Reviews: Imperial Triumphant, Pop Evil, Gotthard, Anneke Van Giersbergen (Matt Bladen)

Imperial Triumphant - Goldstar (Century Media Records)

If there's a new Imperial Triumphant album you'll never know what to expect, punishing industrial soundscapes as punishing extreme metal is played through the experimental vein of free jazz. 

This trio have been creating music to please themselves for a number of years now, the masked triumvirate always surprise with their records, each one a complex, suffocating trio through desolate cityscapes with art deco visuals around. I've always told anyone who really wants experience the band then do so either live or though headphones.

The latter is the only real way to listen to an album like Goldstar otherwise you'll miss the use of lead bass on Gomorrah Noveaux, which is akin to black metal Primus. It's not just the virtuoso playing though, without headphones much of the claustrophobic atmosphere Imperial Triumphant paint is missed, you can't pick up on the little background sounds, the spoken word fragments and samples. 

Of course praise has to be given to long-term producer Colin Marston who always manages to capture the majesty and misery of IT's music. The band say that Goldstar is an album that "captures the tension between grandeur and collapse" completed in just five days there's a sense of insistence, an underlying panic that is only taken away by creating.

From the jazz parps that end Lexington Delirium, more jazz rhythms on Pleasuredome or the squelching black metal blast of Hotel Sphinx which segues into a synthy version of Handel's Suite No 4 in D Minor, HWV 437, Sarabande (any Dave Gorman fans?) This classical piece of music is retained as a motif for the song. They split the album with a retro cigarette advert for Goldstar brand cigarettes but even that feels haunted as if playing at the back of a Bioshock game.

Goldstar is ominous, disconcerting, euphoric and glorious, Imperial Triumphant continue to forge their own gilded path in the extreme metal world. 9/10

Pop Evil - What Remains (MNRK Heavy)

It's a surprise to me that Pop Evil have eight albums but then I think we've been featuring them here since 2013's Onyx definitely and that was their fourth album. There's a resilience to Pop Evil, they've made their way from the Michigan scene to radio charting, arena selling modern rock masters, fronted by the powerhouse vocals and personal lyrics of Leigh Kaktay.

Pop Evil can be lumped in with bands like Shinedown, Alter Bridge and Breaking Benjamin but they stay true to their own sound too. On What Remains Pop Evil have dialled up the loudness, always a band with the most up-to-date production sound and style they move from Nu-Metal revival on When The Bullets Miss, to industrial noises on Death Walk and into thumping EDM on the title track.

Using the electronic music influences that have become so popular in modern rock music on every track. These atmospheres are due to What Remains being their most introspective album so far, it's also their most collaborative with Drew Fulk (Disturbed/Knocked Loose) producing again as Quistad, Zach Jones (Fever 333), KJ Strock (Ice Nine Kills/Motionless In White), and the Sparrow Sound team of Joe McQueen and Spiritbox bassist Josh Gilbert, all get involved with the sonic presentation of this record.

The huge choruses remain but with tracks such as single Wishful Thinking and Criminal they add some 2000's metalcore heaviness for plenty of beatdowns. Louder, larger and brasher than the previous albums, What Remains sees Pop Evil again evolving with what is popular on rock radio stations, as bands such as Spiritbox, Knocked Loose or Malevolence make waves, the smart ones like Pop Evil adapt to appeal while retaining their earlier mandate. 8/10

Gotthard - Stereo Crush (Reigning Phoenix Music)

I'm not sure what to make of Stereo Crush? It's got a title that should ensure some big hard rock riffs, more that 30 years of rock history lies within the story of Gotthard, they, alongside soon to be tourmates Krokus are the two pillars of Swiss rock music and have been adapting their sound throughout those years but always staying true to their rock n roll roots.

Well some rock n roll roots anyway as Stereo Crush, which the band called their "contemporary" record, seems to be a homage to the Fab Four with songs such as Liverpool and a cover of Drive My Car while spending much of the musical time in the melodic stylings of Bon Jovi. That's basically what their album boils down to, mid-pace stadium rock, a few ballads and some power pop touches on their 14th album.

Is it well written, well produced and well performed? Yeah absolutely. But is it as entertaining as it could be? Not to my ears, I found myself wanting a harder riff, a catchier chorus. I don't really want another song about A.I or another The Beatles cover, I definitely don't want any more Bon Jovi. 6/10

Anneke Van Giersbergen - La Vie EP (Self Released)

The initial part of trilogy of EP's that will form a new album La Vie is the first collection of new songs from Anneke van Giersbergen since 2021. The next two will be entitled La Mort and L'Amour and all three are inspired by Life, Death and Love, thus the titles. They will be a emotive, personal collection of songs written after the passing of both her parents and inspired by the music of the 80' and 90's that formed her musical education in her youth.

Reflective of the past but hopeful for the future, there are few vocalists who can inspire such an emotional response from their music, but Anneke has always been able to bring me to tears and I'm sure will do so again with this new project. We begin with One More Nanosecond, a beautiful song to begin this EP, a longing for things gone by, the massive band Anneke has playing densely orchestrated music..

When I Die is a Middle Eastern inspired, reflective track with Roland CR-78 drum loop, leading into the boisterous More Than A Thousand Words, a track that is hooked on a U2 guitar riff and an pop ear of Simple Minds or early Talk Talk.

This is just the beginning but La Vie is the first part of what could well be the best album from Anneke van Giersbergen to date. 8/10

Reviews: O.R.k, Crimson Glory, Sanhedrin, Gentle Beast (Matt Bladen & Rich Piva)

O.R.k - Firehose Of Falsehoods (Kscope) [Matt Bladen]

O.R.k shift their soundscapes again on this fifth album, there is lots of links to King Crimson, final track Dive In, a bonus track on the CD edition feature, features some expressive percussion work from Pat Mastelotto as it moves through a 16 minute run time of heavy riffs, smooth jazz sections, orchestrated moments of bliss and then atmospheric clean guitar that builds from layered acoustics and some parping brass. Its real prog mastery from a band who have all have a background in the genre.

The rhythm section of Mastelotto and bassist Colin Edwin are both prog veterans so these songs always carry a foundation that is slightly off kilter, a counterpoint groove equivalent to Tool on Blast Of Silence. O.R.k play with styles though, Hello Mother and Seven Arms both have the angular fuzz riffs of QOTSA Carmelo Pipitone cracking out the alternative rock that seems to be a major influence on Firehouse Of Falsehoods. The latter has some dark country slide to it as well. Singer LEF is a dead ringer for Chris Cornell so there’s more than just a taste of Soundgarden on the huge riffing The Other Side. Though with 16000 Days they feature some of the slower, artier sound of Temple Of The Dog though with a much bigger production value.

O.R.k’s music is constantly evolving and with Firehouse Of Falsehoods they’ve made alt rock arty, colossal guitar riffs take the centre stage but there’s always that prog heartbeat that directs you into virtuoso playing and technical moments, it’s towards the end of the album really that they adopt their prog beginnings more, Dive In I’ve mentioned but before that is Mask Becomes The Face, a song worthy of Porcupine Tree, and sees former PT man Colin Edwin link up again with former PT second guitarist John Wesley.

Another musical feast for anyone who always thought grunge needed a bit more of art rock influence this Firehose Of Falsehoods is streaming full blast on O.R.k’s fifth album. 9/10

Crimson Glory - Crimson Glory: The Roadrunner Years (Cherry Red Records) [Rich Piva]

Crimson Glory was as good as any other proggy metal band around in the 80s. Yes, that includes bands like Queensryche and Fates Warning. The band was woefully underappreciated when their two classic records came out (their self-titled LP in 1986 and the stone-cold classic Transcendence in 1988), and only relatively recently has the band been given the real love they should have had all along. 

To go along with that, the amazing Cherry Red Records brings us a complete history of the Sarasota, Florida band from their time on Roadrunner Records, from 1986-1991, including the records I mentioned and the not so great but also not terrible third album Strange And Beautiful, along with a handful of bonus tracks. The set is a great way to capture the band at the height of their powers, and even where the direction was starting to go before lead singer, Midnight, left the band.

The first two records are untouchable. Queensryche put out Rage For Order and Mindcrime the same two years as these records, so you could see how they may have been overlooked. But while Queensryche had the stories and the mullet, CG had the man in the mask, the late Midnight, who could hang with Geoff any day. These two records are absolute must listens for anyone who loves 80s metal and wants to hear it at its best. So, buy this new set just for that and the Japanese bonus tracks you get with it. 

Strange And Beautiful is an odd record, and maybe I would have liked it more if it was not Crimson Glory putting it out. It sounds more like Cinderella’s Heartbreak Station than Queensyrche’s Empire and that is fine, but listening to it again recently made me cringe a bit, given have much of a shift it was, and let’s not talk about the saxophone. It is a fun listen to go end to end on this set to hear how the band progressed over the five-year span, and how a band in crisis sounds after losing two original members and just not vibing as a group any longer.

In summary, if you have never heard the first two Crimson Glory records, what’s wrong with you? Go listen to this now. You can ignore disc three if you want, but you may find a gem or two on there as well. Thank you once again to Cherry Red for helping to continue to spread the word on underappreciated bands and albums. 8/10

Sanhedrin - Heat Lightning (Metal Blade Records) [Matt Bladen]

Sanhedrin are Erica Stoltz (vocals/bass), Jeremy Sosville (guitar/vocals) and Nathan Honor (drums) and they’re a throwback to the beginnings of what we now call heavy metal, power trio rock n roll that owes much to rock bands such as Motorhead, Budgie, Anvil and Raven as well as the New York punk scene that featured The Ramones. Just bass, guitar, drums and vocals, recorded analogue in isolation with just the rock n roll flowing. It’s an old school way to do it but Sanhedrin have been creating their niche for over a decade, there’s a ‘street metal’ sound that can only really come from a New York band worn well all over Sanhedrin’s music. 

So with this new record they’re focussing their live performances into a studio environment alongside Matt Brown (Life Of Agony, A Pale Horse Named Death) and Jerry Farley (Sick Of It All, Madball) changing from their previous three albums. It makes Heat Lightning sonically more accomplished than what has come before but it’s still an album that will only really appeal if you’re a fan of the brazen rock n roll Sanhedrin have to offer. If any of the bands I mentioned earlier in the review are in your favourites then you’ll be playing Heat Lightning at 11. 7/10

Gentle Beast - Vampire Witch Reptilian Super Soldier...From Outer Space (Sixteentimes Music) [Rich Piva]

Swiss stoners Gentle Beast are back with their second record, once again delivered by Sixteentimes Music, titled Vampire Witch Reptilian Super Soldier (...from outer space), which certainly sets up expectations for this album to be a weird, wild, and fun ride. You do get some of that, but for me this more of just a very solid, yet straight ahead stoner rock record.

Yeah, there is some sense of humor in some of the lyrics, giving this record a bit of personality, but is this a b-movie soundtrack with riffs? No, and that is fine, because songs like the opener, Planet Drifter, is quite the ripper, with a killer riff and excellent guitar work. Voodoo Hoodoo Space Machine is where you get some of the fun, and I love the chunkiness of the riff and the thunder of the rhythm section on this one. 

I love how Mammoth Roams actually sounds like the title and is probably my favourite track on the record, mostly because of how many cool directions the song goes in just four and a half minutes. I dig the use of keys on Witch Of The Mountain, even if the spoken word part was unnecessary, but the fast-slow-fast tempo changes are nicely done. The record drags a bit in the middle, but the it ends strong, with the chugging riffs of Revenge Of The Buffalo and the trippiness of The Last Smoke.

Vampire Witch Reptilian Super Soldier (...from outer space) is a fun and solid stoner rock record. Is the second Gentle Beast offering going to blow anyone away and make them readjust their top albums list? Probably not, but if you like well crafter stoner rock then you will enjoy the record. 7/10

Reviews: Ricky Warwick, Edge Of Paradise, NITE, Streetlight (Matt Bladen)

Ricky Warwick – Blood Ties (Earache Records)

You’d think Ricky Warwick had enough going on with the return of The Almighty, the continued touring and recording with Black Star Riders and also occasionally fronting Thin Lizzy when they’re rolled back out. However it seems he’s a glutton for punishment and has released a new solo album, entitled Blood Ties. Co-written with ex-Buckcherry man Keith Nelson, Blood Ties is an album full of the guitar driven, honest, blue collar rock n roll, never really shifting from what Warwick has been associated with for many years.

Country meets Thin Lizzy on The Crickets Stayed In Clovis, Angels Of Desolation gets the album going with a huge rocker, while Rise And Grind (surely Warwick’s motto?) is a sleazy groover. You can hear Ricky has poured everything into this record, it takes from every part of his career, Blood Ties is the Ricky Warwick songbook, be it the rough-hewn rock of Dead And Gone or the punk of Wishing Your Life Away which reminds me of The Almighty, The Hell Of Me And You which is BSR as Crocodile Tears is more in line with the rest of his solo career and will sound great blasted out by his solo band The Fighting Hearts. 

To add to his Blood Ties on this record he has a few guests appearing with him, they are Billy Duffy from The Cult, Charlie Starr from Blackberry Smoke and Lita Ford who duets with Warwick on the 90’s power pop of Don’t Leave Me In The Dark. Blood Ties is more songs from the coalface of rock n roll, Warwick could easily be the hardest working man in rock n roll but he always seems to ensure quality in his quantity. 8/10

Edge Of Paradise - Prophecy (Napalm Records)

Categorised as "cinematic metallic rock" Edge Of Paradise have had some high profile supports with the big bands that also blend symphonics, electronics and metal. Prophecy is their sixth album and it's an album that in their words "takes a stand against indifference" A call to make us be more human in the unrelenting face of algorithms and artificial intelligence as we head towards "The Singularity" (Google it).

Prophecy is the first album that features 8 string guitars from composer Dave Bates and David Ruiz, so it's a much heavier record than previous, the low end now much more prominent as they use the inspiration of Djent bands for some massive grooves on tracks such as Martyr (Monster) but with The Other Side Of Fear they aren't afraid to go a bit pop either due to Margarita Monet's keys.

Margarita's expressive vocals to mean they can try their hand at various flavours, from the huge Nu-Metal beginnings of Death Note, the gothy Give It To Me (Mind Assassin) which features Ludovico Technique or the breathy creepy balladry of Relive Again. There's huge hangover from the likes of In This Moment and New Years Day on Prophecy, electronics and metal combined in the way that is still very fashionable. Edge Of Paradise get darker with their sixth record and it will open up new avenues for them. 7/10

NITE – Cult Of The Serpent Sun (Season Of Mist)

Filthy, occult, evil NWOBHM-inspired metal now as NITE return with another set of Satanic sermons. Fans of Venom, Celtic Frost, Angel Witch and the early black metal bands formed in the 80’s will find lots to embrace on Cult Of The Serpent Sun. Van Labrakis’ snarled vocals now grunt lyrics that a bit more down to Earth than their cosmos exploring previous album. 

Cult… is NITE writing an album about pace, Labrakis says that fans associate more with the faster songs so on this third album they set down a throbbing Rickenbacker based gallop from Avinash Mittur and a persistent beat from drummer Patrick Crawford on Skull and rarely let things get any slower. The production on this album makes it sound ‘bigger’ than just a wall of noisy blackened rock n roll, a track such as The Mystic has synths and slow burning psychedelia while The Last Blade opens with classical guitars before moving into triumphal anthemic heavy metal. 

Cult Of The Serpent Sun is an album where the rhythms stay true to the roots of NWOBHM, the duelling leads of Labrakis and Scott Hoffman peeling off solos and harmonies with ease on Carry On. A throwback to both the British metal school and the Scandi one, combining both with forward thinking attitude on songs like Tarmut. Blackened NWOTHM that keeps evolving, NITE continue to have a broad appeal to metal fans. 8/10

Streetlight – Night Vision (Frontiers Music Srl)

Frontiers, Sweden, AOR. You know the drill. It’s the new album from Streetlight, their second in total and it’s steeped in tradition but with modern touches so it’d not a proper pastiche. Influences of Foreigner, Survivor and Journey, they balance the saccharine with sturdy, the keys on Long Distance Runner and Captured In The Night especially sounding like Journey. Heck the whole album does and if any point you wanted a songs for movie set in the 80’s but couldn’t afford the licence for Mr Perry, Mr Schon and co, Streetlight could slot in easily. 

There’s vocoder and 808 clap on Sleep Walk, a couple of ballads and anthemic slow songs, a retro return from an era when this music was on every radio station. Guitar and synth driven melodic rock with powerful vocals, it could be 1983 all over again and there’s no other label this could be on than the one named for Journey’s breakthrough record of that same year. Modern production, classic songwriting the influences on this Night Vision are as clear as day! 7/10

Reviews: Vitskär Süden, Diatheke, Sloth, Wythersake (Rich Piva & Mark Young)

Vitskär Süden - Vitskär Süden Reissue (Ripple Music) [Rich Piva]

Vitskär Süden may be known for singing about D&D which is fun and all, especially if you were into it (I was not), but to paint the band into that corner would be a huge mistake, because there is not a band in the heavy music community today that makes more beautifully dark music than Vitskär Süden. Now paired with Ripple Music, the band has a new audience that discovered their version of heavy, which is less about riffs and more about atmosphere and the story behind song. 

The band did this so well on their latest record, their second for Ripple, and third overall, Vessel. But what about that first album that was not on Ripple? How do I get my hands on that slab of dark goodness? Well, Ripple has you covered, as the best label in rock has now, for the first time, offered a physical release for the self-titled debut of Vitskär Süden, and how happy we should all be.

If you have not heard the band before, they are a beautiful slow burn that is more Nick Cave than Sabbath, but like if Nick Cave only listened to Sabbath. Really they sound like Vitskär Süden, so a comparison is not really fair, but the debut record is the perfect starting point for this band’s journey, as it incorporates the slow beauty in a track like War Machine Crimson, 

Their ability to incorporate melody around the slow and sparce darkness in a song like Painted Faces, and the vision to be heavy in their own way, with great guitar and synth collaboration in a song like Trickle Of The Snail. My favourite track on the record is Heathens, as it has it all, with the addition of some harmonized vocals to go with all the other goodness. The eight tracks flow perfectly; beginning to end is the only way to most effectively listen to this journey.

The remastering for the vinyl is top notch here, as this record sounds just amazing, like it was only meant for this format, and given all of the atmosphere iit could have gone the other way, but Vitskär Süden could not have sounded better.

Thank you, once again, to Todd from Ripple for bringing Vitskär Süden’s debut to a wider audience in the form of this repress. Having the band’s trilogy of albums all available makes the legend of Vitskär Süden grow even more. Excellent stuff, do not miss it. 9/10

Diatheke - And The Word Was God (Rottweiler Records) [Mark Young]

This is a very assured debut release from Diatheke, who decided that if you are going to do a concept album, then the maxim of ‘go big or go home’ should be applied at every stage of the journey. Their take on Progressive Death Metal sees them change lane with alarming speed but also with intelligence. 

The opening gambit, The Creator is a near thirteen-minute exploration of Biblical themes that initially starts slowly as instrumental bars slip away to usher in the band proper. So far, so normal as they bring in a solid groove but the first signs of that progressive edge starts to make itself known as tempo’s change as well as primary weapons of aural destruction. 

Its difficult (and boring for you) to describe it, but in that first 5 or so minutes their willingness to jump between styles and approaches is there. Riffs are razor sharp, drum patterns are built and delivered by an evil genius and sat amongst that are vocals that change on a penny from the guttural to the clean. 

It’s a brave move by them to effectively write a song like this and just tee it up as their starting point. There is so much going on, it is the definition of what an ‘epic’ track sounds like. No repeated measures, no guitars that drone on, its just wave after wave of engaging music that places an amazing amount of pressure on the rest of the album to deliver.

Well, next up is The Deceiver and on this they chose violence. This is a focused attack where they just keep hitting you and hitting you, its phenomenally tight but replete with some mint melody lines that keep that progressive edge bubbling whilst not getting in the way of brutality. Its quite the thing and acts as a net in some ways from The Creator before The Promise comes in and changes the atmosphere from one of darkness to light. This may sound twee, but bear with me. Its still heavy, but it feels like it is bathed in light when compared to the two that preceded it. 

There are massive Opeth vibes running through this and as I’ve been saying recently listening to this with headphones is something else. Its clear as day, each touch is there and it sounds fantastic. If they continue on this path, I’m going to run out of ways of saying how good it is. The Promise amps up the progressive side, using discord where necessary as well. Its incredible that they have managed to hit these heights and then stay there.

The Redeemer comes in on that front foot again, bringing in some exceptional guitar work and its at this point that I notice the track lengths are insane. Of the 6 songs here, The Deceiver is the shortest at 6 minutes, the rest are 8 and above and this one weighs in at 10 minutes. The point I’m making with this is that none of them feel like they are long songs. 

The Redeemer has this section around the 6-minute mark, just before the cleans come in which is royal, one of those hairs on the arms just for the way its executed. The way the cleans come in on here and elsewhere is not forced, it’s just written that way and it works superbly.

And there is no let-up, The Empowerment with a galloping riff that I always love to hear, coupled with an eastern tinge, is just royal. Like the others, it’s a repeat of how to change organically and thematically within one song and its effortless. The balance between the heavy and the subtle, the light and dark is exemplary. Check out the stomping slow-down around 3 and half minutes, there are bands out there who would sell their mothers for riffs as good as this.

With The Coronation we reach the end of the trip, and the well of inspiration is showing no signs of drying up. It is an uplifting piece, which provides a fitting bookend to what has got to be a sure-fire AOTY contender. I’ve not heard anything like this in terms of how wide the scope is, how well it sounds and how well it is executed. 

For once, the accompanying PR is bang on in terms of how good this is, and yes it was difficult to express that, I think once you get sat down with this it will all become clear. How they will top this, I have no idea but I suggest you get hold of this immediately. 10/10

Sloth - Necromagicka EP (Self Released) [Rich Piva]

You have to love it when a band lives up to its name, and Los Angeles, California’s Sloth certainly does that on their new EP, Necromagicka. This is four-ish songs, (one is a short intro) two new and two live, of some serious low and slow psych covered doom that is really slow and good, if you hang in there.

Why do you need to hang in there? Because not counting the two-minute intro, the average song length here is 11 minutes, but if you like your doom to slowly plod along the ground both destroying and getting high with everything in its wake, then this one is for you. The highlight here is the title track, as Necromagicka is some serious excellent funeral doom, with killer guitar work borrowed from all of the masters of the genre and some vocals that incorporate a cool effect on the voice, that combine to make this my favourite Sloth song yet. 

This is fuzzy, heavy, slow, and did I mention heavy, and is worth the price of admission alone. You also get two live tracks that give you what the experience would be seeing the band in the flesh, which I would imagine would be two or three songs total given how long they are, but it would be so worth it.

Sloth’s Bandcamp bio calls it perfectly: 70’s style fuzzy, psyched out, funeral paced occult doom. Yup. Agree. I love the guitar work, I love the vibe, I love the fuzz. Worth your time, even those with a short attention span because the Necromagicka EP is a crusher. 7/10

Wythersake - At War With Their Divinity (Scarlet Records) [Mark Young]

Sometimes you just don’t get on with an album. It’s not you, its me is probably as close as an explanation I can offer as to why this occurs. It doesn’t seem to matter that it has all of the core ingredients you like – aggressive guitar, pummelling drums but at the heart there is something not quite there for you. And unfortunately, this is the case here with Wythersake and their sophomore release of At War With Their Divinity. 

I’ve sat and listened and I can appreciate it on those terms but it didn’t grab me in a way I expected. What you have is 12 songs that deliver blackened death with hints of the symphonic in there, which are presented well. Each one follows what I would class as a traditional format with racing tempos that sees the first three songs come and go in a blur. This is fine for some but as the album progresses there is not much variance in this attack and as a result I’m not engaged as I would like.

In the past, effort and a good sound would mask some weaknesses in the material being played, for example the low-end riffing of Dancing Plagues Of Modern Man set against those quickfire drums or the high-speed start of the title track At War With Their Divinity would act as a pick me up to get onboard and look at the overall picture but not today. Its like they have backed themselves into a corner by going down the blitzkrieg route which is fine but measuring it against some of the releases that have come out so far this year I need something more than just pure speed. 

It feels mechanical in some respects and I know from a technical point of view its played to a high standard (certainly one I’ll never get near in my own playing) but it doesn’t inspire to set about trying to learn them and I think it’s a case of you soon recognising an emerging form to the songs where each one is of a similar nature to the one before. When there is a deviation, such as the more traditional black metal leanings of Gotterdammerung which has some class guitar going on, you think why couldn’t bring more like this? 

When they do slow down on The Autumnal Passing, that reduction in tempo allows them to bring in the atmosphere which makes it hit harder and allows them to breath a little. Shrines Of Offal Rise brings the speed back, again it does its job but its not as worthwhile to me as The Autumnal Passing. Reading this back I feel like that meme of ‘old man shouting at clouds’ and its possibly correct but what is the benefit of being old(er) if you can’t complain about things?

So, to close out I can say that I didn’t hate it, but I didn’t love it. For those who love blackened death with definite symphonic leanings, then this is right up your street. For me, as I’ve said it passed me by without getting its hooks into me and for that it’s. 6/10

Reviews: Cryptosis, Dawn Of Ouroboros, Avulsed, Hypermass (Matt Bladen)

Cryptosis - Celestial Death (Century Media)

Dutch tech death now from Cryptosis who come back with their second album Celestial Death. The PR states this is highly evolved death metal and it’s hard to argue as it’s state-of-the-art in terms of the technology they use throughout to give it massive sound. 

Crystal clarity and multi-layered orchestrations and synths swell as they push their instruments to limits of playability. Lighting fast riffs and inhuman drumming are part and parcel of this Dutch band’s modus operandi. 

They established their dystopian metal scene with their 2021 debut but Celestial Death feels a more coherent record, nothing is there because it has to be, it’s there because it needs to be. The eerie mellotron parp on Ascending gives a futuristic note to what is a hardcore song. 

Cryptosis’ album is conceptual and this trio seem to have really invited the listener into their futuristic apocalypse with Celestial Death, part of the albums accessibility comes from the restraint they put themselves under while writing the album. 

The pitch changes, shifts in style all had to be there for a reason, streamlining the song writing so they never hang on one riff for too long, as such most songs here are under 5 minutes in length and the 40-odd minutes is done in flash of virtuoso face melting. 

The true skill though is when you re-listen and you can pick out the black, death, thrash, hardcore etc elements that make up this second album. I came into this record having not heard the debut but Celestial Death is an absolute melodeath rager. 8/10

Dawn Of Ouroboros - Bioluminescence (Prosthetic Records)

Blackened prog jazz? Yeah we'll go with that. It's the complex, extreme metal sound of Dawn Of Ouroboros and on this third album they are inspired by nature, well particularly the idea of Bioluminescence, used as a metaphor for no matter how dark things get there is brightness and beauty.

Much of these observations come from guitarist Tony Thomas who molecular biologist and pours this intelligent highly researched background into the music to make an album full of undulating time signatures, virtuoso soloing, black metal blasts driven by the ferocious blasts of drummer Ron Bertrand on tracks such as Static Repetition. 

There's also plenty of jazz as I said, some fluid middle sections that are brought by fluid guitars from Thomas and the bass finesse of Ian Baker. He also plays the piano on the moments that require a bit more classical instrumentation, such as Mournful Ambience.

With a track such as Fragile Tranquillity is a the summation of the Dawn Of Ouroboros playbook, it's ominous and brutal but also progressive and beautiful, the synths from Tony Thomas glistening in the middle section here. 

The incredible vocals of Chelsea Murphy adapting between breathy emotion, dreamy crooning and visceral black metal screams are sure to take your breath away, she's one of the finest singers I've heard for a while, the transitions and sheer power is scary at times.

Awash with colour in response to a darkening planet Bioluminescence with tick the prog box for any extreme metal fan. 8/10

Avulsed – Phoenix Cryptobiosis (Xtreem Music)

“This shit is massively excellent”, when you’ve got one man death metal scene Rogga Johansson’s seal of approval do you need mine? 

Well you’re going to get it and I’m in agreement for the most part with Rog. Spanish death metal act Avulsed, haven’t dimmed their assault in the near 12 years since their last record. It’s the sort of ‘pure’ death metal that vocalist Dave Rotten has been grunting over since the 90’s, stripped back of any sort of production tricks, with the exception of the intro.

This is all about making brutal, raw death metal played by humans and not machines as is so prominent on the tech/modern scene. For this record Rotten has a new line up behind him, but the songs defiantly remain the same gore soaked blast of OSDM they’ve always been. Its rage personified, divebombs into solos, blastbeats into yet more blastbeats and neck hurting grooves that open back up into frenzied speed. 

If you like your death metal from the old school persuasion then you’ll welcome the return of Avulsed. 7/10

Hypermass - Apperition Day (Seek & Strike)

Time for Norwegian prog metal as Hypermass groove their way back with a new EP entitled Apperition Day. Following their 2022 debut, this EP delves a bit deeper into the sound Hypermass want to convey. 

They're all about the heavy, but not never come at at in the direct route, the PR cites influences such as Between The Buried and Me, Periphery and SikTh, and I can definitely hear the latter in their grooving style of death metal with some anthemic chorus hooks for catharsis through music.

This EP bursts to life with Supernova Collective, it's a sterling way to open with complex melodic lead guitars, harsh growls and thick percussive grooves. It's a bit of a face-melter from the first moments, the intensity of their music has been heightened on this EP, but they still use melody and jazz rhythms to cement their prog credentials on Neovortex and the propulsive Headcase. 

Apperition Day cinches Hypermass' sound and makes them heavier, brasher but also more progressive than on their album. It's a bold EP that refines what Hypermass' do. 8/10

Reviews: Calyces, Euphrosyne, Wildfire, Destiny Calls (Matt Bladen)

Calyces – Fleshy Waves Of Probability (Self Released)

Calyces was born when Manthos Stergiou formed another band after the collapse of Tardive Dyskinesia, they released their debut Impulse To Soar in 2020, getting rave reviews from anyone that loves the sludge meets 70’s style psychedelia of bands such as Baroness and Mastodon. In 2023 drummer Stavros Rigos joined the band and things felt different than before as Manthos and Stavros had both played on Tardive’s first two albums, a reunion then and one that has been seen by the band as the beginning of their next chapter.

Their past glories can be heard on Voices In The Grey where the guitar and drums spar with each other in a way that only two former members of a prog band can. There’s a lot of history here and their previous musical relationship mean that Fleshy Waves Of Probability is a more streamlined but more complex album than the debut. Still leaning heavily on the Mastodon sound, Lost In Phase having the galactic soundscapes of anything from Crack The Skye, the clean/harsh vocals used across the album but here they never sound more like the Atlanta band than here.

They do show signs of putting their own stamp on their music with this album though, it’s more organic and natural sounding. The contrabass from Loukas Giannakitsas in the middle of the hallucinatory Lethargy, one of the more progressive tracks here filled with shifting riffs and a changes while there’s underlying synth atmospheres on few tracks and added violin on Lost In Phrase, Manthos and Giannis Golfis given ample room to shred with the freewheeling Swirling Towards The Light, the melodies of Wastelands and the choppy Forked Tongue. That solid engine room giving its own technicality to even the simplest sounding songs.

Born from collaboration and lack of creative restraints Calyces embark on chapter two with more freedom than ever before, Fleshy Waves Of Probability is a tribute to that freedom, how the choices we make will often lead us to new discoveries. Calyces stand at the beginning of a new epoch with a brilliant second album. 9/10

Euphrosyne – Morus (Black Lion Records)

Morus is the debut album from Euphrosyne a post-black/doom band from Athens. They draw influence from the gaze/post/artistic side of extreme metal influenced by Deafheaven, Alcest and Chelsea Wolfe, this debut album featuring jubilant ringing sounds of atmospheric ambience that are snuffed out by the ferocious blasts of glacial black metal.

Formed in 2021 by Efi Eva (vocals) and Alex Despotidis (guitar) they were joined by George Gazis (bass) and Stelios Pepinidis (drums) in 2022 and recorded an EP in that year. I said in my review that I wanted more asap and in 2025 I get my wish with full length from these Athenians.

They have supported some top level talent in their native country and have drawn from real world inspiration for this album. Most black metal bands are inspired by depression and isolation but on Morus the inspiration comes from Alex's mother's death from cancer posing the existential question of "what lies beyond" and how we can find acceptance when the pass.

So it's heavy in it's influence and this is reflected in music, July 21th begins with just those haunting vocals and a piano as a solitary violin comes in for added emotion, this first song is very Chelsea Wolfe in the beginnings before exploding into ferocious black metal while Valley Of White alternates between Katatonia-like ambience and vicious extremity.

It's the first usage of screams on the album but not the last as they return on the blistering Funeral Rites a Draconian-like piece of death doom that slowly unfurls into a simple but effective solo. I was expecting a lot from Euphrosyne and this debut full length delivers brilliantly. 9/10

Wildfire – Rise (Self Released)

Retro heavy metal from Athens now and it's the debut album from Wildfire, who won the National Rock & Metal Contest hosted by TV WAR. So Wildfire are retro classic metal band who cite influences such as Queensryche (heard in Bill Chrepas’ vocals) and Crimson Glory and basically if you like those bands you'll love Wildfire, if you love Satan, you'll love Wildfire and that's good as they supported the veteran UK band when they played Greece.

Wildfire stick to their guns across Rise, they never stray into modern metal or other genres, it's fist pumping trad metal from Leap Of Faith to the bonus track Night With A Witch, the use of Marios Theofilatos' keys bring some AOR and prog melodies to tracks such as Far And Beyond (In Hell) which reminds me of Saracen (and I can tell you I love Saracen). Bassist Dimitris Megalios and drummer Andronikos Maltezos give the album it's gallop and the sway to tracks such as Navigators where they gain a bit of bass-driven Maiden slow burn and traditional Balkan clarinet. 

Hitting the gas again with some Euro-power metal for Inside The Box, Tolis G Pol and Dimitris Varsamis duelling with their axe craft as classic metal prevails again on Breaking Point. With Rise, Wildfire confirm their classic metal credentials, boosted by the synths this is a metal treat. 8/10

Destiny Calls – Alive (Self Reelased)

Staying in Athens and its Destiny Calls, a melodic rock band inspired by Bonnie Tyler, Robin Beck, Romeo’s Daughter and Pat Benatar. Alive is their debut and it’s got all the bits of the AOR sound you’d want if you’re am AOR Heaven or Frontiers devotee. Stuttering riffs and emotive solos from Spiros Fousekis, take you back to strutting the Sunset Strip with the tinkle of George Georgiou’s keys more akin to his work with Rock n Roll Children than Innerwish of Fortress Under Siege.

Both are former members of Flying Mercury and are joined by bassist Loukas Adamopoulos and drummer Peter Papapetros, all four are involved in the prog metal scene and have done what many bands in the prog/power scene do by playing in an AOR band that has all the musical skill of the one genre transplanted into the other.

Taking the mic is Aggeliki Rossolatou who has a husky, rougher vocal that comes from the blues and works well with the melodic rock of Destiny Calls. I mentioned some influences above but they may be a little lazy as Destiny Calls also takes from Whitesnake, Winger, Cinderella or any band in the 80’s where the glam/sleaze/AOR was taken from a blues backing. They’ve packed their songs with some big chorus hooks that would have been huge at the time, Angel for instance has FM radio written all over it as Tonight would have a killer video on MTV., as it's even got some sax at the climax. 

A throwback but a fun one, melodic fans will definitely Alive with this debut album. 7/10

A View From The Back Of The Room: Campaign For Musical Destruction Tour (Chris & Zoe Hutchinson)

Campaign For Musical Destruction Tour: Napalm Death, Crowbar, Full Of Hell & Brat, O2 Academy Birmingham, 09.03.25

Opening the night was Brat (6), a hardcore band led by a female vocalist. They took the stage with an infectious energy, though the initial crowd response was somewhat subdued, with limited movement in the pit. Despite the slow start, Brat engaged the audience with consistent interaction, gradually warming them up. 

A notable guest appearance by Dylan, the lead singer of Full Of Hell, added an extra layer of excitement to their set. By the end of their set, they managed to energise the crowd with a pit-worthy finale. The sound was well-balanced, with clear vocals and instrumentals.

Full Of Hell (8) followed with a performance that quickly ignited the crowd. From the moment they took the stage, their energy was palpable, with the lead singers' frantic movements captivating the audience. Within three minutes, the pit erupted, and the crowds enthusiasm continued to build throughout their set. 

The impressive vocal delivery from Dylan and powerful instrumentals maintained the momentum with many crowd surfers making their way over the audience. The band gave a message to the crowd urging them to “do it today, not tomorrow”. By the end of their set, Birmingham had fully embraced them, showering them with applause.

Next up was Crowbar (8), who brought a slightly different vibe with their signature sludge mental sound. While their performance featured some movement, it lacked the intensity of the preceding acts. However, despite the reduced physicality, Crowbar showcased the commanding stage presence that comes with over a decade of experience, engaging the audience with their seasoned musicianship. 

The crowds energy dipped initially, but they regained momentum with a heavier fourth song. A special guest appearance by Shane, the bassist from Napalm Death, sent the crowd into a frenzy, significantly boosting the energy. Although Crowbar may not have been as pit-worthy as Full Of Hell, they proved to be crowd-surf worthy with over 30 surfers making their way through the audience.

As the hometown heroes, Napalm Death (9) took the stage to thunderous cheer. Their performance was a masterclass in energy and engagement, with the lead singer, Barney Greenway, exhibiting relentless movement and charisma that captivated the audience from the first note. The band opened with a blistering track that set the tone for the evening, immediately plunging the crowd into a frenzy of activity. Describing their music as “abrasive noise”, Napalm death delivered a relentless set that showcased their signature blend of grindcore and extreme metal. The sound mix was impeccable, with vocals and instruments blending seamlessly, creating a powerful auditory experience that resonated throughout the venue. 

The pits never ceased, with crowd surfers flying over the heads of enthusiastic fans, and the energy in the room was electric. Greenway’s stage presence was commanding, as he frequently engaged the audience, encouraging them to participate and embrace the chaos. A standout moment occurred when the crowd began chanting “Welcome home”, a heartfelt tribute that underscored the band’s deep connection to their Birmingham roots. The moment not only highlighted the band's significance to the local scene but also created an emotional atmosphere that resonated with both the band and the audience.

The Campaign For Musical Destruction tour provided a night of escalating energy and crowd engagement. Each band played a crucial role in warming up the audience, with Full Of Hell emerging as a stand out performance among the support acts. The sound quality remained consistent throughout, thanks to the attentive sound technician, and the event staff ensured a smooth experience for all attendees. Napalm death not only met but exceeded expectations, solidifying their status as legends in the grindcore scene.

A View From The Back Of The Room: The Darkness (Liam Williams)

The Darkness & Ash, Swansea Arena, Swansea, 09.03.25

What do you get when you have a tasty starter of Northern Irish indie rock, followed by a spectacular main course performance filled with some good rock and roll fun? A pretty great gig would be the only suitable answer in this case! And I’m sure many in attendance would agree. I went to Swansea Arena to see the legendary rockers The Darkness, who were supported by Northern Irish Indie 3-piece Ash. And I had a very good time!

Considering how long the line was to get in, it went pretty quick and I was inside in no time! But enough of the boring stuff, let’s talk about the music!

I got in just in time to catch the start of supporting band, Ash (7). I wasn’t sure what to expect because I’m not very familiar with their music, but fair play to them, they did a decent job opening the show. I wouldn’t say I was completely blown away by them, but I did enjoy their set. They played 9 songs in total and, being a 3-piece band, they sounded pretty tight. Although they played well, their songs were quite hit or miss for me. But I did enjoy Orpheus. This one had a faster heavier intro before erupting into an almost punk sounding style. Kung Fu, was another good one. It reminded me of The Ramones. 

Then out of nowhere,  it was definitely the highlight of their set for me. A cover of the calypso classic Jump In The Line by Harry Belafonte. They did a great job with this cover. Speeding it up and making it sound like a mix of punk and ska. They ended their set with Burn Baby Burn and, apart from the cover, this was the only song I recognised. I think they could have done with throwing in some more energetic tracks into their set to get the crowd going but I can forgive them for maybe holding back a bit to not steal the spotlight from the main act. And they get bonus points for having a drummer who also provides some backing vocals! 

So now for the main attraction, The Darkness (10). They were absolutely brilliant! Lots of lights, high energy performance, a nice selection of tracks for the whopping 18 song setlist and just overall very fun and enjoyable. This tour is in support of their new album Dreams On Toast, which is out later this month, so it makes sense that most of the tracks were from that album. But they also played 6 tracks from their much loved debut, Permission To Land as well as some of their other big hits. It was my first time seeing them live and I will gladly say they did not disappoint! In fact, I’d go as far as to say they sound much better live. The band play incredibly tight together and Justin’s voice is as good as I remember it from when I first heard them over 20 years ago.

They started the set with one of their newest tracks from the upcoming album. The very heavily ZZ-TOP inspired Rock And Roll Party Cowboy. This track is literally The Darkness equivalent of Sharp-Dressed Man. There was no stopping them from then on. They powered through track after track making it look effortless. There was a bit of a feedback issue during either track 3 or 4, but this was the only technical issue for the whole night. Everything else sounded superb. 

Justin’s stage presence was really good and he did an amazing job working the crowd. Getting the audience involved with some clapping, jumping and dancing, as well as having some Freddie Mercury moments with vocal back-and-forths. He was also a good laugh, going on a rant about the music industry, promoting the new album and taking a dig at another particular group who are also releasing a new album the same week. He got the crowd marching and stomping along to new track Walking Through Fire (a great track which I can’t seem to get out of my head).

They kept the party going with some classics like Barbarian and Love Is Only A Feeling before allowing their drum tech to come on stage and play, while drummer Rufus took over on lead vocals for a track dedicated to his dog called My Only. After that, they surprised us with a performance of Friday Night, as well as playing a couple more tracks before eventually getting to the song which most people came for. 

Their most well known track, I Believe In A Thing Called Love. For this one, Justin demanded people put their phones away and get involved with the singing and dancing, a fair demand in my opinion. The crowd went absolutely wild for this and it looked like everyone was having a lot of fun. They then left the stage for a few minutes before coming back out for their 2 song encore. The first of which was a slow ballad style new track called Weekend In Rome, with a little snippet of Crazy Little Thing Called Love by Queen at the start. Then they ended their show with Love On The Rocks With No Ice. A decent end to a great show!

I haven’t listened to The Darkness in a while but this show has reinvigorated my love for them so I will definitely be playing their hits again and I might even have to get their new album when it’s out. I was hoping for a couple more hits in their set like One Way Ticket and Last Of Our Kind, but it was a pretty solid set and the overall performance and production was amazing, apart from that one little technical issue with the feedback. But I will definitely be seeing them again the next chance that I get! Fantastic night!

A View From The Back Of The Room: Jizzy Pearl's Love/Hate (Debby Myatt & Tony Gaskin)

Jizzy Pearl’s Love/Hate, New Generation Superstars & Voodoo Sioux, KK’s Steel Mill Wolverhampton, 08.03.25

At the height of the Glam/Sleaze domination of rock, LA rockers Love/Hate released their debut album Blackout In The Red Room which helped secure them a tour support with Dio.

35 years on and front man Jizzy Pearl is celebrating that album with an extensive tour, playing the entire album, plus some favourites from the archives.

Supporting tonight are two Midland bands that are no strangers to the local rock scene, the first being local heroes Voodoo Sioux (8). They bounce onto the stage and get the early crowd bopping with a set of energetic rock ‘n’ roll that is raw and uncompromising. Bass player Mario is the most energetic of all, literally slapping the bass whilst contorting his body into all sorts of bone popping positions. 

Front man, Nick Flaherty – otherwise known as Professor Balthazar – is like a madcap concoction made up of bit of Alice Cooper and Jaz Colman. The music reminds me of those pub rock bands of the mid to late 70’s that weren’t quite punk but the punks loved them, bands like Dr Feelgood spring to mind. A great warm up!

Following that up were Nottingham's hard rocking veterans, New Generation Superstars (8). This was more straight up R’n’R, fast paced, in ya face, no frills. And they do it well, with a punk attitude and swagger.

All this was the perfect way to set the evening up for one of the LA Glam scenes most hard rocking front men. Jizzy Pearl (10) may have calmed down his off stage antics and publicity stunts these days but his stage persona is still full on Glam Rock and unashamedly so.

They’re not playing the album in the running order, because that would mean the title track first, and as that’s their ‘anthem’ that was always going to be the last one on the set list! So they open up with Slutsy Tipsy before heading into tracks two and three Rock Queen and Tumbleweed before veering off piste again and missing out Why Do You Think They Call It Dope (yep wait for the encore!) but he does stick generally to the original running order of the album. He also throws in a couple from Wasted In America and Hell, CA to fill out the set list. They also did my personal favourite Spinning Wheel off the 1993 album Lets Rumble.

But it was the encore that everyone in the room loses their sh*t over, Evil Twin, Why Do You Think They Call It Dope and of course Blackout In The Red Room finish off the set.

Jizzy may be well into his 60’s but he has the energy of a man half his age and can still bang out those tunes, this was a real nostalgia trip for me and many others in the room and I loved every minute of it, completely biased.

Reviews: Afterlove, Tower, Caboose, Noisepicker (SJ, Matt Bladen, Dan Sierras & Rich Piva)

Afterlove - Copenhagen Closure (Prime Collective) [SJ]

Mirza (Siamese vocalist) is testing new waters with their solo project Afterlove with Rain City Drive’s Zack Baker and If Not For Me Zac Allen, breaking out of the comfortable and into the experimental. 

Afterlove was born from “…the love of vocal hooks and a massive wall of guitars” with Issues and The Home Team as inspiration. I’ve been fortunate over the past few months to see Rain City Drive, The Home Team and Siamese (some of my favourite bands!) live so I was excited to see how all these influences melded in the Afterlove project.

Afterlove sets us up nicely with the distorted intro and synth influences displaying what’s to come from other tracks in the album, whilst still playing it quite safe by keeping to iconic Siamese elements and its addictive chorus. It made me chuckle a bit when you watch the music video as it’s a one take shot of Mirza enjoying a burrito and chips whilst nodding his head, ending it on a cheeky smile, contrasting the tone of the song. 

Lyrically, Mirza expresses being in love but it not being what was expected “So let me know, why all of this has changed. It goes to show, we never were what we hoped for. Not a sanctuary…” It does lean into the heavier side in the breakdown easing us into what’s coming up from other tracks in the album.

Shape Of My Mind (ft. Bite Down) doesn’t stray too far from what Siamese does best and although I don’t particularly want to keep comparing this album to Siamese directly but with Mirza expressing this album is more experimental, I don’t feel it’s expanded too far from what we love Siamese for, yet (I love Siamese, so this isn’t necessarily a bad thing!). 

There are DnB elements that ebb and flows throughout the track, especially at the pre chorus. This later beautifully morphs into when Bite Down tears it’s way into the song, providing a welcome and unexpected lean into the heavier sound. I would like to see more of this from Mirza.

House Of Glass is one of mine (and Mirza’s) favourite tracks from the album. I could feel Zac Bakers influence in the track, before I knew this was one he produced and wrote with Mirza. 

Lyrically, I truly feel both Zac and Mirza were vulnerable “When I break, I hope it shows. Shows the truth that no-one knows. I can’t undo the things I did….” It’s energetic and catchy throughout, especially its chorus anchoring its riffs “Caught up in my hopeless ways.” 

Then my favourite part, where I truly feel Mirza breaks boundaries is in the second half when it strips back, and pounds us with the drums. It grabs me, lures me in and then blasts with a sonic boom followed by the hard-hitting drums and record scratch sounds. It’s just a colossal and enduring sound that energises and hypes me up.

Industry Dreams. WOW what a twist! Something fresh and experimental for the shortest track on the album at 1 minute 30 seconds. Initially, I got Rob Zombie Living Dead Girl vibes with the drumbeat and guitar, but it does morph into its own character. It leans more into the industrial metal with its heavy guitar riffs and distorted lyrics “Industry Dreams turning nightmares into real.” 

There’s an angry energy vibrating throughout the track and I wonder what this would have morphed into if it was a full-length track. The Humbling is another solid track powerful vocals from Mirza grabbing my attention with how he’s singing “Stone cold” and the “Woah.” Lyrically expressing someone giving their opinion on how they’re “You’re a little overrated… I just wanted you to know this is all about to go.” I do get Rain City Drive vibes from the track; it’s a good song but nothing that hooks me.

The Cure For Dying Alone takes a gentler approach instrumentally. It’s an emotional track that jointly emanates from Mirza’s vocals and the lyrics “If I went to heaven, I’d find a way to make it to hell alone.” It does cascade into a mini breakdown “No I can’t. No, I can’t. Show you who I am,” but we are then propelled into the chorus again before it fades out on Mirzas vocals. 

Musically, it’s what I would expect from Mirza, but it does have an aura of vulnerability shrouding the track. Løvehjerte the last track of the album, is a love letter “It’s all for you” and “I tell myself I’m doing this for you.” Musically, it’s quite melodic and stays within the lines as the lyrics take centre stage “In between the life I need and the life I love. I’m torn.” It’s a laid back and easy listening track.

Afterlove have accomplished what they set out to achieve “…to create a personal album, free of expectations without trying too hard.” It’s jam-packed with catchy hooks and choruses that will play on repeat in your head. 

It does dip its toes in experimenting with different sounds, hopefully inspiring future tracks that will highlight how versatile Mirza can be whilst refining what he does best, genre blending Dnb with metal and nailing expressive lyrics. 8/10

Tower - Let There Be Dark (Cruz Del Sur Music) [Matt Bladen]

What if after the 70's Heart adopted the NWOBHM as their influence rather than AOR and MTV well then they'd probably sound very similar to New York metal crew Tower! I've been following the band since their debut and they never fail to get my head nodding, their first two albums were raw, rock n roll records, with punch and rapid fire riffs.

With Let There Be Dark they've embraced the gothic tendencies of Unto Others by shifting towards the occult and the mystic. The change in sound is noticeable on the first track Under The Chapel has a Eastern feel inspired by a Yiddish lullaby, showcases the full frantic range of Sarabeth Linden who for me is the audio touchpad of Tower.

Her delivery is wild eyed and frenzied but with massive amounts of soulful histrionics, perhaps delivered with more maturity than before. The watchword for Let There Be Dark is maturity, this is not the young band who broke out of the NY scene back in 2016, nearly ten years later they're an all together more adult offering inspired by religion and the repeating use of the serpent imagery.

This is band who have been through ups and downs of the music industry and while it's still got lots of excitement and passion to it, there's a bit more reserve and focus with tracks such as Holy Water. 

There's also been a sonic overhaul with Arthur Rizk (Sumerlands/Eternal Champion) brought in to produce/engineer, meaning that there's an analogue depth to the record with a track such as And I Cry, measured and cinematic, Don't You Say too is a brilliant slow burner that's got some luscious percussion.

The guitar interplay throughout like prime-era UFO, the acoustic interlude The Well Of Souls and Legion X Fretensis adding yet more new tricks to this bands repertoire and enforcing this shift towards a more adult sound. 

Yes there's still highly influenced by NWOBHM but going deeper into other metal styles for their heaviest album yet both musically and emotionally. 9/10

Caboose - Left For Dust (Majestic Mountain Music) [Dan Sierras]

Formed in the frosty winter of Sweden in 2022, Caboose arose when four high school friends Dante Lindström (guitar/lead vocals), Olle Leppäniemi (guitar/backing vocals), Herman Serning (bass) and Oskar Bergman (drums) came together to form a band for a high school project and morphed into a high energy mix of fuzz driven, classic rock riffs. 

Coming in at just under 30 minutes with nine tracks, their debut album Left For Dust is a blast of youth infused stoner rock that will get you moving. The album is full fuzziness and grooves that would get a party started. One of my favourite tracks of the album is Cement Surfer a fast paced jam that starts off with a little cowbell (“I’ve got a fever, and the only prescription is more cowbell”) and has a great little guitar solo about two-thirds of the way through. 

You can’t go wrong with any of the tracks on this debut album. Caboose definitely has a future in the scene, and I look forward to hearing more from these guys in the future. 8/10

Noisepicker - The Earth Will Swallow The Sun (Exile On Mainstream) [Rich Piva]

I had not heard of the band Noisepicker before but grabbed it to review on recommendation from the boss, who told me they were cool and that there is an Orange Goblin connection. So, yeah, of course I am in. Harry Armstrong, bass player for OG since 2021, (and is the singer of heavy rockers Blind River - Ed) is one half of this duo with drummer Kieran Murphy, and boy do these two rip it up. 

This is not a heavy stoner rock band, just in case that is what you were looking for, since I mentioned Orange Goblin. This is more of a garage band from hell. A lo-fi heavy ass rock band with vocals from Nick Cave if he fronted an aggressive garage band with metal leanings.

“Listen To Me Now…” Armstrong screams in the excellent track Tomorrow Lied The Devil, and you have no choice but to. The guys sound like a cross between Murder By Death, Nite, Nick Cave, Therapy? Mclusky, and some dark 90s alt rock. Put it all in a blender, and you get this slab of awesome. Leave Me The Name is like if Tad listened to Bauhaus. I love it. 

There is a sort of sexy creepiness to What Did You Think Was Going To Happen that you don’t really expect after the first few songs. Oh yeah it sounds like Led Zeppelin for a second too. Other standouts include Start The Flood that sounds like Lee Dorrian singing for Therapy? and the title track, which shows off Murphy’s skills while just overall melting your face off. There is not a bad track out of the ten, and the 32-minute run time is just perfect for this record.

This record rips, maybe not in the way you think it would given the connection, but it rips all the same. This is dirty-ass DIY heavy ass rock that is here to kick you into oblivion. Noisepicker certainly gives Harry Armstrong something to do now that OG is dead, and boy am I excited for it. 9/10