Is there any band more British than Big Big Train? I mean that by them being a sprawling collection of nationalities all working and creating together, drawing influence from shared tradition while also infusing their own heritage, in a musical harmony. So I don't mean British in the sense certain Toby Jug Faced politicians would have you believe.
Proudly flying the flag for progressive rock grandeur, folk intimacy and lyrical storytelling, Big Big Train are still forging away led by band founder Gregory Spawton (bass), as Woodcut is the second full length featuring vocalists Albeto Bravin who took over the mic following the passing of longtime vocalist David Longdon. It's also their first concept record, which for a prog band is mad, however every prog band needs one and BBT don't scrimp with a 16 track, 66 minute "human exploration of art, faith and endurance."
Heady stuff indeed but BBT have always been able to pull things like this off, despite members from England, Scotland, Italy, the USA, Sweden and Norway, Woodcut sounds very British, as I stated, a throwback to simpler times, wrapped in the classical/folk motifs spawned from Claire Lindley's violin and Paul Mitchell's trumpet, Inkwell Black begins the this tale with nostalgia, before we are introduced to our protagonist on The Artist, the first stabs of Oskar Holldorff's organs coming here while Gregory Spawton keeps the track moving forward with technical bass and mellotron, the heartbeat of the band on tracks like Albion Press.
It begins the record with what I would consider a 'classic' prog sound, the multiple voices all in union throughout, countering and harmonising with each other as every emotion wrought moment comes from Alberto Bravin. With a band made up of multi instrumentalists it difficult to decipher who plays what where, brass, violin and bass excluded, but then that's the point, BBT have always been a band that work as collective each with a wide array of skills that they can bring to the cinematic scale of their albums.
All I know is that it's definitely the drum work of Nick D'Virgilio beneath it all, steering off-time beats with enormous fills, then switching to restraint when called for, his link with Spawton is instinctive, a rhythm section that locks you in to the record in a similar way to a band like Yes on Warp And Weft. Fear not though guitar fans as for all the keyboards (a lot of members) and vocals (a lot of members), there's plenty of guitar too mostly acoustics and 12 strings to carry through the naturalistic analogue feel of the concept, though Rikard Sjöblom gets to wield those dramatic free flowing leads on Light Without Heat and bluesy solo on Warp And Weft.
In conjunction with the record, Big Big Train have launched a website full of hidden content connected to the story of this record which adds more depth to the overall concept of this nostalgic, beautifully realised new record. Rich in English/Scottish folk traditions, Woodcut is a masterpiece of conceptual progressive rock. 9/10
Karnivool - In Verses (Cymatic Records/The Orchard)
It's been almost 13 years since Aussie genre originators Karnivool have graced us with their grooving style of progressive metal.
One of the bands that inspired the whole Djent sound of today, Karnivool have gained cult status over 20 years as one of the seminal Australian bands, the classic records such as Themata, Sound Awake and Asymmetry, cementing them as a band whom a whole host of acts owe their sound to. They're played some massive gigs in their time but most recently in the UK they were one of the headliners at ArcTanGent and rightly so as there is a festival full of bands who have been inspired by Karnivool, making for a full circle moment for so many.
However Karnivool are never a band to release a record because they have to, because label pressure makes them, no they do everything on their lane terms, calls it selfish, call it creative, call it what you want but you don't get a Karnivool album until they decide it's ready. The band experimenting, comparing and creating away in their studio to bring to life some of the most anthemic and emotive prog metal around. It's the reason why the band have three almost perfect albums in their back catalogue, so what about their fourth? Has 10 years of life experience and a 13 year recording period produced another showstopper, in league with longtime collaborator Forrester Savell? Well almost.
Let me explain; In Verses is very deliberate, a record crafted for two purposes, satiate their rabid fans with another ten tracks of grooving magic to dance awkwardly too. However it's also a record to introduce themselves to a new audience, fans of this music that may not know about the band, who may religiously attend ArcTanGent but may not know about the influence of a band like Karnivool, 13 years is a long time in music after all.
In Verses was conceived through "feelings of frustration, catharsis, and a rediscovery of identity" and it begins exactly as you'd want, jangling guitar melodies lead into a big bass this from Jon Stockman and it's into the grooving chunky riffs from Drew Goddard and Mark Hosking, the classic prog touches coming though their guitars harmonic, intricate guitar parts.
The inspiration of alt/prog bands like Tool, a track such as Aozora and 2021 single All It Takes both put the bottom heavy grunt of Tool with introspection in the lyrics and keening vocals of Ian Kenny. There also the grunge moments, where they bring in the massive riffs of Soundgarden and Animation is full of the angst of Nirvana the expressive drumming from Steve Judd is at the core.
Now In Verses is the sound of band who've been through some shit, you can feel the trauma and the catharsis throughout this record. It's a band rediscovering who they are joined by their buddy Guthrie Given on Reanimation, it's perhaps a record that is a bit more contemplative and pensive than their previous three, as such it's not as heavy, there's more balladry and lighter alt rock moments here, not just the start stop heaviness.
Is it perfection? No. But this is a record from a band who have struggled with all manner of things outside their existence as a group, these moments of strife and struggle are disclosed on In Verses, making for a Karnivool record that takes a more angst driven path, that will open up their fanbase to more than just prog metal fans. 8/10
Tailgunner - Midnight Blitz (Napalm Records)
Despite only appearing on the scene in 2022, Tailgunner's rise through the ranks has meteoric. They are a band who are very obviously inspired by the NWOBHM, when Bristol metal ruled the world and bands like Iron Maiden, Def Leppard, Saxon and Judas Priest ruled the world.
Their EP and debut album were both packed with twin axe harmonies, bass gallops and air raid siren vocals, so they have a crossover appeal for older fans who want to re-live the glory days of heavy metal as well as young fans who will able to experience the energy packed NWOBHM sound for the first time. The band have supported some of their heroes (they are the main support to Fozzy this month) but it was their run with KK's Priest that solidified their place as the true heirs to the heavy metal throne. So much so the KK himself has produced their sophomore record Midnight Blitz, putting his faith, support and expertise behind the band.
Midnight Blitz is classic British metal worship but for the modern generation, it doesn't languish in former glories nor does it shamelessly copy the inspirations, this second album very much seeing Tailgunner defining themselves as their own entity. With power metal on the title track at the beginning of the record and Eulogy at the end , they have chorus heavy melodic metal on Tears In Rain, the songwriting has become more varied, pulling from inspirations across the heavy metal spectrum, with speed metal on Follow Me In Death and the Maiden-like Dead Until Dark allowing Rhea Thompson and Zach Salvini to peel off that razor sharp twin axe attack.
In Verses was conceived through "feelings of frustration, catharsis, and a rediscovery of identity" and it begins exactly as you'd want, jangling guitar melodies lead into a big bass this from Jon Stockman and it's into the grooving chunky riffs from Drew Goddard and Mark Hosking, the classic prog touches coming though their guitars harmonic, intricate guitar parts.
The inspiration of alt/prog bands like Tool, a track such as Aozora and 2021 single All It Takes both put the bottom heavy grunt of Tool with introspection in the lyrics and keening vocals of Ian Kenny. There also the grunge moments, where they bring in the massive riffs of Soundgarden and Animation is full of the angst of Nirvana the expressive drumming from Steve Judd is at the core.
Now In Verses is the sound of band who've been through some shit, you can feel the trauma and the catharsis throughout this record. It's a band rediscovering who they are joined by their buddy Guthrie Given on Reanimation, it's perhaps a record that is a bit more contemplative and pensive than their previous three, as such it's not as heavy, there's more balladry and lighter alt rock moments here, not just the start stop heaviness.
Is it perfection? No. But this is a record from a band who have struggled with all manner of things outside their existence as a group, these moments of strife and struggle are disclosed on In Verses, making for a Karnivool record that takes a more angst driven path, that will open up their fanbase to more than just prog metal fans. 8/10
Tailgunner - Midnight Blitz (Napalm Records)
Despite only appearing on the scene in 2022, Tailgunner's rise through the ranks has meteoric. They are a band who are very obviously inspired by the NWOBHM, when Bristol metal ruled the world and bands like Iron Maiden, Def Leppard, Saxon and Judas Priest ruled the world.
Their EP and debut album were both packed with twin axe harmonies, bass gallops and air raid siren vocals, so they have a crossover appeal for older fans who want to re-live the glory days of heavy metal as well as young fans who will able to experience the energy packed NWOBHM sound for the first time. The band have supported some of their heroes (they are the main support to Fozzy this month) but it was their run with KK's Priest that solidified their place as the true heirs to the heavy metal throne. So much so the KK himself has produced their sophomore record Midnight Blitz, putting his faith, support and expertise behind the band.
Midnight Blitz is classic British metal worship but for the modern generation, it doesn't languish in former glories nor does it shamelessly copy the inspirations, this second album very much seeing Tailgunner defining themselves as their own entity. With power metal on the title track at the beginning of the record and Eulogy at the end , they have chorus heavy melodic metal on Tears In Rain, the songwriting has become more varied, pulling from inspirations across the heavy metal spectrum, with speed metal on Follow Me In Death and the Maiden-like Dead Until Dark allowing Rhea Thompson and Zach Salvini to peel off that razor sharp twin axe attack.
The rhythm section of Bones (bass) and Eddie Mariotti (drums) steam full speed ahead on the pirate infused Barren Lands And Seas Of Red, but can also use restraint when they want a mid-pace groove. Tailgunner though are not a band to take their foot off the gas, the blistering heavy metal rarely stops as Chris Carns unleashes those huge vocals, across the record, more polished after all that touring they've been doing.
They can slow down though with the 80's AOR balladry of War In Heaven, featuring some keys from Adam Wakeman. It may prove to be Tailgunner's most divisive song but you know what? Where it sits in the middle of the album perfectly splits this record like the LP's of old as the riffs come back with that Brit metal might on Blood Sacrifice and on that engine roars for the rest of Midnight Blitz.
Slick, refined and anthemic, Midnight Blitz is more than slavish worship, it's a whole new church of heavy metal from these modern torchbearers. 9/10
Demonic Resurrection - Apocalyptic Dawn EP (Self Released)
25 years is a long time for a band, more so in the often turbulent Indian heavy music scene, any band who want to play heavy metal in countries where often they can't or are marginalised for doing so, get support from me. Demonstealer and his band Demonic Resurrection have been a little quiet as of late, a band welcomed warmly on UK stages.
Their last release was a compilation celebrating 20 years, but in 2026, Apocalyptic Dawn is not only a celebration of 25 but seems to be a reactivation of this cult Blackend death metal band. The artwork from Gaurav Basu aka Acid Toad is beautiful but the songs are just as exciting if you're a fan of extreme music.
Demonic Resurrection feel like a band again, back to being a four piece Demonstealer's riffs and snarling growls (and some clean shouts) are front and centre but Swarnava Sengupta doubles the battery as Nikhil Rajkumar crushes you into dust. The rhythm trio all mesh well, bringing a celebratory mood but a renewed urgency, Aditya Swaminathan meanwhile pulls out the incendiary leads as often as he can.
With constant changes in pace on opener The Great Famine, it's progressive and punishing, the orchestrals/keys swelling in the background to bring that epic sound DR have always been associated with aided by the the mix and mastering of Keshav Dhar (Sky Harbour), picking out the technical prowess here is easy.
Even in the background of second track Of Blindness And Divinity, you can hear the keys here and extra vocals on Apocalyptic Dawn XXV from Anabelle Iratni building up the layers of these songs to reintroduce the epic style of Demonic Resurrection to many who perhaps have forgotten about them since their last full length in 2017.
The 2025 version of the title track, is a re-record of a track from their second album and showcases the band as they are today, recharged, reloaded and ready to strike again. 25 years has presented plenty of challenges but Demonic Resurrection continue to break boundaries and deliver top flight extreme metal. 8/10
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