A View From The Back Of The Room: Employed To Serve (Matt Bladen)

Employed To Serve, Celestial Sanctuary & Burner, Clwb Ifor Bach, 24.04.25

Three bands redefining the British metal scene on one tour? Count me in. This was the start of a busy few days in Cardiff for gigs, this heavy Thursday shifting into our second M2TM Quarter final and then all day of NoizzeFest. However this show was less and aperitif more a main course.

Heading upstairs at Clwb Ifor Bach, we got in just in time for London's chaotic hardcore troupe Burner (8) to begin the night. Angry, politically motivated noise that sews together influences from death metal, black metal and bruising hardcore, they've been compared to Converge and Darkest Hour in terms of their approach but Burner's sound is a hotchpotch that leads to ear piercing noise.

With the between song introductions done by their bassist as their singer was on "vocal rest" I did find it a little ironic and amusing that said vocalist did then scream, roar, growl and grunt his way through 30 minutes. Seriously though I hope he recovers quickly (this was the penultimate show) as unless they told us I wouldn't have noticed, such is the extreme nature of Burners music.

A fine way to begin but then things got more disgusting, more putrid, blood soaked and vile as the Old School Death Metal chug of Celestial Sanctuary (8) began in earnest.

I'd seen this band before in this very venue with a couple of other death metal bands, here they seemed like the odd band our but to be honest Celestial Sanctuary have enough hardcore/punk blasts when they're not laying down steady, heavy, bone grinding grooves to satisfy the audience here for the headliner.

Backing their recently reissued Visions Of Stagnant Blood EP the band played one from here Puddles Of You Reflect The Filth Within but most of their short, punishing set came from 2023's Insatiable Thirst For Torment and caused much movement down the front as the pits started to form. I'd liken watching Celestial Sanctuary at the moment to what it was like seeing Cannibal Corpse or Obituary back in the early 90's, a band defining their legacy. However with Celestial Sanctuary they have the template already there to work too, twisting into their own horrifying formation.

Short of breath, we had been close to death but then it was time for audio euphoria as the headliners stepped up to the stage. One day before the release of their stunning Fallen Star album one of the flag bearers of the modern British metal scene stormed Clwb Ifor Bach with the massive Atonement from Fallen Star.

Starting as they mean to go on with metalcore-meet-melodeath-meet-trad metal sound that gives them a freedom to infuse their songs with thrash like pace, 'core' scene breakdowns and guitar complexity in the meaty anthemic riffs and solos. A few times throughout the show I found myself saying "oof that riff" and making a stank face as Employed To Serve (9) know how to right songs that will knock you out.

From a vocalist perspective too the union between Justine and Sammy is brilliant, sharing harsh and clean vocals, counterbalancing them when needed for one of the most unique vocals sounds I've seen from a band, it was mesmerising, and made you want to move. Move Cardiff did ETS craving through their show with four from Fallen Star, four from previous record Conquering and then a few from Eternal Forward Motion, they focussed on their most recent material which is their strongest to-date.

These last three records have seen the band evolve their sound, emerging from the UK scene by incorporating the styles of the American metalcore/thrash sounds of the 2000's the influences of Machine Head/Lamb Of God very strong as is the Gothenburg-scene melodeath. They stand on their own though with that British grit that encouraged enjoyment and movement.

Justine constantly calling for pits and a massive wall of death, they are a band all about being inclusive so everyone comes and has a good time, pacing the set so there's atmospheric moments to calm down before you start going wild again. An hour flew by in a middle of killer riffs and bodies, the more introspective but cathartic duo of I Spend My Days (Wishing Them Away) and Party's Over, adding a notion of bittersweet to the show.

We wanted more, the band were happy to give more, but next time, keep things this good in small doses, promising to return to Wales, I'm sure we'll all be ravenous for more Employed To Serve on the next go around.

A View From The Back Of The Room: Vader (Nat Sabbath & Mike)

Vader, Skaphos & Rise Of Kronos, The Asylum Birmingham, 20.04.25

Birmingham’s Asylum venue was engulfed in a maelstrom of metal as Rise Of Kronos, Skaphos, and Vader delivered an unforgettable night of sonic brutality.

Opening the night with a bang, Rise Of Kronos (9) were an absolute riot from the moment they hit the stage. With a sound that fuses thunderous death metal with thrash energy and mythological themes, they brought a level of charisma and fun that instantly won over the crowd. Songs like Poison Of The Gods, Children Of Leprosy, and Arrival Of Delusion were delivered with razor-sharp precision, but always with a grin and a nod to the audience.

What stood out most was their sheer joy in performing, they looked like they were having as much fun as we were! Their energy was infectious, their showmanship top-tier, and by the time they played Separate The Sheep From Goats, the whole room was moving. It wasn’t just a set, it was a party, and they were the charismatic hosts.

Chatting with them afterwards only confirmed it; genuinely warm, grounded guys with a real passion for what they do. For a small band from Germany, they had a huge impact, and I can’t wait to see them again.

Ein unvergesslicher Auftritt von einer aufstrebenden Band, Rise of Kronos haben das Publikum begeistert!

I first saw Skaphos (10) supporting Vader on 3rd October 2023 and I immediately knew they were going to be one of my next favourite bands. A year and a half later, they’ve only sharpened their teeth. Their set at the Asylum was a tidal wave of brutal, atmospheric death metal, crushing riffs and otherworldly growls layered over seething tension and sea-themed dread. They take influence from bands like Gojira, Ulcerate, and Mare Cognitum, but make it entirely their own.

Tracks like Thálassa, Triumphant Flesh and Bathyalpelagic Pressure sounded absolutely monstrous live. New material, presumably from their upcoming album, hinted at an even darker, more refined sound, and I can’t wait to hear it in full. Every beat felt deliberate; every moment carried weight.

They had the crowd captivated, headliner energy all the way. And the fact they remembered us from the Wolverhampton show was a real moment. Lovely, kind people off-stage, and pure fury on it.

Un groupe exceptionnel qui mérite une reconnaissance Mondiale. Skaphos est prêt à conquérir la scène metal!

Seeing Vader (9) live is always a thrill. They’re not just legends of Polish death metal, they’re one of the genre’s most enduring forces. And on this night, they were nothing short of electric.

From the moment they launched into Dark Age, the room exploded. The band moved with purpose, power, and joy, there’s no mistaking it: they love what they do, and it shows. The Birmingham crowd, particularly the Polish metalheads who turned out in force, gave them a hero’s welcome. There were pits, horns in the air, and full-throated chants for every song.

Their set was a glorious tour through their discography, including fan-favourites like Silent Empire, Carnal, “Wings”, and This Is The War. Each track was delivered with tight, brutal intensity, but also with a grin and an occasional wink. Vader aren’t just ferocious, they’re fun.

When they tore into Black To The Blind and Sothis, it was clear we were witnessing a band still at the height of their powers, decades in. They closed with the blistering The Final Massacre before taking a theatrical bow to the sound of The Imperial March, capping off the night with a touch of Vader humour and style.

They’re true masters of the stage, and I truly hope they tour again soon. Every show feels like a celebration of death metal’s history and future and I’ll always be there down the front.

Niespożyta energia i sceniczna charyzma, prawdziwy pokaz mistrzostwa w death metalu!

A View From The Back Of The Room: Black Spiders (Debby Myatt & Tony Gaskin)

Black Spiders & The Soul Revival, The Asylum 2, Birmingham, 19.04.25

This evening saw us venture into Birmingham city centre for the first of a three night gig run, with tonights offering from Black Spiders who are currently touring to promote their new album Cvrses.

But first, a very late addition to the evening were local bunch The Soul Revival (8) who we had the pleasure of seeing open up Mayor’s Fest a couple of weeks ago.

This was a world away from that massive stage at KK’s Steel Mill, but the intimate surroundings of The Asylum 2 didn’t deter the lads, they still managed to get across that sense of energy and emotion that caught our attention in Wolverhampton, this was despite having virtually no room on stage due to the fact that their drummer had to set his kit up at the front right of the tiny stage.

They won over some new fans this evening with their bluesy, soulful rock and they genuinely looked like they were having fun regardless of the restrictions. If you are off to Call Of The Wild festival next month then I highly recommend you check these guys out.

Main act tonight then is the hard rocking combo from Yorkshire, Black Spiders (9), who are out on the road doing what they do well, playing loud rock ‘n’ roll.

This is the first chance we’ve had to catch Black Spiders since they reformed back in lockdown times after a short hiatus. This was Black Spiders MK II, front man Pete Spiby putting together a new band to take up the reins after disbanding the band back in 2017/18.

Since then the band have released two albums and now onto the third of this era, Cvrses and they kick off their set with Never Enough off that album. It’s immediately apparent that the hard hitting, fast paced rock is still the order of the day. Spiby is the main focus, with his long time compadre Adam “The Fox” Irwin on bass alongside him, and they are flanked by the twin axe attack of James Evans and Nate Digby, whilst on drums Planet Rock presenter Wyatt Wendels is a looming presence behind them all. In such a small venue, this means it’s a loud one tonight, but kudos to sound guy Mez who keeps the mix under control.

They continue their set in a typically Black Spiders style, hit them hard and fast. We get tracks off all three MK II albums, but the biggest cheers are for the two classic anthems from the MK I era. Half way through the set we get the un-official Black Spiders theme tune – Stay Down origin of the famous FUBS chant and of course, to end the night we have the (tribute?) to Kiss – Kiss Tried To Kill Me

The new stuff though sits well with the classics, they have kept the ethos of paying homage to our heavy rock heritage, they play rock ‘n’ roll and they play it well.

Reviews: Slung, Maestrick, Power Surge, Tumble (Matt Bladen)

Slung - In Ways (Dracula Distribution/Republic Of Music)

This is a thoroughly modern record from a thoroughly modern band, influenced by the 90's alt rock scene you can hear moments of The Smashing Pumpkins on Limassol, wooziness of Deftones on Laughter or the sleazy of QOTSA on Class A Cherry and Matador and there's also a bit of Chappell Roan in Katie Oldham's vocals too, sneering, powerful and empowering in equal measure.

Slung's musical ideas come from the alternative rock movement but lyrically their inspiration is diverse as sex workers, bullfighters, drug use, trauma and gender politics, Katie especially using the band as a way to offer, women, those who identify as women, those in the LGBTQ+ community and others who may feel isolated or forgotten by our cruel society, a safe space.

So these are anthems with an ideology, driven by a powerful dynamic between the band and the audience and between all of the members too. Before recording anything they built a following on the road, drummer Ravi Martin spearheading the formation of the band after his previous act InTechnicolour split up. 

They were rated highly in these pages and I'll let you in on a secret Slung will be too. Ravi and Katie are joined by guitarist Ali Johnson and bassist Vlad Matveikov, the instrumental trio locked in long before Katie joined after a long and arduous, self inflicted process.

Because of the collaborative beginnings of this band a few of the songs have outside writers such as Zac Jackson of El Moono, Mykl Barton of Sick Joy, Lucy Sheehan of Projector and CLT DRP's Annie Dorett, their input allowing In Ways to feature a few different stylistic choices that are always wrapped around dreamy, riffy, grooving alt rock. 8/10

Maestrick - Espresso Della Vita: Lunare (Frontiers Music Srl)

Take a lot of Dream Theater, a chunk of Savatage, some Queen, a bit of Meat Loaf, modernity of Haken and then filter it through the gothic story telling of Tim Burton or the conceptual gaze of Avantasia and you'll get Maestrick. A Brazilian progressive metal band they follow up their previous records Espresso Della Vita: Solare with Espresso Della Vita: Lunare, so we've moved away from the sun and towards the Moon.

The concept between the two albums is linked the first focusing on daytime while this one is set at night. It means that they can get a bet darker with the music here, vocalist/keyboardist/orchestrator Fábio Caldeira plays the Jon Oliva/Tobias Sammet role on this record but vocally reminds me a lot of Roy Khan or Georg Neuhauser of Serenity, filling these ambitious songs with soul and gravitas both vocally (be that in English or Portuguese) and through his film score orchestrations.

Joining Fábio are guitarist Guilherme Carvalho, bassist Renato “Montanha” Somera and drummer Heitor Matos, but there's a whole host of additional musicians on this album that add classical female vocals, and three vocalists who join Fábio that you may know. Jim Grey is the voice of Caligula's Horse, Tom S Englund of Evergrey and Roy Khan of Conception/ex-Kamelot, they're super guest stars but don't detract from just how good this album is.

Even without the extra muscle I'd be raving about how good this album is. I'm a sucker for all things conceptual and theatrical so Espresso Della Vita: Lunare really speaks to my taste, the bombastic nature of the music letting them approach subjects such as addition, racism and even the holocaust in the same way that Savatage do.

The record tells a story of a character called Dante (as in Divine Comedy) exploring many of the themes I mentioned earlier, the songs sprawling many genres and styles, heavy metal one minute, musicals the next, then Brazilian rhythms after that with the acoustic heart of band such as Angra who are such a huge part of the Brazilian power/prog scene.

I won't go too deep into each song as you need to experience the record in it's grandiose theatricality, but Espresso Della Vita: Lunare is Maestrick's magnum opus. 9/10

Power Surge - Shadows Warning (FHM Records)

Formed by Primitai/Cutlass guitarist Srdjan Bilic and singer Roko Nikolic, Power Surge are a band based between Belgrade, Croatia and London, they are inspired by the likes of Judas Priest, Queensryche and Armoured Saint, Power Surge move beyond the bands both men are involved with by taking a little bit of everything moving from NWOTHM, through prog and AOR too.

A retro throwback to the late 80's where the bands just needed a hell of a singer and a hotshot guitarist. If you've heard Srdjan before you'll know that he's a hotshot, joining him are his Primitai co-shredder Calvin Lever and Cutlass bass player Radek Koval, the engine room rounded out by multifaceted sticksman Milan “The Yeqy”Jejina.

In Roko they have a hell of a singer, his voice on tracks like A Dream Into His Nightmare and the rapid No Turning Back are all classic metal and soaring, the dual harmonies on the latter rampant. With The Dreaming goes more toward Empire period "Ryche and with Carry On they not only cover cult Yugoslav band Warriors but bring Dejana Garčević (vocals) and Vlad Invictus (guitars) of Claymorean to add to the Manowar-like swagger.

A set of retro-leaning anthems from this Balkan based metal band. That region has it's own metal history with many metal bands forming after Maiden played behind the Iron Curtain, even though it was not always strictly allowed. Power Surge share their passion but with experience of the musical landscape as it is today. 8/10

Tumble - Lost In Light (Stickman Records)

Lost In Light is 20 minutes of psychedelic proto-metal from Canadian trio Tumble. Inspired by MC5, Blue Cheer and Grand Funk Railroad, produced with no frills by Ian Blurton, Tumble have garnered fans from all over and the attention of Pentagram's Bobby Liebling.

So there we have it, Lost In Light is a five tracker that is a retro treat stuck in that fertile late 60's/early 70's musical style where the grooves are thick, the guitars wild and the vocals wailed. Dead By Rumour unleashes Liam Deak's psychedelic guitar soloing as The Less I Know is a hip shaking rocker.

While on Wings Of Gold, Tarun Dawar's bass and Adam Guerra's drums hook the doomy Sabbath-like track and the brooding opener Laid By Fear. If you haven't heard anything by Tumble before then I'd say this would be a good place to start, retro psych rocking with a lot of proto-vibes. 7/10

Reviews: Master Charger, AAWKS, Psykosis, Knives (Mark Young, Rich Piva, Liam Williams & GC)

Master Charger - Posthumous Resurrection (Octopus Rising/Argonauta Records) [Mark Young]

The weather has turned and that long lost friend, the Sun has shown up so how about some dirty sludge just to keep things balanced? Yes? Good, here’s Master Charger to kick your head in.

There’s something comforting about a band called Master Charger hailing from the Black Country, given the sheer dirt they infuse into some of their riffs. Positively filthy. The band themselves have been kicking doors in since 2006 or so, touring with some fine purveyors of quality music such as Monolord and Orange Goblin and come armed with a riff-set that brings the monolithic hammer of Black Sabbath whilst imbuing it with a touch of groove. 

Straight from the off they make it very clear that if you have come for cookie-cutter vocals, ‘that’ certain guitar tone and maybe some shouty-quiet-shouty vocals then you better shift yourself. This is a glorious call back to when bands recorded music that sounded as though it has been belched forth from a tar pit, such is the effect that they have achieved on here. If you listen to this with a good set of headphones on, it just sounds so good, rough edges and all.

The wah on Thy Kingdom Polluted is worth the price of admission alone, and I suppose that if you want to compare this to a technical wank-fest then yes, I guess its relatively simple stuff. But then you would be missing the point.

This is about earth shaking riffs, delivered in a way you can move to and this is what they do, from start to finish. If you aren’t into sludge then you might as well look elsewhere. Those of you that do, well this is like an early Chrimbo present. Fat guitars, loud drums and rough as sandpaper vocals. 

The journey they take you on with Posthumous Resurrection is top notch, it’s a 10-minute steamroller that goes in hard with some epic bends in there that show up that they are not afraid to throw some heavy blues in there and make it work. 

Its not all heavy mind, Fallen Angel, Painted Doll is an absolute blinder (and yes, I know I normally decry instrumentals but this is a cracker and it has no right to be this good) and comes out of nowhere as a kind of palate cleanser before they drop some more atomic wah on you with When Hell Rode In. I mentioned groove earlier, well this is it. Coming in with a bit of speed, this one motors with a really simple build, but its executed so well showing that sometimes simplicity is best.

Head Into The Sun brings those fat riffs again to the fore but its just a mere aperitif for the double whammy of The Awakening and Mass Produced, Mass Destroyed who both represent one of the heaviest endings you are likely to get this year. The Awakening just has an infectious riff, the sort that is impossible to ignore. It’s a balanced mix of that quality sludge they have been laying down before they up that ante by putting their foot down. 

The closing repeat is glorious as is the opening ‘whoooom’ of Mass Produced, Mass Destroyed which jockeys for position of standout on here with their title track. To offset their metal footprint, they close out with Upon Roads Less Travelled which is a gentle and relaxed number, admittedly still possessing a little of the dark about it.

Any criticism I have is that because it’s a little rough around the edges, sometimes there is a loss of definition here and there with bleed between guitar and bass, which is fine. The same can be said about John James vocal styles, which can grate a little but it comes with the territory. 

When you have music like this its not going to be over-produced, its raw, gritty and does what it needs to do. Its heavy, unashamedly so and serves as an antidote to the polished, produced and ultimately soulless metal that is released in increasing numbers. We know that having your album sound good is important, we get it but sometimes it feels sterile and devoid of any life. Not here, not on Master Chargers watch. 8/10

AAWKS - On Through The Sky Maze (Black Throne Productions) [Rich Piva]

Heavy. That could have been my one-word review for last year’s amazing record from UFOMAMMUT. That was kind of expected though, since we know pretty much what we are getting when those Italian riff master bring us some new material. 

I was not expecting to be able to use that one work review for the new record from Barrie, Ontario’s heavy psych dealers AAWKS, but here we are and here we go. AAWKS debut record, Heavy On The Cosmic, from 2022, was heavy, but more of a heavy trip, not bone shattering, earth shaking heaviness like their new record, On Through The Sky Maze is.

I am not sure why, but for some reason I was expecting the band to lean even more on the psych side on their follow up full length, but boy am I happy to be wrong, because while still being trippy, this record destroys you and reduces everything to rubble, and oh how wonderful that is.

Celestial Magick starts it off with a heavy traditional doom riff partnered with a newly found heavy growl from bassist Ryan “GrimePup” Mailman, and a heaviness that knocks you around right from the get go. The growls partnered with the clean/reverb vocals from lead man Kris Dzierzbicki brings a new dynamic to the band, doubling down on the filthiness of the whole thing, and of course, the heavy. 

Speaking of filthy and heavy, Death Trip is up next, and it exists to gallop death right to your door. AAWKS has not abandoned their trippy side, but it is now fighting with heavy, ultimately deciding that they are more powerful joining together to create a super beast that is On Through The Sky Maze. But, wait, are those harmonies I hear too? Yup, and it is wonderful. 

Anyone hear the tribute to Children Of The Grave on Lost Dwellers? This is where Dzierzbicki really shows off his riff-ability. Love the tempo changes and the different vocal ranges as well. Killer track. Caerdroia has more of the guttural screams scattered about by GrimePup, partnered with a return to a more psych leaning guitar and a more straight-ahead heavy ass stoner track resulting in one of my favorites on the record. 

There is a rawness to this record, and it defined by a track like Caerdroia. This is also the song where you can tell Randylin Babic is really starting to find her place on the drums in the band. The Figure is straight up heavy doom, led by the bass and some nifty dark riffs, bringing some spooky to the equation. 

Wandering Supergiants is my favourite title on the record while also being one of my favourite tracks, with the excellent heavy psych guitar work and the extremely slow and spooky middle part. This is where new AAWKS member Paraiso thrives with what he brings to the band, with his Guitar/Violin/Synth/other noise duties, executed perfectly. 

The trippiest song on the record is Drifting Upward, which actually sounds like its title, and is highlighted by the guitar/synth partnership, and is both weird and wonderful. Paraiso’s synths make this one something special. 

Speaking of trippy, Cursed Soul starts out just that, but then the riff kicks in and you are once again taken over by AAWKS raw heaviness. Dzierzbicki’s killer guitar work makes the closer, Sky Maze, something special, and closes out a record that can only be described in one word…

Heavy. Yup. AAWKS brings the absolute heavy with On Through The Sky Maze. Still just trippy enough to keep that side of the band I love going, this record is all about these songs being three tons of heavy-ass goodness to crush you and everything you love. 

A great record, even if it surprised me as much as it did on how much heavy the band brings to these nine tracks. Some next level stuff from AAWKS. 9/10

Psykosis - Mind Games (Self Released) [Liam Williams]

Irish thrashers Psykosis return with their second album almost a decade after their debut. This album is just over half an hour long in total and has 8 tracks of thrash metal fun packed into it.

We get straight into the action with Insanitised and it’s all go right from the start! Boiling Point is another fun thrashy track which begins with a radio broadcast. Both tracks feature some tasty riffs and some excellent drumming and great guitar solos.

However, by the time I got to track 3, Hard Reset, I felt like things started to get a bit too samey. And on top of that, the vocals started to grate on me a bit. I do love the bouncy riff which accompanies the guitar solo though. Again great drumming, and some nice duel guitars towards the end of the solo.

However, despite my previous comments, Tossed To The Dogs is a brilliant track, although I’m still not sold on the vocals, the faster and groovier intro helps to set this track apart from the previous 3. The guitar solo is perhaps the weakest on the album, but they use enough wah to make Kirk Hammett proud, which could be good or bad, depending on if you enjoy a bit of wah or not.

The next duo, Mutant Mass and General Waste, are shorter, both being under 3 minutes each. But they do suffer the problem of things starting to sound the same. The riffs are great, don’t get me wrong. But when you’re listening to an album from start to finish, sometimes it’s nice when a band throws in some curveballs or even just try some different guitar tones to mix things up a bit.

The title track comes in next, and this one is pretty solid! Good strong intro, great flowing verses, some mini solos thrown in after the choruses and a great main solo with some brilliant rhythm playing accompanying it. Then we come to the last song, Hivemind Hysteria (great song title btw). 

This one begins with a bit of a long, slow burner of an intro. We hear some sirens and incomprehensible shouting before the band gradually come in. The choruses are pretty good in this one. The main riff coming in for the solo sounds good. It comes in once more for the outro and then we even get a great little drum solo right before the very end of the track.

In summary, a solid thrash album, it doesn’t try to be anything else. The band play really well, I’m not so fussed on the vocals but they do work for this style. The songs are really good, but they do sound a bit too similar. There’s not really any standout moments. Give them a listen and decide for yourselves! 8/10

Knives - Glitter (Marshall Records) [GC]

Glitter is the debut album from UK six-piece Knives, based in Bristol they have previously released a couple of EPs and promote a safe space for people for LGBTQ+ people and look to be inclusive space for rebellion and all outsiders. This is as much as I know, so its time I found out what they sound like.

The Dagger opens with a stoner tinged riff, that is rudely interrupted by a heavy bass line and rapped verses, the sound then turns into a more murky indescribable drone but has that riff mixed in halfway again and almost gives me Downset vibes but it’s all just a bit to slow and thoughtful and never really explodes into life like I want it to. 

Rhinestone Cowboy this time opens with the bass line and then has a bit of a punky jagged edge and packs a bit more of a punch but there’s to much of the noisy sections that don’t really add much and just seem to be there to pad the song out lengthwise, when they concentrate on actually playing some riffs they do a decent enough job but there just to much pissing about for my liking. 

I Hope You Get It tries to ramp up the anger and for the most part does a good job and is a short, urgent shock of a song but I think the production on this track need to be better for it to have any real impact. 

Eat Thy Neighbour just sums up the album so far, they start well, build up momentum then drop in a slow noisy part that stops all momentum and I think the earlier comparison I made is way off the mark, this is actually more like if Bloc Party decided to release a punk album and I’m not sure what to make of it all? 

PHD is probably the most annoying track so far, it has got a couple of layers of vocals that are really starting to grate now, and the music is just a jangly annoying noise with little in the way of genuine redeeming features.

Public Juice follows a similar path, its all trying its best to be chaotic and punk but it just sounds flat, the drums just sound flat, the guitars are not cutting through and it’s all just merging one long and underwhelming noise at this point. 

Chroma does tone down the annoyance slightly with its heavily bass lead rumble that manages to create a bit of atmosphere and when the guitars come in their echoing tone compliments the mood well and the more toned back vocal approach helps the whole track actually feel like it has some direction instead of just aimlessly crashing around.

Thankfully this continues into Post Macho and I feel there is more of a core sound showing through now, the dingy post punk shines through and with more of this when they do decide to up the tempo and increase the guitar it doesn’t sound as ear piercingly painful as it has previously. 

Ultraviolet has an almost disco style drum beat and is followed on closely by a nice solid riff that carries into the post punk moodiness and is a bit of a surprise that they can actually decide that doing things more moderately isn’t actually a bad thing. 

You Think You Know finally gets the quiet/loud dynamic right and everything compliments everything else instead of getting in the way, the drums though really need to be looked at again as they once again struggle to break through, so we get to I See Them Fall to close us out and it’s a complete left turn, with soft acoustic guitars and a vocal style that have not been heard so far on the album, it’s a slow and unpredictable way to end.

I appreciate it when a band tries to put a modern new spin on something and here the post punk style was the main attraction but the way they just shrieked and crashed about all over it was also probably the main bone of contention for me.

I appreciate that they are young and fearless and will probably adapt with time, which will be a good this because this for me was just ok to listen to and that not really what you want anyone to think. 5/10

Reviews: Skyjoggers, Moonsoon, Under Ruins, Recall The Remains (Rich Piva, Matt Bladen, Mark Young & GC)

Skyjoggers - 12021: Post-Electric Apocalypse (Supernatural Cat) [Rich Piva]

Tampere, Finland’s Skyjoggers are as space rock as space rock gets these days. A heavier, crunchier Hawkwind is what you will find on their new full length, 12021: Post-Electric Apocalypse. This is oversimplifying the controlled chaos that these four songs in 36 minutes brings to this intergalactic trip. There is a lot going on here and it is all excellent.

The first 14 minutes of the record is the pure frantic chaos of Huevos Rancheros / Rapid Round. This is fast paced heavy psych space rock with killer guitar work and an amazing rhythm section that just brings it for that entire time. I really dig the vocals too. I am tired just listening to it, but it is a good tired. Like every good trip the last minute-plus brings you down easy, but while still seeing all of the colours and lights flashing. A killer track. 

Dare I say the next track Newtonin Kanuuna gets a little funky while traveling with the comets, but only for a brief, four-minute interlude while the ship is getting refuelled. Once the tank is full again, the six-plus minute Døpehølm brings the slow, chunky and doomy riffage to the forefront, which sounds like the ship is heading right for a black hole and shit is getting real dark amongst the crew. This seamlessly flows into the 12-minute Tessæil, which is all about turning that ship away from the danger via the power of the riff and all the space rock atmosphere you can fit in an intergalactic vessel, with no words needed on this one to feel like art of the journey.

Give me heavy psych space rock any day, especially when it is executed as well as Skyjoggers do on 12021: Post-Electric Apocalypse. The trio makes so much frantic, chaotic noise for just three players, and I love every second and every note that floats out into space. 8/10

Moonsoon - East Of Asteroid (Apollon Records Prog) [Matt Bladen]

I always love discovering a prog band, especially if the album is their debut, there's so much potential, a frisson of excitement over what style they are going to go for, who their influences are and whether or not they are on to something. Moonsoon are the latest band to catch my ear, coming from the fertile Norwegian prog/experimental rock scene, the band is essentially a duo creating symphonic, progressive rock that forms a conceptual journey.

Where it starts is with a beat, Helge Nyheim, the creator of Moonsoon is a drummer so this whole album is hooked on the percussion, there's a throbbing beat to Crack Our Codes alongside some marimba and various percussion instruments to swell the soundscapes. I think of it as a little like how Sound Of Contact/E-molecule based their music around the drums and vocals of Simon Collins, Moonsoon is driven by the impressive and interesting drumming and lead vocals of Helge.

Daniel Hauge is the other main member of the group, he's the co-songwriter, producer and arenager, concocting the sonic landscape of the record. He's an accomplished producer and nnotnonly co-wrote the record he produced, mixed and mastered it to give it the textural identity, taking the listener away on this galactic journey through the stars with multi-layered instrumentstion, fluid songwriting and vocals that are almost spoken word.

The latter is reminiscent of Roger Waters solo records, just listen to Ones And Zeros and you'll hear it clearly. No wonder then that saxophonist Ian Ritchie, who has played on Waters' solo record is a special guest, he also produced Radio K.A.O.S which East Of Asteroid is influenced heavily by. Joining Ian on sax is Kjetil Møster while brings some keening emotive guitar playing to the record, impressing on The Nasty Man with his feel and defy touch.

There's host of players on this album in fact, but at its core Moonsoon's music is driven by Helge Nyheim rhythm and Daniel Hauge's composition. Inspiration from Pink Floyd, Van Der Graaf Generator or Eloy, Moonsoon's debut album is worth indulging in if you're a prog fan. 8/10

Under Ruins - Age Of The Void (FHM Records) [Mark Young]

Formed in 2023, Under Ruins have come together with a singular vision, a goal if you will to bring the best of what I believe is their take on the burgeoning NWOTHM movement. From what I’ve seen it means that they (and others) look to the past (the good bits) in order to inspire a new set of fans. Probably, I mean I could be completely wrong but there you go. So, it’s with a heavy heart that I report that just didn’t get on with this at all. 

On the surface, they have all of the necessary tools to make this a pleasurable experience but there is something that is cloying about the album and its on every song. They have the right amount of bombast required, its just that it comes through as being incredibly safe. I’ve said this before that metal has to have an edge to it, something akin to a layer of grit that makes it exciting or dangerous. This is so important when you are younger, knowing that you are listening to the (delete as applicable) fastest, heaviest etc and it’s carried on as an adult. Under Ruins falls into that category where it doesn’t sound heavy enough or dangerous in anyway. Its like Aliens Vs Predator, a sound idea but one delivered in a bloodless manner.

I’m probably being a little harsh here, each of the songs is put together as well as any of the ‘lighter’ metal acts from my youth and there is a lot of effort made in trying to make the songs have the necessary amount of metal moments including suitably OTT solo’s (this is a good thing, its always a good thing) but I can’t shift that feeling that had I heard this at school, I would have hated this on site. So rather than continue with what will descend into just an exercise in being snarky, I’ll leave it here and say that it will appeal to those who like their metal to lean more into the power side of things, its just not for me. 5/10

Recall The Remains - Revenant (Self Released) [GC]

Metalcore? What is it? This much maligned genre has so many different sounding bands nowadays when you hear a band get that label you genuinely don’t know what to expect, Recall The Remains are another band adding their name to the long list of bands who want to make you pay attention to metalcore, and they aim to do this with new album Revenant.

It doesn’t instantly make you sit up and pay attention with Fairfield which is very mid-paced, there are the expected chugging riffs and melodic choruses that try to add the drama to everything, but this song never really kicks into a higher gear and isn’t the introduction I was hoping for, The Night Will Bleed takes on a melodic death metal mood and is probably more of the type of song that validates the slower style but if you are going to keep this up, please at least make the song a bit more interesting, this just plods and huff and puffs but once again never kicks on and the clean vocals and solos are both way to power metal for my liking. 

Fever Dreams does actually pick up the pace and has a bit more about it but once again they manage to slow the song down in places that completely drains the force and I just can’t cope with these melodic vocals, they just sound out of place, and I’m sorry but the power metal styling and rhythms of the verses just totally does my head in! 

Darker Path FINALLY shakes of the shackles and the staccato riffing pays off and the energy is matched vocally until guess what there they are again, those fucking vocals, I just don’t understand the obsession with them, the heavier parts of this song are some of the best on the album and not every song has to follow the heavy/melodic formula because if anything it gets repetitive very quickly which is a shame as this song had potential. 

Empty Woods actually sounds like a power metal track but with death metal guitars and I appreciate that they can wear some of their influences on their sleeves and have the balls to try something different and because of that the melodies do fit into what they are aiming for and that light against the dark shows through in a much more genuine way than ever before, the only problem is I cant stand power metal, the cheesiness is just horrible and I feel it all over this song.

Lifetaker has an unbearable spoken word opener and it doesn’t get much better when the song kicks in, the riff is so predictable and mundane and holding the slow paced nature you hear it so much it becomes painful, about midway I almost completely give up and skip but then they do manage to randomly insert some deathcore that while its nowhere near enough to save the song its done well enough but of course the ending is my worst nightmare and I almost wish I has skipped the song.

Cerebrus is a baffling song, it’s full of plinky electronics, nu-metal influences and more power metal cheese, I just sit with a confused look on my face for the full song as I just don’t know what they are trying to do here, this even by the low standards so far is a new low point. By the time I get through the predicable sounds of both Our Hell and Brothers Until Betrayal I have given up any kind of hope that I may hear anything I genuinely think is any good and I am just glad this album is over.

Objectively, I really did not enjoy this album at all, I didn’t set out to not like it but unfortunately Revenant was just not the sort of music I enjoy at all. I am sure there may be many more albums from Recall The Remains in the future, and honestly? Good luck to them but I won’t be listening to any more of them. 2/10

Reviews: Kardashev, Samantha Fish, Art Nation, Harem Scarem (Matt Bladen)

Kardashev - Alunea (Metal Blade Records)

Fourth album from 'deathgaze' pioneers Kardashev sees them getting proggy with a more experimental side, it's a continuation of their last album The Almanac, the second part of the concept explored on that record but taken further in all respects. Inspired by philosophy and responsibility this is high concept record that has the band refining what they do in every way.

They have recorded previous albums separately sending things across the internet to complete the records however this time they went into a studio together to feel that cohesion they have when they play live and delve further into their dynamics. This album controversially also has the band abandon real drums and real amplifiers for digital versions, leaving just the guitars and voices as the analogue components.

I suppose it gives them more freedom to do what they want on their albums and with the 'gaze' part of their sound now locked in, they have engaged the heaviness as they look to bands such as The Contortionist or Fallujah with the complex ferocity of Truth To Form. They still float through atmospherics on Reunion and Seed Of The Night, the latter with beautiful cleans which work in duality with the guttural roars that infect Edge Of Forever and We Could Fold The Stars.

Nico, Mark, Alex and Sean forge a proggier path on Alunea, cranking up the heaviness and the technicality while keeping their 'deathgaze' foundation. 8/10

Samantha Fish - Paper Doll (Rounder Records)

Fresh off her 2023 collaboration with Jesse Dayton, Death Wish Blues, Kansas City/New Orleans, blues rocker Samantha Fish, grabs her live band; Ron Johnson (bass), Jamie Douglass (drums), and Mickey Finn (keys) to record this new record Paper Doll.

Produced by Bobby Harlow (The Go) and Mick Collins, there's a sleaze street soul of Detroit that runs through a track such as Lose You, all gang vocals and long choruses while the organs add emotion to the slow burning Sweet Southern Sounds, a track which has searing guitar work to close it, though the Zeppelin-like title track doesn't skimp on it either.

If Paper Doll wasn't the title then this track could easily be, Samantha Fish excels at Southern Sounds, tales of being on the road, vulnerability, self expression and loss are all explored in the lyrics, filtered through studio recording sessions while on the road, Paper Doll is the sound of band locked and loaded, creation in the midst of a gruelling schedule.

Paper Doll is certainly the deepest Samantha Fish record, having the honesty of Susan Tedeschi with Off In The Blue and the Southern swampiness of Fortune Teller, she bares her soul with this record and because of that it's authentic and real. Her voice, her guitar, her heart and her spirit, there's no paper here, just an iron spirit and a rare talent. 8/10

Art Nation - The Ascendance (Frontiers Music Srl)

More Swedish melodic metal as Art Nation return with The Ascendance, another step towards the heavier end of melodic metal. They still lean on their AOR influences but now they flow through a more modern, powerful style.

Influenced in part by the way band such as Dynazty and others have made the melodic rock scene a decidedly heavier place, Art Nation then are a melodic metal band who wants to push themselves to be better with each album. It helps that vocalist Alexander Strandell and guitarist Christopher Borg are the driving force of the band, both with plenty of experience in how to make modern rock/metal music. Strandell one of the voices of Sweden, while Borg is an accomplished player and producer.

The duo joined by veteran bassist Richard Svärd, the mixture of their backgrounds allowing them to experiment a little while refining what has become their signature style. Set Me Free gallops setting pace in a power metal gallop as Thunderball is a fist pumper with a huge chorus as Halo brings more choruses against electronic pulses leading into more galloping on Runaways. The Ascendance is an album of Euro metal, though Julia is more Eurovision than anything else.

Straddling a few genre troupes Art Nation look to take their melodic metal outside of Scandinavia soon, The Ascendance to major players is complete. 7/10

Harem Scarem - Chasing Euphoria (Frontiers Music Srl)

Canadian hard rock band return after 5 years with their newest album Chasing Euphoria. They've been part of the AOR/melodic rock scene through the 90's and when they returned in 2013 they've been on a tear. Still led by the duo of vocalist/keyboardist Harry Hess and guitarist/bassist Pete Lesperance they are the creative force behind Harem Scarem even to this day.

Their last album a 30th anniversary version of their second album Mood Swings, but Chasing Euphoria is brand new material from band who have been around nearly 40 years. Harem Scarem also features drummer Creighton Doane and original drummer Darren Smith on backing and lead vocals and with this 16th album they still take a seat at the top table of the melodic rock meeting.

Hess' vocals are often imitated but never bettered, huge soulful hooks on the title track, a bit of choppy pace on Slow Burn and A Falling Knife, some swagger on Gotta Keep Your Head Up and In A Bad Way and of course a ballad or two. They may be a veteran act these days but there's no signs of slow down, Harem Scarem are still Chasing Euphoria. 7/10

Reviews: H.E.A.T, Game Over, Phantom, Brown Acid (Matt Bladen, Simon Black, Thomas Megill Jr & Rich Piva)

H.E.A.T - Welcome To The Future (earMusic) [Matt Bladen]

Since reuniting with their original singer Kenny Leckremo on their previous album in 2022, H.E.A.T seem to have been given a new lease of life, taking their place at melodic rocks top table.

The Swedish band's last album saw them get back on track with a sound that is "modern retro" heavily influenced by the AOR/melodic rock sounds of the 80's but with 21st Century production skills and performances that have been honed through touring doggedly.

Those retro themes come on The End which is very Journey-like especially the keys and the guitar tone, (think Separate Ways). The Journey influence has always been strong with H.E.A.T and here it's quite potent as keyboard player Jona Tee is the main songwriter on most of these tracks, it is a collaborative effort though meaning that there's other styles present here too. 

The slightly sleazy Tear It Down (R.N.R.R.) has the big backing vocals of Def Leppard while Rock Bottom draws from both Leppard and from Europe, another band who are a major influence on the music of H.E.A.T, be it their 80's melodic rock heyday or the bluesier modern era, you know where they sound like Whitesnake, the same way H.E.A.T do on Bad Time For Love.

Keeping their fires burning it seems there's no cooling off for H.E.A.T, Welcome To The Future of these modern melodic rock titans. 8/10

Game Over - Face The End (Scarlet Records) [Simon Black]

Italy’s Thrashmeisters have been ripping people’s faces off very effectively since 2014’s Burst Into The Quiet ripped the world a new one back in 2014. Their discography really runs the gamut of the history of the original Thrash movement I grew up with in the 80’s, starting as a raw and energetic four piece whose song writing and production values moved and evolved fast over their first five albums, much as its influential progenitors did as they hacked their way out of the underground and broke the movement into major label mainstream territory.

Album number six is a big jump for them, and fortunately a hugely positive one. 2024 saw the departure of founding bassist / vocalist Renato Chiccoli, with his role being expanded into a full five piece with newcomers Danny Schiavina on vocals and Leo Molinari on bass. The richer, more commercial sound they pushed forward with 2023’s Hellframes is added to significantly here, whilst recovering some of the frenetic energy of their earlier records.

The challenge of any vocalist trying to deliver melodies whilst keeping the Thrash rhythms brutally moving forwards frequently sees the delivery of the two melody lines rolling together in staccato fashion (even the best such as Tom Arya struggled with this, at least to start with), but separating the two players frees both musical elements up and allows them to expand. 

The consequence is a solidity to the rhythm that is little short of monolithic, with Schiavina able to focus on being the front man as well as the singer. Which he does incredibly well. For my money his vocal talents improve on the past significantly, adding more of a lower end, powerful vibrato roar, whilst still scaling the octaves well, which evokes Testament’s Chuck Billy. He’s a powerful addition to the lineup and has shifted things up several notches from what was to start with, a really solid baseline.

In the age of short attention spans, it’s an absolute delight to pick up a record that rockets past in this way and which without thinking I found myself replaying several times end to end before remembering that I really ought to start writing something down.

 No-one wants a Thrash album to linger around too much, and the ten brutally delivered, melodically effective and perfectly crafted songs on here can never be accused of that. The guitar interplay is fluid and superbly delivered, the songs clearly differentiated style and pace-wise and are over in thirty-four short minutes.

This is very traditional melodic Thrash which has enough commercial polish to turn almost any metal head around, and I really find myself wondering how this will come over live, although sadly this is one of many acts who don’t seem to play the UK much, but who definitely should. This is a huge step forwards for a band who were pretty darned fine to start with. More please… 9/10

Phantom - Tyrants Of Wrath (High Roller Records) [Thomas Megill Jr]

Phantom wasted no time as they've released their second album only a year and change after their debut. Tyrants Of Wrath was unleashed to the world through High Roller Records. This is a very diverse album, a lot of elements of all types of metal. To be clear, this is clearly a thrash album, but with flavours of Norwegian Black Metal, Power Metal and sprinkles of death metal. It almost sounds like you blackened Judas Priest's sound and interchanged King Diamond and a young Tom Araya on vocals. It's an energetic listen, and digs new layers upon every subsequent listen.

Phantom is a 4 piece band out of Mexico, formed in 2022. They've been very busy writing and recording music, and their sound has been maturing over time. The diversity in the songs keep the whole album fresh and keeps the listener engaged. The Tower Of Seth was an awesome opening track, as the youngling would say "thrash as fuck". The track Nimbus was an entertaining listen with the largely clean, power metal vocal approach. Every song on this record has a unique identity. Nocturnal Opus 666 had an nice piano section that was a cool change of pace.

This album was like a portal into the early 80's traditional metal and Bay Area thrash. Very energetic, very catchy, very fun. A must listen for all fans of thrash metal, new and old. 8/10

Various Artists - Brown Acid: The Twentieth Trip (RisingEasy Records) [Rich Piva]

I am going to start this review like I did the last six additions to this collection; I love the Brown Acid series that has been curated by the great RidingEasy Records. If you are not familiar with the set the basic concept is that Lance Barresi, owner of L.A.-based Permanent Records, searches the far corners of the US in dusty record store bins, garages, attics, and confirms musical urban myths to bring us lost and the most underground of underground songs from long forgotten bands that in some cases may have only release one song on a promo single. 

These songs come together to populate the now twenty. Yes, twenty volumes of some of the best 60s and 70s proto metal and psych rock that you have never heard before. Never ever do these comps disappoint. This one is no different, with another ten lost treasures for your listening enjoyment.

Highlights of the latest volume include the opener from Iowa band Afterflash doing a killer cover of the Damnation Of Adam Blessing song Cookbook (boy does it cook), Harrisburg, Pennsylvania’s Hot Candy bringing the Zep vibes and cool trippy slow down part during Darkened Passage, the California band Banana Bros bringing a bit of Southern rock funkiness with Suck You In, and the organ-led boogie of Lazy Day’s track Don’t Dance In My Song. My favourite track is the Sabbath and Zeppelin do prog of Osage Lute’s Watch Em Shine, but there are no bad tracks included, only levels of good to great.

I am still amazed at volume twenty we are getting sets of songs that are as solid and enjoyable as we have here. Twenty volumes take up a lot of room in my vinyl collection, but boy does RidingEasy make the Brown Acid series sets so worth it, with this one being no exception. 8/10

Reviews: King Garcia, Hypnotic Nausea, Black Sword Thunder Attack, Oria (Matt Bladen)

King Garcia - Hamelin (ViciSolum Productions)

Riffs, instrumental riffs, big fat instrumental riffs from Greece, that's what I expected from King Garcia, a band I assumed named for the leader of The Grateful Dead.

However King Garcia do have the explorative nature of The Dead but on Hamelin, the band play wide-screen, progressive, blissed out rhythms, with heavy distorted moments. Music that ponders the wonders of the universe and draws heavily from the Greek traditional music throughout.

King Garcia are a band made up of veteran musicians from other progressive bands. Guitarist Kostas Konstantinidis (ex-Mother of Millions), drummer Kamil Kamieniecki (POEM), Kornilios Kiriakidis (Tardive Dyskinesia), and sax/clarinetist Alex Orfanosx (Bandallusia), the four piece playing music that is cinematic, explorative and intensely creative.

Like a film soundtrack on tracks such as Magnolia (no sugar) where the pacing is key, a slow burn where the trumpet is important but on the title track they shift towards those blissful moments I mentioned earlier flashes of heaviness and the ever present clarinet adding so much to their huge soundscapes.

I'll admit I'm a sucker for the use of wind instruments in music, especially with Greek bands such as VIC and King Garcia use plenty to augment their heavy prog, Konstantinos Lazos bringing gaida & kaval (traditional Shepherd's instruments) as Iakovos Molybakis supplements the band with additional percussion.

Hamelin is a fantastic debut record from King Garcia, an instrumental masterpiece that you need to hear! 9/10

Hypnotic Nausea - The Age Of Nothing (One Little Victory)

Athenian band Hypnotic Nausea play an experimental brand of rock music that is always hinged on a concept. They have released two previous albums, Hypnosis in 2015 and The Death Of All Religions in 2019, much like cult English band KLF, Hypnotic Nausea see their music as an extension of their conceptual art, though different in approach.

Third album The Age Of Nothing is another concept detailing a world on the brink of collapse as the mostly instrumental soundscapes are narrated by Amy Rebecca Clarke Lens and Steven William Clarke Lens, the storyline concerning the destruction of human society by technology and how humans try to reconnect and find freedom.

Very 70’s sci-fi then and Hypnotic Nausea use analogue instruments to create a nostalgic, real, feel, shying away from computers and modern practices. Recorded by the band and Hector D in Athens, Hypnotic Nausea from what I can see are a trio of two Georges and new drummer John K, though on the record it’s Nick B who’s behind the kit for this psychedelic, post-rock style of expansive music.

The vocals don’t really appear until The Mechanism but they are in the same sort of style to Mastodon, though they’re not that important as Hypnotic Nausea are about the instrumentation, relying much more on playing instrumental, cinematic soundscapes than anything else.

From the hypnotic The Age Of Nothing, to the Tool-like groove of Underground Resistance and Reality Error or the heavy riffs of Fragments Of Freedom, The Age Of Nothing is concept record that draws inspiration from numerous styles but collates them into a record that draws you in. 8/10

Black Sword Thunder Attack - Black Sword Thunder Attack (No Remorse Records)

Black Sword Thunder Attack are a bit of cult band in the Greek scene, compared and connected to Williams J Tsamis of Warlord and Lordian Guard, they play the same raw epic metal as those bands, classic heavy metal brimming with machismo and might.

Oddly singer Mareike sounds a lot like Geddy Lee of Rush, she's got the high nasal quality to her tone initially but it gets broader as the album goes on, conjuring might on tracks such as Anvils Of War. Vocally it works as they never musically really move on from lo-fi heavy metal driven by Marios (drums), Stelios (bass) and Chris (guitars/keys).

This is their first full length album, having quite a long period of silence since their initial formation and it's worth the wait for 'true' fans as they, yes the production of this record is lo-fi as I said however it's better this way, reminding me of the 80's tape trading days with the analogue synths heighten the likes of On The Way Of Acheron and Evil Sorcery.

If you like the style of Tower or any music heavily inspired by William J Tsamis, just listen to Last Flight Of The Eagle for that comparison to ring true, then this Kalabaka based band will have you donning your best denim and leather. 7/10

Oria - The Future Wants Us Dead (Theogonia Records)

The Future Wants Us Dead is the second album from progressive groove metal band Oria who hail from Thessaloniki. If I were to describe progressive groove metal then I'd have to mention two bands, Gojira and Fear Factory the latter on Metamorphocene: The New From The Shell Of The Old especially on the vocals, but there's also the heaviness of Machine Head (Guided By The Hands Of G.O.D.S) and the proggy moments of Mastodon.

There's some big moments on this record, aggression seethes through complexity, the political, ideological and critical lyrics are barked out while the thunderous, sludgy, grooving riffs are supplied with sense of cinematic scope. Just a four piece, Oria are the creators of a huge sound, filled with thick stop-start riffage of Hevy Devy on Pirates, Parrots and Parasites, some angular bass driven power on Chthonic Uprising or the biting noise of From Wastelands To Vile Hands.

Oria bludgeon with mechanical ferocity on The Future Wants Us Dead, if bulldozing, proggy grooves are your thing then check these Greeks out! 8/10

Reviews: Machine Head (Liam Williams)

Machine Head - UNATØNED (Nuclear Blast)



The 11th studio album UNATØNED from the mighty Machine Head is an album which has left me pleasantly surprised. The groove metal giants are back with 12 blistering tracks of chaotic and fun riffs, big anthem choruses and a return to their nu-metal roots. Fans of the bands earlier work will be quite satisfied with this one I think. It feels like a return to their early sound but with the punchy heaviness they have incorporated into their newer albums.

The album starts with the intro track, LANDSCAPE ØF THØRNS, which is just 30 seconds of wind and the sound of someone digging. A weak start to the album I must admit. But everything that follows more than makes up for it! 

Following that, we have ATØMIC REVELATIØNS. This should have been the intro track. We get a little bit of piano before the band comes in and all hell breaks loose. Nice thrashy fun in the verses. Big choruses with nicely harmonised vocals. The piano comes back in briefly before the bridge and 2 guitar solos. Then the vocals build up for the final chorus. Right at the end the piano comes in once more for the outro.

UNBØUND comes in next with some vocals and drums and then the rest of the band come in swinging. We have some nice big bouncy bends from the guitars in the main riff which is repeated in the choruses. The verse are fast and frantic and we get some clean vocals in the pre-choruses. This track also has a very Dimebag sounding guitar solo which even ends on a nice divebomb. 

ØUTSIDER follows up with a chorus/intro for the start. Then we get a heavy instrumental bit to lead us into the first verse. There’s a great build-up to the choruses. Then there’s a calmer section before some chugs leading into the chorus which is followed by the bridge. No guitar solo this time, it’s straight back in for the final chorus and then a fun bouncy outro. 

Track 5 is NØT LØNG FØR THIS WØRLD. This one also starts with a chorus/intro. A bit slower than the previous tracks with some nice clean vocals and big chords. There’s a cool bridge riff before some duel guitars. The final chorus begins with some synth and clean vocals and then builds up and gets heavier before the synth outro.

The first half of the album ends with track 6, THESE SCARS WØN’T DEFINE US. This one is a fun, fast and chaotic track. It has some nice tribal sounding drums in the choruses. A great guitar solo with some more duel guitars action and a heavy, bouncy bridge leading into the final chorus. 

Track 7 is DUSTMAKER. This is more of an interlude track. Nothing really special. It’s got some chill drums and muddy sounding guitar and bass, a bit of synth and a woman talking halfway through. Can’t quite hear what she’s saying but it almost sounds like a prayer of some sort. This is definitely more of a filler track.

We’re back to having some fun for BØNESCRAPER. It starts with some clean vocals before the band comes in. More bouncy nu-metal goodness, big choruses and then a nice heavy bridge section. The final chorus begins with just vocals and piano in the first half, then it builds up in heaviness and then the nice bouncy main riff comes back in for the outro. 

Next is ADDICTED TØ PAIN. We get a nice heavy drum fill in the intro and then back to the epic nu-metal riffage leading into the first verse. The verses build up the heaviness. Then they dial things back a bit for the choruses. There’s a great guitar riff leading into the bridge which goes into a short but fast guitar solo which then goes back into the bridge before the final chorus comes in and the song ends with a heavy instrumental bit before ending on a synthy outro.

BLEEDING ME DRY is my favourite song on this album. It starts with the synth carrying on from the previous track before the band come in for what I can only describe as a dubstep on guitar sounding riff. Really cool, quite different. The verses are a bit calmer with some clean vocals and guitar. They build up the heaviness in the pre-choruses and go for it in the choruses. There’s some great guttural low screams at the end of the choruses, leading into the next verse. There’s a slow build up for the bridge which comes in with a great guitar riff. This is followed by some duel guitars which leads into the final chorus which ends in more epic screams and finally a synthy outro yet again. 

SHARDS ØF SHATTERED DREAMS comes in swinging. Another thrashy heavy track with great choruses, a bouncy bridge section and another short and fast guitar solo leading into the final chorus.

Then we arrive at the last track of the album, SCØRN. This one is a bit of a drag, I’ll admit. It starts off slow and quite calming. Gradually getting heavier towards the end of the track before finally ending once again on a calmer note with some strings, vocals and piano. A song like this would usually be great as an album closer but for some reason it just didn’t quite feel right for me. Some people might like it, but it didn’t quite work in my opinion. It’s not one I’ll be rushing to listen to again any time soon.

Overall, great album! I love that they’ve gone back to that nice mix of groove and nu-metal that they had in their earlier work. It’s blended quite well with their more modern sound making this perhaps one of their most unique albums to date. I do have a bit of an issue with the pacing of the album, it feels a little off in some parts. 

The intro track really wasn’t necessary and the last track felt like a bit of a drag. But other than that, I’ve got no big complaints. It sounds good, it’s a fun listen and I’m sure many people will enjoy it! 8/10