Black Lung - Forever Beyond (Magentic Eye Records) [Rich Piva]
I have been a big fan of Baltimore’s Black Lung for a few years and a few albums now. I am excited to have the band back. They are both back and pissed off at the state of this world, and not afraid to show it, with Forever Beyond being their darkest and angriest record yet, and they do angry very well.
Traveler starts us off, and right off the bat you hear this 90s thing going on, but also with a bleakness that gives me post punk vibes as well. Like a darker Catherine Wheel, which is flat out excellent. This is some of Dave Cavalier’s best vocal work, as he really nails it on this track. The band has mastered the layering of sound all throughout their songs, with synths bringing a song like Death & Co. to the next level. I love the drums on this one too. My Catherine Wheel but darker comparison stands on this one as well.
When I had the guys on the Rich & Turbo Heavy Half Hour, I gave my opinion of Radiohead, which as big fans I hope they forgive me for. I bring this up because Savior has this underlying Radiohead thing going on, and it is wonderful. Follow doesn’t pull any punches lyrically while musically keeping that dark 90s, wall of soundish vibe. The riffs rule this one. These guys get catchy and melodic too, with Forever Beyond Me giving off Therapy? and later-period Alice In Chains vibes in the best kind of way.
The two angriest tracks were saved for last, with the atmospheric Border Hoarder showing you don’t have to have the heaviest song musically be the angriest, even though this one certainly kicks in and rips it up too, and the eight-minute closer, Scum, which is their state of the world address set to some killer, dark chunky riffs and atmospheric bridges as Cavalier tells everyone what’s what.
A dark, heavy, 90s post punk inspired state of the world address emanating from pretty much ground zero of where it is all happening. This record is built for 2026, where Black Lung has their finger on the pulse of what’s going down, brought to you in the form of the seven killer tracks that make up Forever Beyond. Black Lung knows that things are bad, but there is still hope underneath it all, which is what I hear and love about this record. 9/10
Prong - Live And Uncleansed (Steamhammer) [Mark Young]
Recorded live over a number of nights in 2025, Live And Uncleansed represents a worthwhile document showcasing a band that is still capable of squashing live audiences when called upon.
A dark, heavy, 90s post punk inspired state of the world address emanating from pretty much ground zero of where it is all happening. This record is built for 2026, where Black Lung has their finger on the pulse of what’s going down, brought to you in the form of the seven killer tracks that make up Forever Beyond. Black Lung knows that things are bad, but there is still hope underneath it all, which is what I hear and love about this record. 9/10
Prong - Live And Uncleansed (Steamhammer) [Mark Young]
Recorded live over a number of nights in 2025, Live And Uncleansed represents a worthwhile document showcasing a band that is still capable of squashing live audiences when called upon.
For me, they were a staple of metal nights with Snap Your Fingers, Snap Your Neck which continues to be popular today. Their songs always had that innate ability to land like a punch to the face and contained here are 14 examples of this. From a review perspective, talking about each song here would be a little redundant on my part as you would expect them to represent their best or at least most balanced live set.
Each song is delivered with a thudding authority, the band sounding tight and on point as they rip through the set, starting straight into it without any drawn-out introductions with Revenge...Best Served Cold setting the tone. Straight away you can hear their influence on a ton of bands that followed and received the plaudits that probably should have been theirs. This is a debate for elsewhere, but you cannot argue with how good it sounds, and how good they sound.
Each song is delivered with a thudding authority, the band sounding tight and on point as they rip through the set, starting straight into it without any drawn-out introductions with Revenge...Best Served Cold setting the tone. Straight away you can hear their influence on a ton of bands that followed and received the plaudits that probably should have been theirs. This is a debate for elsewhere, but you cannot argue with how good it sounds, and how good they sound.
They keep the between song patter to a minimum, concentrating on the performance as opposed to banter (which is always welcome) but the problem is that the songs miss that link between them. This is a minor point on my behalf and given that they were recorded over a number of nights then I suppose they wouldn’t do that anyway. But when you have The Descent crashing in like thunder, those riffs landing like a rock-fall any thoughts about anything other than the performance become secondary.
Of course they play Snap Your Fingers, coming in slightly faster than I remember but no less of an early 90’s core anthem. That riff build is still razor sharp and here is delivered at pace whilst still sounding heavy. It’s a song that still sounds better than a lot of material that is out today and live, Tommy Victor is in top form here, sounding like a man demented in its delivery.
Of course they play Snap Your Fingers, coming in slightly faster than I remember but no less of an early 90’s core anthem. That riff build is still razor sharp and here is delivered at pace whilst still sounding heavy. It’s a song that still sounds better than a lot of material that is out today and live, Tommy Victor is in top form here, sounding like a man demented in its delivery.
What is surprising is that Whose Fist Is It Anyway is presented as a bonus track, the last one and like Snap Your Fingers it is imperious. Live releases can be hit and miss with so many things affecting how they are received. From set list to how the band sounds being key, on here they manage to get it right and in its own right it’s a belter, one that will satisfy long standing fans and hopefully garner some new ones. 8/10
Leaves Eyes – Songs Of Darkness (RPM) [Cherie Curtis]
Leaves Eyes brings us Songs Of Darkness, and it’s exactly what it says on the tin; it’s symphonic and powerful, and theatrically heavy. Leaves Eyes prioritises grandeur and layers over raw aggression. The music packs a punch as it's larger than life and extremely cinematic; it's not going to be starting any mosh pits, but it will have you stop and listen. If given the chance, I'd love to see Leaves Eyes play live.
Songs Of Darkness is dark and moody with lead vocals by Elina Siirala, whose vocals are silky, bright and vivid. She brings a romantic and almost operatic melody amplified by subtle, yet beautiful backing vocals all rooted down into the haunting themes by the fierce and bitter metal vocals Alexander Krull. They use the classic ‘beauty and the beast’ trope similar to bands such as Cradle Of Filth and Nightwish but more symphonic and create a stunningly bewitching and powerful dynamic.
The whole album is simmering with energy. There are boundless repetitive drums, distorted riffs and a steady rhythm to serve as a strong, slow burning undercurrent that builds tension before delivering a satisfying vocal payoff. In Songs Of Darkness, instead of fighting for spotlight, the instrumentals show restraint and give a driving pulse so the vocals can have more of an impact.
Overall, I really enjoyed myself as I’m a fan of this genre and style so I may be biased but there’s nothing not to like. It’s mixed well and the production value is top notch. There’s dark grittiness contrasted by sophisticated grace and theatrical power so even the black metal elitists will find something to enjoy but it won’t be something they’ll choose to have on their rotation as especially in the beginning, the tracks can be a little too soft.
Leaves Eyes – Songs Of Darkness (RPM) [Cherie Curtis]
Leaves Eyes brings us Songs Of Darkness, and it’s exactly what it says on the tin; it’s symphonic and powerful, and theatrically heavy. Leaves Eyes prioritises grandeur and layers over raw aggression. The music packs a punch as it's larger than life and extremely cinematic; it's not going to be starting any mosh pits, but it will have you stop and listen. If given the chance, I'd love to see Leaves Eyes play live.
Songs Of Darkness is dark and moody with lead vocals by Elina Siirala, whose vocals are silky, bright and vivid. She brings a romantic and almost operatic melody amplified by subtle, yet beautiful backing vocals all rooted down into the haunting themes by the fierce and bitter metal vocals Alexander Krull. They use the classic ‘beauty and the beast’ trope similar to bands such as Cradle Of Filth and Nightwish but more symphonic and create a stunningly bewitching and powerful dynamic.
The whole album is simmering with energy. There are boundless repetitive drums, distorted riffs and a steady rhythm to serve as a strong, slow burning undercurrent that builds tension before delivering a satisfying vocal payoff. In Songs Of Darkness, instead of fighting for spotlight, the instrumentals show restraint and give a driving pulse so the vocals can have more of an impact.
Overall, I really enjoyed myself as I’m a fan of this genre and style so I may be biased but there’s nothing not to like. It’s mixed well and the production value is top notch. There’s dark grittiness contrasted by sophisticated grace and theatrical power so even the black metal elitists will find something to enjoy but it won’t be something they’ll choose to have on their rotation as especially in the beginning, the tracks can be a little too soft.
Though only four track and the run time is relatively short, there is so much soul and effort, and Leaves Eyes has proven here that less is more. 9/10
Lost Society - Hell Is A State Of Mind (Nuclear Blast) [Matt Bladen]
What happened to this band? Maybe I'm the old curmudgeon but for a while there Finns Lost Society seemed to be the saviours of thrash metal, but overtime they've become just another band playing "modern metal" and even that is not a particularly descriptive title. I'd say more that they have become an Avenged Sevenfold clone with a bit of Bring Me The Horizon added for the radio.
I wasn't too enamoured with their last couple of albums, (though I was in the minority for the press core) and Hell Is A State Of Mind does even less for me. I think comparing yourselves to the likes of Children Of Bodom and H.I.M when you produce music that is just a clone of countless metalcore bands, but especially A7X who they have moved the closest too here.
With electronics, hip-hop beats and some woeful gothic nu metal lyrics, tracks names such as Dead People Scare Me (But The Living Make Me Sick) just feel a bit like the sort of thing you'd see emblazoned on a t-shirt in Blue Banana. A very unsubtle move towards radio play and popularity. Now I'm not shooting down the band they’re talented performers and there’s a great use of strings with the 40-piece Babelsberg Film Orchestra the standout of the album but don’t save it for me.
Lost Society - Hell Is A State Of Mind (Nuclear Blast) [Matt Bladen]
What happened to this band? Maybe I'm the old curmudgeon but for a while there Finns Lost Society seemed to be the saviours of thrash metal, but overtime they've become just another band playing "modern metal" and even that is not a particularly descriptive title. I'd say more that they have become an Avenged Sevenfold clone with a bit of Bring Me The Horizon added for the radio.
I wasn't too enamoured with their last couple of albums, (though I was in the minority for the press core) and Hell Is A State Of Mind does even less for me. I think comparing yourselves to the likes of Children Of Bodom and H.I.M when you produce music that is just a clone of countless metalcore bands, but especially A7X who they have moved the closest too here.
With electronics, hip-hop beats and some woeful gothic nu metal lyrics, tracks names such as Dead People Scare Me (But The Living Make Me Sick) just feel a bit like the sort of thing you'd see emblazoned on a t-shirt in Blue Banana. A very unsubtle move towards radio play and popularity. Now I'm not shooting down the band they’re talented performers and there’s a great use of strings with the 40-piece Babelsberg Film Orchestra the standout of the album but don’t save it for me.
Lost Society seem like they will stick with this direction for the foreseeable, but for me Hell Is A State Of Mind is listening to hell. 4/10
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