Reviews: Iapetus, Defects, Master, Sidus (Keith Boswell, Matt Bladen, Mark Young & Mateusz Stefanow)

Iapetus – The Mother Void (Willowtip Records) [Keith Boswell]

Iapetus release the third and final instalment of their conceptual trilogy with the album The Mother Void. It seeks to follow up on the 2017 Long Road Home and the 2019 The Body Cosmic albums, both of which have received rave reviews ensuring that this album is hotly anticipated from those in the melodic death metal world and beyond.

One thing I can say from the off is that the anticipation is not misplaced in the least as The Mother Void is a fantastic album and is easily in my top five for the year! One could describe this offering as atmospheric, melodic, intense and most importantly for me, it provides a considerable amount of variety throughout being it vocal, instrumental or atmospherical.

Iapetus, founded in 2010, originate from Long Island New York and comprise only two full-time permanent band members Matthew Cerami and Jordan Nevarro, who are supported by collaborators invited in to contribute to the project. This in my opinion sort of makes sense with the main direction provided by the permanent members and the variety of approach supplied and delivered assisted by the invitees.

The Mother Void starts its journey with an introductory melodic piece entitled Parturition, evident in this song are the angelic vocals of Fabienne Erni (Eluviation) which I positively love, such vocals are a continuing presence and intermingled throughout.

This brief opening offering is soon interrupted by an intense avalanche of very melodic but aggressive guitar riffs, guttural death metal vocals and softer supporting vocals setting the tone for more to come in the form of the track The Mother Void. This song catches hold of the listener and does not let go for the nearly 13 minutes duration. In the first two songs the scene for the record is set. With its quality apparent, its tempo changes, variety in heavy guitar riffs, melodic undertones, vocal variations and an atmosphere in which the band deliver a melodic masterpiece in Aniara.

Using similar ingredients only mixed and presented in another fantastic arrangement the album progresses on with the equally as powerful Red Giant. Once again, a tempo change is noted and enjoyed throughout the excellent song Emolument which, in my opinion, is almost operatic in nature and similarly leads into TON and the final tempo change of The World Be Undone.

Wow! I cannot praise this album enough, what a great piece of work, such a complete journey from start to finish. Make sure you give this a listen; you won’t be sorry! 10/10

Defects - Artificial Icons (Mascot Records) [Matt Bladen]

It's probably not too much of a stretch to say that without Trivium a band such as Defects wouldn't exist, so it's only natural then that Matt Heafy completes another side quest by adding vocals to Signs, the precursor single to the new album from Defects.

A band who never shy away from having an opinion, unlike some other metal legends recently. Signs is about war, the current conflicts across the world that are leading to countless people dying for basically no reason. The collaboration between Heafy and Tony Maue, manages to balance the anger and search for hope this song conveys through both of them giving a great performance.

Not that Defects need guest singers, Maue has a brilliant vocal, anthemic cleans come through on massive electronically-tinged groove numbers such as Where Did I Go Wrong, while his snarl is right up there in the deathcore steaks on the crushing Critic.

Their previous album Modern Error was about Maue's history in the care system, the trauma that caused still present in the lyrics of Artificial Icons but now the aggression is pushed outwards towards the world at large, it's about "the balance of survival" with topics such as war, addiction and societal systems all put under a microscope and delivered with the bristling modern metal sound of Defects.

Production from Jim Pinder (Sleep Token, Bring Me The Horizon), allows the album to feel distinctly modern but never too clinical, the electronics bleep and oscillate, the riffs are filled with groove, the vocals passionate and there's also some great lead/solos on State Of Mind and Hollow.

Maue and guitarist James Threadwell are the only two remaing from the line up that recorded Modern Error, as Rowan Jack (drums) and Orlando Morris-Winmill (guitar) join the ranks for this intense and emotional second record, that has profundity throughout.

Closing with its most heartfelt moment on Afterglow, Defects are more than just a modern metal/metalcore band, they take a lot inspiration from that early NWOAHM sound favoured by Trivium, Killswitch Engage (The Other Side) and other but make it their own and push their style forward with album number two. 8/10

Master - Among The Seeds Of Death (Hammerheart Records) [Mark Young]

There is a note at the bottom of the accompanying press sheet for Among The Seeds Of Death which makes sure you are aware that Master is one of the original Death Metal bands and that this is a release for fans of (Old) Death, Massacre, Venom, Autopsy amongst others. In a way, it is setting the scene for any new listener about to jump on. 

Like those bands? Well you should like this too is the argument being pushed here but I’m not sure that it works. My experience of Master is that I think I saw them on tour with Obituary at the Bradford Rios, back in 2004 and from memory (which isn’t the best) I didn’t then go out and find more of their music. It seemed fine, but I was there for Obituary.

Anyway, that’s not really important here, except that as Twas Always A Plan unspools I’m reminded that it kind of sits in a no-mans land. Its not death, its not quite thrash so what the hell is it? Well, its fast, aggressive that is decidedly old school in its execution, which given the direction that bassist and leader Paul Speckman has taken (I’m reliant on online sources and the exceptional Choosing Death by Albert Mudrian) where he ploughs a singular field that remains true to his vision. 

Its not overly technical, yes there are lead breaks present and the death growls are definitely more aligned with Venom as an example. Each track doesn’t move from that lane, the variations found are in tempo as some do charge at top speed, others happy to occupy a more medium pace where a lot of the heavy lifting is done by the drummer Peter Bajči who propels each song along (Unsettled Loss is a great example of this). 

The issue I have is that they don’t land with me and 20 years on from that live show, there is nothing here to change my mind and make me dive into their back catalogue. I don’t find myself hating or loving it, just ambivalent to it. I’m pretty sure that there are fans out there, there has to be considering that this is album number 16 which is an incredible achievement (no, I’m not being snarky) so let’s celebrate that and leave it there. 6/10

Sidus - Lotus (Dunk! Records/A Thousand Arms/Black Box Records) [Mateusz Stefanow]

Having never come across post-metal before, Sidus’ Lotus is a unique experience, and a very interesting listen. Bearing this in mind, this review may not be my most educated one, but a lot more vibe-based.

Immediately the most striking aspect is the album cover, a melancholic image of a drowning lotus flower, which we can experience aurally through the slow strumming upon the start of Origins Beneath. The drummers use of cymbals contrasts nicely against the slight distortion effect on the guitar, which has a fuzzy, soft sound to it, pairing with the gentle background vocals. Over time the drummer moves towards the toms more for a thicker sound, which gives the song an organic evolution.

Chasmal in contrast sounds a little harsher, if the first track was someone floating downstream, then this track is them fighting to break out of the water but losing strength. Embrace The Void feels like the middle ground between the last two songs, it’s slow with some quicker sections, but most distinct are the vocals, as we have growls breaking through the guitar and drums, once again feeling like this imaginary person of ours is fighting for breath.

Awaken is slow, melancholic and strangely meditative, calling back to the peace of the first track and tying wonderfully to the album cover again. Awaken bleeds into Soul Gazing, a track that is strangely reminiscent of modern Gojira, with funky guitarwork over a steady and prominent drumbeat. Around halfway into the song we get a space-like melody, which gives way to chugging riffs, before fading out to that similar melody again.

Divine Paradox follows the same scheme as Awaken- Soul Gazing, where the beginning continues the previous song before morphing into it’s own unique sound. This album is interesting, in that it is sonically different to any other albums I’ve heard before, but personally I find it a little repetitive at times, but it is absolutely worth a listen. 6/10

Reviews: Carnation, Throes, UnTeachers, Sundowner (Will Bond, Mateusz Stefanow, Jordan Griffiths & Mark Young)

Carnation - Symphony In Flesh (Self Released) [Will Bond]

Symphony In Flesh is the fourth studio album from Belgian death metallers Carnation. Nine blood soaked tracks overflowing with thundering double kicks, power saw riffs and bone breaking guttural vocals.

Blackmouth opens ferociously, with razor sharp riffs and a lot of groove in the verses. Flesh-Eating Frenzy follows with screaming feedback bursting into full mosh out death metal. The guitar tone is filthy, the vocals are strong and intelligible, but no less brutal for it.

Symphony In Flesh, brings the pace down into a rotting death waltz, the tempo change signifying the variety on offer from this album. The production is clear, with a heavy low end, double kicks thundering in that space. With the guitar occupying the high mid area it leaves space for the pummelling vocals to cut through. The guitar solos feel well thought out, instead of just shredding for the sake of shredding. The record has an analogue feel, taking me back to rustling through cassettes, looking for the brutal gems hidden within.

Labyrinth Of Silence begins with a clean guitar, offering a short palette cleanser, followed by a fantastic high register riff as the track gathers pace and power. Towards Death then throws a bucket of gore in your face, with a frenzied fast intro moving into a head banging groove, and even leaning towards blackened death.

The deeper I went into the album, the more I was blown away by the quality of the song writing. No section outstays it’s welcome, and each part hits you just when you need it to. Not that it’s predictable music by any stretch, it’s just incredibly well written death metal.

Legacy Of The Forefathers is a magnum opus of a track at over ten minutes, with hailstorms of blast beats, chugging verses and wide open chorus parts. Evoking a horror soundtrack aesthetic at times, it evolves and keeps surprising the listener.

Symphony In Flesh is a glorious gore splattered joyride. It moves seamlessly from pummelling blasts, to neck breaking grooves and soaring euphoric horror. Fire up the chainsaw and get stuck in. 9/10

Throes - The Colorless Light Of Emptiness (Church Road Records) [Mateusz Stefanow]

Coming in like a sledgehammer in slow motion, Western Violence crushes us under it’s heavy drums, fuzzy riffs and growls, leaving us too soon, for Revenge Death is awaiting it’s turn in the spotlight.

Revenge Death could be taken off a death-doom album without anyone batting an eye, it has a heavy, oppressive atmosphere, similar to the greats of sludge metal like Grief, Sludge or Buzz*Oven, and the drumming being slower during sections without vocals, then speeding up when the vocals kick in is an awesome touch.

Joy is the third track, and once again the Grief parallels are clear. The song has static effects, a pounding chunkiness to the sound that makes you feel like you’re drowning in liquid concrete and the faster segments add frenzy and desperation without weakening the sludge metal crawl. Eat Glass is quick and pummelling, a track that takes no prisoners and shows that Throes are a band who know what makes up the heart and soul of sludge and retain that while garnishing it with their own unique spin.

Coming in with punk-esque fury is ApePersonAnimalHuman, a track full of violence, rage, groovy riffs and thundering drums and a thick bassline that adds a feeling of oppression. Spiritual Debt is nearly completely melodic, showcasing the technical skills of the guitarists and drummer, just pure gravelly sludgey goodness for 2 minutes and 31 seconds.

Over the trio of Pain, Beg and Basura we see the variety of styles that sludge metal can take, from the quicker paced pain, to the uber-slow and crushing Beg and the mixed, fuzz-led Basura these three songs bookend the album by showing that experimentation brings you exciting new albums like this one to listen to.

Overall this album was fantastic, showcasing depth and range in one of my personal favourite subgenres. 8/10

UnTeachers - Under Bright Sadness (Rottweiler Records) [Jordan Griffiths]

Once again, I am back, with another album from a band that I have not heard of before!

The first track of this 11-track stretch was extremely repetitive, utilising the same guitar riff for the entire 6:52 that the track runs for, with the first clearly understandable lyrics coming in at the 3:06 mark. While I definitely appreciate the atmosphere and tension in this drawn-out composition, I found myself, overall struggling to keep engaged with a track that seemed to go nowhere for much of its runtime.

Psalmnambulist, picks things up instrumentally, with much more variation than the first track, however, despite the change in tempo and sound, I still found myself struggling with the overall repetitive nature of the album as a whole. Don’t get me wrong, there are progressions in the songs, however I found myself ever wanting for more from the compositions, specifically in their ability to build and maintain momentum.

However, onto the good things! The vocals themselves, really set the overall tone and vibe for the album, often feeling strained, expressive and vulnerable at times, adding a quite emotional undertone throughout the entire album, while not my cup of tea, I can really appreciate the intent and process behind this artistic direction.

Under Bright Sadness feels like an experimental prog metal project, instead of the more conventionally structured and compositionally intricate progressive metal that I am accustomed to, and enjoy. This album seems to largely avoid any sort of immediate hook or memorable choruses. But I feel that this is the intention of the album itself. Opting for a more expansive, unconventional approach to the prog mental genre.

Overall, while I can really appreciate the balls it takes to really put yourself out there, and experiment with music in the way that Unteachers have done here, I really do feel that I am not the intended audience for this album, as such, while I can respect the artistic direction and ambition behind Under Bright Sadness, I don’t see myself returning beyond this review. 6/10

Sundowner - Cesspool (Disdain Records) [Mark Young]

Well, as we try to find new and wholly inappropriate adjectives, todays stab is ‘Cavernous’. Probably the not-quite-right way to describe Sundowner’s sound, but I like it so I’m running with it. This is their third full length release, touted by them as an album of ‘poisoned blues and sludge-soaked hostility’ which just about writes the review for me. What it also shows is that Australia’s metal scene is doing some of the lord’s work when it comes to extreme music and its great to see it making its way over here.

The Deep is their opening shot and well its glorious. A great set of proper riffs, pounding drums and harsh vocals delivered with a swing. If I say that the guitar has a tone on this that you could chew on, that should give you an indication of how thick this sounds. They blast through and the bit I love is that its straight into Golden Skinned Gods with no pause, barely a touch of feedback and then bang, we are off. 

A trick they repeat into Grave Wax which pulls in from eastern influences but doesn’t miss with their riff choices. Absolutely killer in how they have put these together, because I suppose if you held these up against some technical metal (I don’t know why you would do that) yes there is an argument for it being ‘relatively simple’ but there is a load more expression and life here, its not cold or sterile.

If you take the start of Bleach Sniffer, there is moment where its feeding back then they kick it in the guts and let the bass and Pagey’s vocals take the lead. If this is the blues, this is for people who are truly suffering with their lot. When they kick it up a notch, it doesn’t lose any of its impact for the tempo shift and live this will cause carnage, that marrying of the sludge with hardcore gives it that violent edge, and the step back into that slower pace, whilst expected doesn’t mean it loses any momentum. 

That is one of the key things you pick up from this album, is that it is in a state constant movement, always pushing forward and there isn’t a moment where that is arrested in any way. Another strength is their approach. I mentioned simplicity earlier; they make it so that each track doesn’t overcomplicate anything. Patterns are built so the riff takes centre stage, and with a tone like they have here, why not? 

The sub 2 minute Complete And Utter Ruin is a great example of this and its difficult to pick out a highlight when you have 10 tracks that are consistently abrasive and heavy from start to finish. Ultimately, if you lean towards super thick guitars, memorable riffs then this should be right up your street. If you are into fleet-fingered virtuosity and guitar solos that approach the speed of sound without saying anything then avoid. 7/10

Review: Thrakian - The Way (Matt Bladen)

Thrakian - The Way (Aonair Records)



I first heard, saw, felt Thrakian when they played alongside Pantheïst at a gig in Cardiff. They share a membership and an ethos for creating music that is forward thinking and devastating in it's heaviness and its intelligent lyrical content.

Though reformatted in Wales, Thrakian's beginnings are in Bulgaria, the birthplace of three of its members, their music is directly inspired by their immigrant experience with themes of displacement and identity, forged with ancient Thracian mythology which speaks of loss and resilience.

Thrakian in a live setting are a force of nature, from their dominating run at M2TM through almost constant gigging, playing with the likes of Pantheïst, Warcrab, My Silent Wake, Ba'al and Ofnus. Thrakian have become a live beast with some imposing, megalith flattening, post metal that creates a crushing union of heaviness and introspection.

I hoped that when the time came for recorded output it would reflect who they are on stage so now with The Way, their debut album we can put that to the test, as things begin with the kind of ferocity I want from them on Labours Of Insanity, at just over 6 minutes the shortest cut here but it welcomes you into the world of Thrakian with a slow burning beginning.

The melodic lead guitar lines of Kristiyan Peshev are evocative, before the rhythmic chug of Atanas Kyurkchiev (guitar) and Matt Strangis (bass) begins the song properly, the blasting of Svetoslav Simeonov irrepressible even under this slower riffage, as Atanas' pained growls bring a a passionate veracity but also sense of clarity where you can hear what he's shouting.

It's a skill many bands struggle with but even when the pace quickens into blackend blasts at the end you can still feel the introspection and emotion in the vocals as you're drawn into the mesmeric riffs of the band with only song one, proving that they can mirror their live assault on record.

Following Labours Of Insanity is the epic of the record, the 12 minute plus Ancient Glory, a track that has all the monolithic density of modern Rotting Christ, layered with ritualistic guitar riffs, intricate and constantly shifting drumming, it moves between time signatures and styles with the ease of serpent, the full intensity and melodic beauty here showcasing the skills of engineer Timothy Vincent who I've waxed lyrical over before.

Ancient Glory lives for the instrumental sections, elongated moments of that insistent riff, punctuated by ambient parts as the pace quickens and slows for devastating effect, arguing into the blasting beginning of The Way itself, another slab of post metal/sludge sound shifting that showcases Matt's bass work and how the band merge extremity and melody, through atmospherics that always keep the potent drumming. 

It dictates its own unravelling, the counteracting soundscapes leading you on an auditory journey through classical antiquity, punctuating every triumphal and hubristic moment with more intense musicality, similar in many ways to bands such as Neurosis, where multiple genres are all used at once, wrapped in distortion and volume. 

Oddly The Way (the song) is Thrakian at probably their most direct, even with 7 minutes behind it and little vocals, it powers along ready for you to bang your head. I don't want to call it mainstream but it showcases that Thrakian don't have to do, layered complexity to be effective. The mainly instrumental cut has a propulsion to it, its post metal meets a more classic metal output and, like the best post/sludge bands around, the ever shifting momentum means that there's never a moment to ease into but rather you get caught in a swirling vortex of heavy rhythms, where all you can do is just to let go.

Similarly In The Grips Of Illusion, takes things further the other way, cleaner spoken word vocals, textured ambience and a clarity at the beginning, takes them into some progressive textures, that are edffective although shortlived because it's not long before the heavy comes back in with modern metal groove that again is built around repetition and an insistence, that I can only liken to Rotting Christ, when they are locked in, heads down and taking an audinece with them. It's a closer where there feels like there's both finality but also a opening to the next chapter, as if there's plenty more to come but a unknonwing about what form it will take. 

At 35 minutes across 4 tracks, Thrakian showcase why they are one of the bands to keep an eye on in the South Wales/UK scene, capturing their live power on record brilliantly, The Way highlights their dedication to their craft and how extreme heaviness can also be atmospheric and full of melody. 10/10

Reviews: Frozen Crown, Tungsten, Smoulder, Crimson Steel (Matt Bladen)

Frozen Crown - The Legend Of The Six Kings (Napalm Records)

Italian power metal act Frozen Crown return with their six album The Legend Of The Six Kings, giving us another ten tracks of bold, power metal that sits on the heavier end of the scale.

This record takes things further with an album that's darker in its sound, using more of a narrative style to these songs so vocalist Giada “Jade” Etro is able to mix up her vocal style a bit as guitarist Federico Mondelli adds growls and cleans to the Title Track, advancing Frozen Crowd towards melodeath than anywhere else.

It's like everything is permitted on this new album, there's Tolkien influences everywhere, especially on The One, while theres stories of resilience on Reborn, radio bothering melodic cuts such as River Of Time and even a cover of Iris by Goo Goo Dolls that gets a Euro power metal overhaul.

Every song showcases the musical skill of the band from the galloping rhythms of Niso Tomasini (drums) and Francesco Zof (bass), through the triple guitar interplay between Mondelli, Alessia Lanzone and Aleksandra Stamenkovic, all of whom are credited as lead guitar and prove that they all are with every virtuoso solo/harmonic melody on this record.

Power metal with more muscle, Frozen Crown still reign supreme in their own kingdom with album number six. 8/10

Tungsten - Ashes (Perception)

Ever wanted some modern power metal with yodelling then play Joker, the first track on the fifth album from Swedish band Tungsten. Guitarist Nick Johansson is the one singing to the milking cows here, as Mike Andersson provides the main vocals, his voice we'll suited to the melodic power style here, going from gritty lows to high screams.

Mike is joined by screams from bassist Karl "Kalle" Johansson on Bite My Tongue, Nick and Karl laying down the riffage while the changes of pace of is dictated by Niklas and Kalle's father Anders Johansson behind the kit, keeping the rudder in a strut for Supernova and a speed for Happy.

With so many power metal bands these days it's symphonic keys that's are the most important element to Tungsten's overall style, adding a bit of countrymen Ghost here, with Fuego Del Sol they add some throbbing Europop that would work well in Eurovision, industrial throb for Ted The Exorcist and folkisms on For Thee.

Tungsten are almost a jukebox if power metal styles, all linked by the synths shifting between the genre changes, Tungsten have a humours side that reminds me of Edguy, while when they really want to showcase their chops they do so with a track like The North Shall Rise which is a blitz of double kicks, chuggy riffs and a special vocal appearance from Tony Kakko of Sonata Arctica.

Tungsten don't do anything radical on album six but they still deliver anthemic power metal. 7/10

Smoulder - Witch Wife In An Alien World (Cruz Del Sur Music)

Smoulder return with their third record of epic doom metal and with vocalist Sarah Ann's move to Finland, Witch Wife In An Alien World contains more black metal influences than on previous releases.

Having recorded a cover of Bathory before, the black metal influence of this record is not actually from the Scandinavian style but more so from the Hellenic scene where death and black combine for a more intense and muscular style of extreme metal that is perfect for the powerhouse sound of Smoulder, see both Crush The Neophytes and Empathy's Wrath.

It means that album three is a much more diverse release, with Sarah Ann's vocals on tracks such as Noitien Loitsu (sung in both English and Finnish) and Shadow Of The Vulture, adopting styles that you may not expect but fit brilliantly into this experimental approach to the album.

She has always been a brilliant singer, one of the best in the epic doom genre but here she shows that she can do much more than just that while the band; guitarists Collin Wolf and Shon Vincent, bassist Adam Blake and drummer Kevin Heste, take these changes to style in their stride, the studio band differing from the live one, though live guitarist Bootleg Henkka (Havukruunu), drops in for a solo

The spirit of epic doom remains on Water Wars and Their Name Lives On but Witch Wife In An Alien World, takes Smoulder further into the blackness, the inspiration of the black metal scene tightening its grip upon the band to make their third album an overall more menacing record. 8/10

Crimson Steel - Show No Fear (Heaven And Hell Records)

Heavy metal from Raleigh, North Carolina now with Show No Fear the new record from Crimson Steel. The intro As Above, So Below, lets you know what you're getting into with the sound of a battlefield, horses charging and the triumphal parp of trumpets, before we kick off properly with Dark Rider.

Dark Rider, features distorted guitars from David Ryan, galloping lead bass from band founder Joel McGee, who gives himself a solo before the six string widdling, but don't worry he gets to show off on Final Phase too. All the while the drums of Will Adkins has a measured power, which lends itself to the more epic and progressive arrangements Crimson Steel have here.

Influences such as Savage, Crimson Glory and Manowar can all be felt through these songs, the latter in the vocals of Tina Langevin who can shriek with the best of them as they tune into some Judas Priest on No Absolution, from the vocals right down to the dirty guitar sound it's pre-British Steel Priest for sure as there's definitely an old school ethos from Crimson Steel.

The instrumentals are all full of that classic metal power with a technically that may go overlooked by I really enjoyed. Vocally too McGee joins for Purifier while on the atmospheric Bleed Into One, James Rivera (Helstar/Vicious Rumors etc) duet with Tina for extra theatrics.

Crimson Steel, Show No Fear with album number two. Classic heavy metal that's a little bit cleverer than normal. 7/10

Reviews: Witchthroat Serpent, Pegzilla, Travo, Doctor Nez (Matt Bladen)

Witchthroat Serpent - Demons Left To Roam (Heavy Psych Sounds)

In praise of Satan and all his works, occult French band Witchthroat Serpent look to corrupt the children of Jehovah into their service if their Satanic majesty with new album Demons Left To Roam.

Hypnotic doom that leans heavily on fuzz, spectral vocals and slow repeating rhythms, each song will ring inside your brain for days after, slowly taking over your body like the black oil from X-Files until you need to throw the recor down again to pledge your allegiance to Lucifer.

Formed way back in 2011, the quartet have been walking in the footsteps of Electric Wizard and Monolord with both feet firmly set in the concrete tones of horror, the occult and all things that come with it, the horror driven lyrics, the long instrumentals, the fuzz, the volume, everything you could want from evil psych rock.

Whether you've heard their albums before or on their splits with bands such as Dead Witches, the Toulouse band always give their best showings on their own albums, through the thick as tar doom of Silver Bell Of Ritual, the screaming lead guitars and spatial awareness on the glacial The Screaming Magpie while the end comes with Sabbath worship of The Zany Magician.

Witchthroat Serpent present The Demons Left To Roam, and they will corrupt you with their sinful, hazy, heft. 8/10

Pegzilla – Disobedience (Ripple Music)

L.A rock trio Pegzilla don’t hide their ideals with their name. This is “witchy stoner rock” with female first agenda, an assertiveness, that often spills over into aggression as frontwoman Olivia Saperstein writes lyrics to criticize the patriarch, by advocating for more women enter and flourish in the heavy music scene, forcing the male dominated labels and festivals to be more inclusive in their signing and booking strategy.

With Disobedience the band have provided their mission statement, following an EP and singles with Ripple Music backed debut record, this trio are set to take the stoner metal scene by storm. The fuzzy guitars and haunted vocals of Olivia add those witchy elements while the thick grooves from Juan Barsse (bass) and open drumming of Ryan Swain move them between thick metal stoner and floaty desert rock.

The kick off being the Troll On Speed, a fat riff and clever lyricism “I get so hard when you turn we down” and “who else is going to gatekeep” particularly effective, the anger just at boiling point as they shift from the doomy tones of Pistola into the occult murder rock of Chelsea before slowing into the tribal rhythms of Virginia Werewolf which worships Sabbath through Feminine rage, perfectly showcasing Pegzilla at their gargantuan best, spectral, feminist and slightly murderous with some killer riffs holding it all together on tracks such as Bootlicker especially.

There’s a retro feel to Disobedience, but it’s never a main focal point like it is with some bands, Pegzilla’s sound encapsulates a lot of stoner/doom/desert style, the latter on Hell Ya Brother and with Troll Reprise they play that opening riff to close out the album as if the circle is complete. Female empowerment through fat riffs and packs with the dark beings, Pegzilla are coming, bend over and take it! 8/10

Travo - Wasteland (Fuzz Club)

Portugal quartet Travo are a band who blend music and literature on this new record with each song inspired by a section of T.S Eliot's The Waste Land, if only loosely the themes of that poem can be felt more strongly these days and Travo channel the themes through this new record in a swirling mass of psychedelic intensity.

These hit you like a trip gone wrong through walls of noisy riffs, ambient textures, mind bending vocals and a nagging insistence that draws you in never lets you go. The insistence is a deliberate move on the band's part as they recorded it in break from touring, bottling that live lighting and adrenaline as they wrote this record in the studio with an urgency to get new material out on the road.

Wasteland combines psych rock experimenting with garage rock ferocity as they break out with Burial, then get angular with Decipher, allowing the atmospheres to increase on Silenced Soul which bleeds into the full stems ahead garage punk of Sleeper. Travo are a band that hit you hard and fast, allowing for some rest time, the beginning of this record is full of fire and fury.

The second half though has the woozy Way Down on it which takes you in the other direction towards the spatial sparsity. Though the Title Track manages to get the primal power moving again with it's huge drum intro, squealing feedback and screamed vocals that lead into Rapture, the final song on this record, a throbbing, tenacious, instrumental which builds into a closing crescendo.

Travo create music as a force of nature, psychedelic but unnerving with an aggression of Altamont it’s a bad trip made real, dive in headfirst and embrace chaos. 8/10

Doctor Nez – Nothing Short Of Silver (Self Released)

Doctor Nez is a one man show with the titular Doctor performing/recording/engineering everything on this third EP, Nothing Short Of Silver.

The first part of what will be an ongoing set of conceptual releases that bleed the myths of creatures that go bump in the night with some D&D like table top gaming, through fuzz occult stoner doom inspired by Sabbath, Goblin and Uncle Acid.

Driven by guitars that have never not had a fuzz pedal used with them and vocals that feature some reverb, it’s got a tone so familiar that it could be called Renfield, but there's also some classic rock sounds that arrive too with more clean voices and some big choruses on the title track.

Dusk sets the cinematic tone while Last gets things going properly, the lycanthropy continuing through Pale Full Moon as Find Familiar add those D&D inspirations as the EP closes out with Perfectly Human where the likes of Green Lung can be heard.

Nothing Short Of Silver is a decent stoner EP from Doctor Nez, if the occult, hard rock style is up your street go check it out. 7/10

Reviews: Left To Suffer, Leper Colony, Steak, Hell-Born (Jordan Griffiths, Mark Young, Joe Guatieri & Yasmin Mason)

Left To Suffer - Unwelcome Guest (Hopeless Records) [Jordan Griffiths]

This marks the third band in a row for which this review serves as my first listening experience. 

I am a big fan of heavy music that gets your head going, and this album does not disappoint, from the first second of the very first track, on this 11-track album, simply named Track One, just HITS you. Deep, rhythmic chugs, accompanied by the squeal of a guitar that kicks you into the main depth of the song.

STFU, starts off with a snippet from a reviewer stating how Left to Suffer is too much and takes away from their enjoyment of music, before the band promptly responds with the title itself. 

What follows is essentially a diss track aimed at their critics, and the band’s lack of care, they will do what they want to do, and it works remarkably well, turning the outside criticism into fuel for one of the album's most confrontational moments.

While the album itself is very chug and breakdown heavy, it utilises very well timed melodic sections in a few of the songs, which really helps you take a step back and think “Oh okay.” These moments really do add the much-needed separation between the heavier sections, preventing the album becoming overly repetitive

I feel that Taylor Barber's vocals need proper attention too, they're incredibly strong, and come with a hell of a lot of range, shifting almost flawlessly between deep, guttural lows and the higher fry screams, with almost effortless consistency.

One of the largest issues with an album this heavily rooted in breakdowns and chugs, is how quickly it can devolve in repetitiveness, however, unwelcome guest, in my opinion, avoids this trap. 

While the core sound remains heavy, and chuggified, the changes in pace, melody, and overall approach in the songs, gives it enough of its own identity to keep you interested all the way through.

For a band that I had never listened to before this, Unwelcome Guest has honestly made an impression. There is enough going on underneath the top layer of heavy brutality, that makes me want to return, again and again, in which, I am going to! 

This was truly a great listening experience. 8/10

Leper Colony - Back To Primal Sludge (Testimony Records) [Mark Young]

I love that some bands just cannot help having their influences front and centre in their sound. I think it shows that, at heart, they are fans like the rest of us, only a little more motivated to do something mental like form a band.

Leper Colony are that kind of band, delighting in building a hybrid American/Scandinavian sound that borrows proudly from the old-school classics they are attempting to usurp. 

In their favour is a healthy approach to the form: discordant lead breaks, tempos that shift to suit the moment, and a razor-sharp production where nothing is missed. It also works against them in some respects, but we will get to that.

Madness Is A Kingdom sets the table nicely, serving up that hybrid approach straight away. What follows is a track that motors along, changing pace and direction as required, particularly during the chorus. 

There is a strong At The Gates presence throughout, although that is hardly unusual in melodic death metal, and it is certainly no bad thing. 

What it does suggest, however, is that the band may lean a little too heavily into that sphere, to the point where their own identity occasionally fades into the background. Even so, it contains a crushing section that tees up the final minute perfectly.

Any band that samples Zombie Flesh Eaters gets a thumbs up from me. Possibly they missed a trick by not having a song called Ocular Trauma, but still, These Blades follows and delivers a short, rough burst of aggression that brings a touch of punk to proceedings. 

One thing that becomes increasingly apparent as Dead Soul Consortium kicks off is that they have a preferred set of tricks and moments that they return to repeatedly. It is not that they are not very good at what they do, or that they are not heavy, because they absolutely are. It is just that I do not find it especially exciting.

If you read our reviews with any regularity, and you are unfortunate enough to encounter one of mine, you may have noticed I occasionally mention my commute being the time when I review music. If an album does not sustain that journey, it gets relegated to the "OK" pile. That is what happens here. 

Each track arrives feeling like a variation on a limited formula. From Thrown To The Pigs, which mixes melody with something slightly off kilter, through to Flesh Grater, the songs are perfectly serviceable. There is nothing wrong with them at all, but I struggle to think of them as being anything more than workmanlike.

Beneath The Fat And Gristle closes things out and sees the album finish much the same way it started. It moves with a swagger, changing speed whenever necessary and delivering exactly what it promises. Again, it is fine at what it does, which is something that can be applied to the album as a whole.

In all honesty, I am probably being a bit harsh on it. There is an energy running through these songs, one fuelled by the fact that the band are obviously massive fans of the style themselves.  That enthusiasm is infectious, even if the album never quite breaks free of the influences that define it. And possibly for some that will be just what they want.

After all there is no messing on here with stretched out beginnings or overlong songs. They just do what they need to do and then on to the next one. 7/10

Steak - Steak (Stickman Records) [Joe Guatieri]

Steak are a long-running Stoner Rock band from London, England, forming back in 2010. The band have a storied discography of plenty of EPs and records to their name, including a well-regarded joint-single with famed Swedish band Greenleaf, being released as part of the DesertFest series in 2017.

I have known about Steak for a good while now, my first exposure to them was in 2023 when I saw them open up for Slomosa and Elder at The Fleece. They really impressed me that night with their heavy driving grooves, taking their songs to interesting places. Now after that it seems fitting for me to review their latest self-titled effort in 2026.

The record opens with Cometh, a song that feels oddly familiar to me upon first listen with its fuzzy guitars which try to cover up the sky, drawing an image of a car driving through a desert at a high speed, forming a big sandstorm behind it which is definitive to Stoner Rock as a genre. It keeps heaviness as a constant with an atmospheric approach, it doesn’t try to bury you in its groove, more so float things in patiently until they sit with you comfortably.

Track two, presents us with Luxury Junk, starting with a spacey touch of guitar, searching for a known mystery, being reminiscent of Odyssey by Kyuss. You don’t find anything as of yet but you’re still sure that there was something around, you keep that thought with you as you return to your car and rev it up again. Luxury Junk provides excitement throughout for me, the instrumental accentuates this bubbling up before stretching out its hand. The best bass playing across the entire album is also provided here as its rumbling tone sticks out like a sore thumb, leading the charge with thumping drums.

The song then moves to another level as after reflection, by 4:01 there is a fabulous drum break as the world starts to dance, everything comes back together and we are left with our face melted going into the sunset. Steak takes a page out of the Slomosa book Luxury Junk and channels a sense of victoriousness into a lovely song, definitely my favourite from the LP.

Later on we go into track six with Infinite which is the poster child of the album as a whole. It takes the vocalist and places them front and centre, crafting the tune around them, prioritising melody. It leads to an effect where Infinite washes over me, it leaves me in a place where I think to myself, it’s alright for a head band when interesting patterns and riffs pass by but it doesn’t capture me or put me into its own world, it’s just there.

Again, a lot of this record I have similar feelings to this where it's uniquely misplaced, a lot of the more progressive Stoner Rock bands out there play with my expectations where I can’t wait to see what’s next, where as with Steak here, I find myself tapping my foot and looking at my watch. It appears to me that they are big fans of Alice In Chains, especially in the vocals where they join together but it doesn’t exercise an emotional depth to me. It comes across as being more for show then something that is needed in order to bring the exclamation point to a high point, it’s like climbing up a diving board and refusing to dive off of it.

Overall, this Steak album hasn’t spoilt the band for me. There is still a lot that I like about them, they know how to bring out enjoyment in me and there is no doubt in my mind that they are fabulous musicians. I just wanted more grit here and above all else, for Steak to be loud and proud. 6/10

Hell-Born - VII (Deformeathing Production) [Yasmin Mason]

VII is the latest offering from Poland's Hell-Born who are led by ex-Behemoth drummer Baal.

The album opens with Therion Calls, an ode to the apocalypse. "Apocolypse is here!" shouts Baal over ferocious drums and guitars. His vocals are giving vibes of something I can't quite place - but there's a definite old school feel to them. Chaotic Entities continues the ferocity with an excellent guitar solo providing a melodic reprieve towards the end of the track.

In Scarlet And Death brings the tempo down a little while continuing to showcase those melodic guitar riffs, while Blood In Stone hits us with blast beats from the start. The remaining three tracks continue in the same vein with a smattering of keyboards adding extra atmosphere to Funeral Of All.

My main critique of this album is that - for me - there isn't enough variety. Each song is structured similarly (atmospheric intro, in your face riffs, melodic guitar solo, repeat) and part way through the album I find my attention starting to wander. While I enjoy Baal's vocals, it would be nice to hear him experiment with something a little different at times.

However, if you enjoy old school melodic black/death metal, this album is certainly worth a listen. 6/10

A View From The Back Of The Room: Amon Amarth

Amon Amarth, Orbit Culture & Soilwork, Eventim Apollo, London, 10.10.26



Evetim Apollo,also known as the Hammersmith Apollo or back then the Hammersmith Odeon, a venue most known for its music and comedy performances notably also used for Motorhead's live album No Sleep Till Hammersmith. Tonight though it's the London stop for the Allfather Awakens tour named after their new album. Bringing fellow Swedish bands Soilwork and Orbit Culture, with them, 

Soilwork (5) kick things off you hear the sounds of a music box as a baby would hear while resting in their cradle, then the band approaches the stage, shouts hello to London audience gets them to raise there fists and cheer before even the first song starts. 

A few songs later, blood red light shines on the front set of the audience, playing a few more hits here and there while keeping the audience in communication, a good fair opening act for the gigs London show. 

Next up Orbit Culture (9) relentlessly with their non stop touring over the world and also a year in for their last album Death Above Life. Fast raw and of course the savage vocalisation gives a very powerful performance.

You can see why Amon Amarth picked them, aura, pure, raw, aura and their songs? Well they're pure Orbit Culture. You can tell which element, sub genre it leans to each song examples Tales Of War and Hydra sounds like it came fresh from the doom game soundtrack. 

Alienated has got that black metal nostalgia like you hear from behemoth and of course Red Fog is full of thrash, all these lovely mixes from this one band playing hopefully on headline UK tours in the future.

Now even if you're not into Viking history/culture/mythology or theatrics, but you like their music that's absolutely fine, but if you enjoy all of that just mentioned then you're in for a treat when Amon Amarth (10)

When the band does a headline performance obviously they go in full Berserker for visual spectacle full of display models, moving pictures, renactors, even the Norse trickster god Loki himself. 

An introduction backing track which is course Iron Maiden's Run To The Hills, yes of course they're gonna play, Raise Your Horns, Shield Wall, Guardians Of Asgard, as well as stuff from the Great Heathen Army album.

However with new album the Allfather Awakens, comes new songs such as the title track, Eight Legs Of Thunder and of course We Rule The Waves. Jonah passionately calls the audience fellow Vikings and a enjoyable campfire acoustic set of Upphaf which was so ambient and soothing a nice calm break from all the headbanging. 

Hammersmith was blessed by the gods cause a song they don't play live much Saxons And Viking with Biff from Saxon on the video screen singing his part of the song.

Finishing up with their hammer hitting hit (literally) Twilight Of The Thundergods and as the hammer goes down, the stage goes boom and the music roars like cracks of thunder. 

In the smoke and light Amon Amarth show thankfulness and gratitude towards the fans which is strongly reciprocated by the London audience.

A View From The Back Of The Room: Fear Factory (Paul Hutchings)

Fear Factory, Crystal Lake, Hate, The Nocturnal Affair Prospect Building Bristol, 08.10.26

They have become regular visitors to the city of Bristol in recent years, with tonight’s show their third appearance in three years. The Cybernetic Domination tour is an eclectic package with four differing genres. It’s also a punishing schedule; one glance at the dates on this run confirms that being on the road is gruelling, with the bands have traversed other parts of England, Ireland and Scotland ahead of this show. No breaks, no rest days, just relentless shows. Kudos to all four for bringing such energy.

There are few hands in the air when lead singer Brendan Shane asks who has seen The Nocturnal Affair (7) before. It’s a surprise to me that there are any, but the band have been reasonably active in the UK since 2024 with performances across the country. This appears from what I can see to be their first show in Bristol, and they certainly bring the energy early doors despite a slowly growing audience.

They are a curious bunch. Dressed in casual suits or jackets with what appeared to be lounge loafers, they drench the audience with backlight and abuse them aurally with a set that weighs heavily on emotional content. I’ve seen influences including Type O Negative, HIM and NIN cited, and I don’t think I can add much to that. 

They have a short set, but Shane in particular, is keen to get a reaction. Energy wise, the band match their touring buddies; musically I struggle a little. They open with Cross Me Out which is high tempo, and finish with a bouncing cover of Haddaway’s What is Love. Make of that what you will! It works though, for metal fans love a pop singalong and tonight is no exception.

No question what Polish blackened death masters Hate (8) have had for tea as they absolutely crush the venue with a display of impressive power. Most recently seen in Bristol at the Fleece in April 2025, they relish the larger stage. It’s set up in true demonic manner, skulls, cauldrons and a huge backdrop, all bathed in blood red that doesn’t change throughout their blistering 40-minutes.

Intimidating in many ways, this is a wall of abuse that slams into you and knocks you over. The pit slowly wakes as Hate rage into opener Bellum Regiis. From here on it’s time to hold onto something solid as everything not nailed down begins to move. Only Adam "ATF Sinner" Buszko remains these days from the original line-up that tore across the lands all those years ago. That doesn’t seem to matter as there is limited interplay with the audience. Instead, it’s explosive song after explosive song that is as punishing as it is intense and as they leave the stage after six songs, the reception is impressive.

It appears that Tokyo’s Crystal Lake (8) carry no original members. Formed in 2002, I’m blown away with their sheer aggression, if not their music. Thumping breakdowns, massive riffs, and the ferocity of the diminutive frontman PK, it’s a huge switch of style for the second time. And the crowd responds with some intense pit action and a couple of crowd surfers. PK is particualry impressive given the short length of time that he’s been with the band.

There’s something in the band’s firepower that makes them quite mesmerising, and although metalcore isn’t my bag, they have groove and enough visceral energy to keep the attention. Six Feet Under is massive, whilst penultimate song The Weight Of Sound sees them switch to a sound more akin with Linkin Park before a savage finale of Apollo crushes one final time. For me, the surprise package of the evening.

The setting is appropriate for the industrial sounds of Fear Factory (8). Bare girders and steel beams create the coldness that is needed for Dino Cazares’ world-famous riffs. But there is nothing but heat as Cazares, bassist Tony Campos, drummer Pete Webber and vocalist Milo Silvestro generate over the next hour.

This is a band with a box full of classic tracks and they oblige with a set that stands the test of time. Acres Of Skin builds the intensity after a hero’s welcome, and by the time they’ve hit Edgecrusher, complete with PK’s return to add his voice to Silvestro’s, the hardcore fans are in heaven.

Silvestro is improving on every viewing, and even though he is still using some tools for vocal enhancements, he’s generally on point. When Buszko joins him for Martyr, the contrast is startling. He’s handling everything well, and I don’t think his presence is even an issue for those enjoying the likes of Zero Signal and Demanufacture. New song Roboticist is promising, and Dino looks like a man still happy in work.

As they roll into the finale of Replica, Resurrection and a reintroduced Cars, it’s impossible not to think about how seminal this band remain. Sure, they are never going to be as dominant as they were three decades ago, but whilst they can still fill a venue of this size, I think it is reasonable to anticipate them visiting a few more times yet.

A View From The Back Of The Room: Creeper (Misfit Jax)

Creeper, Calva Louise & Starbenders, Tramshed, Cardiff, 08.10.26

The Tramshed a venue near Cardiff City center it has been used for many different types of music and many different artists and bands, it's even been used for a wedding receptions, raves, sometimes comedy acts or talks but tonight it is for the band from Southampton with their off with their heads tour kicking off in Cardiff to start their UK tour.

Before the openers, the inside the stage set alluringly haunting, the audience full of people top and bottom while still people approaching to get a good spot. The crowd looking at their absolute best dress or their most casual, some get their hands on merch, all priced to suit all budgets, and queue when waiting to come here and enjoy a band they are all fond of. Bless their black hearts waiting in the rain and cold of this gig while hoping some people attending don't loose the face paint they put on to go with the bands motif.

The opening band, Starbenders (8) come all the way from across the pond specifically Atlanta, Georgia, Requiem Overture Of O Forutna plays as their intro, lights go black, hype builds up band approaches the stage the look of the band very nostalgic like a band you saw playing in the background of a club scene in an 80s/90s movie, the stage lights move and flash on the band classically with colours changing primarily but to for the mood of the songs. 

Kimi Shelter looking very Cher's Witches Of Eastwick meets Hearts Ann Wilson gives her performance in both vocalist and guitarists and uses the stage to her advantage. The songs for example like Tokyo and Summon My Heart, give that hard rock flow and cadence with the music vibe, similar to bands like Joan Jett, Heart, with the rest of the band in the moment with such a dark setting, a win over performance with cheers and applause.

Next up Calva Louise (7) who brings a multinational band and focusing more on a gothic/synth John Carpenter esq intro, which is followed by modern synth with narrative heard in the background that for me unfortunately cannot not be made out due to the drums starting off. 

Calva Louise are a different style, a different type of performance than Starbenders, with metal being main concept with elements of salsa, samba, synth, industrial even edges classical music from hundreds of years ago. It's music that just wants to pull you in rather than feel the flow, using the keyboard draw in and out when needed in use for the songs and performance and also the music being bilingual tracks bringing power passion and statement while closing and leaving the show with a track of old Latin salsa being played.

Now of course the main event, while leading up to the main event, the band put on their fictional radio station and played some 80s hits closing with Meatloaf's Bat Out Of Hell. Then as the white sheet was up a shadowy figure appears behind it pretending to be a certain figure of censor authority. Saying that the show will now be more PG than what is his known by its reputation. Mistress Of Death aka the Axe Lady of the band, then came out and behind the white sheet and starts chopping, slashing and killing the bossy bureaucrat as the sheet drop reveals Creeper (10).

Starting with Blood Magic (It's A Ritual) the aura, intensity and such passionate enthusiasm make it a must watch fromt he opening moments. Musically the band definitely bring and embrace the gothic element visually. The songs have either or both Master Gould and Mistress Greenwood singing as we enjoy new and old  tracks they fill their set with. They put on a theatrical show the stage filled with a throne of skulls, a guillotine, a jet black casket and of course a phone call from Garcia there Vampire Familiar. 

Between all the theatrics, giving us song's such as Parasite, Prey For The Night, More Than Death, all to an audience filled with passion and face paint, hanging on every word, when the band stops playing and the audience sing with the band. Behind their facepaint and black hearts Creeper seem completely touched by such support and devotion of the Cardiff crowd making for a thrilling start to their UK tour!

A View From NWOCR Fest: NWOCR Fest 2026 (Debby Myatt & Tony Gaskin)

NWOCR 5, KK’s Steel Mill, Wolverhmapton, 25-27.09.26

There is a bittersweet tinge to entering KK’s Steel Mill for this milestone 5th anniversary edition of NWOCR LiveFest. Over the last five years, this weekend has grown into a cornerstone gathering for UK grass-roots rock, but with whispers around the venue that this landmark fifth outing marks the end of the festival in its current format, every riff carried a little extra weight. 

​Friday - 25.09.26: The Warm-Up Party

Kickstarting Friday night’s sold-out launch, Kim Jennett (8) hit the stage with raw, untamed vocal power, commanding the early crowd immediately. Her fiery, relentless presence set the bar remarkably high for the rest of the weekend. 

Injecting a heavy dose of soulful southern swagger, Bad Touch (9) brought classic blues-rock hooks that had the Steel Mill singing along. They effortlessly primed the room, proving once again why they remain fan favourites on the UK circuit.

Headlining the Friday party, The Dust Coda (8) delivered a slick, soaring performance brimming with arena-sized attitude. Andrew Knightly’s vocals cut cleanly through a wall of huge guitar riffs, locking in a triumphant finish to night one. 

​Saturday - 26.09.26

Opening the main weekend marathon, Revenant (7) blew away any early-afternoon hangovers with a sharp, aggressive set of modern hard rock. Next the all-female outfit, Joanovarc (7) brought tight musicianship and undeniable energy, keeping the crowd on their feet with melodic, hard-hitting anthems. Clearly the ladies enjoy being up on a big stage and make the most of it.

Delivering pure 70s-infused rock ‘n’ roll chaos, Sweet Electric (9) brought glitter, strut, and infectious hooks that turned the hall into a giant dance floor. There is nothing quite like Sweet Electric around at the moment, the German band are fronted by former Massive member Brad Marr who brings his manic Aussie antic to the party. Following that with stunning dual vocals and pristine blues-rock arrangements, Brave Rival (7) provided a masterclass in tone, passion, and soul.

Injecting a shot of pure 80s glam metal nostalgia, Midnite City (8) delivered soaring solos, huge choruses, and unashamedly fun rock-and-roll theater. Heavy, groove-laden, and thick with thick-toned riffs, Doomsday Outlaw (9) brought a darker, heavier punch to the late afternoon. 

Taking the sub-headline slot, Hollowstar (9) proved why they belong at the top of the bill. Joe Bonson’s gravelly, emotionally charged vocals soared across KK's, while the band locked into a muscular groove that had the room roaring. Despite a minor technical glitch mid-set, they powered through with signature warmth and grit, debuting fresh material alongside fan favourites that hit like a hammer blow. 

Australia’s favorite export, The Lazys (10) delivered an absolute hurricane of a headlining set. Leon Harrison is a front-man possessed, charging across the stage while Matty Morris unleashed pure, blistering lead-guitar fury. Their high-octane punk-infused hard rock left the Steel Mill exhausted, sweaty, and utterly electrified—a masterclass in unadulterated live performance. 

​Sunday - 27.09.26

Kicking off the final day, Alabama Crow (8) set a gritty, southern-tinted tone early on with low-slung riffs and gravel-throat vocals. Blending rootsy blues-rock with sharp pop sensibilities, ​Eddie & The Wolves (8) delivered a tight, engaging early-afternoon slot. The electricity between the husband and wife team of Eddie and Char is palpable echoing that of other current blues outfits like When Rivers Meet and Beaux Gris Gris, must be something in the air!

A local favourite who always deliver, the heavy Black Country roots of Red By Night (7) shone through with a hard-hitting, riff-heavy set, and they kept their cool when there were issues with the bass, just kept going as if nothing was wrong! Delivering bags of charm and soaring choruses, Thieves Of Liberty (7) kept the afternoon momentum surging forward. The band have broken out from their North Eastern stronghold and are a popular festival addition.

Packed with bite and fast-paced energy, Fangslinger (7) brought a sharper, metallic edge to the early evening crowd. Their dark country rock style and stage get up set’s them apart from others this weekend. Melodic, polished, and full of heart, This House We Built (9) delivered rich vocal harmonies and arena-ready rock hooks. Having been endorsed by Tyketto frontman Danny Vaughn they have pushed themselves to the forefront of the NWOCR movement this past couple of years.

Stepping into the sub-headline slot, the Birmingham trio, ​Blue Nation (10) brought an emotional, soul-infused rock sound that completely captivated the venue. Luke Weston’s driving bass rhythms and Neil Murdoch’s expressive vocal delivery created a massive, atmospheric sound wall. Their connection with the local Midlands crowd was palpable, delivering one of the most poignant sets of the entire weekend. How we have managed to miss these guys for ten years I don’t know!

Closing out the 5th anniversary festival fell to Fury (10), and they didn't disappoint, unleashing a grandiose, heavy metal spectacle that shook the rafters. Julian Jenkins led the charge with soaring dual-guitar harmonies and theatrical flair, backed by a rhythm section that pounded through the Steel Mill. Nyah provides a sultry muse to Julian's gruffer delivery and it’s a great partnership. 

Hot off her dynamic sessions with Black Sabbath legend Tony Iommi, bass player Becky Baldwin gives the songs a power boost along with Tom’s pounding drums It was a fitting, defiant, and gloriously loud curtain call for the festival's current chapter—ending five years of NWOCR LiveFest on the ultimate high note. Latest addition Matt Fletcher has slotted in seamlessly and the set is fast, heavy and furious!

It will be sad if this is the last NWOCR weekenders, fingers crossed someone will take up the mantle and bring it back in some form, we can only wait and see.

Reviews: The Pineapple Thief, Graveyard, Werewolves, Tenebra (Paul Hutchings, Matt Bladen, Mark Young & Keith Boswell)

The Pineapple Thief – Far And Wide (InsideOutMusic) [Paul Hutchings]

It’s been a while since I spent some time with these progressive masters. I’m no stranger to their music though; in a world of ever-increasing releases, sometimes albums slip past the net. You earmark them for later listening and then get distracted by something equally shiny.

The reassurance about the West County outfit is that wherever you pick up, you are guaranteed to listen to high-quality musicianship which takes time to absorb and enjoy. But technical excellence doesn’t always mean that the songs are also as good. 

Thankfully, Bruce Soord, Gavin Harrison, John Sykes and Steve Kitch are as tight a unit in so many ways that this is a home banker from the moment the music starts.

Newly signed to InsideOut Records, Far And Wide demonstrates that unity. With Harrison now nearly a decade in with the band, and the remaining members with well over twenty years’ service under their belts, there is a chemistry and organic quality that can only grow from years working together.

Soord’s vocals are still gentle, calm, almost dreamlike but with an incisive enunciation that delivers the message with crystal clarity. Harrison’s drums are focused, precise, and unpretentious. And there is a settled, more relaxed feel to the album. 

Opener New World Order is the immediate example. It’s instantly The Pineapple Thief, yet there is a simplicity to the song which suggests that there’s been some inner reflection. “We realised, for instance, that you don't need more than two guitar parts at any one time,” frontman/founder Bruce Soord says. 

“You know, ’why have we got four or five guitars? Why have we got six-part harmonies when there's only three of us singing?’ We deliberately created those constraints, because we thought, ‘we're a rock band, there's five of us on stage, this is what we should be about in the studio.’”

And whilst we always associate The Pineapple Thief with measured precision, the punch that comes in first single Hold the Ashes may even surprise a little. Informed by his time spent with his father in his last days in hospital, the track contains one of the most sinister edges that the band has ever delivered.

No acoustic guitars feature here either; something the band has never done before and whilst Soord often reveals a bit of imposter syndrome in his six-string playing, he clearly has been egged into doing a fine job by his bandmates. There are hidden depths still being revealed here, despite it being number 16.

Still Living is melancholic, temperate and balanced despite elements of it crossing a range of emotions and styles whilst there is a grunge feel to God Knows. Like most albums by this superlative band, there is plenty to enjoy and explore.

All with commentary and observations that span each member of the band’s interpretations on personal experience and worldwide events and situations. Scattering Like Flies for example, simply screams with social commentary whilst holding firm on the band’s typical textured and skilful delivery.

16 albums in and The Pineapple Thief continue to surprise, delight and reflect the world around us. Dive deep or slim it superficially, either works. What is sure is that by the time you get to closing track No Exceptions, you’ll want to press play again, for this is a band in their glorious prime, even after all this time. 10/10

Graveyard - Fever (Nuclear Blast Records) [Matt Bladen]

As we all know if you have a fever the only cure is chicken soup (or more cowbell) and rock n roll fever is spreading fast on Swedish retro rockers Graveyard's seventh studio album Fever. 

Coming three years after things took an introspective turn with Six, Fever sees them entering the fuzz boogie wonderland be it Saturday night or not! Fever is Graveyard doing it for themselves, no outside producer, no fancy tricks, no maudlin, just direct rocking that challenges the hopelessness in the world with a c'est la vie attitude and bag full of riffs.

Entrusting the mixing and mastering to Pelle Gunnerfeldt and Robin Schmidt respectively, this record captures Graveyard as they would be live, dripping with fuzzy, blues soaked riffs, some southern swamp swagger and Sabbath worship, the influence of Ozzy, Tony, Geezer and Bill strong on A Better Cut (Note To Self).

Elsewhere in this absolute ranger of a record, Tongued Tied will bring you back from the dead with its deafening dose of garage rock, Year Of The Horse pushes CCR and Grand Funk together while Time To Tell slows down into a claustrophobic trip ala The Doors, before the pace picks back up on the left right punch of Don't Shoot and Room Tempered, both running hot and riffing hard.

Off the back of a more emotive, insular sixth record, with album number seven, Graveyard are letting it all hang loose with a nine tracks of chicken soup for the soul. Come catch a Fever from Graveyard. 9/10

Werewolves - You’re Weak And You Know You’re Weak (Back On Black) [Mark Young]

I’m not sure at what point they decided to embark on this mad journey of releasing one new full length album a year for a ten-year period. Just to recap that is the release of:

One fresh, brand spanking collection of new material.

Of prime death metal.

Death metal that must tick a certain set of admittedly narrowly focused ideals.

And: must absolutely not.slow.down.

Ever.

I reviewed their last one, 2025’s The Ugliest Of All, and scored them an 8. I think then, I wondered about how they are managing to pull this together and release what is a high level of extreme metal when it takes some bands years between releases who walk in the same lanes as these guys. 

Ok, by now if you have listened to any of the previous albums, you should know what you are going to get with this. It is going to be delivered without any airs or graces, without acoustic refrains or ‘heartfelt’ moments of reflection. 

This is going to be extreme metal delivered at speed with intensity to match. It may be termed (perhaps unfairly) as Caveman metal because of how direct it is. It has a purpose, and it won’t be shaken from that but there is nothing prehistoric about the riffola on display here. Its tight, sometimes technical, often brutal but never boring.

And that is the key here. Each song hurtles along and drags you with it, a relentless barrage that just boots the door in with Uroboric Fuckwit and decides its going to run at you until the Title Track drops in as the album closer. 

Its ferocious and at times self-deprecating, but then that should be expected, especially if you have listened to any of their previous albums, you should know what you are going to get. 

If anything for me, they have developed a sound that is like Morbid Angel hopped up on speed, with Sam Bean coming in like David Vincent. This is meant as high praise, Morbid Angel are one of my favourite bands.

So, this is a release for those who adore death metal played like it’s the end of the world. Fast, unrelenting and above all heavy. Its album number 7 in the bag for them, with no sign of fatigue or that they are running out of steam or ideas. 

Again, lets be honest here; the music won’t sit well with those that associate a certain production/sound and approach. This is stripped back of any emotive material, of anything that does not add to the end result. This is as straightforward as it gets. 8/10

Tenebra – Death Chant (New Heavy Sounds) [Keith Boswell]

Tenebra, originating from Bologna Italy will be releasing their new EP entitled Death Chant through the London located New Heavy Sounds Label. The EP consisting of three tracks with a combined length of 13:55 is framed by the band as a small taster from a new album due in 2027.

Previous work from Tenebra is most certainly fuller in intense, heavy guitar led loveliness. 

However, Death Chant is most certainly different and very avante garde in its approach on this occasion, seemingly tied into the telling of a story based upon the premise of finding a way through grieving for someone or something with each of the three songs providing a different route through the process.

Chapter One: The Death Chant, provides a musical descriptor of that moment immediately after death. 

I listened to this track many times and the arrangement never cease to amaze me in its quality and its musicality. The baseline is constantly moving and offering something different in tandem with the melodic support from guitars and keyboards floating in the track giving it the air of individuality.

Chapter Two: Drugs Are Overrated, provides a brief portrayal of what the confusion and sadness that one may feel following the of death could look like. 

This track is a lot grittier that the first and far more psychedelic, it’s almost a piece delivering a transition between one plane to another. Heavier guitars and considerable keyboards are very prominent and carry the track along to its conclusion.

Chapter Three: Tell Me What You See, follows the communication of the acceptance of loss and that the presence of scars is inevitable and ever present moving forward. The first song on the album with vocals sees the band really elevate their music to a different level of intensity following the first two chapters.

The quality of this EP is certainly of a high standard, if this is snapshot of a new direction for Tenebra then I look forward very much to the album in 2027. 9/10

Reviews: Temic, Sari Schorr, Speed Stroke, Axty (Matt Bladen, Keith Boswell, Rob Spark & GC)

Temic - Ceiba (Season Of Mist) [Matt Bladen]

Temic's debut album Terror Management Theory garnered a near perfect score from me when it was released in 2023, but that's with good reason as Temic is something of a prog supergroup.

Founded by keyboardist Diego Tejeida and guitarist Eric Gillette, who were both in Mike Portnoy's Shattered Fortress at the time but have played with many other prog band including Haken and Devin Townsend, they recruited drummer Simen Sandnes and Norwegian Idol contestant Fredrik Klemp and Temic was born as a homage to epic, emotive prog metal.

Inspired by Dream Theater (See; Myself), Devin Townsend, Pain Of Salvation and on this follow up, acts such as Evergrey (Broken) and Leprous (Ceased To Be), the introspection of these bands permeating through this follow up record and it's focus on mortality, with songs about loss, pain, anger, fear, blame, silence and ultimately resilience.

This concept record travels into proggier territory than their debut, though it never allows the virtuosity to take over from the entertainment value, each member contributed to the album, including new bassist Miguel Pereira, who makes his mark with some top level bass prowess, adding a lower end technically to what is already a virtuoso group.

Ceiba has Temic, easing into themselves as a band, allowing for more emotional resonance to sit behind the musical brilliance, it's an hour of music that has the balance between loss and acceptance at its heart and continues to see Temic evolve into one of prog metals shining stars. 9/10

Sari Schorr - Running Wild (Provogue Records) [Keith Boswell]

Sari Schorr's third album Running Wild, drops October, throughout the album Schorr displays a gritty down-to-earth vocal style that is supported by a blend of jazzy rock themes with a soft metal undertone.

This current offering opens up with hard hitting and catchy Mr. In The Middle which builds upon the sound of her previous album Never Say Never 2018. The song really embodies this album for me providing the listener with a very bluesy arrangement complete with an almost intimate vocal which really hits the spot.

More of the same is delivered over the next few tracks without never being repetitive or letting the listener down in anyway with tracks such as Running Wild and Monday Morning. Dropping in intensity Schorr shows her vocal versatility with a toe tapping Man On Fire and Better Day. Variety is indeed very apparent with the way in which guitar riffs are blended to deliver further songs such as Elevate and Finding My Way.

All in all, a good piece of work from Sari Schorr with great vocals and musicality to match, is a decent listen and thoroughly recommended. 7/10

Speed Stroke - Damage Control (Scarlet Records) [Rob Spark]

Speed Stroke's fourth album is a hard-rock record with Mötley Crüe in its genes. The Italian band look the part, and the label pitches it as Scandinavian sleaze meets 80s street metal, "all killers, no fillers". The mix by Erik Mårtensson of Eclipse is excellent. The songs are a more mixed experience.

Glorious Breakdown is Crüe with double-kick drums clicking away like a Duracell bunny on amphetamine, but it's far too repetitive. Heart Of The City bored me to sleep, an album track from Europe. The title track uses a plane crash as a metaphor for panic, which suits the cover, but with its close harmonies and Top Gun feel it's generic pop rock. State Of Shock builds into guitar noise before the chorus drowns in backing vocals, though its solo took me back to 1988.

Italian Coglione opens in Italian ("Who is this person, sorry?") and is then achingly slow and drab. As someone with Sicilian heritage, I know coglione is far ruder than "idiot", and the song doesn't live up to its insult. In Flames keeps trying to go somewhere but has no ticket for the bus ride.

Blessed By Misery is where the album finds its feet. Guest vocalist Giorgia Colleluori sounds divine, the harmonies are lush and the shredding finally fits. It's a great song that grows with every listen. All For The Weak End is slower hair metal, Skid Row meets Mötley Crüe, and Crüe fans might like it. Its swipe at gurus and ice-bath hustle culture is the album's sharpest lyric. Walls, a song about vampires, bored me. I lived through the 80s and it was awful, and this made me regress, badly.

Then Chain Reaction surprises. I feared Diana Ross in the 80s, but got plain, honest rock music that had me shaking my head and tapping my foot. Where has this been all album? An amazing ending. The mix is excellent, but in places the production is 80s-generic, the stock rock-radio sheen of the era the band are chasing.

Damage Control sounds great but plays it too safe. A guest vocal that shines, a song that grows with each listen and a cracking finale lift it above generic, and Crüe devotees will find enough to enjoy. The polish is there; the songs now need to match it. 6/10

Axty - The Pain Made Me Who I Am (Napalm Records) [GC]

It’s been a good while since I reviewed anything, so thought it might be best to ease myself back in with something familiar, metalcore, the description nowadays could mean anything as the way the sound has changed and morphed over the years is mind boggling, I have to say most of it has been for the worst with the odd shinning light making you not want to completely give up on the genre, so, is Axty’s new album The Pain Made Me Who I Am an new high or a new low??

It all gets going with Pain Made Me, which is an overly long intro really, and from this I am not getting metalcore, I’m getting if Slipknot started their career now, they would probably sound like this type of vibe, lots of electronics and scratching and a few riffs thrown onto for no good reason and its bit of a shit start if I am honest?! 

Who I Am has the full on nu-metal bounce within the structure of the guitars and has scatty electronics and weird atmospherics that just aren’t very good to listen to at all, the one thing I do like are the vocals, they have all the necessary anger when needed and a beautiful harmony when singing clean, which he should do more often as its certainly the highlight so far. 

Dismay does nothing different and sound like anything of any mid 00’s Roadrunner release you would care to think of, they try their best to be heavier that they are but it never really pays off, the lighter parts are always better and stand out a lot better for me. Selfish is really just a complete mess and just has no real body to it its just feels like a jumble of sounds mashed together and all fighting for the spotlight and nothing actually wins overall, certainly not my ears! 

Everything Is Beautiful is just dull and uninspiring as ever and has no selling points or memorable hooks that make you want to go back to it, everything is flat and boring, this vocalist REALLY deserves better because he is 100% the best bit of this band, shame. All I Love drags me past halfway and I’m still yet to really pick anything noteworthy out of this collection of random noises apart from the clean vocals which are superb as ever on this track and if there was the music to back it up this review could be so much different, but there isn’t so what can I do? 

Closer makes my eyes roll back so hard in my head they almost come out of my mouth, it has the hallmarks that made the second wave on nu-metal complete dogshit, stupid rapping, heavy electronics, scattergun vocals with chug chug guitars that have no feeling and then obligatory big verse that can’t save this mess, Fragile has me hanging on for dear life but not in a good way, in a more, is this still going and how many more track do I have to put up with sort of way! 

Every track has had the same sort of sound just in frequently messier ways, this just does nothing for me, it all feels so painfully misguided and un-sincere. Break ushers in the losing acts of the album and guess what? You could pick any of the other tracks and struggle to tell the difference between them, the one tone sound of this record is wearing on my last nerve now, I’m not sure how you can record an album of 12 tracks and everyone sounds completely alike? SIGH!! 

Of the last 3 tracks Nothing But Pain, With Me and End This, absoultley nothing changed, tired chugging guitars smashed together with noisy and annoying electronics and the pattern of the song always stays the same, chugg, noisy bit angry vocals, squeak squeak electro bit shout shout, quiet bit to lull you in, more chugg chugg, end.

I tried as long as I could but in the end The Pain Made Me Who I Am just wore me down, I didn’t like and of the music or how it was structured, the only saving grace were the vocals and even they wore off towards the end. If you liked nu-metal and think it has a place being revived in 2026 this is the record for you if you don’t, I wouldn’t bother with this. 3/10

Reviews: A Night In Texas, To The Grave, Untitled With Drums, Dissimulator (GC & Mateusz Stefanow)

A Night In Texas - The Darkest Side Of Humanity (Unique Leader Records) [GC]

Deathcore, death metal and hardcore mixed together, what is not to like? Well, sometimes a whole lot actually! When it’s done right its unrelenting and brutal as you could ever want but when it done wrong it just sounds boring and unnecessary, there really is a fine line between great and total dogshit, I’m a sucker for punishment so I’m about to find out where the latest A Night In Texas release, The Darkest Side Of Humanity fits into the picture!

It starts staggeringly well on Oblivions Dominion an ominous build up explodes into full blown carnage with drums smashing your skull into tiny pieces and guitars stabbing and pounding you in to shapes a human shouldn’t be able to make, you want to throw yourself around and destroy everything within a ten foot radius of you the second this hits, it is intense, brutally heavy and absolutely fucking glorious, one track in and I am sold! 

They have something for a little build up to brace yourself because it’s done again here and when Rot From Within kicks of in every way possible you just need to sit and take it all in, the guitars are punishing and non-stop violence with a side of horribleness for good measure to describe the drummer as inhuman seems unfair but the way they just keep crashing around and all over everything is just unbelievable really and the vocals are just fucking nasty, pure bile and viciousness.

Fed To Death isn’t obviously changing anything or re-writing any rulebooks and do I care? Not one bit, this is how real deathcore sounds, it never stops or slows down, never takes any prisoners and there is absolutely no room for any melody of any sort and honestly more bands should take note of this because its probably one of the best things I have heard this year, UN-FUCKING-BELIEVABLY good! 

The punishment just keeps coming with Metastatic Misery which has a whiff of Soul Of A New Machine Fear Factory thrown in and this is not a slight in anyway, this is a compliment of the highest order, they don’t copy though they evolve and crush the sound and bring it directly into 2026 with such brutal force you almost feels sorry for any other deathcore bands who might want to release an album this year!! 

Evolved From Hate reminds me a little too much of a Whitechapel song, which again isn’t a bad thing in a way but as soon as I saw the title and heard the track I though hang on? Look, its fucking crushing still and pisses on a lot of stuff just needs to vary a little bit more maybe? 

As soon as I come up with one slight issue it is smashed away with When The Sun Burns Out remember that dirty word, I used before, melody? Wel here we have it in bucket loads, the first part is slow and tantalizingly beautiful but obviously this doesn’t last long before were back to business as usual and they also manage to shoehorn the melody back in without compromising the brutality and I’m all for it! 

A Primal Conditioning is a swift and disgusting reminder that when yes, we can do melody and all that type of stuff, but THIS is what we are about, pure, unbridled, disgusting heaviness, don’t like it? Oh well, go listen to Miss May I or whatever metalcore band is popular now! Sometimes if something just constantly pushes one type of sound it could get tedious or boring, not here, it just keeps improving and getting better!

The Chronicles Of Nihilism is just chaos is music form, everything comes at you from a different attack point and all hit at the same time in a wave of blistering savagery that never lets up, once you’re in, you are IN! the manage to drop in some keyboards again here but not in the melodic breakdown way in the background of the beating sort of way another breathtaking track! 

I feel like I am almost out of ways to explain how much I love this record, but then The Infinite Maw rockets into my skull with the subtlety of an elephant standing on your bollocks, twice! More furious drumming and sludgey, disgusting riffs that mix all the best bits of death meatal with the tones and drops of hardcore and a vocal performance that is nothing short of amazing, this is truly on another level.

So, It’s onto the final track of the album and The Darkest Side Of Humanity does not end on a whimper or let you down, they sum up the album in one last blast of perfection, they do that melody stuff again but its subtly layered underneath the brutality that is the trademark sound, it doesn’t let up and never stops building towards one last destructive drop, the differing styles are on show and it all shapes up to the perfect ending to this horrible bastard of a record.

Well, well, well!?? What an unbelievable record The Darkest Side Of Humanity is! So far, I can only think of one record I have heard this year that best this (you can wait till the AOTY lists to see what it is). 

If you want to be stamped on, kicked about an then pummeled into a bloody puddle, this is the record for you, if you don’t and you just want fucking banger of a record, this is also for you, if you just want to hear something that is fucking awesome this is also for you” Look, whatever you want, just listen to this record, you will not regret it. 10/10

To The Grave - Liberation Front (BLKIIBLK) [Mateusz Stefanow]

Personally, I find a lot of deathcore follows a copy-paste scheme where a lot of bands fall flat just on account of trying too hard to emulate another band. I am happy to say that To The Grave does not subscribe to this, as Liberation Front is sheer brutality from start to finish/

A thrilling misanthropic trip into vegan deathcore. This album is crushing, with oppressive blast beats utilising a good imbalance between toms and cymbals, leaning more towards the former to add a depth and chunkiness to the tracks, and rhythmically they remind me of Anaal Nathrakh, which is a definite boon.

Meat The Humans hits the ground running, or blasting if you prefer. From the start you can tell this album is going to be gritty and in your face, with animalistic growls and judiciously selected horror-esque samples that blend beautifully with the harsh guitar tones.

Nail Mary could be lyrically taken for a black metal song, with their blasphemy, but that is not all this song excels at. From my earlier reviews it may show that I am a fan of well placed silent breaks, and this song showcases just how well this can work, with these being tactfully inserted in between sections of brutal beatdowns that gives the track an organic feel.

The pressure does not let up by Torture Porn, however the introduction of screams to the by now well known growls, giving this song a unique identity compared to the previous songs. Our eardrums can finally breathe a sigh of relief by the time we reach Terrorfire, only to realise that the first 2/3 were an interlude to build up for the latter 1/3, and The World Is A Slaughterhouse.

Check out this album for sure if you’re into heavy music, because it promises and delivers on all counts! 8/10

Untitled With Drums - Made Flesh (Season Of Mist) [GC]

Reading over the promo material for Untitled With Drums, there are a lot of brave references, comparing them to Quicksand, Deftones and Cave In is by any means bold but as mentioned very brave, those bands are hailed as trendsetters and icons, you have to have a heavy belief in yourself to write you are their (and I quote) ‘’worthy heir’’, I guess there is only one way to see of this is indeed worth the hype or if it’s just complete PR waffle.

Above My Head does have a purpose about it and has the grandiose atmosphere you would want and expect, the guitars are understated heavy and also beautifully melodic, the vocals when they are there are wonderfully light and airy and help with the mystique, the song builds to a wonderful crescendo and flows perfectly into Shame which has a bit more directness to it,.

There is more of an alt-rock-ness to this but it doesn’t take long for the more spaced out and mesmeric parts to begin taking the focal point but they mange to meld them together really well and create what feels like it should be a 7-8 minute track and condense it into just under 3:30, sterling work! 

Matter has a sparse yet melodic build up, there is nothing lacking in the music and it expertly done to make you really pay attention to what is being played, the vocals once again are beautifully done with a restraint and measure behind everything as you feel that this could easily be one of those were a vocalist would want to take over but its all mixed together with such precision, an exquisite track in every way. 

Gray is one of those track that makes you just want to put your headphones on close your eyes and just listen, it’s another lesson in restraint but also manages to pack the required much needed to not make you think that it’s just a nice track, it has bark and beauty in equal measure and in all honestly you would be happy if it was another couple of minutes longer as it builds and builds towards the end you just feel like you need more of it! 

Space does its best to follow on and while its does a decent enough job it doesn’t really feel as involving as some of the other tracks, is a decent enough track and has a huge mid verse/chorus combo but I just feel that there is just something holding it back, I have mentioned the restraint previously and its worked but feel a bit of an unleashing would make this a much better track. 

Change For You takes just that little bit too long to get into gear but when it does it really does, the laid back build up explodes into a melodic explosion that is just as quickly paired back into the spare build up of that fist verse and it’s a back and forth that really needs to be heard to be appreciated, its wonderfully emotional but also has the right amount of heavy to really push on and stick in the mind another inspired track. 

I think that Oblivious is my favorite track, it sounds like Alice in Chains mixed with Isis and here I am throwing out names now, but honestly it’s that good, it has the grungy riffage to start then breaks down into a spacey and flowing parts with some amazing vocals to top everything off, the way they can remind you of bands this good but still make this sound like them is testament to how good Untitled With Drums actually are! 

Parasitic is another more straightforward song that has a lot of simple guitar riffs to draw you in then breaks down and insists you pay attention then subtly draws you along before dropping back into the more riff heavy parts and this repeats in a hypnotic pattern till the end and usually this formula may be a bit boring a repetitive but not here, here its done with complete ease! 

Been So High is a strange one, it stars slowly and acoustically and then when it does come to life, I just don’t connect with it at all, I listened back to it another time and still can’t really seem to get a feel for the track? Maybe it will come in time but a slight miss on this one.

Cry gets us back to the more familiar sound and it’s a welcome return to what has made this album such a good listen, they paid back the guitars but not with acoustic tones, they are still as heavy as they need to be but they let the vocals breath and layer together with a breathtaking beauty that has summed up the vast majority of this record, the highs and lows of the song are all there and all sound glorious and it’s a fitting ending to this majestic album

Now, I doubted that Untitled With Drums sounded like some of the bands they were compared to and that because they don’t really, they have touched of them but really sound like themselves and that’s the best thing you can really ever want from a band, right? Made Flesh is a beautiful, sorrow filled, triumphant stormer of a record and definitely deserves your time, because who knows where they could go from here?? 9/10

Dissimulator - Artifice Dissolves (20 Buck Spin) [Mateusz Stefanow]

Sci-fi technical death-thrash is quite the mouthful, and that core ideal of being difficult to pin down pervades every aspect of Dissimulator’s newest release, Artifice Dissolves. 

Featuring all the members of Chthe’ilist, Philippe Boucher, the human metronome also known from Beyond Creation, Antoine Daigneault also known from Exxûl and Atramentus, a band he is joined in by the last member, Claude Leduc. This history of interconnectedness highlights the phenomenal chemistry that this trio has.

This album leans further towards thrash than death metal, but not as we know it- blistering riffs with chugging basslines and blast beats that feel like being crushed underfoot in a robotic invasion. Apophenic Rage features some back-up vocals by Leduc himself, pitch shifted into a robotic vocal style that I personally am not a huge fan of but this could definitely be a strength for another listener.

Artifice Dissolves, Alloyed and Proprioceptor all feature the backup vocals of Chthe’ilist vocalist Laurent Bellemare, adding yet another layer of complexity to the magical arpeggios and palm muted chugs that Daigneault is smashing out consistently as Boucher switches up time signatures more than the average person changes socks.

For everything this album does well, I fear some things don’t work out completely for me, namely the 45 minute runtime. I found my multiple listens to this review to be rather same-ish and I found the tracks to be mildly interchangeable to an extent, which sadly does dock them a few points in my eyes. 

Despite this, the death metal grooves along with masterful technical complexities inject vitality into the thrash DNA of this album, breaking away from the 80s reenactors. 7/10