Bloodstock Metal To The Masses South Wales 2025: Interview With Digital Resistance (Cardiff Heat #4)

Bloodstock Metal To The Masses South Wales 2025

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

If you like your metal laced with dystopian themes and a rebellious energy, join the resistance.

2. What made you want to participate in the Metal To The Masses South Wales 2025 campaign? Have you had previous experience? Or is this your first time?

We’ve always admired what Metal To The Masses stands for—giving bands a platform to reach new audiences. The competition works only if bands support it, even bands with no chance of making past the first stage, so we’re happy to support in our own way.

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

The local scene is everything. It’s where bands cut their teeth, where communities form, and where underground movements thrive. Without a strong local scene, there’s no foundation for the next generation of artists to build upon.

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

We hope to find new bands to collaborate with.

5. What would playing a Sold Out Bloodstock Festival mean to you?

It’s too unrealistic to think about.

6. 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?

They should try to catch all bands!!

Bloodstock Metal To The Masses South Wales 2025: Interview With Disrupt The Continuum (Cardiff Heat #4)

Bloodstock Metal To The Masses South Wales 2025

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 just over 10 years, a mix of styles and genres blended to make our own take on different types of metal music, fast, heavy, melodic and in your face from the first to last riff. We have been on a break for a while but are back and have a new song out soon followed by a album later this year.

2. What made you want to participate in the Metal To The Masses South Wales 2025 campaign? Have you had previous experience? Or is this your first time?

We played M2TM back in 2017 so know the ropes but wanted to showcase our new material at the best place for live music in south Wales (FUEL) and the best competition for local bands in the UK to play in our opinion the best festival in the UK for many years now.

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

It is of course very important to us and to anyone who loves live music, nothing beats watching live music at a venue that's easy to get to and affordable, not to mention the great and surprising acts you can watch that you may never have heard of.

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

We have been out of the loop for a while so making new connections and making new friends and seeing old friends in the local scene and beyond is something we are very looking forward to, plus the chance to play Bloodstock festival would be amazing.

5. What would playing a Sold Out Bloodstock Festival mean to you?

Playing Bloodstock would be a dream come true just to feel the buzz of a big sold-out crowd enjoying our music, life is all about building memories

6. 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?

Painted As Monsters, Karmen Field, State Of Deceit, Akuma, Kill by Mouth, Struggler and I could go on and on, just clear examples of how awesome and diverse the local South Wales music scene is  at the moment, get your asses to a heat and check out any of the bands playing Cardiff and Swansea as you are sure to find someone you like

Reviews: Severed Angel, Stainless, Guiltless, Aeonian Sorrow (Matt Bladen & Mark Young)

Severed Angel - When Eternity Ends (No Life 'Til Metal Records) [Matt Bladen]

Severed Angel give me the impression of being one of those bands who recorded a load of albums in the 90's and then going on hiatus only to reconvene in recent years. However they have actually only been a band since 2022 but have released two albums so far as When Eternity Ends is their third.

The band hail from North-eastern part of the US, a region that has some serious kudos when it comes to melodic/progressive metal as it's the home of Dream Theater, Fates Warning, Shadow Gallery and Symphony X, so Severed Angel have a pretty good pedigree to lean on with bands from their religion and they manage to hold their own, my one criticism is that Alex Repetti's vocals are much better when they're in the Dave Mustaine snarl than the clean parts.

He links up with Lou Mavs as the guitar duo on this record shredding up a storm on the nastier tracks such as Like Lightning while they embrace the more melodic sounds on the Marc Muchnik's synth powered Wolf In Sheep's Clothing, the organ drenched drama at the beginning of The Demon's Alive ruddered by Wayne Noon's huge drum sound as George Dimitri's bass giving groove to One Life To Live.

With prestige of a long line of legendary acts to take inspiration from Severed Angels will appease any long time melodic/power/prog metal fans on their third album When Eternity Ends. 8/10

Stainless - Nocturnal Racer (High Roller Records/Soulfood) [Mark Young]

And now, an unashamed blast of what I would call classic rock and metal, the sort that would have been everywhere in the early 80’s and most certainly used in the Demon’s franchise (mid 80’s check it out). I mean this with total sincerity, because from the opening strike of Nocturnal Racer, it immediately transports you to a time when Motorhead, Priest and Maiden were everywhere. 

The four piece from Oregon have placed their focus on this less complicated time in order to put an EP together that captures that vibe, from solid riffing to incendiary leads and a powerful vocal performance from Larissa Cavacece who brings the required hard edge that backs this music up.

Nocturnal Racer kicks off and it’s a straightforward hard rock blast that does everything right without trying to reinvent any wheels. It’s not deep, it’s not trying to be political it’s all for having a good time. It’s not a pastiche, its delivered with passion and they carry this over into Shot For Shot with a cracking wah-infused lead break which is proper foot up on the monitor. This is party music, without a shadow of a doubt.

Believer comes straight in with tempo’s set in the red and its hard to not nod along to this as it tears its way through to the uplifting lead break, replete with harmony parts. Its as the 4th and final track starts that I think was put in the wrong order. The Evil Lies has a pace to it that would have been perfect as ‘track number 3’ where you have the ascent from Nocturnal/Shot and this would have kept it at that level until the high blast from Believer would kick in and we finish on an energetic high. 

This is nit picking in all honesty, as The Evil Lies fits in with that feel the first three songs have built so well. It’s a song that cultivates that mid-pace tempo well but placing it at the end takes a little of the momentum away. Like I said, its nit picking and if you dug the first three then you won’t dislike this one. It’s a showcase for Larissa’s vocals as well as a touch of guitar pyro from Jamie Byrun and there is a storming riff set running under the lead break that closes the song out.

Your appreciation of this will depend on how much you like those bands I mentioned at the start, and if you don’t mind good time rock. Everything I thought It would be from looking at the album art it delivered. Could they sustain it over a full-length album, on this display I would say yes. 7/10

Guiltless - Teeth To Sky (Neurot Recordings) [Mark Young]

From the early 80’s stylings of Stainless to the enamel stripping effect of Guiltless with Teeth To Sky. This is a 42-minute-long monolith of a thing, where they bring in their aural stamp with Into Dust Becoming and effectively set the blueprint for the rest of the songs that come battering through. It starts at a high level of intensity and then stays there, with Josh Graham’s hard as nails vocals cutting through each track. 

This is what is technically known as a ‘hard as fuck album’ with that reliance on stabs, bends and the non-stop percussive blasts from Billy Graves who turns in a masterwork in how drive this music forward. All of this point towards a promising round of ear-flattening which we all love. Except that it’s not quite like that, because the songs are built in similar ways that over the course of a listen feel ‘samey’. It is an accomplished piece of work in terms of delivering an experience that brings in aspects of noise, sludge and other areas into play but after the initial blast I fought the urge to skip forward. This does point towards me not being aligned with it, but what can I say? I have to be honest.

What I would say is that fans of experimental, noise, sludge, doom will go to town with this. It hits each of those targets dead centre with subject matter to suit. It’s played with passion and talent, and I’ve already mentioned about the drum performance which is spot on in giving this the sort of forward movement that I think is required to keep my engagement in place. Despite this, its still an absolute beast of an album in terms of how it sounds. It sounds absolutely massive, landing like a sledgehammer but that is not enough for me. 6/10

Aeonian Sorrow - From The Shadows (Self-Released) [Matt Bladen]

Scandinavian melancholy meets Greek tragedy as Aeonian Sorrow bring us their new EP From The Shadows, not as this is death doom, an EP can often be as a long as some albums and here we have 31 minutes of music over four songs.

The band are now in their tenth year together and have racked up shows all over the place, the pandemic leading to some line up changes but since 2023's Anemos they've stayed as they are with From The Shadows a follow up to Anemos, continuing the funeral/death/doom dystopia they created on that record.

Inspired by isolation and longing the band composed songs that move between fierce blasts and atmospheric stillness, the duality of the vocals is well done throughout harsh male grunts and soaring female cleans give Your Blackened Forest an epic scale, packed with emotion, the keys and guitars synching well for maximum impact, strings swelling in the background.

Inspired by and for fans of bands such as My Dying Bride, Draconian and Swallow The Sun, Aeonian Sorrow's new EP invokes introspective darkness with brief glimpses of cathartic light. 8/10

Reviews: STORMO, Grey Mountain, Seven Sisters, Chordoma (Matt Bladen & Mark Young)

STORMO - Tagli/Talee (Prosthetic Records) [Matt Bladen]

Described as an "autobiographical account of a band out on the road creating art" Italian noisemakers STORMO deliver their new album Tagli/Talee which is a vicious, abrasive, aggressive fifth album from the Roadburn loved band. STORMO's music is inspired by punk and they rip and tear in vitriolic passion with tracks such as Bordi and Riva, the latter evolving into some atmospheric moments before the violence dials back up again.

Tagli/Talee translates to cuts and grafts, and these songs sound as if they have been laid out on the studio floor and pasted together like old film, structured but constantly fluctuating between post hardcore melodies, punky noises and caustic riffs, each track just rips through in less than a couple of minutes and is sequenced like STORMO's incendiary live set. You will need to be a fan of noise, mathcore or punk to enjoy Tagli/Talee but try it as you'll get a ferocious album to dive into. 7/10

Grey Mountain - Grey Mountain (Eat Lead And Die Music) [Mark Young]

Coming from the other end of the musical spectrum is Grey Mountain, the transatlantic trio who bring their self-titled release which comprises a mixed bag of styles that swings between doom, progressive and a touch of post-metal. They themselves know that it’s to pin them down to a style which must drive fans of pigeon-holing mental.

Grey Mountain is our starting point and is a slow-burn with vocals that switch from the guttural to the higher register whilst it rumbles along. The first signs of them wanting to move gears comes in as the song bursts into life with an exceptional lead break before they return to that slower starting point. 

The progressive side comes through, with that quality lead work nestled within a storming riff set and suddenly we are near the end of a track that is just a brilliant start which continues into Perpetual Imbalance, which at its heart is a rock-solid foundation that bounces along and allows the guitars to shine. I think a shout out to James on drums is in order, who is dropping some percussive bombs on this one and provides that base and the double bass on this cuts through like a knife.

A Universal Evil has this mix of the barely holding on by fingernails and super controlled feel to it at the same time if that makes sense. Like the others it is chock-full of changes, not just in timing but in stylistic approach, especially during the heavier moments with some truly epic sounding riffs that just come out thin air. What doesn’t change is the face-melting lead breaks, those are a constant on this and the album in general and there is this sense of each track naturally slotting in place next to each other, from the percussive driven Hermitage with its myriad guitar lines through to the change on a penny.

Many Shades, A Storm through to Decline And Fall, all of which show their natural talent in being able to write absolute killer songs that shouldn’t work but do. I’m all for those bands who can do this and do it well and Grey Mountain can. The closing piece is Living Mythology, a languid start that is soon kicked to the kerb as they change gear once more. This is a blinding mix of leads and a storming bottom end chug but is not a one note affair. Just as the others it moves with grace – heavy here, subtle there and in terms of closing things out on here it does a cracking job of it.

This is a brilliant debut from them, one that I hope is augmented with UK shows because the vibe I get from this is that it would be a top live experience. There is a lot to digest in here and on first listen you will get it but its on repeated listens that you start to pick up on the little moments that add and add. I can only apologise for getting this review completed so late, but it’s an essential purchase, especially for those who like their metal to be ambitious and expansive. 9/10

Seven Sisters - Shadow Of A Fallen Star Pt.2 (Cherry Red Records) [Matt Bladen]

Make no mistake about the number of tracks Shadow Of A Fallen Star Pt.2 is an album not an EP and it's also a companion piece to 2021's Shadow Of A Fallen Star Pt.1, continuing the sci-fi storyline established on that album. The British metal act Seven Sisters have transcended what is often a long winded NWOTHM evolution and gone straight into Seventh Son/post Dance Of Death Maiden, where they embraced the irrepressible pull of prog, leaving Kyle McNeil to stick to more traditional metal with his Phantom Spell side project.

Starting with an 8 minute track and closing with the 20 minutes finale of this saga, this follow up is more grandiose and bombastic than it's predecessor, Astral Prophecies gets us going with a slow burning intro and explodes into some riffs in the vein of a band such as Sonata Arctica, European power metal with plenty of pace as they shift through the the classic NWOBHM on Solar Winds and the Maiden-like twin axe attack of Heart Of The Sun.

Andromeda Ascending (A Fallen Star Rises) is the incredible final part of this album, 20 minutes of cinematic heavy metal where the NWOTHM sound is filtered through epic space soundscapes and melodies, from NWOTHM/Power Metal/Prog it's got everything.

What a way to close this chapter of Seven Sisters existence, where they go from here is anyone's guess but it'll be worth looking out for if you're a classic metal/prog fan. 8/10

Chordoma - Chordoma (Comatose Music) [Mark Young]

Well, you have to admire a band that sets it's stall out to encompass all out brutality and then stay in that lane to the bitter end. That is exactly what Chordoma do with their debut slab of all out aural warfare. Although the band is new, the trio that make up its numbers are no newcomers to the world of extreme metal, hailing from bands such as Vituperate, Purulent Necrosis and Anal Stabwound amongst others and that experience shines through here on this self-titled EP courtesy of Comatose Music.

From start to finish this is one of the most intense listening experiences you are likely to have. From Medically Induced Asphyxiation it just starts at a 100mph and stays at that speed right through each of the five stops on the way. There is no let up at all as each one whips by in lightning fashion and it's difficult to say this one is better than that because unfortunately, they are all incredibly similar to another. 

Having that forward attack in place is great but there's not a lot to it once you get past its speed or heaviness. It's a call back to giving song names the best titles you can, and ones that show there can be no misunderstanding of what they are about. From Innermost Intestinal Exposure to Splashing Innards Abound, the music backs up the titles to a tee.

Giving it a score is difficult, because young me, well my head would have just popped as this would have had legitimate claim to being the nastiest sound going. Old me, well I appreciate its endeavour but ultimately find it a little dull after the 3rd or 4th round of blast beats. But if you look at it in terms of what they were attempting to do that have succeeded in delivering a collection of songs that do what the band says they were going to do. It sounds excellent, and it should no doubt bring visceral pleasure to those brutally driven friends out there. 

Overall, I believe that it deserves your attention because of what it does. Fans of extreme death metal should get on this immediately. 7/10

Reviews: Rotting Christ, Lucifer's Child, No Hand Path, Anglachel (Matt Bladen)

Rotting Christ - 35 Years Of Evil Existence: Live In Lycabettus (Season Of Mist)

35 Years Of Evil Existence is a celebration of Greece's most recognised extreme metal act. One of three bands who established their own genre of Hellenic Black Metal that stood toe to toe with the Scandinavians.

Over the 35 years they have adapted their sound to become a bands with a both glacial shredfests and muscular anthems, while the rawness of those early albums has gone in their recorded output live they never forget their roots and put these early tracks right alongside the orchestrated modern offerings.

With this Live album you get a chance to go on a 2 hour musical journey with these Bastard Sons Of Athens, live from the historic and iconic Lycabettus Hill Theater which sits across the Athenian skyline from the Acropolis. It's an outdoor theatre and I can only imagine how amazing the Rotting Christ light show and the power of that music would be coming out of the Athenian night.

I'm sure the Orthodox Church had more than just reservations to hosting the band in such a venue but as ever Sakis and his brother Themis will forever be Non Servium so nothing could stop this force of nature.

The album itself is recorded in front of a devoted raucous hometown crowd, the set is packed with old and new songs, paced well so the faster numbers are often followed by the mid paced groovers,Sakis' growls and shouts still as potent as ever as he has the crowd in the palm of his hand, organinsing choirs, clapping and chanting. The production is a little washed out occasionally but this was recorded in an open air theatre so it's not going to sound intimate by any means.

He doubles down with bassist Kostas "Spades" Heliotis on the grooving death and thrashers and also plays twin leads and plenty of riffs alongside Kostis Fouk. For me though the stand out performance is from Themis, it's often hard to pick out a drummer on records but you can hear every massive strike, pace change and powerful percussive hit with real clarity and you can hear why he's the heartbeat of this band.

35 Years Of Evil Existence: Live In Lycabettus is 25 tracks of Rotting Christ in their natural habitat, storming a stage, proving why they are such a long tenured and beloved part of the Greek metal scene. 9/10

Lucifer's Child - The Illuminant (Agonia Records)

Continuing with Heathen Hellenic Black Metal we have the new album from Lucifer's Child. Called The Illuminant it's their first new music since their spilt with Mystifier but it's their first album since 2018's The Order. Co-founder George Emmanuel (guitar/production) calls it "a bold evolution in our sound" and he's not wrong as on their third album Lucifer's Child increase their intensity on The Illuminant.

An expulsion of unholy fire comes with first song Antichrist, ferocious black metal blast beats, light speed tremolo picking riffs and Marios Dupont's vocal howl giving praise to the Dark Lord. The production is pin sharp George Emmanuel's skill behind the desk matched by his guitar prowess with complex arrangements on As Bestas where a thrash-like groove moves into some melodic widdly leads.

The Serpent And The Rod puts Kostas Gerochristos (drums) to the test with some blistering black metal meets hardcore, the shortest song on the record it's the most aggressive turning into a breakdown/solo section at the end. The Illuminant is very different to their two previous albums, while they paid homage to the foundations of the Hellenic black metal genre, this one incorporates other influences from across Europe and the USA too.

Songs such as Ichor more vivid and more complex than what has come before, closing the first half of this record. On side two Righteous Flama has an industrial tinge, Curse and The Heaven's Die more traditional black metal, the latter having a some great bass playing from Nick Vell.

As the epic feel of And All Is Prelude finishes this third album, Lucifer's Child return from their self imposed slumber with their finest work yet. λατρεύουν τον σατανά! 9/10

No Hand Path - Μυστικισμός της Ενηλικίωσης (Floga Records)

Translating to Mysticism Of Coming Of Age Greek black metal act No Hand Path continue on the frostbitten journey they began on previous album An Existence Regained way way back in 2010. Since then the rhythm section have been playing Varathron, who alongside Rotting Christ and Necromantia (R.I.P) were widely regarded as the founders of Hellenic Black Metal.

No Hand Path are a much rawer act, inspired more by the Scandinavian style of black metal where it's rougher, angrier and more intensely focussed on introspection and dread. This album though is about catharsis as you can probably gain from the title, it's about taking a more conscious approach to life, fighting against the dogma of religion and nationalism, to have a more educated outlook.

In their PR it's said there's nods to Swedeath (Κοσμογονία/Cosmogony) and crust punk and these are audible, the experimental spirit of Darkthrone coming through on Εξορκισμός (Exorcism) while Προδότης (Traitor) is a clear showcase of that rawness I talked about earlier.

No Hand Path pair flesh peeling black metal with intelligent lyrical concepts, proving they still have the goods even after 15 years! 8/10

Anglachel - Of Tuor, Idril And their Departure from Gondolin (FYC Records)

Dungeon synth. Heard of it, not heard too much of it but apparently Anglachel are one of the top names in the community. If you don't know what Dungeon Synth is, then here's a bit of history, it's an offshoot from the black metal scene, using the synthesized textures that are so often creating atmospheres on black metal albums as the main bulk of the music.

Inspired often by history, mythology and connected to RPG culture, Dungeon Synth is very akin to the classic video game classics of old and also to D&D etc. It's not really "metal" but as most of the musicians also play in metal bands, black metal bands, then it's been embraced or at least tolerated by the metal scene.

Dungeon synth bands also are nearly always one-man projects and Anglachel is no different, it's creative space for Admetos, who has played in a few Greek black metal bands but here lives out his fantasy as an orchestrator, writing music that is inspired by the works of Tolkien.

Of Tuor, Idril And Their Departure From Gondolin was the debut full length released in 2019, preceded by an EP, which documents Tuor's arrival at Gondolin and has been followed by two more albums and two EP's all within the Tolkien mythos.

FYC has taken the decision to re-release this record and if you're a fan of dungeon synth or indeed soundtrack music then you'll probably love this decision. These are instrumental showcases which move with the story, adding darkness and intrigue as they follow the path of the story conveying what's happening without words or any instruments other than synths.

If I'm honest I did get a little restless as it's not a genre I would normally seek out but if you're a Tolkien addict, a tabletop gamer or love music that could be a game soundtrack, then this will be for you. 7/10

Reviews: Telepathy, Sometime In February, Wombbath, Mindwars (Matt Bladen & Thomas Megill)

Telepathy - Transmissions (Pelagic Records) [Matt Bladen]

Welcome to the hypnotic, techtronic world of Telepathy and their stunning fourth album Transmissions. The Polish/English foursome based in Suffolk have been causing a stir on the festival circuit since 2011 with their sludgy, instrumental, post metal a favourite amongst both Arctangent and Desertfest crowds. They made a name by being loud, avantgarde and packing each song with gargantuan riffs drawing comparisons to Tool and Deftones, their love of film scores and use of samples and field recordings.

However this fourth record is culmination of four years of looking inward, languishing in introspection and nostalgia they ut away some of the crushing heaviness for more use of atmospheric synths and lighter textures that speak to the reflective nature of the song writing. Much of the influence for this record came from brother's Piotr, Albert and Krystian Turek, who form the band alongside Richard Powley, sorting through their family home and uncovering old photographs creating disharmony between then and now.

They also found one of the first radio broadcasts from Józef Piłsudski, arguably the founder of modern Poland, using the speech as part of the record but also having it inspired them to be more creative, more genre pushing than they have before. This is obvious with a track like Augury which has a ticking clock for pace and waves of Vangelis synth into the industrial Knife Edge Effect that shifts into the epic heaviness of Tears In The Fibre.

Transmissions is huge, a cinematic and seismic shift in Telepathy's sound, you need to experience this album rather than just listen to it. 9/10

Sometime In February - Where Mountains Hide (InsideOutMusic/Sony Music) [Matt Bladen]

Beginning as a solo project for guitarist Tristan Auman, Sometime In February is now a fully formed band with Scott Barber on drums and Morgan Johnson on bass. Where Mountains Hide is their sophomore album and it's got all the tricks and melodies of a acts such as Plini or Intervals, with some influence from the earlier prog bands too.

Where Mountains Hide is a bright album, brimming with sophisticated instrumentals but an uplifting melodic maturity that hooks you. Moments of jazz fusion, evolve into Djent palm muting as bluesy elements collide, but never conflict with the traditional prog metal styles. All three players do so at a virtuoso level, their individual performances are stunning but they have a cohesiveness that makes for some entertaining listing.

They've called in a few favours with Paul Waggoner and Dan Briggs of BTBAM adding extra guitar and other instruments, as Rich Castillo of The Callous Daoboys imparts sax on Bad Fight which reminds me of The Dirty Loops. They've also collaborated with Eric Guenther of The Contortionist on the Sound Design of the record, his skill giving it a fluidity that allows each song to stand independently but also as part of a whole. Impressive and uplifting Where Mountains Hide will be warmly welcomed at Arctangent this year I'm sure. 8/10

Wombbath - Beyond The Abyss (Pulverised Records) [Thomas Megill]

In collaboration with Pulverized Records, Swedish Death Metal veterans Wombbath struck for the 7th time with their latest album, Beyond The Abyss. Consisting of an intro and 9 songs, this is an interesting record. The band weaves between complex, almost progressive structures to caveman riffs with relative ease, all ahead of an atmospheric backdrop of synthesizers and violins. At first the atmospheric elements were a bit distracting, but after listening further to the album, and coming back around for a second listen, the violins and synths actually gave the album a unique identity. 

The song, Discord Of Doom stuck out to me. The juxtaposition of dissonant, nearly technical guitar parts and harmonies with brutal riffs exploding out of left field really caught my attention. This song made me feel like I was trapped on a rocket ship in outer space with a feral, wild gorilla. Some parts made me envision the unease and wonderment that could result from experiencing the vast complexities of space, only to be brought back suddenly into the moment by the fact I'm being hunted by a raging monster in an enclosed aircraft in space. 

The lead guitars were the highlight of this album. The solos and harmonies were crafted by some real technicians that truly understand their instruments. The tracks A Symphony Of Dread and Beneath The Abyss truly stick out in this regard. I very much appreciated the emotion in some of the primal howls from the vocalist on the last track, Consumed By Fire. That was a nice touch. I very much enjoyed this record and would recommend Beneath The Abyss to all who enjoy Old School Swedish Death Metal with a splash of Prog. 8/10

Mindwars - V (High Roller Records) [Thomas Megill]

The thrash doctors in Mindwars just prescribed a healthy dose of thrash metal to all old and new school thrashers alike, with their fifth album V. Released through High Roller Records, this record shall quell any and all thrash withdrawals. V has all the elements of a classic thrash record. Melodic and stompy riffs, blazing solos, and adventurous, catchy lyrics. Most of the songs on this record follow a no nonsense, classic thrash structure. The songs are mostly short, sweet, and to the point. 

That is until we hit Vultures Of The Eighth Wonder which clocks in at 9 minutes and change, but what is an Old School thrash record without a long epic amirite? The Road to Madagascar, the only instrumental track on the album, contains my favourite part of this record where they randomly burst into a Lamb of God-esque breakdown that is so unexpected, I've re-listened to the section about 70 times. That riff could melt glaciers. The bass guitar shines on this record. Some of the bass parts really pop through the mix in some sections, especially on the track Chasing The Wind. 

The band meshes very well together, as the bass and guitar complement each other perfectly on every track. Upon listening to this album, one can deduce that Mindwars have a lot of fun playing music together. The Supertramp cover is enough evidence of that, at least to me. That was an entertaining take on The Logical Song to say the least. This was a fun and enjoyable listen. A healthy dose of classic thrash metal with a tinge of modern flavour. I would recommend to any fans of the genre. 8/10.

Reviews: Black Spiders, Vulvarine, Kazea, Ellis Mano Band (Duncan Everson & Matt Bladen)

Black Spiders – Cvrses (Dark Riders/Cargo) [Duncan Everson]

Black Spiders have been around since 2008 gradually building a fanbase but not yet getting to the next size up in venues. Could Cvrses be the album to take them to the next level?

Never Enough kicks off the album and is a fun, upbeat song with a hooky chorus which gets things off to a great start, while also setting a pretty high bar. Cool Reaper follows and is one of my favourites with it’s simple, spiky riff and driving drum beat, the bar is cleared and maybe raised some more. 

Sorry Not Sorry is another great track and I do find the chorus quite funny with it’s refrain of “not really sorry, not even close” – is this a reference to online apology videos? Again, is a ridiculously hooky chorus that will have you singing along after the first listen. Sorry neighbours (not even close, haha!).

Idol Hands features a beast of a riff, the song builds really well towards the chorus, that again, gets in your head from the first listen. This one gives me Mason Hill vibes, which is no bad thing for me, especially while we wait for something new from them. Very tasty guitar solo too, making this one possibly my favourite (again). 

Dia De Muertos is a slower, more stripped back song that shows another side to the band and is equally effective as the more fun, upbeat tracks, proving they can do “a bit more serious” very well too. Could this be my favourite?

No Superman is just so infectious and catchy, it’s ridiculous. Seriously, this album should come with some sort of warning label on the cover, it contains so many hooks! Killer solo on this one as well. Go! is full of punk-like energy and is sure to be a future live favourite making crowds go crazy keeping up with the pace, I can already tell that. 

Obey is also destined to go down a storm with a live crowd - short and sweet, full of energy with a chorus begging to be sung along to, it’s another winner.

Rotten To The Core closes out the album and is a slower number to start with beginning with acoustic guitar and percussion, giving a Western campfire vibe and is a nice change of pace. 

Some lovely harmony vocals follow before the beat picks up and we’re now on horseback crossing the plains. More instrumental layers are added next with a really effective guitar picking pattern sitting just below the surface of the other instruments. 

The chorus of “this whole world is rotten to the core, I don’t think that we should take it anymore,” is seemingly at odds with the joyous music, yet shows the band have a serious side too. 

I think the term blistering is the most appropriate for the solo that ends the song and indeed the album. That makes it sound as though it’s quite a departure from the rest of the album and in some ways, it is and yet fits perfectly just the same.

Having gone back to listen to their last album to see how they compare, I can say that Cvrses is a positive move forward and I think existing fans will be impressed, and should also gain the band many more new fans too if there is any justice - like me for example. 8/10

Vulvarine - Fast Lane (Napalm Records) [Matt Bladen]

Vulvarine love rock n roll, they love Mötorhead, they love Girlschool, they love The Runaways and they love The Donnas. They love dirty rock n roll and Fast Lane is packed with it from the opening riffs of The Drugs, The Love And The Pain, they will remind you of all the bands I mentioned alongside acts like Status Quo, Ash and Tokyo Dragons (go look them up).

Hailing from Austria Vulvarine released their debut album in 2020 and an EP in 2023 and they have been pumping out high energy rock since then combining denim wrapped biker rock, catsuit clad glam and some pop punchiness for a sound that hard not to smile to. With Fast Lane they look to sharpen their hooks with some refined song writing that gives them a few more tricks to play with.

Be it the dark Demons, the grooving Alright Tonight, the sleazy Fool is a US radio ready single as Dark Red comes with a bit of punk sneer. With the penultimate track, the cover of Cheri Cheri Lady by German pop duo Modern Talking is given a high energy blast and has Filippa Nässilof Thundermother on guitar. Vulvarine take to the Fast Lane with this second album and it could quickly make them household names. 7/10

Kazea – I, Ancestral (Suicide Records) [Duncan Everson]

Post-rock, post-metal? I don’t know how to tell the difference personally but I’m starting to get more of a feel for these things and after attending the last 6 ArcTanGent festivals I really should know by now. 

I don’t know where one starts and the other has someone screaming, “Get orf my land!” to be honest but my education continues with this album from Kazea, a three piece band from Sweden.

On first listen I wasn’t blown away if I’m honest but felt there was something here worth more time and I’m glad I stuck with it. Before I knew it, I’d listened to this at least ten times and still am now.

Trenches is where the line starts to blur between post-rock and post-metal (I think) with the screamed vocals coming in half-way through maybe being the thing to push the boundary. The music itself is still mid paced with a distorted guitar tone and the other, more standard vocal style combine well with the screams to great effect.

Whispering Hand is a faster paced blast through more standard sounding rock territory, although utilising the same guitar tone so it fits in nicely. A Strange Burial is next and more the kind of thing I’d expect to live in post-rock town, all big chords, slow drums, atmosphere and instrumental except for a sample from a movie (I’m guessing as much anyway). 

This short track leads directly and effectively into Wailing Blood which initially continues on from the previous track before morphing into something quite different. This track somehow seems quite epic despite coming in at just over four and a half minutes, featuring peaks and troughs of sound, with slower, stripped back moments which skilfully blend into faster choruses without being jarring. Great drumming in this one too.

The North Passage makes effective use of those dynamics again and the dual vocal style shown earlier is even more effective here. Seamlessly Woven closes out the album and this is probably the most easily classified as what I imagine post-rock to be. 

Dark and moody with layered guitars and a long instrumental section in the middle which is just gorgeous, before the vocals come back and in and the track just keeps building and building before coming full circle to close out with just a simple piano repeating the main riff to end. Bloody wonderful.

I hadn’t heard of Kazea before this album, but the editor suggested I might like it, and he was right. There’s enough variety here that if one track doesn’t appeal too much, another may very well tick your boxes but at the same time there is a consistent sound to the album, so the tracks sit cohesively together. 

I have a feeling that I’ll be listening to this for quite some time to come. 9/10

Ellis Mano Band - Morph (SPV) [Matt Bladen]

Elis Mano Band follows that great blues tradition of naming yourself after band members. Like Tedeschi Trucks Band, Marshall Tucker Band, Crosby, Stills And Nash and Fleetwood Mac. 

Ellis Mano Band is made up of vocalist Chris Ellis, guitarist Edis Mano, bassist Severin Graf, drummer Nico Looser and Lukas Bosshardt on keys.

They're all from different countries and Morph is their fourth album and because it's their fourth album, they have tried to redefine or perhaps refine what their sound should be. Rooted still in blues rock, here they continue on an evolutionary path towards a more mature, diverse style.

They first played these tracks in support of Deep Purple and Ellis Mano Band clearly have drawn inspiration from bands like Purple who languish on the blues but always want to add different flavours. Virtually Love starts off this record with some Springsteen/Petty-like rollicking rock n roll however Count Me In and Madness And Tears are reminiscent of Bowie and Madrugada.

That Madrugada comparison continues with the album, throwing in some Tom Waits, some Stevie Ray Vaughan and Southern rock too. Heartfelt, blue collar music from this talented group, Morph sees them fluctuate their influences to great effect. 7/10

Reviews: SOM, Desert'Smoke, Jesse Stilettö, Sykofant (Rich Piva)

SOM - Let The Light In (Pelagic Records)

SOM has been deemed “Doom Pop” and why not, but to me, this band is heavy shoegaze all the way, and boy am I here for it on their third record, Let The Light In. 

Swirling guitars, a wall of sound, impossibly high vocals, and some serious riffs to go along with everything else, SOM sure have perfected their recipe with the eight tracks on record number three.

Remember the band Mew? I do, they had a killer record, And the Glass Handed Kites, that came out in 2005 and incorporated some heavy with some shoegaze nicely, while applying their pop sensibilities to the songs. 

SOM also has this skill, but turns up the heavy a bit more than Mew did. Take the title track, which shakes you while it mesmerizes at the same time. You get the usual suspects when you mention shoegaze, like MBV, Slowdive, Swervedriver, maybe even some Cocteau Twins. 

I also hear bands like Elliott, who were a sensitive yet heavy when they want to be emo band, and of course, some of the beauty The Smashing Pumpkins could bring on those early records. 

Whatever you want to call it, the guitar wall of sound on Chemicals is awesome while being chunky as hell in parts too. There is not a bad track on Let The Light In, and the record flows effortlessly across the 38 minutes of heavy beauty.

SOM’s third album is their best, and I really enjoyed the previous one, The Shape Of Everything, so this is saying a lot. If you dig shoegaze but want just a bit more kick, and if you like beauty in your heavy, go listen to Let The Light In, you will not be disappointed. 8/10

Desert'Smoke - Desert Smoke (Raging Planet Records)

Lisbon, Portugal’s Desert'Smoke give us some really cool desert-y and smoky instrumental heaviness on their third, self-titled record. Heavy psych, stoner, desert, a little prog…all sorts of good stuff going on across the five tracks with no words.

The highlights include the absolute shredding on the track Fuzzy Txitxu, which may make the dual guitar players axe heroes, because boy does their work kick ass. I really dig how the heaviness of the first track melds into the atmosphere of the next one.

Gravity Absence, which is way more chill and gives off Yawning Man vibes, until it gets all heavy on you with that killer guitar work. Blind Watcher starts like something out of Twin Peaks but Desert'Smoke have mastered the soft to loud dynamic and it works so well here too. The heavy psych leaning 49th Steam Box is a trippy way to end this romp though the desert.

Instrumental records can tend to be too long, but Desert'Smoke got the right balance on this one, with four songs in 35 minutes, which is perfect for this journey and the vibe this one gives off. 

Some really good stuff here if you dig the instrumental bands like your Clouds Taste Satanic, Yawning Man, and the like, but with the guitars turned way up into the front and even more acid dropped. 8/10

Jesse Stilettö - Jesse Stilettö (Self Released)

Jesse Stilettö does not sound like the name of a hard rock band out of Minnesota, but that is exactly what they are, blending 70s hard rock with some psych leanings that give of serious Blue Öyster Cult vibes in multiple ways on their self-titled debut. The duo offers seven hard rocking tracks that are raw and almost garage rock, but garage rock played by a stoner band, and this is a good thing.

As The Portal Opens just does that with a killer riff, QOTSA vibe, echoey vocals, and spacy bridge that all works very well together. The psych-leaning middle is the best part of this great starting point for the record. A jangly guitar opens the more chill and very cool The Plaid Man, which is very, very 70s in an excellent way, but certainly get rocking as it gets going. 

Proto/BOC goodness all the way. There is some really great guitar and drums interaction on this record, especially on this track. NWOBHM vibes with layered guitars ring out on Devil's Lunch, but it also has this underlying blues vibe to it from the lyrics, while emanating some Thin Lizzy-like tendencies as well. 

A lot going on, but all of it going on very well. I don’t mention The White Stripes in a lot of my reviews but that is what came into my head when Feed The Moon started, but then it gets all BOC and moody, which I am here for. Spectre just rips it up and is some very cool proto that probably would kill live.

I have mentioned BOC a few times, so it is only fitting the boys do a cover of one of their classics, Stairway To The Stars, and do it justice for sure in their own way. The closer, Dream Into The Future, actually has a 90s feel to it, perhaps a preview of what is to come in that future for the duo.

The only turn off to some for this record may be the sound, as it is raw and occasionally sounds like it may have been lab enhanced a bit too much, but you could also call that charming for a new band on their debut record. 

I personally think Jesse Stilettö put out a fun little ripper of a debut that touches on a lot of the music I love while giving the band room to grow on their next one. Good stuff. 7/10

Sykofant - Red Sun EP (Self Released)

Sykofant is a prog band from Oslo, Norway who bring us three songs to follow up their self-titled record from last year in the form of the Red Sun EP. Bands mentioned in the bio for these guys include Elder, and Pink Floyd and I can hear it on these three tracks that offer all sorts of direction and styles over the 23 minutes of music.

I am not the biggest Floyd fan but I am very familiar with their work, and the opener, Ashes, reminds me very much of the latest period of recorded Floyd, but with a bit more bite to the sound. 

There is a funky prog thing going on here too, and it is very cool, but leads us into a very familiar Floyd sound on song two, Red Sun, which is a bit too on the nose for me, but I am sure people who like that stuff will be fine with this. The closer, Embers, has a bit of a bite to it, and is my favourite of the three songs. It is the proggiest song of the three and is also the most adventurous and unique of the three on the EP.

I dig the atmosphere and the playing is strong on the three songs on Red Sun. I wish all three tracks were more like the last one, as I think the band excels when they go their own way and open up their writing and playing to unique tempos and styles, rather than trying to sound like Pink Floyd. 6/10

Reviews: URSA, Gates To Hell, Destruction, Black And Damned (Matt Bladen & Rich Piva)

URSA - Call Of The Infinite (Self Released) [Matt Bladen]

Shame. Shame on me for almost missing this album from March's review pile. Call Of The Infinite could not be more up my street if they bought the house next to me. Admittedly they'd fill that house with widdly guitar textures, chunky repeating riffs, spatial atmospheres and aggression in all the right places. So I'd probably want live there as well.

Enough about houses though what is this album from Belgian 5-piece like? Well it's got all the things I referred to in my long-winded analogy but also much more. It's a progressive record in that each song delves into the technical ability of these musicians but forms songs that have intense melody, moments of clarity and then the all important riffs metal fans want.

Growled vocals and angular heaviness on tracks such as Major, make you sit up and take notice of this debut album, the switch to ambient moments like on New Levels is organic never feeling forced as they encompass a whole host of progressive music styles, never quite letting you feel comfortable before they whisk you away into so fluid guitars solos or a widdly bass part, a percussive flourish.

I wonder if there's an influence from the freeform Belgian jazz scene as URSA don't seem constrained in their composition, you can definitely hear that the band started out as an instrumental act, the depth of playing is at such a high level that you still get shivers when listing to the instrumental version of the record. There is a need for vocals though, they're often brought in as counterpoint to the melodic tones, increasing the gutteral punch of the heavy parts such as Advance.

Only just a year old, there's years of talent in this band and it shines through in every moment of Call Of The Infinite. 9/10

Gates To Hell - Death Comes To All (Nuclear Blast) [Matt Bladen]

Enlisting Randy LeBoeuf as the producer for this record is a very smart decision, he his a maximum noisemaker as anyone who heard the new Kubali Khan TX album will attest. With Randy in the producer chair you know Gates To Hell's new album will be utterly devastating sonically.

Death Comes To All is their second album and this Louisville death metal mob want to fully wreck your skeleton with grimy, grungy, ear shredding extreme metal. The record has a lot of death dirtiness, the ferocity of hardcore and many other gnarly sounds in between. It forces you to confront aggressive music head on, it's raw and intense and not for the faint of heart.

Tracks such as Weeping In Pain have that brutal Nu-Core vibe of bands such as Slipknot as abrasive guitar slides shift into blasts and then breakdowns, 21 Sacraments is bludgeoning and many of these tracks such as Sacrificial Deed pack multiple riffs, breakdowns and frenzy into less than two minutes of run time on average.

A skin peeling death metal record that is a brash as it is brisk, Gates To Hell have big things ahead. 8/10

Destruction - Birth Of Malice (Napalm Records) [Rich Piva]

I was once banned for life from all Caldor stores in the US for attempting to steal the cassette of Destruction’s Cracked Brain. Joke’s on you Caldor, since you have not existed since you closed all 145 of your stores in 1999. Wait, I think I am off track here. I am actually supposed to be reviewing the new record from the German thrash legends, Birth Of Malice, their sixteenth album, and what do you know, it is really good. 

There has been some of these “legendary thrash bands release good records 30-40 years in” situations over the past couple of years, specifically the latest Flotsam and Jetsam record and the absolute ripper from Overkill. I am not sure Birth Of Malice is as good as those records, but it is a worthy effort 40 years in, with this incarnation of the band.

Why it took 40 years for the band to have a song called Destruction is a miss on their part, but they have fixed this with the first full track, which rips and is super fun thrash, finally announcing to the world that they are Destruction. I love it when bands get heavier as the years go by, because Destruction sounds as heavy as they ever have on tracks like No King – No Masters and Scumbag Human Race. 

God Of Gore is as good as any thrash song that has come out in a long time, period. The production on the record sounds great too. Let’s be real though, this is not a bunch of 60 or 70-year-olds up there, as Marcel Schirmer on bass is the only original member and the guy who has been in the band the longest besides him has been only since 2019. 

The record is a bit long, at 50-plus minutes it is a lot. We could have done without a couple tracks and we really didn’t need the Accept cover, but overall, this is a fun outing from a classic thrash band.

A fun record if you dig old school thrash done by a legendary band, especially can get around the fact that Destruction is a much different band personnel-wise then they were back in the day. Birth Of Malice is a good release for this version of Destruction in 2025. 7/10

Black & Damned - Resurrection (RPM - ROAR)[Rich Piva]

Black & Damned play a traditional metal style that sounds a bit too polished for my taste, but certainly can pull off sounding like the Judas Priest stuff people rank at the back end of their discography on their latest and third full length, Resurrection. 

The band is very polished, too polished, and there are all sorts of layers of instrumentation and vocals going, as if there were 96 tracks used, when really all they needed were a few, because these guys can play and understand old school metal. But there are ten songs on this record, and they all kind of sound the same. 

I can not really tell the difference between Ruthless Wrath and Silence Breaker, or really any of them for that matter. The songs are fine, but do I ever need to hear them again, and if I did would I know who it was? Probably not. Resurrection is also a lot, as the 45-minutes seems like 65. 

I am sure there are some people who will like this, but given all of the other amazing metal bands out there today doing this style and bringing something different to the party, I can say that the new Black & Damned record is not for me. 4/10

Bloodstock Metal To The Masses South Wales 2025: Interview With Empire Of Dust (Swansea Heat #4)

Bloodstock Metal To The Masses South Wales 2025

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

We are Empire of dust, 5 piece sludge/doom band from Bristol.

2. What made you want to participate in the Metal To The Masses South Wales 2025 campaign? Have you had previous experience? Or is this your first time?

First time competing in anything like this. Never been too sold on the idea of competition between bands, however its a great opportunity and were stoked to come and see some new faces in the scene.

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

The local seen is massive to us, Bristol is a special place for alot of creative things and the heavy music scene is one of them. We have done countless underground shows and put many great nights together for the real music heads and other communities alike. The scene keeps everyone thriving, its amazing to see so many of the same faces in every possible venue/festival/skatepark you name it.

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

Expecting to have a good time! Its our first time in Swansea, we really enjoyed any shows we've played in Cardiff and hope that the crowd share the same love.

5. What would playing a Sold Out Bloodstock Festival mean to you?

Obviously would mean the world! Festival shows are always great, one of our most memorable gigs was closing the squatters tights stage at shambala last year. To have an experience like that but targeted directly to the metal heads would be unreal.

6. 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?

The whole M2TM has a lot of sick bands involved, id recommend any fans to try and go to the other cities not just the local show. I wouldn't worry about names I'm sure every heat will have something to offer the crowd.