or the powerful vocals, everything just worked and I fell head over heels for their heavy rock sound.

So when I heard the band were hard at work on a second album I was full of anticipation for what they could create this time. Well with Kingdom they have written a record that is built around a loose concept that combines everything, but it's meant to be a puzzle, a menagerie of influences making you guess at any sort of link between them. The album cover too hints at mystery, a golden mandala that glistens and glimmers with the majesty inside of it.

So it's through the Portal, an intro that features acoustics and strings, setting the scene but quickly shifting into Writhe. The first track proper, it's hooked on a heavy 90's alt rock riff but beneath it is a hypnotic Middle Eastern melody that also reminds me a lot of Tool in the fat throb of Jamie Roberts' huge bass lines.

I'd say we're already on to a winner with the first track on Kingdom but this is just the beginning (obviously) as Puzzle Tree have set their collective minds to creating the most diverse record they can, the prog influence is much stronger than it was on the debut, just check out all the facets of the mid-album title track suite, with more Eastern mysticism, it shifts and changes between several different styles letting both vocalists impress (more on that later.)

Much of Puzzle Tree's uniqueness comes from the counterpoint guitars of Matt John and Matthew Alexander Powell, they make for expansive melodies and muscle bound riffs, both coming on I Am Gone and Helpless, but elsewhere there is switching between union and opposition, while one plays big open chords the other is giving a fluid harmony behind or on top. All the songs here though have a familiarity behind the kit as they are all anchored by the impressive drumming from Tony Jones, his percussive persuasion, catching you off guard as one of the many things on this record that reveals itself as you listen more.

Rachel Thomas' vocals though are immediate, more than immediate. Immense and captivating, she's the dictionary definition of a powerhouse. I honestly think she's one of the best singers in the UK scene, adept at fully belting on the massive heavy rock choruses of Deadfall but also on the emotionally driven and quite beautiful Surrender or the restrained, American Radio Rock of Lost Another Day where we also get Matthew Alexander Powell showcasing his lead vocal skills too.

That complexity I talked about is always there but initially it's the big choruses and grungy, modern heavy rock sound that you'll hold on to. Only with repetition the many layers start to uncover, from alt rock, to heavy metal, goth, to prog, grunge to even pop, Kingdom has moments of all of these. Choruses full of hooks, mountainous riffs, dual vocal harmonies, blissful atmospheres and plenty of non-linear prog, you will find something you will love on Kingdom no matter what genre you subscribe to most. 

A singer with the delivery and power of Skin or Amy Lee, a band that takes from Tool, Soundgarden and Alter Bridge, accommodating and spacious production from Lee Howells and Matthew Powell and a second album that reaches further than the debut, that is full of references for you to find. Puzzle Tree have become monarchs of their domain with Kingdom. 10/10

House Of Hosts - Reckoning EP (Self Released)

Straight out of Swansea it's modern metal machine House Of Hosts formed by Daniel Foley-Griffiths (vocals), Jack Hunt (bass), Beth Goodwin (drums) and guitarists James Russell and Ross Davies, they are a band who are influenced by the likes of Avenged Sevenfold, Trivium, Killswitch Engage along with bands such as Sylosis, in the more technical moments.

Featuring four brand new cuts, opening with the swaggering Through My Eyes, the big riffs and melodic leads of James and Ross in union, as they merge metalcore/thrash/power metal together against the massive vocals from Daniel, his clean versus harsh dynamics are powerful and distinctive especially on Darkest Days which also showcases the massive rhythm section of Jack and Beth.

With Pedestal they slow things down as the bottom end, adding some acoustically driven emotion, as they dwell down into the darkest reaches of their collective souls, a track like this showcases the "theme of hope and rebirth" as does the final track Confession which is where the Trivium influence is the strongest, in the dual solo section specifically.

With their Reckoning EP, House Of Hosts deliver modern heavy metal with plenty heart and soul within it. 8/10

Freefall. - Fire EP (Self Released)

We don't get a lot of Indie/Alt Rock coming through these pages but in the habit of supporting South Wales bands, I thought it was worth giving Fire, the debut EP from Swansea band Freefall. a listen as they've been making waves on the local scene, across the UK and internationally including praise from BBC Introducing, plays from over 100 countries and even a gig at the iconic The 02 Academy, Islington.

The band claim to draw influence from The Clash, Fontaines DC and Red Hot Chilli Peppers, and while one of those bands are my least favourite band of all time ever, it only seems that the bass heavy title track has that influence. The rest of Fire has more of the other two, thankfully, the politically charged blues of Changing, the social commentary of Deano as this four piece fuse the chaos of punk with the melody of indie.

Both guitarists playing jangly leads on Heads Underwater and Keep You Waiting, the former is a ballad that features some introspection and deft drumming while the latter is a bouncy pop punker that even adds a bit of ska. Usually a band like Freefall. wouldn't even come across my radar but they made a lot of noise and got my attention and while I can't condone anything to do with RHCP, Freefall. deliver some great indie rock on Fire. 7/10

Hateful Dread - Facecrawler (Demons Doors Recordings)

Six tracks and nearly 30 minutes of glacial doom from South Wales noisemakers Hateful Dread now as they want to hurt you with Facecrawler. The soundtrack to the end of the world, they put together the claustrophobic doom of Electric Wizard with the sludge of Crowbar and ramp up the fuzz and feedback of noise bands to with their debut EP.

Recorded over a weekend of no sleep and excess, the raw, unfiltered sound of this band will appeal to anyone who likes their doom filled with abject misery and anguish. The riffs come low and slow, bass and guitar both distorted to all hell. The only time you can tell them apart is when the guitars shift into a (dis) harmony rhythm, lead break or solo like on Dark Heathen Forces, where the phaser brings some psychedelic headaches.

Other than that though both bass and guitar are happy to sling riffs, the drumming keeping the pace between a head nodding crawl of a cut like Black Door and a Sabbath-like groove of War Prophet, no matter the riffs beneath though the vocals never start from being grizzled howls into the abyss.

Facecrawler puts down a stamp for Hateful Dread, this is doom to have a crisis to, abrasive, angry and all consuming, play it loud! 7/10

A View From The Back Of The Room: Asomvel (Chris & Zoe Hutchinson)

Asomvel & Devere, KK'S Steel Mill, 18.09.25

Opening the night for this evening of rock n roll, was Devere (8), who despite having to work limited space delivered an energetic set and made the most of every inch available. 

The sound quality was balanced for the small room, with each instrument clearly defined. The band’s effort to build momentum was clear as they encouraged clapping and participation to build up their songs.

Devere was a great choice for supporting Asomvel as they warmed up the crowd and got the evening going on a positive note ready for the headliners. 

The headliners, Asomvel (9) took things up a level with a performance steeped in the loud raw rock spirit, backed by a towering wall of Marshall amps, they obviously have a lot of Motorhead about them, really showing the old-school aesthetic, from the first moments they ran on stage their energy was relentless. 

Singer/guitarist Ralph has a powerful, Lemmy-esque vocals hit some killer notes and drove the night forward. Crowd-interaction was constant - from call-and-response moments to leading a birthday cheer for bassist Lenny - strengthening the atmosphere. If It’s Too Loud, You’re Too Old became a highlight of the set, perfectly capturing the band’s humour and attitude. 

Asomvel are an old school treat, rock n roll at it's most rough and ready. Throughout the night the crowd stayed engaged, with plenty of headbanging, raised horns and a tangible buzz that peaked during Asomvel’s set. Both bands proved that even in a small space they could deliver high-performance performances that breathed fresh life into the classic rock sound. 

Personally, I’d love to see them both on a larger stage, where their presence could really explode.

Reviews: Dark Angel, Abyssalis, Illusia, Mike Tramp (Mark Young, Spike, Simon Black & Rich Piva)

Dark Angel - Extinction Level Event (Reversed Records) [Mark Young]

Some bands literally pass you by. Its not you, its not them, its just one of those things. I’ve heard of Dark Angel, whose Darkness Descends is considered one of the best albums released during that golden age of Thrash metal and yet it seems that they are recognised more for having Gene Hoglan sitting behind the kit. Gene’s legendary status as one of THE metal drummers is not up for discussion, and with Extinction Level Event he is back to remind you why. Extinction Level Event is their 5th album of a career that started in the early 80’s, punctured by a couple of breaks and on listening to it, well its like Thrash never went away.

There has been a resurgence in bands who are attempting to kick start that movement again, with differing levels of success but here we have what I call the real thing. 11 tracks of pure aggression that run that speedy wave that will make you think its 1986 again. I’m not suggesting that this is the greatest metal album ever made, that would be stupid of me but when you hold this up against those bands still going from the same era, none of them come close to having the same level of intensity to their music. They haven’t detuned, they haven’t dropped solo’s, they haven’t changed musical style in a way to chase trends, they just turned up and locked in.

From the incendiary opener Extinction Level Event that kicks in and then kicks you in the teeth, this is the sort of start that gets the blood pumping. It has an incredible old school vibe, from the drumming to the mental guitar solo. It is exactly how these albums should start – no acoustic guitars, no instrumental moments, just riffs. Lots of riffs.

Now they are off and running, burning through track after track, from the heads down Circular Firing Squad through the brilliantly named Woke Up To Blood, with a pummelling drum intro that leads into what I can only describe as a classic part of Thrash – the triplet - into Apex Predator. After this start you wonder if they can keep this pace up, and if they do will they run out of ideas.

Sea Of Heads drops the tempo and as good as it is I’ve got to say that Ron Rinehart’s vocals are more suited to the faster material which they return to on Atavistic. That isn’t to say that Sea Of Heads is a poor song, its just not as good as the faster material. The worry that they would blow themselves out dissipates as they just light you up with cracker after cracker, with Scalar Weaponry being a favourite of mine and is as good as anything served up by the big four (or five) in their pomp.

From here on in it’s a race to the end with Extraction Tactics reaching speeds normally reserved for more extreme forms of metal. At the heart of this are Gene’s drums, which are just irresistible but you must give props to the guitar talents of Laura Christine and Eric Meyer who bring their A-game on this with some top-tier riffology. Comparing this against latter albums others is probably unfair but it has to be said that this possesses a vicious streak that doesn’t fall away after a song or two. It also doesn’t have any filler material, or songs that are too long and go nowhere. Or instrumentals. 8/10

Abyssalis – Adaptation (Transcending Obscurity Records) [Spike]

There are records that punch, and then there are those that also whisper, you catch scratches between the shots. Adaptation is both. Played loud through the room, it’s all sharp edges and force, but when I sat with it later and let the headphones close in, the hidden layers surfaced, the flickers of melody under the riffs, the subtle shifts in drum texture, the way a growl breaks ever so slightly. It’s an album that shifts depending on how you choose to meet it.

This EP kicks off with Adaptation a sharp burst of technical death metal with a touch of brutality that reminds you that yes, this isn’t carefree listening. From the first riff, the band make it clear they’ve absorbed lessons from giants like Decapitated or Eschaton but aren’t just echoing them. They add flair: riffs smartly arranged, grooves built not just to impress, but to linger in your head.

Indomitable doubles down, sending drums scattering like shards under brutal speed, while Pandemonium laces melody into the mayhem, so much so I found myself imagining a midnight drive, the road blurred, engine rumbling, this track blasting with urgency. Senescence balances that aggression with a little breathing space, melodic lead lines stretch over heavy rhythm like sunlight over ruin. Then Valholl closes out the EP proper with a final swell of intensity and sharp riffs, drawing you into the fire rather than letting you escape.

What makes Adaptation more than just brutality is how it uses structure. The transitions feel purposeful with moments of hammering chaos backed by quickly earned space make the weight hit harder. There’s awareness here: of silence, of strings, of how a well-placed lead or breakdown can turn a blastbeat into something that echoes long after it stops.

Mac Smith’s vocals are especially effective, deep growls one moment, acidic rasp the next, never lazy, always expressive. The rhythm section grooves even under the blastbeats, giving momentum rather than letting speed become numbness. And the guitars? They cut clean, tight, detuned enough to rumble, but bright enough that melody and brutality both shine.

There are shades of classic tech-brutal death here, sure but Abyssalis aren’t content with imitation. They push at extremes without losing songcraft. You hear it in how Pandemonium doesn’t just shred, it builds, how Valholl ends with echo not just for show, but to let the chaos settle in your bones.

Adaptation is a fast, focused assault that also knows when to breathe. It pulls you in with brute force but rewards you with nuance if you listen closely. Abyssalis have landed a high bar here. 8/10

Illusia - Mind Over Matter (Self Released) [Simon Black]

Dream Theater have been one of the biggest influences on the Prog Metal scene for a very long time, but this is the first time in a while where that influence has been so blatant. The eight minute mostly instrumental opener Overture, sounds like it would fit on any of their records, but Illusia are a) British, b) incredibly young and c) a three piece, although it’s clear that the incredibly talented multi-instrumentalist Jason Tyler is clearly at the heart of things. 

The moment he starts singing however, we are clearly in a very different space, as vocally the records takes a more subtle Prog Rock influenced approach to vocals, compared to the more out there soaring and power laden delivery of the likes of Labrie.

There are a lot of voices in here too, with vocal work also shared with guitarist Dec Doyle, but with no less than five guest vocalists making contributions throughout this feels very much a vocal ensemble, and one that clearly isn’t going to be touring in this format anytime soon. The question as to whether this is a studio only project is a valid one, given how Tyler covers pretty much everything other than guitar here, as let’s face it, there’s nothing worse than a Prog act rocking up and delivering 80% of the instrumentation from a click track on stage.

Musically however, this is quite something, and it’s not an album that you can skim in a hurry. Like most good Prog it works on initial contact, enough to make you sit up and marvel at the musical skill on display, but well-written enough to continue to give up its depths with every successive listen. I’m three spins in as I write this, and it still feels like I’ve barely scratched the surface of what they’ve layered into this beast. That said it has its weaknesses…

The production for a start feels a little naïve, and needs the external ear of a producer to think about things more commercially, because surprise surprise, that element has been delivered by Tyler as well. That said it’s a better job than many self-produced albums that have hit my desk of late, but my point is that an independent set of ears will add another perspective to this.

The vocals are also giving me a little bit of a nagging problem too, despite their quality of delivery. Ensembles work well when you need to add depth, but this album really needs a strong single frontman to hang everything else around and to either augment or provide contrast to. Even the most operatic of multi-singer epics, such as Avantasia, has a strong single voice all the way through to compliment or conflict with the guest artistes.

Add a dedicated front man to this musical depth and song architecture, plus some more players to take this out on the road and you actually might have something with the potential to impact in the way Dream Theater have globally, because at the heart of this is one hell of a talented individual and an awful lot of promise. 7/10

Mike Tramp - Songs Of White Lion Vol. III (Frontiers Music) [Rich Piva]

I generally keep it positive, but nothing has gotten my blood boiling in a review more than when former White Lion singer did a full album covering his old songs, but with way worse versions, on Songs Of White Lion. I take it back; what got me more annoyed was Songs Of White Lion Vol. II. So, when blog boss asked me if I wanted to review the next volume in the set, I had to look at my calendar to make sure it was not April Fools Day. Alas, here we are and here I am listening to Tramp’s latest money grab, Songs Of White Lion Vol. III. FFS.

I mean, you had two full albums of White Lion “classics” that you ruined with terrible vocals and overproduced sound, so yeah, let’s go deep cuts!!! I feel bad for the band, as they sound really tight on their cover of Warsong, and I love the keys on it. Seriously though? Covering your own cover of Radar Love??? Do you have no shame??? Also, I think most metal fans can get behind that the first White Lion record, Fight To Survive, lands somewhere between respectable to excellent, so ruining those songs is unforgivable. Redo and jack up Don’t Say It’s Over all you want, but don’t mess with All Burn In Hell for crying out loud.

Yeah, this is what it is: A money grabbing trash heap. Everyone remember, Vito Bratta is what made White Lion anything special. If you like any of these songs, don’t listen to this. If you never heard Fight To Survive, check it out. White Lion had some moments, I even like Mane Attraction, but someone needs to put a stop to these abominations. 1/10