A View From The Back Of The Room: Thrice (Tom Bladen & Alex Tobias)

Thrice & Lysistrata, Tramshed, Cardiff 13.03.26



Alex

Getting the night going were French trio Lysistrata (7), who came on to little fanfare and jumped straight into their set of grungy, post-hardcore. Drummer Ben Amos Cooper was main singer, meaning that Max Roy (bass) and Théo Guéneau (guitar) are free to be very active, bouncing and moving around the stage with a frantic pace.

According to our Editor (who's a bit of nerd) their name comes from the Aristophanes feminist play where the titular character convinces women will withhold sex until their warring men reach a peace agreement. Nothing witheld here though as Lysistrata put their all into every song, leaving them very little time for interaction which did mean that the crowd were a little less receptive, though that could also be because most were there for the headliners.

A good showing that featured one slower song in between their normal faster mathy style, just on the right side of techy to open a show like this with plenty of energy and melody.

Tom

Some bands age with a kind of rare defiance that goes beyond call backs and nostalgia, and Thrice (9) are a perfect example.

Walking into a very busy Tramshed in Cardiff for the opening show on the UK run of this tour felt genuinely brilliant, not just because a full room sets the tone before a note has even been played, but because it says something still really matters about a band like Thrice — nearly three decades on from forming in 1998, they still pull an exceptional following, and not one built purely on nostalgia either.

From the moment they got going, the thing that really stood out was just how tight everything felt. Thrice have always been a band built on control as much as intensity, and throughout the set the musicianship was exceptional, Dustin in particular was astonishing.

His voice has aged like fine wine, carrying weight and grit into the older material while still sounding powerful, clear and almost album-perfect across both the newer songs and long-standing favourites. That in itself is no small feat when you have a catalogue that covers so much ground stylistically, but there was never a point where he sounded like he was reaching for something that was no longer there. It was there, fully intact, and then some.

If I had one small gripe it would be that I could have done with a touch more gain on the rhythm guitar parts, just to give some of the heavier moments a little more bite, but in truth it did very little to take away from the overall sound. What came through far more strongly was how balanced the whole set was, both in performance and design.

The pacing was spot on. Earlier on, there was plenty there for the fans who wanted the big hitters — The Artist In The Ambulance, Paper Tigers and Stare At The Sun all landed exactly as you would hope, and the room absolutely responded in kind — but what worked especially well was how the set later allowed itself some breathing room.

Dropping into slower, more haunting tracks like Black Honey and Beyond The Pines gave the night a different shape rather than just chugging at one speed, and that balance meant the set served both the casual crowd and the die-hards really well (especially considering some of us OG's need a breather these days!)

It was wonderful to see the near capacity crowd fully engaged, and giving the band the kind of reception you would want for the first UK date of a run like this. It felt like the perfect way to kick off the tour on this side of the bridge, and if the rest of the UK stint gets anything close to this standard then they are in for something special.

An exceptional performance from a band who continue to prove why they have endured as long as they have. Hopefully not too long before they are back again either.

(And with The Illusion Of Safety hitting 25 next year... surely?)

A View From The Back Of The Room: Primal Fear (Debby Myatt & Tony Gaskin)

Primal Fear & Ronnie Romero, KK’s Steel Mill, 12.06.26



Back in Wolverhampton tonight we are expecting a masterclass of vocal verbosity with two of the best voices in metal on display.

First up was journeyman vocalist Ronnie Romero (9). Often cited as the Voice of Modern Rock, Romero has been hand picked by the likes of Blackmore and Schenker in the past, but more recently he’s been concentrating on his own material, especially his last album Backbone.

Songs like Chased By Shadows from the album Too Many Lies, Too Many Masters and title track from Backbone are gritty, heavy and melodic. Perfectly balanced for his soaring vocals, and of course he doesn't disappoint us with two Rainbow tracks (Stargazer, Kill The King) and a Deep Purple track (The Battle Rages On).

We always look forward to Ronnie passing through, and he hints that he will be back with a full headline show, something to look forward to!

By the time the Teutonic knights of power metal took to the stage, the room was buzzing.

Touring in support of their latest album Domination the band were on fire. Ralf Scheepers leads his cohort through a domineering set of pure power metal ferocity. His voice is unwavering, still powerful, you can see why he was once touted as a replacement for Rob Halford. The twin guitar assault is led by Magnus Karlsson and new addition Thalia Bellazecca, with long time compadre Mat Sinner on bass.

Not surprisingly the set was built around tracks from the new album, songs like Destroyer and The Hunter give you a hint of what this album is going to sound like. With five tracks from the new album played tonight there was plenty of room for fan favourites from all era’s, from the origins of the band Primal Fear to the present day. Deep cuts like Chainbreaker and Final Embrace lead us into the grand finale of the epic Running In The Dust. A real masterclass in pure European heavy metal delivered with flare and gusto.

All we need now is the Quest Fest team to book Primal Fear (10) for Quest Fest 2027!

Reviews: Poison The Well, Kal - El, Evermore, ClockTowers (GC, Rich Piva, Matt Bladen & Cherie Curtis)

Poison The Well - Peace In Place (Sharptone Records) [GC]

Every now and again a band comes along who instantly changes everything you think you know about music, all the way back in 1998 a band called Poison The Well released their first EP and I was interested as it was a whole new different take on the hardcore sound, it had emotion and feeling as well as heaviness, and then they changed EVERYTHING with their the groundbreaking and untouchable debut album The Opposite Of December which still to this day holds up as one of the greatest albums ever released and will always hold a special place in my history and my heart. 

Now of course, that was a long time ago and they followed it up with some stellar releases and really defined themselves as one of the most original heavy bands of all time, then, they spilt and it all went quiet!? Devastation! Then, there were a few gigs here and there, they became more frequent, new music happened, tours concentrating on celebrating The Opposite Of December happened and were amazing, so what else could they do? A new album obviously, so today after 17 years (I think) we have a new Poison The Well record in the shape of Peace In Place and I personally couldn’t be happier!!

It pains me to say that I feel slightly shocked when Wax mask kicks in as I am not feeling that it is as urgent or driving as I would have expected or wanted it to be, it obviously has has some hallmarks of the trademark Poison The Well sound but if I am honest it feels a little underwhelming after such a long waiting for new music!? Primal Bloom though is much more interesting; the rhythms and time signatures have a little more power behind them and the guitar work really catches the attention and thankfully it is a much better showing and relieves some of the worry. 

Thoroughbreds feels like a much more familiar beast and takes me back to the classic sound, it incorporates lots of twists and turns and has power and grace and really keeps your attention all the way through and you can feel a momentum building but then Everything Hurts has a raw and stripped back to basic sound that creates a feeling of nervousness that it might not go anywhere but then when they unleash the primal rage they keep in their locker it becomes wonderful as its beautifully melodic and also crushingly heavy in places and the way they bounce of each other with these styles it just reminds you that there aren’t many better at this style.

With Weeping Tones we get what feels like another magnificent throwback that is packed full of nostalgia but doesn’t sound old or dated it just reminds me of a time when metalcore was fresh, new and most importantly interesting and fun to listen too, it makes me smile inside and is another reminder never to rule out the OG’s. You can file A Wake of Vultures in the file marked ‘’barnstormer’’, it absolutely smashes its way through you and hits all the right notes of anger and venom and the more it goes on the better it gets, you don’t want it to end. 

Bad Bodies is just unrelentingly majestic it controls and directs all of the heavy parts with an expert ease and also manages to be wonderfully beautiful but massively devastating in equal measures, it paints vivid pictures with music and sticks long in them memory even when it’s over. Drifting Without End is just an expert showing of how you should do melodic hardcore, it has a restrained fury that is then cloaked in a beauty and anger that shines through with the sort of skill that most bands will never manage to grasp and to still be able to pull this off after such along break and so far into a career is just breathtaking. 

I feel that Melted really should have opened the album! It just nails everything you want and manages to somehow elevate the power more and continues to just get progressively more agitated and vitriolic and really has Poison The Well stamped all the way through

Plague Them Most is probably one of the most perfect album ending tracks you could ever ask for, it has more expertly delivered fury mixed with a haunting type of graceful beauty that only really this band can manage because let’s be honest they actually created and made this style popular and here they just of course deliver their trademark sound and distil it perfectly into a world beating track and it just a feels like a perfectly wonderful way to finish.

I wanted to love this album and thankfully I did! There was a slight fear that after so long the magic would no longer be there or they may somehow dull the sound with a sub-par release, this didn’t happen, barring one track that I wasn’t full sold on the rest of it was immaculately presented and just re-affirmed my faith in this band as comeback albums go this can be put right up there as one of the best, a truly wonderful band have just released yet another truly wonderful record. 9/10

Kal-El - Astral Voyager Vol. 2 (Majestic Mountain Records/Blues Funeral Recordings) [Rich Piva]

I am not sure there is much more I can say about my love of Norway’s Kal-El. They are one of if not my favorite heavy underground band and somehow continue to get better and better each release, even after 13 years or so as a band. 

Last year’s Astral Voyager Vol. 1 got the highest marks from me, because it was vintage Kal-El: heavy and melodic, amazing songwriting, and a sound that you know is Kal-El the second you drop the needle. So given that last year’s record was Volume 1, you can assume this review is about Astral Voyager Volume 2. You would be correct. You would also be correct that this record rules as hard as the first chapter does, maybe even a bit more, if that is at all possible.

Written and recorded during the same sessions for part one, the band and their label, Blues Funeral, decided to release the record in two parts instead of a big double record. This was the right move, as it allows the listener to get intimate with the songs on each album, and spend more time with the individual records of which demand that level of attention. 

Kicking off with Juno, it’s obvious right away this one is going to hang with the last one and frankly all of their other untouchable material. A midtempo, vintage Kal-El track with the riffs and the killer vocals. I love the vocal layers and the earworm chorus, and of course, the guitar work is next level. The Nine has this amazing build up until the Kal-El trademarked killer riff kicks in, and another amazing ten minute journey begins. Ståle’s vocals are some of his best work on this one, and you can hear the growth and the confidence he now has in his voice. 

The Prophecy brings the heavy and low end riff goodness and is the chunkiest track of the six on Volume 2. I love it when the pace picks up half way through. You would have thought Kal-El had a song called Juggernaut already but they did not. They do now, and of course it is awesome. It’s everything you want from this band. This one is another example of Ståle leaving it all out there vocally. Closing out on the one-two punch of Pan and Asteroid shows the level of detail the guys pay attention to when tracking, with the latter probably making its way into my top five or so Kal-El songs ever.

Is it fair to give the Kal-El fanboy the new record to review? Is that really objective journalism? No and It’s not, but good thing objective journalism doesn’t exist so I can just tell you that Kal-El is one of the best bands on this or on any other planet and Astral Voyager Vol. 2 rules as much as any of their already perfect catalogue rules. 42:56 of perfection. 10/10

Evermore - Mournbraid (Scarlet Records) [Matt Bladen]

Swedes Evermore deliver more uplifting power metal on album number three. Mournbraid is packed with theatre, built on heavier riffs than you expect (Underdark/Nightstar Odyssey), the vocals are fantastic and burst out of the speakers from the first song

In terms of influences The Illusionist is right up there with the likes of Edguy and Helloween in the boisterous stakes, while Ravens At The Gate goes into the keyboard driven sounds of Stratovarius, the title track picks up pace with some galloping Euro power metal while they don't shy away from a balladry on Old Man's Tale where the likes of Savatage can be heard.

Evermore's music is incredibly melodic it draws from personal struggles and is also very grandiose in the composition ma which is amazing when you consider they Evermore are only a trio; Johan Haraldsson on vocals, Andreas Viklands on drums and Johan Karlsson playing guitar/bass/piano/orchestrations.

Now I've always been a massive Edguy fan and Evermore remind me of that band a lot with album three. Heavy when it needs to be, filled with anthemic choruses and emotive lyrics Mournbraid, stand out in today's current power metal crop. 8/10

ClockTowers – Genesis (Self Published) [Cherie Curtis]

ClockTowers presents Genesis, a short and sweet 8 track album which is abrasive and emotionally raw. Each track possesses its own distinct personality, ranging from melodic, emotive pieces to lively, head-banging anthems. It’s a perfect blend of rough, heavy, old-school riffs and a contemporary, atmospheric backing tracks offering an enamouring and groovy bassline that will get you moving despite yourself.

What strikes me most with this one is the addictive duality within the instrumentals. In the title track, Genesis, for example, the guitar is harmonically clear with a dreamy reverb that's undercut by low-slug, heavy drumming. The weight of the two together creates a nostalgic and bittersweet punch to the gut.

The vocals are enthralling - brooding, raspy and tightly coiled. While the main source of power and build-up comes from the instrumentals. However after a satisfying hook and catchy chorus, what is thoughtfully added as a cherry on top in a few tracks is an illuminous hight pitched vocal sustains and subtle yet dense harmonies which adds an extra layer of texture which interestingly serves as a breakdown but not in the aggressive headbanging sense most metal listeners are used too.

It was apparent to me from the first listen that of work went into composing this album. I was surprised to find out that ClockTowers consists of only two members and a few guest features, and that they’re a relatively new band formed in 2022. With this level of articulation and such a cohesive and deliberate sound, I’d have thought they have been around since the late 90s or early 2000s. There's something about their overall vibe that feels instantly familiar. Listening to them felt like rediscovering an album you haven't picked up in years.

Overall, I really enjoyed discovering ClockTowers and Genesis is my new favourite. I'm a fan of this interesting mesh of genre sound; they have somehow managed to successfully be refreshing and a throwback. It's made its way onto my daily rotation, if you’re a fan of hard rock and melodic metal give this one a go. 9/10.

Bloodstock M2TM South Wales Interviews: Damek East Heat #4 Green Rooms, 21.03.26

Interview With Damek East Heat #4 Green Rooms, 21.03.26

1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band.

We are DAMEK forged from the remnants of Hogslayer, Zonderhoof, Thorun previously and Desalvo. Formed in the Murky Depths of Deepest Wales comes this formidable European Power Trio that deliver Crushing riffs and Dramatic songs.

With a focus on delivering crushing riffs, hooks and twists in unexpected directions. We have been said to be similar to Black Sabbath, Melvins and Celtic Frost. But there's plenty of fast bits too so it's not all Doom n Gloom.

The name DAMEK means Red Earth from Ancient language.

DBOMB on DRUMS ,
KAOS on the BASS,
D. Omsk on Guitar and Vokillz.

2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your first time?

We wanted to try and better ourselves and push the band to the next level and thought what a better way to get there than to compete to play the Mighty Bloodstock. We've just released our new single Satanic Witchunt which we'd written early last year and thought what a great way to promote it. Yes we have tried in the past. And we had a great experience , but unfortunately didn't get through, so if at first you don't succeed try try again. So Let's Crush!

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

We love the local South Wales scene there's a lot going on at the moment at different levels, some great bands starting out and been going a while, some on the verge of breaking through and others lucky enough to be doing extensive touring.

4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Bunkhouse/Green Rooms. Have you played the venue before or is this your first time? Are you excited to get on those stages?

Yes we love the Green Rooms where our heat is. It's amazing!! We were lucky enough to play there last year and it was a great night, we felt like Rick Stars! We have also been to the Bunkhouse previously a great venue. We are very lucky in South Wales to have these great venues and everyone has to get out there and support locals venues because it can be tough keeping these things going. SUPPORT OUR LOCAL VENUES

5. What are your expectations from being a part of M2TM?

We hope that by doing this (and hopefully getting through) we can see other great bands and connect with these bands and fans. Playing further gigs with these bands and create more events in the scene together. And build and build. Cause at the end of the day we are all the same, one day we picked up an instrument, was inspired by a gig or a band that we'd seen and said "Hey I want to do that!" and that's what happened to me when I was 14.

6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?

OMG it would be the best thing The Day of Wreckoning is such a great event with totally awesome bands and epic headliners. One of my newest favourite bands is The Wildhearts as I'd been meaning to see them before but never have so the see them and play next to them would be mind blowing. And Ginger is such a lovely dude and is going through a lot at the moment. Obviously playing Bloodstock would be monumental for us to be on a stage and crushing and give it our all. Wow that would be a lifetime achievement.

7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?

Yeah we've checked out all the bands and I like Disrupt the Continuum. I think they've got some great ideas. And we did a warm up gig with butties Exaust who managed to get through to the next round, so good luck to them.

8. Tell us in five words why people should come and see your band?

DARK DRAMATIC DENSE DOOMED HEAVINESS

LINKS:
www.damekband.com

BANDCAMP:
https://damekband.bandcamp.com/album/damek

New Single
SATANIC WITCHUNT
https://damekband.bandcamp.com/album/satanic-witchunt

YOUTUBE VIDEOS:

BONECRUSHER
https://youtu.be/TM0cogsw2kg?si=7uMzKB5sA_Z4Jxzy

NIGHTMARES
https://youtu.be/RqogvVEJO_U?si=vdiqCz5co4aeqZXj

LIVE:
https://youtu.be/-KlhRcUHlB8?si=CKNvARCt-vpwdCvW

Facebook:
https://www.facebook.com/DAMEKBAND

Instagram:
@damekdoom

Tiktok:
@damekdoom

Reviews: Agabas, What The Fire Left, Eye Of Melian, Irreversible (Matt Bladen & Spike)

Agabas - Hard Anger: Deluxe Edition (Mascot Records) [Matt Bladen]

Deathjazz? Yeah ok, I mean they are Norwegian so if there was one musical scene that will happily donate weirdest thing you've ever heard it's them.

Originally self released in June 2025, Agabas have now signed to Mascot Records to release a Deluxe Edition of their most recent album Hard Anger. It features the original nine tracks plus three bonus cuts not on the original release, so it is worth it if you've heard the record before, but if you haven't then, what do should you expect from Agabas?

Well the Trondheim six piece of Sondre Sørensen Brønstad (vocals), Oskar Myrseth (guitar), Jarand Aga Baas (guitar), Johan Jamtfall Eriksen (bass), Alexander Dellerhagen (saxophone) and Bjørn André Syverinsen (drums) all hold jazz performance master’s degrees bachelor’s degrees in music technology and musicology.

So they mean business and know exactly what they're doing and what rules they're breaking with their intense, savage, mind bending style, blending influences from all over the place and inviting 'Saxpits' when they play live. Agabas do something that's unique, a hard feat to achieve in the music industry, a lot of bands use sax but they don't put it with crushing modern tech metal, filled with hardcore ferocity.

Clad in paisley and with a eye for the absurd or the ironic, their music isn't to be taken lightly, not only is it as heavy as a safe full of anvils, with strong experimental tendencies, it's got a strong political ideology in the lyrics creating an inclusive space against the tyranny, war and genocide we find ourselves surrounded by.

This Deluxe Edition closes with a cover of The Wizard by Black Sabbath, showcasing that even the old school can be re-written with the virtuosity on offer here. If you've not heard Agabas before then I suggest you pick up this Deluxe Edition of their debut album and experience Deathjazz for yourself. 8/10

What The Fire Left – What The Fire Left (Independent) [Spike]

Knoxville, Tennessee, isn't usually the first place you look for the sound of systemic collapse, but Aspen, the multi-instrumentalist architect behind Laang and Abyssius, has managed to bottle the specific humidity of a life under pressure. The debut self-titled effort from What The Fire Left is a documented study in atmospheric sludge that trades overt political rhetoric for something far more unsettling: the quiet, cumulative weight of psychological decay.

It is a record that understands that the real damage isn't the fire itself, but what happens to the foundations in the aftermath.

The experience starts with Ash, and immediately, the Fall Of Efrafa DNA is evident. There is a down-tuned, brooding restraint to the guitars that feels heavy-set rather than just loud, joined in their dissonance by a bowed cello. It’s a sub-three-minute preamble that establishes a soundscape of attrition, leading directly into the frantic, heart-attack pulse of Refusal. Here, the "metallic" storm peaks, showcasing a technical dexterity that survives the high-velocity churn of the low-end. It’s a rhythmic defiance that feels properly, painfully human.

One of the record's most sophisticated moments arrives with Silence. In a genre that often fears the quiet, Aspen uses these two minutes to create a sense of genuine claustrophobia. It isn't an "interlude"; it’s a physical representation of the "psychological decay" mentioned in the band’s manifesto, the sound of the walls closing in when the noise stops. It provides a stark, necessary counterweight to Hope, which, true to the record's cynical core, feels more like a desperate, clawing survival instinct than any kind of optimism.

Musically, the production maintains a lean, "no safety net" honesty. You can hear the grit under the fingernails of the tracks, particularly on the finale, Bone. At nearly four minutes, it’s the record's longest and most architectural movement. The guitars and the cello stop playing riffs and start creating weather systems, building a massive, tectonic pressure that eventually just... peters out.

By the time the final vibration of Bone disappears into the silence, you’re left sitting in a room that feels significantly more haunted than it did forty minutes ago. Aspen has managed to take the misery of the modern world and turn it into an atmospheric weight that stays with you, a heavy and necessary reminder that sometimes the most powerful noise is the one that forces you to face the quiet. 8/10

Eye Of Melian - Forest Of Forgetting (Napalm Records) [Matt Bladen]

A Tolkien themed album from Delain's Martijn Westerholt and Auri's Johanna Kurkela? It's going to be dramatic, spectral and ethereal, invoking the singing spirit from Tolkien's works. Martijn Westerholt shares keys and orchestrations with Mikko P Mustonen while Johanna Kurkela brings the brilliantly ghostly vocals and violin you will have heard in the Auri project as Robin La Joy provides backing vocals.

Stylistically there's much here that sounds like Auri, the orchestrations taking the place of the folk additions that come from Troy Donockley in Auri, making it a more cinematic affair all round. That being said Troy's brilliant uilleann pipes and flute appear here alongside Patty Gurdy's hurdy gurdy on Dawn Of Avatars and Elixir Of Night, these folk touches joining Johanna's violin for added beauty.

Now there is a lack of 'metal' on this record, it's keys and orchestrations that take the lead here but it is a dense and complex record that also features a cover of Bruce Dickinson's Tears Of A Dragon from his Balls To Picasso album, showing that all the participants are still very aware of their metal roots. A record full of stories and soundscapes you will definitely remember Forest Of Forgetting. 8/10

Irreversible – Vessel (Dipterid Records) [Spike]

Ok, so this is an album, right. It’s got one track per side, used to call that a single. And that’s where my narrow thinking brain started this review from.

Most bands spend their careers trying to write a three-minute hook that sticks. Atlanta’s Irreversible have decided to go the other way entirely, releasing a self-produced document in Vessel that consists of just two twenty-minute tracks. It is a bold, arguably reckless move that pushes the constraints of the format until they snap. Esus and Thoth aren't just songs; they are a pair of "metallic storms" that move through distinct movements like a grand opera, if that opera was designed specifically to punch you straight in the face.

The experience is a cinematic descent into what the band calls "postmodern absurdism" and mass psychosis. It doesn't just use film samples as a gimmick; it weaves snippets from Blue Velvet, Memoria, and The Beast into the very fabric of the noise. It creates a dense, disorienting texture where the "shimmer" of a dream state is constantly being interrupted by the "shove" of their sludge-heavy roots.

The first movement, Esus, is a masterclass in building a "terrific elegance" out of total chaos. It begins with a deceptive, atmospheric drift, a shimmering, hazy preamble that suggests a more cerebral, ambient record before the bottom falls out and the sludge takes over. The transition into the heavier sections is handled with a sophisticated, almost orchestral precision. It took me a few listens to properly "get it," but once the internal logic of the movements settles in, the forty-minute runtime feels less like an endurance test and more like a documented descent.

The flip side, Thoth, doubles down on the "mass psychosis" theme. It’s a rhythmic, stuttering ache of a track that utilizes filmic silence just as effectively as it uses the low-end churn of the guitars. The production which is handled by the band themselves maintains a high-fidelity clarity that allows the samples to sit perfectly within the mix. You aren't just listening to a record; you’re inhabiting a space where the boundaries between a dream and a nightmare have been entirely erased.

Is it an easy listen? Don't be daft. Vessel is an exhausting, demanding bit of work that requires you to do a fair amount of the heavy lifting yourself. But for those willing to commit to the pace, Irreversible has delivered something genuinely interesting. They’ve proven that you can take the raw, bruised-rib honesty of noise-metal and apply it to a canvas large enough to hold the end of the world. By the time the final vibration of Thoth eventually dissipates into the silence, you’re left with the realization that the best art shouldn't just entertain you, it should challenge your right to be comfortable in the first place. 8/10

Reviews: Who Saves The Hero, Kill By Mouth, Contrasts, No Murder No Moustache (Matt Bladen)

Who Saves The Hero - Love | Hate | Demons (TSM Records)

Can pop punk be prog? I mean Green Day's concept albums would say yes and while Who Saves The Hero don't have 20 minute guitar and keyboard solos, their new album Love | Hate | Demons is split thematically into the three categories of the title.

So the first four songs are all about love; lost, found, old and new, they would say are the most pop driven tracks here. The middle three all take the role of hate, a bit more angry and annoyed, adding a bit more experimentation such as drum loops and reggae beats on Make Your Mind Up, which features Benji from Skindred on the intro. I'd say the last three, demons are the most emotive and heavy in both senses as they come from some of the things that can affect the way we deal with events, specifically mental health struggles and self medicating.

Josh Frederick (vocals/guitars), states that half of the songs are about him and the other half are about his alter ego Freddy, blurring the lines between fantasy and reality will telling stories that feel very real and honest, with brilliant pop punk that draws inspiration from the greats of the genre. 

Expect some biting bubblegum guitars, massive shout out loud choruses and grooving basslines from Nicky Hughes to get you involved with their musical melancholy from the first track to the last. It's a record that bristles with energy and doesn't stop to often for breath, taking their cues from all era's of pop punk, Love | Hate | Demons is designed to be played live with everyone in the room bouncing and singing along.

So not quite prog but meticulously crafted, conceptual and emotional pop punk from this Welsh duo that will evoke some heavy nostalgia while bringing freshness to the genre. 7/10

Kill By Mouth - Necessary Evil (Self Released)

A four track EP now and it's the long awaited release from Swansea thrash/groove band Kill By Mouth. The multiple time M2TM South Wales finalists are like a steamroller of aggressive riffs on stage, bringing a dangerous edge to any show they play. So does that translate to the record? In a word yes as they've managed to capture their on stage energy with these four tracks.

Cardinal Point brings a chug, the influence of Pantera or Exhorder obvious here, Cassar's vocals a bellowed shout as the riffs lock in tight with the rhythm section of Rich's bass and Gregg's drums as this noisy quartet is rounded out by guitarist Lee, the four piece definitely wants you to bring your mosh shorts for their music.

The shift to a doomy groove in the middle of Cardinal Pont has them playing with dynamics. However 228 come straight out of the crossover stomp of Suicidal Tendencies and even Anthrax with the solo section. Both of these songs have been remixed for this record and sound bigger here than before as KBM using some Left Channel/Right Channel stuff to make it a record that has an old schools sound.

Johnny Volcano is, and I quote, about a man who's head explodes, and it's got a gnarly grind to it that builds, ticking like a time bomb with some more great solos. It's one of two new songs for this EP, the other being Lost Love which gets a bouncing groove going underwritten with synths.

Necessary Evil, has been a long time coming but Kill By Mouth have put a lot into this EP giving them something strong to shop around labels and as a way of taking their live intensity home! 8/10

Contrasts - False Idol (Self Released)

Returning with a refreshed line up, alt metal band Contrasts, now deliver their debut EP False Idol. Recorded at Long Wave Studios.

Despite only being formed in 2021, during the pandemic, the band started releasing singles immediately so with False Idol they have managed to collate these recordings and position them into a showcase of their collective talents. All the band members are South Wales scene veterans, some of whom have played with bands like Whitechapel, FFAF and Hawthorne Heights and Contrasts bring some inspiration from these bands, while also relying on their own backgrounds in music.

On False Idol which features lyrics about trauma and mental health struggles, beginning with Ghost In My Head, Contrasts barrel out of the gate with maturity and some experienced songwriting as they pair heavy, down tuned djenty riffs with huge choruses all augmented by some atmospheric/syncopated synth patterns.

From here the Space Between brings more heavy dissonance and the full range of clean harsh vocals featuring Aaron Roberts of De'Lour, while there's an ambient break on Armageddon before the title track closes out the EP with more of that modern metal bluster.

Veteran instincts with renewed creative drive has produced a strong debut EP for Contrasts. 7/10

No Murder No Moustache - As Everything Else Decays (Self Released)

A bit of Celtic punk rock now from No Murder, No Moustache aka Owen Crawford, a one man crusade against hate and injustice, who has been lighting up stages for a number of years now, playing heartfelt punk music using often just an acoustic guitar, like the troubadours of old, singing songs of rebellion, resistance and taking a lot of inspiration from his own life and experiences too, be it unethical regimes, anti-fascism, mental health, grief, they are all given an open and honest platform.

Sticking to that ethos of being a D.I.Y punk he is very active as a campaigner for grassroots music and against the corruption we see every day, but always with pointed optimism that is so often lacking. With this record he's looking inwardly on this one, it's a reflective record that tell tales from his past, delving deeper into Owen's ideals, struggles and past for inspiration directing it through the bouncy Celtic punk of band such as The Pogues, Flogging Molly and Dropkick Murphy's.

Acoustic and electric guitars are joined by mandolin and banjo, on Celtic Skies and Dic Penderyn, there's a more than just that though, the arrangements here's also as some rock toners and in a very un-punk move there's even a few guitar solos too, especially on Wasted. There's also moments of restrained beauty such as the piano and strong driven As Darkness Falls, while One More Round is a ska/thrash tribute to the Cardiff nightlife that turns into a mortality tale.

No Murder No Moustache is an insight into Owen Crawford's creative mind, totally D.I.Y with anthemic influences and a sense of hiraeth. Most of all though it's an entertaining collection of Celtic Punk. 7/10

Bloodstock M2TM South Wales Interviews: Avicide East Heat #4 Green Rooms, 21.03.26

Interview With Avicide East Heat #4 Green Rooms, 21.03.26



1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band.

We are Avicide, An Alt-Metal/Hardcore band that focuses on Powerful Clean Vocals, Intense Energy, Brutal Breakdowns and, of course, the occasional guttural! We combine the aggressive riffs of hardcore with gothic and morbid lyrics and melodies so, if you're a metalhead or a goth, we think you'll enjoy us!

2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your first time?

The reason we chose Metal to The Masses South Wales is because we played a gig at The Green Rooms recently and genuinely had so much fun that we just had to come back again! We've never competed in M2TM before so this will be our debut into the scene and can't wait to meet everyone else competing!

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

We all believe that the local scene is the most important in any band's career, since that's where every band starts out and that's where you usually find the best people, and have the best time! South Wales is also super special to us since we felt so welcomed at our show in The Green Rooms and want to bring that sense of community along with us, no matter the location.

4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Bunkhouse/Green Rooms. Have you played the venue before or is this your first time? Are you excited to get on those stages?

The set-up at The Green Rooms was so impressive when we last played, especially the insane lighting rig, so we are definitely hyped to go back!

5. What are your expectations from being a part of M2TM?

It's hard to say what we expect with Metal To The Masses South Wales, as it's our first time competing, but really we just want to meet more people in the local scene and show all the hard work we've put in over the last 6 months that we've been a band. We also think the pressure of this sort of competition is so good for building your skills as a band, so overall this will be an amazing learning experience for us.

6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?

Playing at the Day of Wreckoning Finale or Bloodstock 2026 would genuinely be such an insane achievement for us. Firstly it would be amazing since, obviously, we are all metalheads and would love to play the same stages as some of our idols, but also think it would be so special to bring a light to some of the more serious topics our songs talk about, and hopefully to provide some reassurance to others who've gone throw these topics that the metal community is here for them.

7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?

We've had a good stalk of all the other bands competing and it's hard to choose, but we are definitely excited for: Levels of Violence , Excursia and Mould !

8. Tell us in five words why people should come and see your band?

Hardcore if it had Depression

Our Social Media Links Are:

https://www.instagram.com/avicide_uk/

https://linktr.ee/avicide

Reviews: Instigators, Vitamin X, Mammon's Throne, Lord Centipede (Spike, Mark Young, Matt Bladen & Rich Piva)

Intigators – Sanctus Propaganda Sessions Vol 5 (Sanctus Propaganda) [Spike]

It’s a peculiar, sobering thing to realize that the targets of 80s anarcho-punk haven't actually gone anywhere; they’ve just upgraded their surveillance equipment. For Dewsbury’s Instigators, returning for the fifth volume of the Sanctus Propaganda Sessions isn't an exercise in nostalgia, it’s a necessary update to a long-standing grievance. Recorded with the raw, "no safety net" philosophy that defines this series, the album serves as a documented riot, proving that age hasn't softened their skeletal, high-velocity attack.

The record hits the floor with Tricked And Abused, and immediately, you notice the lack of studio-mandated fluff. This is punk in its most honest, unvarnished state, all jagged guitar lines and a rhythmic engine that sounds like it’s being pushed to the point of a mechanical breakdown. By the time we reach the five-minute sprawl of The Blood Is On Your Hands / Free, the band’s mastery of the "shove" is clear. It’s a sophisticated bit of pacing that transitions from a blunt-force trauma intro into a soaring, defiant call for autonomy.

Lyrically, the band remains as articulate as they are angry. Full Circle and Cry Freedom deal with the repetitive nature of social struggle, delivered with a vocal grit that suggests these aren't just "protest songs," but lived experiences. There is a distinct "UK82" DNA here, that specific, melodic-yet-aggressive strain of hardcore but it’s been braced with a modern weight. Tracks like Blind Eye and Computerage feel particularly sharp; the latter targets our digital incarceration with a level of vitriol that feels entirely earned.

The production favours the "live" friction of a room over the clinical perfection of a laptop. You can hear the strings groaning under the pressure on The Sleeper, and the drums on Summer possess a physical, snapping presence that keeps the momentum at a heart-attack pace. It’s a sound that suits this mission statement: documenting the underground as it actually sounds, sweat, feedback, and all.

The record finds its conscience in the final act. Hedonism is a sharp, jarring closer that targets the hollow distractions of the modern era, refusing to offer a tidy resolution or a comfortable singalong. Instead, it leaves the listener exactly where they started: in a room that suddenly feels a lot colder now that the noise has stopped.

Instigators haven't just delivered a "session" record; they’ve proven that the foundations of anarcho-punk are still the most effective way to talk about a world in decline (and boy do we need that currently). It’s honest, it’s loud, and it’s a masterstroke of professional, unpolished defiance. For those who still believe that the point of a riff is to start an argument, this is essential listening. 9/10

Vitamin X - Ride The Apocalypse (Svart Records) [Mark Young]

And here we are again at the end of another quality week of widely different releases. Apart from me, where I find myself reviewing two bands whose emphasis is on short, sharp shocks and basically getting in, getting done and getting out before their welcome wears out. And I have to tell you that I am here for it. I adore the fact that this is 17 songs of pure adrenalin, fast, thrashy riffs and song structures that hark back to when the whole crossover vibe was brand new. As far as being an alternative to the normal music styles I’m listening to, it is welcome.

It does, however, give me a problem as a reviewer. On the face of it, its 17 songs that are aligned with how Vitamin X go to work and looking online they reflect their earlier releases and don’t stray too far from them or from a central blueprint of how the songs should be. What this means is that we have a variation on a theme that expects you accept it and just stay onboard because its fun. You might call them shallow songs that have no merit, and therefore not as important as other bands. But you would be wrong and its my job to convince you of this.

They aren’t expecting to be heralded as the new face of a movement, or to have provided something deep and meaningful. These songs are as much for the band as for us and its success will rely upon what you want from your heavy metal. If you want, for example odd time signatures, operatic vocals, orchestral arrangements and that detuned drone sound that is popular, then you really need to look elsewhere. Similarly, if its super black metal with a frozen core then it’s the same answer. This is for people who just want to be able to switch off and listen and not have to worry about how valid this is as a piece of art.

What I can say is that you can dance to these and they are designed for a good time, for the release of energy be it in a club or watching them live. Don’t think for a second they don’t take this seriously just because its assumed that these are simple songs. They aren’t. Give it a spin, and have a bit of fun. 7/10

Mammon's Throne - My Body To The Worms (Hammerheart Records) [Matt Bladen]

some crushing blackened death/doom now which references bands such as My Dying Bride, and Pallbearer along with acts like Hooded Menace, Spectral Voice and Worm. Expect huge riffs where massive down stabs are interrupted by blast of glacial double kicks, vocals that embrace sickening growls and booming cleans and a sense of impending doom that's counterpointed by virtuoso melodies.

Built on their unstoppable touring, where they have found themselves sharing stages with Rotting Christ, My Dying Bride, Conan and others. Plucking some stylistic elements from these bands to make their own. They continue the style they established on their 2023 album but more refined and impressive. This Aussie band are now on their third record and as such My Body To The Worms, is the sound of band who have defined their approach to metal.

Signing to Hammerheart Records, I guarantee that more people outside of their native country will hear the band's complex musical and narrative moments, whether it be to bang your head to tracks such as Elixir or Everyday More Sickened where they move into epic realms of Candlemass. Or perhaps take a trip into the gothic atmospheres of At The Threshold Of Eternity/Departed as Mammon's Throne prove they aren't just here to destroy, they have a lot more to offer than standard death doom, My Body To The Worms delivers quality and volume. 8/10

Lord Centipede - Centipede II: Electric Boogaloo (Morbid & Miserable Records) [Rich Piva]

First, I must comment on the name of the new EP from Michigan band Lord Centipede, Centipede II: Electric Boogaloo. What do the kids say these days? IYKYK? Anyway, the press release mentions genres such as doom thrash, stoner crust and sludge crossover. Yes. This is my first experience with the band, so I feel like I may be in for a wild ride with song titles like Dumb As Fuck and Shitstorm Of Stupidity. Let’s see.

Yup. I think with the first track, the aforementioned Dumb As Fuck, I get more crossover thrash than anything, so think DRI but recorded in a closet, which is in no way a slag, given the more hiss on my boombox recordings the better. One thing is for sure, it rips. So does Shitstorm Of Stupidity, which gives off strong 80s garage thrash vibes and a fuck it all punk attitude. I love the breakdown too. I get old school Venom vibes, or maybe old Bathory with Wolf Witch and that is fine by me. Want to start a 148 second wall of death? Crank up Dawn Of The Troglodytes. The closer, Sword Of Conan swings the steel and cuts your crust punk loving head right off.

This was a fun, old school, crossover thrash explosion that had me ready to throw down for all 17 minutes. Lord Centipede rips, and hopefully breakdances too. 7/10

Reviews: Lamb Of God, Black Crowes, Monstrosity, Witchcraft (Mark Young, Rich Piva, Spike & Matt Bladen)

Lamb Of God - Into Oblivion (Century Media Records) [Mark Young]

Ah, now a bone-fide metal titan.

Lamb Of God have represented, at least to me a high watermark of metal. A band who can write riffs that seem to collapse in on themselves without sounding as though they are ever treading water. Personally, Sacrament is probably my go to, primarily because of Walk With Me In Hell being an all time classic. I think you can hold their 3-album run from As The Palaces Burn to Sacrament up as prime examples of truly brilliant heavy metal. Extending that further, you could squeeze Wrath into the conversation too, except that it was the beginning of a cycle where each album would come and there would some absolute class on there, but there would also be some padding. 

Lets be honest, a ton of bands would love to be able to write to the same level as this. I suppose it’s something that every band falls into, especially those where the early releases are at god level and you have to play songs from it or we riot. Does the energy go as bands evolve where the excitement becomes unadventurous? As people grow does the same spark happen when they are in a room? I’m not sure how many were welcoming this release other than being something to kick start a tour cycle but I’d like to say that Into Oblivion is the best thing they have done in a long time.

It's exciting, starting with Into Oblivion, this opening salvo seems like a return to Walk With Me, but with its own swing. Straight away its them but with additional weight removed from their sound. Its lighter but still heavy. Its direct and has zero fat on it whatsoever. It starts, detonates and moves allowing for the super speed of Parasocial Christ to rip you to bits. Look at the track lengths, these have been pared down at each step, removing anything unnecessary from each song. Yes, its familiar, of course it is but it’s the manner that each of them drop in. It is an album for them, on their own terms. 

What’s different here is that it is a no skip trip (stealing with pride from some chap off Twitter). There are no boring or meh moments that have been the case previously. Sepsis is a monstrous beast where the pace is slowed down at its start, so when it does do the expected switch its all the more powerful for it. St. Catherine’s Wheel scorches, that trademark stop-start riffola they do so well is in full force. It hints at songs past, again how can they not? They are 12 albums in and still pulling crackers out of their collective hats, Blunt Force Blues possessing that crushing groove, impetus and 1st song energy on a track that is the near the end is telling. 

They have gone into this with a mindset that each song must match the one before and after it. Even when they adjust tempos to suit, those ‘slower’ songs like Bully still move. There is never a sense of standing still, or worse yet trying to play catch up with other bands or trends. I didn’t expect this from them at all, they still sound vital and have something interesting to say. 9/10

Black Crowes - A Pound Of Feathers (Silver Arrow Records) [Rich Piva]

There have been a dozen or so bands I have had obsessions with over my music listening life. The Black Crowes are one of them. When the band decided to do the Dead thing and become this “live” band I became this crazy tape trader guy. I must have had 200 Crowes boots, from 3 plus hour shows to rare demos recorded on a boom box. I still feel, to this day, that their discography through By Your Side is pretty much perfect, and yes, I do love By Your Side. 

This obsession did slow down, but I have always been a huge fan. I was pumped when we got a new record in 2024, Happiness Bastards, which was good for what it was, but I thought that was it for them. But alas, the brothers are back, with a new lineup and what they both said is a record that is back to their roots AND transformative at the same time, titled A Pound Of Feathers, which, ironically, was the title of a demos bootleg I used to have as part of my tape collection. I am not sure I would say musically transformative, given it sounds like The Black Crowes, but back to their roots, a bit more raw, and containing some cool new Crowes tracks? I can get behind that.

The opener, Profane Prophecy, is a cool upbeat bluesy rocker with Rich doing his thing he does so well and Chris’s voice as strong as ever. This will be a live staple for sure. The boys still dig The Stones. Cruel Streak has a fun little riff and that wonderful Crowes signature sound that, even now, I can never get enough of. Pharmacy Chronicles is no Sometimes Salvation but it will do, in 2026 at least. Do The Parasite may be my favorite track on the record. A fun rocker with the brothers finding their chemistry once again, even if the other guys are new (not Sven, but you get it). I also dig High & Lonesome, that has this Wings thing going on which makes me happy. 

I always love when Rich pulls out the slide, like he does on the acoustic Queen Of The B-sides. Love when they harmonize on this one too. It’s Like That sounds like it's a By Your Side outtake and I am certainly here for that. Rich has had a riff revival, as I really dig the one on Blood Red Regrets too. Eros Blues is the other highlight on the record. As the guys are channelling their Southern Blues roots and creating one of the cooler songs they have in a couple decades. The closer, Doomsday Doggerel, is pretty cool too, channelling some of those epic Zeppelin tracks that the guys did so well with Mr. Page back in the day.

I am not sure what I am even expecting from a Black Crowes Record in 2026. I guess if I can get one like A Pound Of Feathers that has a bunch of cool songs, two excellent ones, maybe only one or two that could have been left off, and Chris and Rich vibing as well as they have in many years, then I guess I should be happy; and I am. 7/10

Monstrosity – Screams From Beneath The Surface (Metal Blade Records) [Spike]

The Florida death metal scene has always felt a bit like a geological layer, reliable, impenetrable, and built on a foundation of Lee Harrison’s drumming. Monstrosity have spent the better part of three decades acting as the structural engineers of this sound, and their latest, Screams from Beneath the Surface, is exactly the kind of high-velocity, technical excavation you’d expect from a band that refuses to succumb to the rot of modern trends.

It’s an album that understands that "classic" doesn't have to mean "dated."

The record doesn't bother with a polite preamble. Banished To The Skies hits with a nearly seven-minute demonstration of why Harrison is still one of the most respected architects in the genre. The blast beats are clinical, providing a rigid framework for Mark English and Matt Hall to weave those needle-fine, technical riffs that have become the band's signature. It’s a dense, complex opening that gives way to the more straightforward, pugnacious energy of The Colossal Rage. If the opener was a lecture in composition, this is the physical demonstration, a heart-attack pulse that demands a circle pit.

Mike Hrubovcak’s vocals remain a crystalline anchor amidst the chaos of The Atrophied and Spiral. He possesses that rare death metal clarity; you can actually hear the vitriol in the lyrics without needing a lyric sheet to act as a translator. It gives tracks like Fortunes Engraved In Blood a narrative weight that survives the high-velocity churn of the guitars. There is a "no-frills" honesty to the production here which I love, it sounds like a band playing in a room, not a collection of plugins trying to sound like a band.

The momentum shifts gear during Vapors And The Thorns, where the band leans into a more rhythmic, mid-paced grit. It’s here that the specific "Florida" DNA, that humid, oppressive atmosphere that made the 90s scene so vital. Blood Works and The Dark Aura double down on this, featuring solos that cut through the low-end churn like a surgical laser. The technicality is high, certainly, but it never feels like they’re showing off for the sake of a guitar clinic; every note feels like it’s been placed there to increase the overall pressure.

The experience culminates in Veil Of Disillusion. As a closing statement, it’s a monolith, a huge five-minute descent that brings back the progressive, sprawling ambition of the opener. It refuses to offer a tidy resolution, instead collapsing into a final, abrasive rhythmic collapse that feels entirely earned.

Monstrosity haven't tried to reinvent the wheel with Screams From Beneath The Surface; they’ve simply proven that the wheel is still the most effective way to crush everything in its path. It’s a masterclass in professional, unvarnished death metal from a band that knows exactly where the bodies are buried. It’s honest, it’s brutal, and it’s arguably one of the best things to crawl out of the sunshine state this year. 9/10

Witchcraft - A Sinner's Child (Heavy Psych Sounds) [Matt Bladen]

How do you follow up an album like IDAG? The album that brought you the acclaim that you so deserve after a long career?

Well in the case of Swedish occult doom act Witchcraft, you strip away all of the heavy stuff to just it's simplest form, only two tracks with a full band line up as three if the five just feature the talent of bandleader/vocalist/multi-instrumentalist Magnus Pelander. As if welcoming the Spring, A Sinner's Child is an EP infused with warmth and a feeling of rebirth and renewal, it's the tender side of Pelander's songwriting, these songs coming from his soul, one at least, Själen Reser Sig, recorded over the course of eight years over three separate occasions before finally being released.

With so much of this album just falling to Pelander, it celebrates his talent throughout, defining his position as the heart and soul of Witchcraft for 20 years, while also carrying things back to his humble solo artist beginnings. Both the title track and it's follow up Sinner's Clear Confusion have the woozy indie approach of The Tragically Hip, while Even Darker Days Slowly Coming My Way comes from that darkened folk tradition, while there's some riffs on Drömmen Om Död Och Förruttnelse and Själen Reser Sig that takes Witchcraft into fuzzy doom.

20 years and numerous evolutions, with this EP Witchcraft are more Jeff Buckley than Black Sabbath and that's a very good thing. 8/10

Bloodstock M2TM South Wales Interviews: Disrupt The Continuum East Heat #4 Green Rooms, 21.03.26

Interview With Disrupt The Continuum East Heat #4 Green Rooms, 21.03.26



1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band.

We are Disrupt the Continuum, we have been together for 13 years, playing all over south Wales and further into the UK.

A little break from everything music wise in 2019 then getting back together to play again we have now added a new member to the DTC family in the4 form of a second guitarist and plan on getting more gigs to share our fast hard metal style to the masses, pun intended.

2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your first time?

We previously have competed in MTTM competition in 2017 and last year in 2025 getting to the Quarter finals where we shared the stage with some really excellent bands, it has always been a great competition to play with meeting new people and networking with bands.

3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?

If there is no local scene there is no scene at all, every band has to start somewhere and helping each other out is very important not only for bands but also for venues, promoters and media. Grass roots music is where it all starts for everyone.

4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Bunkhouse/Green Rooms. Have you played the venue before or is this your first time? Are you excited to get on those stages?

We have played the Green Rooms before and love the place, Jonny Foxhall has created a place that bands can not only rehearse but a really fun and great venue for bands to showcase there talents to the masses. The adjustments and improvements that have been made in recent years with the addition of the TGR festival just goes to show how much effort and commitment everyone at the Green Rooms has made.

5. What are your expectations from being a part of M2TM?

All bands want to win it all and go through to play Bloodstock Festival but like I said previously this competition is a great chance to meet and connect with bands you may never play with at any other gigs and that's really important to us because meeting people and bands from all metal genres helps broaden the scope of not only opportunities but the mind and music in general.

6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?

Day of Wreckoning has been such a great success over the last few years that it would be amazing to play and be at the final just to say you have played it but also having the chance to play such a great festival like Bloodstock, the bands that have graced the stages at Bloodstock over the past 25 years would make anyone want to play it. It would be a great achievement for any band that wins.

7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?

There are a lot of bands that are returning to the competition that we have played with before like Excursia which are really good people and very talented but also some new bands that we are excited to see and hopefully play with like Avicide, Convoy and Exuast in the East Side east side and bands like Thawn, Scratch One Grub, Inscape and Manumit in the West Side but the bands that enter every year always show you something new and surprise you so to play with any of them would be a honour.

8. Tell us in five words why people should come and see your band?

Fast Fun Heavy Disruptive Metal

Facebook - www.facebook.com/DisruptTheContinuum

Instagram - @disruptthecontinuum

A View From The Back Of The Room: Bleed From Within (Spike)

Bleed From Within, Disembodied Tyrant & Baest, Epic Studios, Norwich, 10.03.2026



There is a specific, gritty satisfaction in seeing Epic Studios pushed toward its near-1,000 capacity limit on a school night. It’s a reminder that good music remains a primary pull, regardless of the temperature outside or the day of the week. Last Tuesday, the room wasn't just "busy", it was properly swamped, providing the perfect pressure-cooker environment for a bill that moved through three distinct tiers of heavy.

The night ignited with Baest (8). The Danish death metal machine doesn't bother with the theatrical preamble; they delivered a blistering 30-minute set that functioned as a masterclass in engagement. Minimal chat. Maximum friction. Within minutes, an immediate circle pit had claimed the centre of the floor, a physical response to a sound that is as honest as it is brutal. They didn't just open the show; they kickstarted the room’s pulse.

The weather shifted significantly with Disembodied Tyrant (9). If Baest was an invitation, Blake Mullens and his lot provided a confrontation. Mullens stalked the stage with a predatory intent, almost challenging the thousand-strong crowd to match the velocity coming from the PA. This is Deathcore for the high-IQ set, epic, super-fast, and possessing a level of technical dexterity that makes your eyes bleed.

The highlight was the skilfully integrated nod to Vivaldi’s Four Seasons, a moment of baroque insanity that proved this isn't just about the breakdown; it’s about smart, sophisticated songwriting delivered at a heart-attack pace. The guitar work was needle-fine, cutting through the low-end churn with a surgical precision that left the audience both battered and genuinely impressed. It was an awesome, exhausting build-up for what was to come. I managed to catch up with Dominic Petrocelli, lead guitarist, for a quick chat after their set and it’s clear the band are loving this tour, getting to engage with a new crowd and truly seizing the opportunity.

By the time Bleed From Within (9) hit the stage, the venue was a powder keg. The Glasgow five-piece hit the ground running, ripping through the opening salvos of Sovereign and I Am Somewhere Else with the kind of arena-ready confidence that suggests they’ve outgrown these rooms, even as they clearly relish the intimacy of them.

Between the high-velocity riffs, there was a brief moment of reflection. The band noted the contrast between tonight’s massive turnout and the much smaller crowds of their previous visits to Norwich. Filling a room of this size on a Tuesday is a well-earned ascent and a testament to the pull of this specific triple-bill.

The setlist was a relentless march through their most potent material. Pathfinder and the massive, melodic soar of Levitate showed a band that has mastered the "shimmer and shove" of modern metal. They’ve found a way to maintain the raw, bruised-rib honesty of their early days while draping it over cinematic, towering structures. By the time they reached the final, feedback-saturated roar of The End Of All We Know, the job was done, Metalcore Tuesday nights should be a thing. This was the perfect evening to get rid of start of the week annoyances.

It was a night of pure, unadulterated intent. Bleed From Within didn't just headline; they provided the definitive proof that the UK metal scene is currently operating at a world-class level. For those of us who braved the cold to stand in the heat of a packed Epic Studios, it was the best kind of Tuesday night, loud, honest, and utterly essential.

A View From The Back Of The Room: The Crystal Teardrop (Spike)

The Crystal Teardrop, Scott Hepple And The Sun Band & Lassie, Voodoo Daddy's, Norwich, 07.03.2026



The air in the basement of Voodoo Daddy’s has a way of thickening before a single note is even struck, a damp, expectant humidity that tells you the next three hours are going to be physical. It is a space that offers no room for vanity, where the small stage acts as a pressure cooker for any band brave enough to step onto it. Saturday night, that pressure resulted in a three-act descent into the strange, the psychedelic, and the brilliantly nostalgic.

"It sounds like Lassie’s in a well."

That single, dry observation from the stage during the opening set from Lassie (8) was the moment the room truly unified. A two-piece specializing in "psychedelic folk laced with tribal punk," their 30-minute performance felt more like a series of fragmented, urgent stories than a standard set. Vocally and musically these two delivered. For those of us old enough to remember the TV canine’s penchant for rescuing Timmy from various subterranean predicaments, the ad-lib was a masterstroke of wit that grounded their eccentric, tribal energy in a moment of genuine local humour.

The momentum shifted gears significantly with Scott Hepple And The Sun Band (8). Hailing from Newcastle, this garage rock outfit brought a blistering, 70s-influenced fire to the basement. The band was anchored by an absolutely incredible lead guitarist who commanded her space on the tiny stage with the kind of effortless authority you usually only see in much larger venues. Her playing was a high-velocity tribute to the greats, fluid, technical, and possessed of a rhythmic grit that turned the room into a single, head-nodding entity. It was a sophisticated, high-octane set that left the air vibrating.

By the time The Crystal Teardrop (9) took the stage, the venue was at capacity. I’ll admit to being a newcomer to their specific brand of chaos, but when a fellow Musipedia Of Metal writer like Rich Piva tells you a band is worth seeing and specifically requests you export their debut album across the Atlantic (read hand deliver it) you listen.

The Crystal Teardrop are a ball of kinetic energy, a band that manages to soak their sound in the late 60s without ever feeling like they’re wearing a costume. It’s a blend of garage rock, psychedelia, and acid folk that feels visceral and immediate. From the opening notes, they treated the small stage like it was a launchpad, tearing through a set that culminated in a riotous performance of the title track from their album ...Is Forming.

Alexandra’s vocals are a crystalline anchor amidst the feedback-laden psych-rock, delivered with a conviction that suggests the band is enjoying the riot every bit as much as the audience. A brief chat with her after the show confirmed as much, there’s a genuine, unpretentious love for the craft here that is infectious.

By the time the final, feedback-saturated roar of "...Is Forming" was bouncing off the damp brickwork, the room felt less like a basement in Norwich and more like a portal to a better, weirder 1967. Rich was right, it’s the kind of energy that deserves to be exported, but for Saturday night, it was exactly the kind of noise we needed in Norwich.

Reviews: Salos, Vanity's Disciple, Winter Eternal, Sinistrous Mist (Matt Bladen)

Salos - A Slaughter For The Empire (Self-Released)

Salos are 🜄 on guitar and 🜃 on drums, an instrumental duo from Kalamata who showcase that music can definitely speak louder than words. From their early rumblings in a decade ago, they have grown Salos into a project that brings together soaring post rock and complex prog metal with an explorative focus that is built on massive riffs and blissful atmospheres.

Arriving fully fledged on their debut, there's maturity and experience pulsating in every guitar riff and drumbeat, the A Slaughter For The Empire is cinematic musical masterclass akin to bands that play with dynamics such as God Is An Astronaut and Russian Circles along with the ones that could easily hold their own in the prog realms like Earthside or Intervals.

On Arches they take a leap into some of the high profile juxtaposition of Mono or Pelagic with those guitar lines, heavy moments and the addition of sax from Greek jazz musician Yiannis Kassetas. With Slaughter they bring out the death/thrash metal battery, as We Deteriorate detonates when necessary. Hvitserkur, Leviathan and Sagittarius all have the impressive duality that Salos have crafted for this debut.

Salos shout about their talent louder than many other bands do, proving that's vocalist isn't always necessary, when you have a duo that sound like a collective. 8/10

Vanity's Disciple - Blind Belief… Ill Intention (Self Released)

An amazing power/prog metal debut from Athens now as Vanity's Disciple release their first album Blind Belief… Ill Intention. They kick off their recording career as a band with a with a concept album in nine chapters which is a bold thing to do but with a story that revolves around sin, belief and manipulation, they have crafted nine songs that drive the layered narrative which these virtuoso musicians are backing with some muscular heavy metal that brings both the US and European scenes together, where thrash, power, neoclassical and good old fashioned heavy metal combine with a sprinkling of prog when they launch into longer tracks.

Blind Belief… Ill Intention was written by guitarists Dimitris Kouroutis (rhythm) and George Rosenberg (lead), they are responsible for the music, lyrics and concept, as well as all the tasty riffs and solos on the record, showing that their playing is just a expressive as their writing. The duo have some excellent musicians with them as a part of Vanity's Disciple as that darker, meaner steak comes from the history of bassist/drummer/producer Dimitris Sakkas, who has paid his dues in the extreme metal scene, so can blast with the best of them, bring nuance when needed, lay down the gallops and groove all while giving the album it's polished heft.

Up front Vanity's Disciple have brought in vocalist Jon Soti, he is the singer in the brilliant Floating Worlds, so I knew instantly what to expect and he brings his skyscraping, Geoff Tate meets Michael Kiske-like vocals to this record, adding drama and power brilliantly over yet more conceptual heavy metal. They've grabbed a few guests too with Mark Minoa brings a guest bass slot on Forged Faith while Soti is joined by powerhouse Stu Block of Into Eternity on  the closing chapter Descend Decay, which you can imagine sounds like Into Eternity or IE.

Guest slots are all well and good but Vanity's Disciple don't need them, when it's just the four of them they remind me of the brilliance of bands such as Queensyche, Savatage and Shadow Gallery, with Blind Belief… Ill Intention they have created a conceptual masterclass of a debut album. 9/10

Winter Eternal - Unveiled Nightsky (Hells Headbangers Records)

Originally formed in Athens but having relocated to Glasgow, Winter Eternal is a one man black metal project that is five albums deep into existence. Their latest, Unveiled Nightsky is another set of melodic black metal tracks that are inspired more by the Scandinavian style than the Hellenic one.

Soulreaper peels off trem picking, clean leads and thrashy riffs from the opening moments of Born Of Winters Breath. The theatrical touches coming from that anthemic middle section of Omen Of The Cosmic Order where V.Nuctemeron's drumming is relentless, as it is on the biting Nurtured By The Night which races by.

Unveiled Nightsky is a record that bring a lot of speed and often locks into headbanging rhythms. The balance between the black metal extremity and melodic moments is struck very well, with frenzied assaults such as Descent Into Hades Embrace, evolving into the likes of the mid-pace The Deceivers Tale or the dramatic Echoes Of A Fallen Crown.

Despite being a one man project the additional drummer and strings players all add depth to this great melodic black metal record. 7/10

Sinistrous Mist - A Voice Through Constellations (Self Released)

Over to the more vicious side of black metal now as Athens band Sinistrous Mist bring anti-Christian black metal that dwells in the shadow and darkness of the Hellenic Scene, but also fully utilises keys to great effect. Divine Black driven with the gothic twinge of Type O Negative. While Mother Mary is not a UFO cover but a track that builds on orchestrations, through throat shredding vocals and a symphonic closing moments where the drums hit full power.

It's breathless stuff and shows that even though it's a debut A Voice Through Constellations, it's been composed by veterans who can manipulate multiple styles into incendiary black metal that's got heavy cinematic leanings from the keys, the title track begins with some creepy carnival organs before unleashing hell again.

It seems they're so focussed on the keys, drums and vocals, that their guitarist no longer seem to be in the band, still that only really matters on the live stage, as the core line up on this record deliver some really excellent atmospheric black metal for what is a debut. 8/10

Reviews: Dauðaró & Pantheïst, Wolfbastard, Gotthard, Zepter (Matt Bladen, Mark Young, Cherie Curtis & Simon Black)

Dauðaró & Pantheïst — Af Holdi Og Málmi (Melancholic Realm Productions) [Matt Bladen]

From the frostbitten, isolated, alien landscapes of Iceland comes the figure known as JTS. Draped in mystery, this musical enigma has singlehandedly created a scene all of his own within the Icelandic underground. JTS is the anchor point for numerous projects but one of the prolific is Dauðaró, one that expresses the introspective outlook of a musician at the end of the earth through doom/drone/ambient textures.

Who better then, to collaborate with then than funeral doom maestro and ambient soundscape creator Kostas Panagiotou of Pantheïst. An internet/social media friendship that has birthed a sprawling, claustrophobic, intense 77 minutes of music, that plays with dissonance and directness, the slow repeating drone, the gothic ambience and a sense of foreboding, engulf this record in maudlin brilliance.

It's complex but never flashy, the musical skills of JTS creating most of what you hear, from the riffs that cave in reality itself, to a low end that will threaten to dislodge the tallest building and drums that so often are there to set a glacial pace, the layered, all consuming style of his JTS performance is what fans of Dauðaró will switch on for.

However here the addition of Kostas' terrifying vocals, that are often manipulated to be made more intense and inhuman than they are on a regular Pantheïst record and of course his mastery of the keys which bring a whole other level of sacred synthetism with his keys/organs and general otherworldliness to this conceptual piece.

Af Holdi Og Málmi, which translates to Of Flesh And Metal, delves into the philosophical argument between humanity and A.I and what truly defines as the record moves through an Asimov inspired story where an A.I built to protect humanity determines that we are flawed and uses it's technological superiority to correct the behaviour of human beings.

It's filled with existential questions, philosophical arguments, asks wider questions on autonomy and ideology as more people are able to do incredible things with A.I at what point do states have to intervene on individuals rather than other states and ultimately it tries to answer moral questions that with our own debates about the A.I explosion currently raging, are all very pertinent and perhaps may prove to be a little prophetic too.

There's little point trying to pick out individual parts of this work as it's meant to be heard in one sitting, a complex, cavernous record of two masters of the craft coming together with shared ambition and creative flair. A testament to our digital age that it can bring together like-minded individuals from across the globe, but as this record deals with very well, a small fleck of silver in a huge black cloud. 9/10

Wolfbastard - Satanic Scum Punks (Apocalyptic Witchcraft) [Mark Young]

This is going to be a relatively brief review. You just have to look at that top line to basically get all of the information you will need prior to diving into this album. Throw in that its for fans of Venom, Exploited and Extreme Noise Terror and is a savage welding of black metal with crust punk, and you can be under no illusion about how these 11 songs will sound.

If you are looking for soft, gentle melodies that escape into the spring air, this isn't the band. There are no ballads, introductory soundscapes with cod orchestral movements (in the dark) or anything approaching subtlety. This is a full on, boot to the head old school assault. They don’t attempt to be anything other than true to their art and to themselves. 

By the time this review lands, they will have kicked off their national tour at the Star And Garter in Manchester, and I cannot think of a more suitable place to start this tour. For me, this is a good album that doesn’t stray from a path in any respect. It starts and expects you to stay with them from Its Fucking Dark to B-I-F-F-O, taking in a frenzied 30 minutes along the way. There are some pearlers on here, lyrically very funny but always backed up with a feral punk approach. It may sound like a joke, but they deliver it in a completely straight way.

Wolfbastard are one of those bands where the live show is what its all about. It’s a powerful album, but I get that feeling that once they are in front of you, marshalling that crowd and absorbing that energy then they become something more than what is committed to tape. Its not for the faint of heart, or for those wanting technical wankery. This is straight forward, stove your skull in music that your parents warned you about and the clergy bathe in holy water for. 8/10

Gotthard – More Stereo Crush (RPM) [Cherie Curtis]

Swiss Rock legends Gotthard bring More Stereo Crush to follow their previous hit album, Stereo Crush, and it’s just that: the icing on the cake. This release offers 8 tracks, including unreleased songs, a radio edit, and a fan-favourite duet featuring Marc Storace from Krokus.

It's straight- up hard rock: catchy, nostalgic and feel- good. It isn’t revolutionary, but it doesn’t have to be; Gotthard has been around since the early 90s and doesn’t have to knock your socks off to prove their worth. Their tracks are solid enough to speak for themselves, bringing just enough spark to a classic formula to keep you interested.

It's an album that's felt like an old friend you haven't seen in years - you may not be enraptured, but you're glad they are there. There is a contrast throughout that works; Gotthard provides hard rock nostalgia with a polished and contemporary sheen, so it doesn't feel overdone. This is a difficult balance and marks them as true professionals.

More Stereo Crush features sharp, bristly riffs and gravelly vocals, delivering a lively and satisfying rock n’ roll all-rounder with sprinkles of sentiment. It’s perfect for a long drive or a productive Sunday afternoon, as the tracks are undeniably punchy and raw; they’ll certainly get your hands drumming on the steering wheel. It’s a fun, casual listen; that’s undemanding and feels effortless. Their strength shines through their consistency and their understanding of what their fans want from them right now.

Overall, it’s a textbook hard rock LP. Gotthard hasn’t reinvented the genre here, but they have executed it very well. After all, who doesn’t like a bit of hard rock? I liked what I heard; while it won’t make its way into my daily rotation, i certainly won’t skip it if it comes on. They have stuck to their guns and, once again, produced something high-quality and very likeable. 7/10

Zepter – Zepter (High Roller Records) [Simon Black]

Zepter hail from Austria, and this is their first full length LP. It’s very much trying to sound like it was found behind the back of a filing cabinet in a studio from the early 80’s, following the continuing trend of bands aping analogue sounds with digital kit. Unusually it does that better than most, as the mix has a good low-end rumble that does have the analogue feel I get through my sound stack when I play old vinyl records of the period, with enough crispness and clarity from the digital sounds of the current era. 

That however misses the point I have laboured many times before, that the energy and zeitgeist that those old recordings often had early in an act’s recording career were more often the product of the need to cram the recording process into very tight time windows at ungodly (and cheaper) studio slots, aided by adrenaline and chemistry, rather than whatever benefits the actual ageing recording kit gave.

Musically this is twin guitar traditional Heavy Metal and does this by the numbers. Which is part of the problem… It has a very demo-sounding feel to it, despite the fact time was spent in the studio doing this properly, the net result is the desire to capture the single take effect was of more importance than getting the best out of the arrangements.

Vocalist Lukas Götzenberger also delivers synth and half the guitar parts, and although it’s not specified in the press release, I would lay odds that he’s mostly doing the rhythm parts as his vocal phrasing synchs with these. That works well in other styles of the period, like early Thrash where the staccato delivery of the vocal arrangements aided the overall sense of brutality, but here it has the effect of detracting from the vocals, which is a shame as he has quite a good vocal timbre and range. The net effect is his vocal lines get lost in the mix, which is a shame. I would recommend splitting the tasks in the future, as freeing him up from the six string gives space to expand the vocal delivery into the songs, rather than being a slave to the instrumental arrangements.

Don’t get me wrong, I love the musical feel which works really well instrumentally, it’s just missing that final bit of pizazz that would dial things up a notch or two. A promising start however, and definitely something to build on. 6/10

Reviews: N.M.B, Fangus, Red Sun Atacama, White Skies (Simon Black & Rich Piva)

N.M.B. (Neal Morse Band) – L.I.F.T. (Inside Out Music) [Simon Black]

There was a time during the most frustrating depths of lockdown when Neal Morse seemed to be at his most prolific. Let’s be honest, the guy is an absolute cornerstone of all things prog, and with his various collaborators and frankly formidable array of projects seemed during that period to be cranking out something new every month. 

I suspect that this was more to do with the inability to cut anything new face-to-face back then meant that projects that never saw the light of day, plus a plethora of live recording got to see the light of day in a positive bow wave of releases.

The master of all things progressive varies his style enormously, but for me the releases branded under the Neal Morse Band (or N.M.B. as it has morphed into this time around) always ticked my boxes more than many projects have because fundamentally it was often a bit heavier than Transatlantic, Morse, Portnoy and George, Flying Colours and most definitely Worship, despite the fact that musicians were shared across so many of the projects. 

Absolutely a cross-project cornerstone of the last few decades has been former and once more current Dream Theater maestro Mike Portnoy, and the NMB output often felt closest to that of that most successful of Prog Metal acts in style, whilst clearly being Mr Morse at its heart.

This album may mark something of a change then…

Portnoy’s much publicised return to Dream Theater means a huge chunk of his availability just disappeared well into the medium term, because DT are both globally successful, and fairly prolific as well in terms of recorded outlay, so the reality is that we are unlikely to see Portnoy sitting behind Morse live or in the studio as frequently. 

It’s also been a while since the NMB released a studio album, and clearly Portnoy’s shift back to DT has precipitated one (I am reluctant to say) final studio opus from this fluid and frankly spot on line-up. Time was a pressure here, with a limited window of Portnoy’s availability for direct collaboration compressing writing and recording somewhat, yet as is so often the case that pressure has resulted in one of the most dynamic and fresh sounding releases of the NMB range.

OK, there’s a bit of after the fact polishing going on here, with all the members of the band able to come back and tweak the core tracks cut in the studio from their home studios, but that hasn’t taken away the energy and dynamism of L.I.F.T. A challenge often laid against Morse and his projects is their repetitive nature, but this one feels both of that stable and clearly moving the dial into fresher territory. 

There is a feeling here that they want to cram as much as they can into the record stylistically too, and there are many moments that feel like a nod to heights of the past, but it’s also thematically contiguous, with a lot of lyrically influence from Morse’s religious inclinations, but let’s face it they’re as constant in his recorded output since he left Spock’s Beard as Portnoy.

Unlike many of previous releases though, the energy here makes the album fly by despite it’s run time. When you have an hour and ten minutes of music, sounding concise is something of a challenge here, but the band pull it off because they have distilled all their writing experience together into one polished whole. Not so much a Best of Compilation, as a stylistic compendium of what they all do best, this is one of the freshest slabs of Prog to hit my platter in some considerable time. 9/10

Fangus - Emerald Dream (From The Urn Records) [Rich Piva]

I first heard of the band Fangus when interviewing Sons Of Arrakis for The Rich & Turbo Heavy Half Hour while discussing the Montreal scene and some cool bands that we may not have been familiar with that we really should be. 

I immediately went and grabbed the EP and was blown away by the frantic 70s proto metal vibe, and, of course, the organ. That EP, Meet The Reaper, was so cool and had an aura of mystery to the mad men behind this organ driven goodness. Thankfully, out of the shadows they come with their debut full length, Emerald Dream, and boy does it rip the place up and take that raw, early EP sounds to another level on these eight tracks.

The opener, Howling Hammer kicks it off with a cool, heavy 70s riff that Leslie West would be proud of, the drums kick in and sound great, and then the organ. Oh, the organ. A man named Chub plays all the keys on the record and I bow to his greatness. What an amazing opener and just a frantic, LSD fuelled proto trip that will leave you wanting more and more, which is what you get as Pyre Of Love keeps this amazing energy and vibe going. 

The organ here is next level, which I have now said for two weeks in a row, with the Gjendferd record from last week being another example. While Gjenferd is firmly rooted in the 70s too, they lean a bit more proggy and classic rock, while Fangus goes full Sir Lord Baltimore without ever letting their foot off the gas. 

Layers of keys kick off Psychoïd Telepath, and while the pace slows just a bit, the proto psych vibe does not. This track could absolutely be in a classic B horror movie and steal the show. An organ solo kicks off Quest For Fire before the riff kicks in and the guitar and organ meld to form one epic monster ready to tear up 1976 Montreal. The title track opens up with an operatic organ solo that slowly builds up to that perfect pairing of instruments that is like a freight train off the tracks heading right towards your city center. 

For a second it looks like someone jumped in the engine and took control, until it all goes off the rails again. Fangus has the fast slow/loud quiet thing down pat with the killer heavy psych of Time Gambler. The guitar work on this one is just massive. Shapeshifter sounds like Witchfinder General, with an organ. Enough said. Somehow the band saved the best track for last, as the energy on Stardust Regulator is off the charts, making me try to figure out a way to see these guys live at some point.

Fangus really kills it on their debut full length. Emerald Dream is non stop 70s inspired proto psych heaviness driven by amazing organ and guitar work, great song writing, amazing sound, and next level playing all around. I am not sure how a debut could be much better, given this album has been blasting non stop and am getting really good at air organ. Killer, next level stuff. 10/10

Red Sun Atacama - Summerchild (Mrs Red Sound) [Rich Piva]

Red Sun Atacama are a psych punk band out of Bordeaux, France. Psych punk you say? Yup. Up tempo rippers with some serious mind bending guitar work, cool tempo changes, and a frantic energy that landed their last album, Darwin, in my top 20 of 2022. The band is back with their new record, Summerchild, with very similar (killer) results.

The band self describes as “desert punk” and I can certainly get behind that, especially with the stoner gallop of a track like Conveyor, with its big chunky riff and punk rock tendencies all encompassed by a nice thick layer of fuzz. The opener, Passenger, is a straight up punky QOTSA style ripper that sets the stage nicely for the rest of the record. The snotty vocals add to the desert punk thing they have going on too, which all works great. 

It’s not all breakneck punk speed, as RSA can plant their feet firmly in the (French?) desert with a trippy slow burn too, like on Weightless. At least that is what you think you are getting until you remember these guys love big riffs too. I dig the guitar work on the back half of this one. Great stuff. Speaking of rippers, Commotions lives up to its name with the drum work standing out on this psych punk explosion. That is until it slams on the breaks and goes all quiet…until the (of course) big riff breaks through the wall and the reverb drenched vocals grab you. 

Graze The Sun may be my favourite on the record, with some more killer guitar work, a 90s feel, but also this Hanoi Rocks with lots of Fuzz thing that I hear. Not sure anyone else will but I hear it, and it is wonderful. The riffs are endless on this one too. This one shows how RSA have mastered the start fast, slow down, end fast formula. The title track is ear worm material, showing off the band’s pop sensibilities while still channelling Rated R/SFTD era QOTSA. 

Thankfully Ragdoll is not an Aerosmith cover, but it is eight minutes of what RSA does best; snotty desert punk with a side of psych, with the psych being layered on heavy over this one. The closer, the very chill and perfectly titled Sundown, is just the thing needed to come down from the wild ride that is Summerchild.

A worthy follow up to their last killer record, Summerchild will show the Red Sun Atacama are the real deal and in no way any sort of side project or one off thing. Eight driving songs touching on a bunch of genres but never veering off the path of awesome. 9/10

White Skies – Shouting At The Hurricane (Conquest Music) [Simon Black]

I first came across White Skies opening up for Ten at a show in Cardiff about 18 months ago and was hugely impressed by them at the time. It was a tough gig to open, as despite the calibre of the headliner the promoters at The Globe elected to do zero publicity whatsoever, so the room was rather depressingly sparse for them (never mind for the headliners), yet they did an admirable job of delivering their well-crafted Melodic / AOR Rock to an audience that had never heard of them. 

It was good enough for me to splash out on their debut CD Black Tide that night, and the album did not disappoint either, so spotting this sophomore in the slush pile at Musipedia Towers (well, more of a two up, two down to be honest) was a no-brainer for me.

Shouting At The Hurricane does not buck the trend. It’s a consistently strong album, which, as the title implies has a slightly rougher edge to it than its predecessor. Not in terms or recording or quality, but it’s definitely more a Hard Rock affair than their debut, although there’s plenty of steady synth-laden hooks that the fan base isn’t going to see too much of a step beyond their debut. 

To be fair, the band may be new, but the members are all old school pros. White goes all the way back to one of the late 80’s incarnations of Samson, and many things since, but the rest of the band have been around the block some as well. That’s always a help when everyone has a depth of writing and recording experience and often means they tend to cut straight to the point with little padding when the chemistry is right. Which it certainly is here.

When an album kicks things off with the two banging singles, then I usually start to worry that there is a risk of shooting the load a little early, but in this instance, I need not have lost anymore hair than time and genetics have already taken so cruelly from me. These two are obvious singles to be fair, particularly 88 Crash, which has all the anthemic hallmarks of a track that they will be closing their live sets with forever, but quality and consistency are in harmony here. This album is positively dripping with catchy anthems however…

…And so well delivered to boot. The arrangements are crisp, precise and well-tailored, but there’s enough freshness in the performance that this feels neither derivative, unoriginal nor stale. Whichever way you look at it, this is a sub-genre mostly played by and listened to by folks who have circled around the sun for a fair few turns to the power of ten, but when something rocks up feeling that it just fell out of this decade as well as any since the mid-80’s so effortlessly.

Mainly through that reliable formula or good musicians, who know what they are doing and who know how to trim the fat from their work what you end up with is this: a strong, well-crafted and refreshing record for a band who are rapidly becoming a firm favourite. 10/10