A Views From The Back Of The Room: Katatonia (Matt Bladen)

Katatonia, Evergrey & Klogr, Electric Bristol, 08.12.25

Another jaunt to SWX/Electric/whatever it's called for some more melodic metal stylings.

I'd seen the headliner a few times in the past and they've never captivated me some bands have, maybe it was the venue, being at a festival, who knows but in one of the most tech savvy and best venues in the UK they could only be on top form right?

More on that later as if there was a band who embraced the technology it was Italian mob Klogr (8) pronounced Kay-log-are, they're a band who play a progressively tinged style of alt metal, which deals with a lot of heavy subjects.

Taking their name from a psycho-physical law (S=KlogR) from the 19th Century. Their music is filled with psychology references, as they stormed through a set of groovy alt rock tracks which they've toured alongside acts as diverse as Prong and The Rasmus.

It's catchy and riffy, with passionate vocals and some brilliant use of screens to draw you into an almost hallucinogenic state as the prog creeps in, never overwhelming but adding just enough to keep you guessing. Visually arresting and musically interesting Klogr won over the early crowd on this Monday night.

Though there are few bands that can win over a crowd quite as well as Swedish prog metal heroes Evergrey (9), maybe it's Tom S Englund's enthusiasm, his powerful vocals or his constant thumbs up but the current version of Evergrey won't rest until everyone is involved and enjoying it. Hell Tom even picks out a member of the audience who's a bit po-faced and dedicates a heavy one to them.

Yeah Evergrey decide to focus on the heavier side of things tonight, maybe the addition of current Scar Symmetry and ex-Devin Townsend man Stephen Platt on guitar has given them a bit more aggression. There's King Of Errors for the sing along and new track Oxygen, is a great precursor to new music with a touch of epicness.

The majority of the set has them in heads down let it rip mode, drummer Simen Sadnes leading the charge with some potent double kicks, though he has a touch of the Lars Ulrich's by constantly standing on his drum stool as the bass of Johan Nieman booms though the speakers of the Electric.

With Tom showing off those brilliant vocals (and doubling down on the guitars with Platt), Rikard Zander creates the expansive atmospheres with his keys all of them together displaying Evergrey on top form tonight and I'd be very nervous if I had to follow them.

So then the band most were here to see, the Swedish masters of gloom Katatonia (7), and with Anders Nyström having left the band it leaves just frontman Jonas Renske in full control , which of course means that the set will consist of nothing before 2006's The Great Cold Distance, where they started to shift into the sound they have now.

With clean vocals taking precedence as they shifted away from the death metal beginnings into the downbeat but anthemic mix of doom, alternative, prog they play today. As I see it Katatonia is now just a vehicle for Renske, who is clearly having the time of his life but as a frontman he doesn't really captivate as much as perhaps should have, he also seems very low in the mix which is a shame as his voice is such a key part of Katatonia.

With a 16 song setlist a few stood out as, with Dead Letters, Nephilim, July, Soil's Song and Forsaker, the ones cheered about. Don't get me wrong Katatonia are a slick unit, they play well but for me they've always been much more impactful on record. Still there's always next time and I'm sure super fans of the band loved this Monday evening sermon with the Swedish veterans.

A View From The Winter Gathering: Bloodstock Winter Gathering (Tony Gaskin & Debby Myatt)

Bloodstock Winter Gathering 2025 - KK’s Steel Mill, Wolverhampton, 05.12.25

When the Bloodstock crew announced a one day indoor event would be held, it brought back memories for many, memories of those early days of the festival and it’s humble beginnings at the Assembly Rooms in Derby. This latest addition to the Bloodstock franchise was called Winter Gathering and was to be held at KK’s Steel Mill, much to our delight and another feather in the cap of this fantastic venue.

There would be nine bands throughout the day, spread over two stages, plus a Q&A session and band signings.

As we arrived, a good half an hour before doors were due to open, the queue was already stretching down the street and around the block. Die hard fans had been here for hours, wanting to be the first in and at the barrier for this inaugural event. A quick on the spot survey of these keen fans showed that they had come from all over the country, a coach from the south coast had just unloaded a horde of metalheads. The consensus was that it was a great line-up and these fans were excited to see the likes of Venom Inc and Candlemass, many for the first time. It was set to be a glorious day.

As we mentioned, there were going to be nine bands playing today - six on the main stage and three on the smaller second stage. Tony caught all three bands on that second stage so first up here’s his summary of those bands.

Bloodstock Winter Gathering Stage 2 

Before any bands graced this stage, Bloodstock directors Vicky Hungerford and Alan Gregory, along with M2TM co-ordinator and band booker Simon Hall did a Q&A session answering questions from fans regarding all sorts of things but the main thing for me to come out of this was Vicky confirming that this would be an annual event and they were already working on next years.

Bands wise, we had up first Hellbearer (8), who, with their bludgeoning thrash filled set, manage to get a pit going in the tightly packed room, no mean feat! A big thumbs up from the appreciative crowd.

Next band up on this compact stage were the groove machine that is Thuum (9). Heavy riffs and gut-wrenching vocals. One minute doom, the next all sludgy. You could feel that low end reverberating through the walls and windows that lined the corridor linking the two room

The third and final band on this stage really should be playing much bigger stages! This was of course the maniacal Red Method (10). Their psychotic, industrial tinged metal fills the stage and room. It was rammed and at capacity for theses guys, disappointed fans were left queuing up to try and get into the tightly packed space, such is the reputation and draw of this band. 

There is always a sense of theatre and raw energy with a Red Method show and today was no different. Despite the limited amount of room on stage, frontman Jeremy Gomez manages to be everywhere, jumping, prowling, menacing. Hopefully these guys will be given an opportunity to play a much bigger stage soon!

Bloodstock Winter Gathering Main Stage

That was what went down on the second stage, a great interlude (if you could get in) to the main stage bands, the first of which was King Kraken (8). Having the honour of being the first band to play this new event was not lost on the guys, they proceeded to play a set full of heavy groove laden rock, kicking off with the obvious, Release The Kraken before treating us to some of their new stuff off the latest album, closing out with the title track March Of The Gods.

Next up were the youthful Tortured Demon (8) who first blew Bloodstock fans away when they played the Jaeger stage back in 2021. Since then they have continued to grow in stature and maturity, now a tight blackened thrash machine reminding us why we all fell in love with old school thrash in the first place.

There’s nothing like a last minute pull out to disappoint a promoter (ooh err!) With just 24hrs to go, Scottish outfit Hellripper had to bale and Simon Hall was left desperately trying to find a suitable replacement at short notice. 

In stepped local band manager Dan Carter of DC Sound Attack and hooked Simon up with Nottingham lads Devastator (9). The black metal provocateurs make the most of their opportunity and grab the chance offered to them by the (goats) horn and produce a set of pummelling black metal on speed. They mix the set up with songs that are thrashy one minute, the classic NWOBHM next, but all done with their own blackened edge, they even manage to get The Demolition Man himself up to help them out with their cover of the Motorhead classic, Iron Fist.

One of the most anticipated bands of the day were up next. Later than advertised due to the last minute changes, Raised By Owls (9) have a room full of approx. 1500 metalheads eagerly awaiting their show. Known for their humour and on stage antics, we get Mr Blobby waving giant dildos and crowd surfing, a game show to find the best headbanger amongst other things! 

In between the high jinks of Sam and his cohorts they blast beat through a set of their grind core favourites like The Dark And Twisted Realm In Which Fred Durst Resides, Ainsley Advises To Give Your Meat A Good Rub, Dance Like Barney Greenway and Strictly Come Danzig. Biggest cheer of the night though is reserved for Sam’s mum as she appears on stage for a mad rendition of Break Stuff. Raised By Owls are like the half-time entertainment and perfect for a day like today.

As we head on into the evening and with the final two bands to come on the main stage, we’re already anticipating and guessing who might play next year.

Meanwhile we have Venom Inc (10) up next. This is the band with 'Demolition Man' Tony Dolan teaming up with Curran Murphy (Annihilator, 72 Legions) on guitar and Marc Jackson (Control the Storm, Sin Theta) on drums. With this latest incarnation of the band, they announced that they would be playing the 2017 album Avé in full.

So, no Black Metal, no Countess Bathory. In fact no early Venom at all, but that didn’t matter because what we got was a superb set of hard and fast thrashy black metal. This album reminded me of classic Motorhead in parts so was quite happy to hear it played live in full. The crowd were literally warmed up as the intro track was played with two fire eating ladies shooting flames out towards the crowd, and any doubts of what we would get tonight were soon assuaged with the blistering opener Forged In Hell swiftly followed by Metal We Bleed. 

There’s barely a let up as they bash out track after track, Dolan and Murphey having so much fun judging by their grins, and before you know it they’re playing the last riffs of I Kneel To No God before cranking it up for one of those Motorhead-esque tracks Black ‘n’ Roll.

And all of a sudden it’s the final band. The day as literally flown by, always a sign of a good day.

It’s down to Swedish doom pioneers Candlemass (10) to close out Bloodstock Winter Gathering 2025. Those in the crowd that remember that pivotal release Epicus Doomicus Metallicus will have been pleased to see that there were a number of tracks off that album, along with other classics off Nightfall. This is doom in all it’s dark glory. The majestic Under The Oak and the stone cold iciness of Darkness In Paradise are the pick of the bunch, but the closing duo of Demons Gate and Solitude, show how beautifully dark, Swedish doom can be. 

Another perfect set to close out the day and another great addition to the metal festival calendar. The date is set for Saturday 5th December so keep your eyes open for ticket and line-up information.

Reviews: Sacred Leather, Olymp, Wormhog, ΔYNAMIS (Matt Bladen)

Sacred Leather - Keep The Fire Burning (King Volume Records/Wise Blood Records)

Rock n roll never dies, it just gets older, and as it gets older more bands start to emulate it. In no genre is this more true than in the so called NWOTHM, a load of bands from the 2010's who idolised that NWOBHM explosion of the 80's. In the midst of American metalcore, the end of Nu-Metal, the beginnings of Djent and the louder more aggressive style of death metal.

These bands wanted to chuck on some hi-tops grab a pointy guitar and shred some speed metal that gallops along at a wicked pace. Many came from Europe but more came from North America an entire continent's worth of bands who worshipped Judas Priest, Accet and others who dressed themselves in leather and unleash a twin guitar assault.

Sacred Leather were formed in 2014 and they very much fit the NWOTHM mould, classic speed metal that comes at you like a tornado from the American Midwest. Keep The Fire Burning is their second record and the title is their raison d'etre, they keep the passion of those 80's bands but bring modern production techniques.

Fans of the NWOTHM will be indulging in these neon drenched metal tracks, however Sacred Leather have the muscle and the might to win over doubters. 8/10

Olymp - Rising (Metalizer Records)

When I say that Rising is 40 minutes of German heavy metal do I need to say much more? You know what you're getting and what to expect but there's not criticism from me as sometimes all you need is a bit of leather clad 80's style heavy metal to bang your head to.

Formed in 2018 but not releasing their debut until 2023, Olymp (taking their name from the mythical home of the Gods), rather rapidly follow up with their sophomore record Rising, and they've made sure to keep the flag flying for classic heavy metal alongside bands such as Iron Maiden and the NWOBHM but also taking in influences from Rage and Accept.

Having toured in support of their debut, this second album sees them a much sharper act honed on stage but with an album full of songs about Greek Mythology (there is quite a lot of it!), dressed up in a twin axe attack, pounding drums and some grit in the vocals, like Dickinson when he goes into the rougher style.

Rising does what you want it to, with the German and British metal scenes both well represented. 7/10

Wormhog - Transience (Self Released)

Formed in 2014, Wormhog's debut record Yellow Sea arrived in 2020, mid-pandemic but packed with desert rock influences and astral wanderings to take you away from the everyday and into space.

Another strong addition the Greek stoner scene, their debut was highly regarded in these pages and now five years later Wormhog return with their follow up Transience a record that shifts the focus a little as they embrace prog and psych more than before.

If their debut was about groove and the insistent throb of desert rocking, Transience is about experimentation, evoking bands such as Mastodon and Baroness on the opening title track, there is definitely a change in what Wormhog do as a band, the safety blanket of straightforward desert rock perhaps down to naivety, the band are more refined, more mature and now have taken a different route.

Transience is not only a more progressive record, those inspirations of Pink Floyd and Hawkwind are the driving force behind instrumental Aurora, but Wormhog are now heavier with grunge and metal influences coming in. They don't move fully away from their desert rock beginnings though as In Orbit takes from the quirky structures of QOTSA.

A more progressive, electric Wormhog emerge after five years, with Transience they show that while we may only be here for a short time, we can create things like music to help us feel alive. 8/10

ΔYNAMIS - Byzantine Metal (Symmetric Records)

I've been to Greece a lot, so I've seen the beauty of Greek Orthodox Churches up close, in fact my wife comes from a part of Greece that has over 50 still intact Byzantine Churches, littered throughout the principality. They are full of Byzantine art and deeply rooted into the Orthodox tradition, the sung liturgies are at the heart of any service, usually in harmony between three priests, it's a very unique experience to witness, especially for a Godless heathen like me.

Now if you've heard any of the bits of the countless Batushka's that isn't black metal, you will be familiar with the sounds of the Orthodox church however that is Eastern Orthodox, the Greek church and more so the Byzantine traditions in the North have their own customs that differ them from not only the Eastern side but often the rest of Greece. So while putting them against metal is not a new concept, it's still a slightly mad one as you could easily occur wrath from the church and from the metal community.

Luckily ΔYNAMIS, is the latest project from Bob Katsionis and he has the sort of creative brain to pull a mad idea like this off. Recorded, produced at his studio in Athens, Katsionis plays all the guitars and bass along with drums and keys while the vocals, keys and conducting come from Christopher Laskos, who has the perfect, sonorous vocal for these chants, all of the lyrics coming from Orthodox Hymnography/Hymnology, moving between Greek and English, his lead vocals backed by a full choir of chanters.

Laskos and Katsionis wrote the music between them and have delivered a symphonic styled metal record built on the liturgical traditions of the Orthodox church. With some additional leads from long time Katsionis collaborator Billy Vass and Kyriakos GP adding the guest solo to Cherubic Hymn, Byzantine Metal by ΔYNAMIS is perhaps a strange concept to anyone outside of Greece however it's an album that perfectly blends epic power metal with the sung traditions of the Orthodox faith. 8/10

Reviews: Lord Of The Lost, EBB, Verminthrone, Chaos Over Cosmos (Matt Bladen)

Lord Of The Lost - Opvs Noir Vol 2 (Napalm Records)

The second part of Lords Of The Lost's genre bending trilogy arrives and is just as star studded as the first which I reviewed earlier this year. On this second editing there's some bonus performance's from Infected Rain, Anna Brunner of League Of Distortion, Avant Garde musician IAMX and by flexing their Eurovision credentials they have secured industrial/rap maniac KÄÄRIJÄ.

They all put their stamp on this eleven track record, in their own ways, especially KÄÄRIJÄ who brings Finnish rap to these Germans heavy metal, on Raveyard which may be the best title for a song this year. If Opvs Vol. 2 proves anything it's that Lord Of The Lost never seem to run out of material, as they have already released 22 song this year alone, and we're only on part two of three.

Produced by frontman Chris Harms, Volume 2 returns the band to their darker roots with an atmospheric collection of industrial, goth metal which dwell in the dark and often have more introspection than the grandiose numbers on the first chapter. Don't expect them to stick to style though as Lords Of The Lost have proven they are a band that defy what is expected whenever they can.

Lords Of The Lost are compiling almost an entirely new set from this trilogy of records, one that spans several styles but always goes back to thumping anthemic songwriting and heartfelt balladry. 8/10

EBB – The Mirror (Boudicca Records)

Formed as Erin Bennett Band back in the mists of time, they now go by EBB and the pop-rock beginnings have now transmogrified into a sprawling art/prog rock band. With a debut album Mad & Killing Time in 2022 and The Management Of Consequences EP in 2024 under their belt already.

EBB are a merry band of proggers, drawn from across the world and the wider universe, they are based in Scotland and have been performing to high acclaim across the UK garnering rave reviews for their incentive, explorative live shows and albums wherever they go.

The Mirror is their sophomore record and it is an hour long progressive rock record that sees EBB going deeper into their progressive rock influences but also their art rock proclivities too. With Erin Bennett up front they have a singer who can move between the realms of the ethereal (Evenfall) and the earthly (That's How It Goes).

Slinging a blues driven guitar which has the deftness and feel of a Steve Rothery or Dave Gilmour, with the epic Take To The Stars, coming from the Floyd songbook. Bennett flashes of firebrand with tracks such Day 19 which is one of the few songs I've ever heard about having a period and brings all of the conflicting emotions that entails, with a bottom end courtesy of YYZ.

On Reason the fluid rhythms are guided by the bold basslines of Bad Dog. His rapport with drummer Anna Fraser is immaculate on this record. Fraser's drums probes and peruses, Mad Dog's bass slithers and snakes, both keeping the beat eclectic and propulsive with No One's Child.

Where this record builds on previous releases is with how keys and synths are used. The title track, all eleven minutes of it is the best example of how EBB use keys and synths, an acoustically layered, slow burning track which has swirling analogue synths from Suna Dasi while Nikki Francis keys interplay between the jazz and rock movements.

It's the most progressive track on the record with plenty of throwbacks to the glory days of the prog rock genre. Francis also adds flute and sax to the record, again EBB invoke the pastoral tones Jethro Tull on Cuckoo where Kitty Biscuits, recites her poetry and embodies the creative flow of the band on the record just as she does on stage.

The Mirror is a reflection of it's creators, expertly crafted by musical artisans, it's a masterpiece of arty prog rock that deserves close inspection. 9/10

Verminthrone - Feast Of The Serpent (Self Released)

Ever wanted to get into NOLA sludge scene but worried about Confederate flags and white power salutes? You need Buckinghamshire five piece Verminthrone, following their 2024 debut album The Cull, which Mark Young gave a great score. The kudos of that record led them to Desertfest this year but they have emerged once again and are ready to shake the foundations of your house with new EP Feast Of The Serpent.

Simultaneously heavier, nastier and dirtier but somehow more refined than their last few releases, Feat Of The Serpent is the sound of a band digging deep into their influences such as Down, Crowbar and Eyehategod but using their experience to craft something that is their own. They add a massive whack of groove metal ala Lamb Of God on Pallor, Swab and closer Event Horizon which has plenty of Pantera to it. A lot of their sludge influences are morphed into more ferocious sounds here, though When It Rains It Pours keeps that hardcore edge to it and Bloodletting balances sludge with thrash.

Feast Of The Serpent creates more musical spaces for Verminthrone to work within, they're still sludge but there's more to them, I'm looking forward to what they will bring on their next album. 8/10

Chaos Over Cosmos - The Hypercosmic Paradox (Self Released)

We've been fortunate to track the evolution of Chaos Over Cosmos in this publication, both myself and Simon Black have reviewed previous albums featuring previous formations, each one shifting the soundscapes as creative mastermind Rafał Bowman gets to flex his musical muscle through as many genres as he dares.

Bowman handles all the music and programming, based in Poland while Taha Mohsin performs the vocals and writes lyrics is from Pakistan. Chaos Over Cosmos has always used the awesome power of the internet to perform music, it's a studio based project but that's a strength as it means they can be as progressive as they want to be and progressive they are.

Technical proficiency is off the scale here, the shredding is intricate, blistering and moves at light speed, taking from the extreme end of power/neo-classical metal and the tech death scene (When The Void Laughs), it's the guitars that steal the show here but the synths to play an integral part in the music as they take things in very futuristic direction, inspired by videogame music, synthwave and EDM (The Fractal Mechanism).

Vocally Taha uses gutturals more than anything else, gargling marbles on tracks like Event Horizon Rebirth, which are often contrast with the music beneath them. On The Hypercosmic Paradox, Chaos Over Cosmos continue to push the envelope with greater progression, more extreme time signature changes and experimentation. 7/10

Reviews: Malefic Throne, David Galas, Hexjakt, Nattradio (Mark Young, Spike, Rich Piva & Matt Bladen)

Malefic Throne - The Conquering Darkness (Agonia Records) [Mark Young]

In this episode of ‘I can’t believe you missed this out of your reviews, part 1’, we meet up with Malefic Throne who bring forth their debut The Conquering Darkness. Although this is their first full length release, you will have heard of the following bands:

Angelcorpse, Morbid Angel and Hate Eternal, to name but three as a starter for ten.

By knowing these, then you will know the following:

Steve Tucker, Gene Palubicki and John Longstreth.

On paper, seeing those three names involved with this is something else for death metal fans. I mean we are talking about some of the most extreme exponents of this genre, so going into this you hope that it transposes onto tape. I’m happy to report that it does. It’s a very tight, focused 44 minutes that whilst doesn’t bring a new way of doing things, what it does is show that there is still blood pumping and that when its done right, can offer a visceral experience. That’s all we want right?

Blasphémait Descrecation is the opener, and it lands exactly as you hoped it would. No waiting on an instrumental to finish, this is bang straight into the guts. This is death metal for fans, written by fans. For me, it reminds me of Vader, circa De Profundis where they just start and absolutely batter you. I think that if you wanted a description of how this sounds, you couldn’t go far wrong with Blitzkrieg. 

Everything is ramped up, each part of the team knowing that having this land and crush is the only measure of success. If I wanted to be critical, I could argue that its maybe a minute or so longer than it needs to be, but I think that would be churlish of me really. 

Taking it as its meant to be, which is an example of what good death metal sounds like then its nearly perfect. And then they drop The Voice Of My Ghost. As this kicks in, and I mean it kicks in like its life depends on it I can only imagine how this would have been received back in the early to mid-90’s. Heads would have popped. 

As it is, they have given us probably one of the best second tracks on any album this year. Its amazing that they have turned up with this sort of venom and fury still running through them. Everything is on point in terms of speed whilst still having clarity of sound. You hear everything and its just royal. Again, you can argue for its length but it gets a free pass due to the extended solo freak-out that occurs. 

I’m also happy to say that on track 3 they haven’t slowed down or thrown a quiet/loud affair at us. Nope, Athirst For Dissonance turns up and snarls ‘do you want some more?’ to which the answer is yes. If tracks 1 and 2 were top, this has some of those ‘chef’s kiss’ riff moments running through it. If you imagine having a car that is just running beautifully, it would be this song. 

Its just class and is representative of them finding their range as it runs into Born Of Plague. It’s just frantic, played at speed where it means something as opposed played fast with no meaning behind it. Both this and Divine Tragedy show that the shorter run times work in their favour as in each case they are determined to bring that blitzkrieg to your ears at every step. 

There is no reverse gear at all on them as they charge forward, continually pummelling you as only classic death metal can. A lot of its success can be laid at the door of Jon Longstreth, whose command of the drums on this is par excellence. He just slams away, keeping that forward propulsion in place and it’s a performance that should be used as a yard stick for everybody else wanting to play this music. 

This is certainly the case on Carnage Of The Forgotten, where there is quite a large hint of Morbid Angel in there, but again the drumming is just on fire. Arrangement wise, in some respects its simple but it’s the way it is attacked that makes it sound the way it does. It’s like they look at each song and go ‘we must make this one better’ than the last one. When Our Shadows Align is next, and it charges onwards like it is the opening track, not the penultimate one. There is no lull on this, no drop off in energy or in quality from them even when you think there should be.

Forged Of Stone is their closing statement, and you would forgive them for maybe taking it easy, having a relax and maybe busting out the pipe and slippers. Not on their watch. This one is monstrous, going for more of a mid-paced stomper than the trem picked madness we have been treated to. Don’t be misled, this is where they have dug deep into their combined experiences and come out with an 8-minute classic. Double bass, speed changes, a drum clinic and some razor sharp riffola combine to bring the curtain down on one of my favourite releases of the year.

Malefic Throne, in looking to their own past have delivered a death metal album for the future. I said earlier that it doesn’t do anything new, which you could take as a negative but in this instance I’m glad that they didn’t try. Instead, they have quietly dropped one of the albums of the year. Basically, you have 8 solid gold tracks that for me encompass everything that is good about death metal, and why its one of my favourite styles of music to listen to. 

The only regret is that it fell through the gaps, and for that I can only apologise it not being able to give this the love it deserves. 10/10

David Galas– The Nihilist (These Hands Melt) [Spike]

This is a Post-Punk transmission from the frozen heart of America. David Galas, long known for his contributions to Lycia and his own work in Goth Americana, has taken a sharp turn toward the neon-drenched abyss. The Nihilist is an unexpected yet necessary album: it’s the sound of Joy Division finding its nihilistic groove in the modern era, drowning everything in high-fidelity dread and danceable despair.

The core tension of the record lies in the stark contrast between the electronic urgency and the vocal delivery. Galas successfully channels the lyrical darkness and relentless rhythm of bands like The Mission and Joy Division. His low, deep voice, which sounds like early Andrew Eldritch (The Sisters Of Mercy) but with a much darker gothic style, acts as the perfect conductor, delivering monotonic, monotonous vocals that elevate the underlying sense of dread.

The transition to rhythm is immediate. Tracks like Syndrome and You’re A Needle In My Arm rip through with pulsing energy and driving basslines that demand movement. This is high-octane Goth music, achieving maximum velocity while maintaining an underlying sense of collapse. The seamless shift proves Galas is not just about atmosphere; he's about aggressive propulsion.

The central concept is the contrast between the cold-glow electronics and the human vulnerability. While much of the album is designed for a chaotic, after-hours club experience, moments like Pillar Of Sorrow pull back to deliver profound emotional ache, proving the depth of the composition. However, the energy soon returns on Atrophy and the title track, which showcase the meticulous layering of synths that fill every space with mechanical pressure.

The Nihilist has all the potential to become a darkwave cult favourite. It is a testament to an artist willing to leave the familiar comfort of ambient sorrow for the more challenging, aggressive urgency of the dance floor. It's a solid, essential companion for the dark season, ending with a final, desperate turn back toward the original mournful sound on Cloud Of Despair and Psilocybin, proving that even when we dance, the pain remains. For transporting me back to bands I loved but adding so much more, this will score. 9/10

Hexjakt - Blessing Of The Damned (Majestic Mountain Records/Burning Skull Records) [Rich Piva]

Release number two of 2025 from Swedish doomsters Hexjakt shows the band bringing more of their heavy doom with sludge and even some psych leanings on their first full length record, Blessing Of The Damned.

I enjoyed this record for sure, even if it is a bit too long at a running time of over an hour. I love how there is a doom with almost hardcore vocals feel to Black Circle and how it plods along yelling at everyone in its path. The opener, 10,000 Crows, has some of those psych vibes I mentioned and it is excellent. High On Fire is evoked on Void Throne, which may be my favourite on the record, especially when it cleans itself up a bit towards the end, until the heavy returns. 

A couple of my favourite tracks are the spooky heavy and (for them) up tempo doom of The Act Of Dying and the chunkiness of Monolith, a song title that almost always delivers a killer song and this case is no different. Did we need a doom cover of Don’t Talk To Strangers? It depends. On this album, we did not. The record is long already and the band has an EP from January, why not save this for a follow up EP next year? That would have helped on the too long run time of Blessing Of The Damned overall, but hey, it’s still a cool cover, just maybe out of place here.

Overall, even being too long, Blessing Of The Damned is a pretty killer first full-length for the already very productive Hexjakt. I dig the heavy, doomy, hardcore high on fire vibes I get from this one. Good stuff. 7/10

Nattradio - The Longest Night (Darkness Shall Rise Productions) [Matt Bladen]

Nattradio are a duo in the studio formed of Niklas Brodd (guitars) and Martin Boman (vocals), they've already delivered one studio album last year but they have convened again in Northern Sweden for a follow up entitled The Longest Night which looks to gain them a bigger following for their gothic doom metal that casts dark atmospheres.

The album is on a somber keel, every song comes from slow, gloomy place, influences from the likes of Katatonia (Sketches From The Dark), The Cure (Alright For Now), but also Gary Numan (Dark Streets) and the electronic elements are heavy on Night. Called The Longest Night, all of the songs were recorded between 01:00 and 05:00 in the morning and the emotion of those twilight hours is reflected through these maudlin movements.

The Longest Night takes from goth, electronic and metal music to make the perfect soundtrack for winter. 7/10

Reviews: Killed By Deaf, StarAce, Spectral Sorcery, Thus Defiled (Matt Bladen & Mark Young)

Killed By Deaf - Punk Tribute To Motorhead (BMG) [Matt Bladen]

If you were to make a connection between Motorhead and any other genre of music, the most direct would be punk rock. Though famously they played rock n roll, Lemmy and the boys had the same, D.I.Y, non-conformist and often politically motivated ethos as those in the punk scene. Just look at their covers of The Ramones, Sex Pistols, and the numerous tours with The Damned.

Punk rock and Motorhead go together and this new compilation proves that in spades. With covers from Rancid, Pennywise, Lagwagon, GBH and more, this record, which is part of the 50th Anniversary of Motorhead campaign, is 14 tracks of noise that united tow very distinct fandoms back in the day and continues to break boundaries now.

You would often see punks and metalheads all in that same Motorhead gigs, after the gatekeeping of the first wave of punk disappeared the tribes converged and Motorhead were the band to keep the peace (louder than everything else mind you). I'm sure most of the bands here were probably inspired to write speedy, anarchic music by that grizzled snarl and rapid bass of Lemmy, the insistent drumming of Filthy and the rapid riffs of Fast Eddie.

All of the covers here showcase the notion that Motorhead are punk, each band are doing their best Motorhead impression from Pennywise's Ace Of Spades and Rancid's Sex & Death, through The Bronx's Over The Top, Fear's The Chase Is Better Than The Catch, to Anti-Nowhere League's Born To Raise Hell and Soldiers Of Destruction's Overkill, nothing is changed to wildly to fit with the individual bands aesthetic, they sound both like the originals and a song by the act in question thus is the strength of Motorhead's punk rock credentials, if anything some of these bands are playing guitar solos for the first time!

It's miraculous just how comfortably Motorhead songs fit in the punk sound but then as I've said it should be obvious, especially when you get to the final track which is a previously unheard version Neat Neat Neat recorded by Motorhead alongside The Damned in 2002, and they smash the hell out of it, owning as if it's their own.

The 50th anniversary of Motorhead, has unearthed and created some great things but Killed By Deaf is one of the best. Punk rock n roll in tribute to the loudest band in the world, make sure to play it loud. 8/10

StarAce - Real (Self Released) [Matt Bladen]

In latest edition of albums I should have reviewed earlier, it's Real, the debut from StarAce. Now when this record began I was immediately taken back to my first time discovering Tom Petty And The Heartbreakers, that fusion of radio rock, honest Americana and down home blues is all present from the first notes of Right In The Middle.

Real has authenticity to it, produced by David Frangioni who has worked with Aerosnith and Kiss, it's just drips with the songwriting of road-weary troubadours, playing every mom & pop joint in the heartland of America. What may surprise you then, is that StarAce hail from São Paulo in Brazil not Nashville in Tennessee, which is thoroughly confusing when they play a song called My America.

Not that you'd be able to make that connection at all as StarAce's debut draws from the legends of the country/blues/southern rock, as well as more recent acts like Blackberry Smoke (Another Day Gone By) and Robert Jon & The Wreck, who bring those Americana influences bang up to date, ready for mass radio consumption.

StarAce began working on this record before COVID but this stalled during the pandemic of course but then it was full speed ahead recording these 12 songs live in the studio, showcasing their commitment to it being, Real, blood, sweat and tears as the themes of community, information overload, abuse of power and of course love all feature.

StarAce are comprised of brothers Julio (vocals/guitar), Luiz (bass), and Thomaz Starace, their familial unity strong on every track like a country rock Von Hertzen Brothers on Dark Side which blends The Eagles with Dire Straits, the core trio, creating these songs with their sibling synergy.

Joined by guitarist Chris Dias and keyboardist/vocalist Bia Tucci, who brings atmospheres to Mystical Cat which draws from Led Zeppelin and even Boston, One More Night In Nashville rubs some stank on it as Fighting My Shadow and Blue Water are both shuffling country, again showcasing how much StarAce care about being authentic to their influences and to themselves.

I'm gutted I missed this album the first time so consider this rectified, Real is a the real deal. 9/10

Spectral Sorcery - Hyperspace Odyssey (Psalmodist Records) [Mark Young]

And for my last review of 2025, it is two things. One, its 2 months late (apologies all round, nothing as big and riffy as this should ever fall between the cracks) and Two, its massive. Three songs that wrap up in 42 minutes give you a brief sense of what they are about, and what they are about to bring. I should point out straight away that this is purpose built for those who love their doom with a definite lean into psychedelic. It immediately reminds you of Hawkwind and bands of that ilk, especially on the lead off track, the aptly titled Hyperspace Odyssey because this is a journey. 

One that brings all of the traditional weapons of doom into play – the organ, Wah that sounds like it has been soaked in honey, long solo’s and repeated measures, kept in check by a rock-solid groove. There is a brilliant melodic line that underpins the whole song, providing that base from which they can then run off and add those embellishments that make its 21-minute run time fly past. 

For me, this would be one of those tracks that would be a blast to jam, especially the outro lead breaks that have the right balance of emotion and skill to them, which instantly appeal to me as someone who is limited in his playing (I’m obviously not suggesting that these guys are limited in their playing). This is a massive song, chock full of glorious guitar and should be front and centre on any Psych Doom fans playlist and is worth the price of admission alone. Just releasing the one song would have been acceptable, at least to me.

And then they bring you Dreams Of Arrakis which keeps that stoner vibe in full effect, splitting the song into phases that bring us more of those blissed out leads. The use of effects run rampant on this, and they only add to that spaced out feeling the song evokes. Its not driving music, this is rest and relaxation music of the highest order. The way that they arrange this is undoubtedly similar to Hyperspace, but only in that they realise that it must have that outgoing payoff in order to close the song out properly.

Completing the hat-trick is Spelljamming Time, which comes with an organ drenched arrangement that owes a little to Pink Floyd before they bring out the big fuzz and the riffs. This has more of a looser composition, and as a result seems to drag a little when compared to those that came before it. It doesn’t make it any less worthwhile in terms of kicking back to this and like before the ending close out is spot on.

What you can’t escape from is the fact that they can write and arrange some of the finest Psych/Doom/Stoner music currently released by anyone. If you have any appreciation for this genre, you have to get onboard with them now. Again, I can only apologise for missing this, but in some respects doing it so late could hopefully shine a light on what was one of the releases of 2025. 8/10

Thus Defiled - Through The Impure Veil Of Dawn Remaster (Vic Records) [Mark Young]

OK, so when I think of black metal, the sound generated by Thus Defiled is exactly what comes to mind. I’ll confess that back in the early 90’s I wasn’t the biggest fan. At this time, it felt that fans of it were fans because it polarized opinion, especially amongst those that loved the more established names in metal. Through The Impure Veil Of Dawn is their debut album, remastered and inclusive of bonus tracks from 1994.

Lets get the elephant out of the room. Despite being restored and remastered it still sounds of its time. The chances are, that if you weren’t onboard with it back then, then you won’t be now. As a snapshot of a period in time, its fabulous. A British act, turning in their own take on what black metal is (at least to them) with songs that charge forward in each case, possessing that icy vibe that the Scandinavian acts of the day had. How does it hold up now, 30 years later? Quite well, it has to be said. 

The remaster that has been done is one that keeps it sounding like it did back in 1994, just better. Its not super processed or over produced, it’s just cleaner but with that lo-fi sound still in place. If you were listening to this now as a new release you might say that they have gone all out for recording it in a cave but is in keeping with the vibe they wanted. The songs themselves, are a definitive snapshot of how black metal sounded back then. Rapid changes in tempo, frigidly cold piano and guttural vocals punctuate the album and it has a guitar sound that grinds off your teeth.

If you wanted to compare it to latter day releases, you could argue that it sounds almost primitive, never mind Old School. But that is its charm. The songs themselves are as good as anything being released at present and again that is dependent on how you take your black metal. In approaching it the way they have, they have kept it as close to how it was originally released, treating it with respect and in doing so opening it up for a new audience. 7/10

Reviews: Rotten Sound, Gore, Homegrown, Master's Hammer (Spike, Matt Bladen, Rich Piva & Mark Young)

Rotten Sound – Mass Extinction (EP) (Season Of Mist) [Spike]

This is not a slow death; it’s an act of instant, surgical extinction. Rotten Sound, the Finnish grind legends, have returned with their eleventh EP, Mass Extinction, and it proves that after three decades, they are getting more extreme with age. This short, brutal offering is a cynical, politically charged masterclass in hyper-efficient Grindcore, delivering ten minutes of pure, unrelenting violence designed as the perfect soundtrack for a world ready to ignite.

The philosophy here is ruthless efficiency: wham bam, grindcore ma'am. Eight tracks are condensed into a brutal, hammer-beating surge that leaves zero time for reflection. These songs, forged during the sessions for their previous album, Apocalypse, function as concentrated sonic shrapnel. The performances, particularly the drumming of Sami Latva, are beyond ferocious, exhibiting energy that exceeds that of any young, hungry act.

The true impact of this EP lies in how they temper pure blast-beat carnage with fat, corrosive grooves. Tracks like Gone and Empty Shells thrash with the required, inhuman speed, but they are punctuated by the cynical, D-beat anthem of Idealist. Vocalist Keijo Niinimaa snarls his contempt over riffs that open the circle into a mosh pit, using social commentary on distrust and polarization ("Brave New World") as fuel for the fire. This is social justice delivered at a thousand miles per hour.

The production is pristine enough to let the brutality pierce through, yet filthy enough to maintain the necessary ugliness. There is no polish on the content, only on the delivery. The closer, the title track Mass Extinction, wraps up the entire thesis with a final, filthy, sludgy sound that locks the listener into the collapsing void. Rotten Sound’s career is defined by this consistency and quality. They have mastered the ability to take elements from grindcore, death metal, and crust punk, and compress them into a singular, devastating charge. You don't need a longer album when the impact is this dense. 9/10

Gore - If You Do Not Fear Me (Spinefarm) [Matt Bladen]

Yes, just a thousand times yes, I think I may be a little in love with Haley Roughton's vocals. I missed their debut release A Bud That Never Blooms back in 2023 but they have won me over with If You Do Not Fear Me, the band are built around Haley's experiences in and perspectives on the music scene.

Framing them from a feminine angle with a musical backing from guitarist Alex Reyes, bassist Devin Birchfield, and drummer Wills Weller rounding out this band who will instantly appeal to fans of Spiritbox, Thornhill and The Pretty Wild who I reviewed recently and Brisoh act Adharma who I'm a bit of fan boy for.

It's intense modern metal where Djent/metalcore grooves intertwine with electronic twists and pulses, the stop start riffs switching into ambient passages, produced to sound massive and highlight the dexterous vocals of vocals of Roughton. One moment filled with fragility, the next incandescent rage, then cathartic calls for unity.

She's a vocal sensation, channeling the themes of faded innocence and lost hope that permeate this second EP. It's a set of songs from a more challenging place, 15 minutes of music that journey to the darkest parts of the human mind. With lyrics about abuse, loss and indifference to suffering, this Texas band ride their wave of continued popularity with an EP that's heavy in multiple ways. 8/10

Homegrown - Homegrown (Majestic Mountain Records) [Rich Piva]

Gothenburg, Sweden’s Homegrown brings us some psych instrumental weirdness on their self-titled second record dropped on us by the wonderful Majestic Mountain Records. Not all instrumental records catch with me, actually the majority do not, with some major exceptions. Let’s see how Homegrown does with these ears…

The answer is that it mostly does. I could have gone for maybe ten minutes less of a run time, but the tracks on Homegrown show that these guys can play, they have a plan, and they execute on that plan well. I love the guitar work on Frihetsvisa i A-Moll which sounds vaguely familiar and I will feel dumb when someone tells me this is some kind of old folk song redone by these guys but oh well. 

I love the urgent feeling to Häxjakt i Snetakt until the shrooms kick in and everything is alright (mostly). I dig the chiller tune Adams Äpple and how weird it is. The drummer is a madman, as confirmed on Den Hornkrönte. The closer, Talisman, is one of my favourites and closes the record nicely.

It’s a bit long, and the songs run together, but the self-titled Homegrown record is fun to turn on and have in the background while you work or have something to stare at when something may be altering that mind of yours. 7/10

Masters Hammer - Maldorör Disco (Darkness Shall Rise Productions) [Mark Young]

I think In the few years I have been reviewing for this site, I have been relatively blessed in that I haven’t had many ‘hate on sight’ moments. But first, a little about the stars of this review – Master's Hammer. This is an outfit that has been around since 1987 (according to online sources) and their output combines black metal and, in this case, electronic music. Again, prior to sitting down to review I’d never come across them so I’ve come in blind, which is always a good thing. The problem I have is that now I’ve listened to it, I now have to try and find a way of describing it without resorting to the use of ‘bleepy bollocks’ ad nauseam.

It starts with the kind of euro EDM that you might hear on Eurovision, swiftly joined by riffing that seems more at home with industrial than black metal. I’ve said this before that your opening track is your only chance to establish the album with a listener. It has to engage, to make you want to listen to what comes next and in the case of Anděl Slizu it doesn’t. That feeling doesn’t change with Genesis P. Orridge which seems to follow the same pattern as the opener. At this point it seems like a million years removed from black metal but there is nothing here for me. The use of electronic means with each song is fine, I have no issues with that at all. 

What I take issue with is what appears to be the use of repeated themes and ideas with no real change between songs. They start in more or less the same manner, from Take it or Leave it through to the title track onto Beast Within, none of which resonate with me in any way. I’m just not digging this at all. The question is, do I stay or tap out? Just for you, I stayed the course but results did not get better. The remaining songs occupy the same arrangement as those that mentioned. Its not that its bad (what is bad, anyway), its just dull.

It feels that it will find a home with those who love to dance outside of the normal (and delight in telling you this). I suppose that is point of Avant Garde. To build art for arts sake and to question why things are done the way they are. If you are driven by a need to listen to dance / guitar music that is awkwardly welded together then knock yourself out. Its dull, repetitive and not for me. 5/10

Reviews: Wolfsbane, Excide, Adventure, Malemort & Cerbère (Matt Bladen)

Wolfsbane - Live Faster/Kathy Wilson EP (Self Released)

As with any bands formed in the late 80s early 90s, production, mixing and mastering is always a bit of an issue when trying to discover what they sound like. Especially if those bands still are around today because a lot of them will have modern production techniques, now they will sound a lot slicker a lot sharper but going back to those early records you do tend to get quite hollow sound that was there after the vinyl boom during the error of cassette tape but before the digital CD sound.

A band like Wolfsbane have this issue with their first two releases, compare them to Wolfsbane Save The World and Genius, the difference is massive, (a massive noise injection if you will), so as Wolfsbane are back with a vengeance and they want to show everyone why they're for my money one of the best live acts on the planet. The band have decided to re-release both their debut album Live Fast, Die Fast and the follow up EP All Hell's Breaking Loose Down At Little Kathy Wilson's Place.

For a band to be in their 40th year and still have the original line up is a rarity, so Live Faster is billed as the their debut album re-imagined and re-recorded but with the original HMS (look it up) that made it. It's a completely new recording of the album as the band are now, Blaze Bayley still with that power and wide eyed intensity that comes through on the evergreen Manhunt, the raucous Money To Burn and slice of sleaze that is I Like It Hot.

Jeff Hateley (bass) and Steve Danger (drums) still lock in for the filthy bottom end but they're playing them the way they do now, the songs having evolved over the years on stage, either getting heavier or louder or both while still retaining the youthful exuberance of the originals but now featuring a rhythm section that is in total sync.

Guitarist Jase Edwards too rips through the riffs and solos like a man a 1/3 of his age but he also has all the production skills to make this a different experience to the original. With Jase behind the desk, re-recording Live Fast became a much more personal and enjoyable experience, while the original had Rick Rubin twiddling the knobs, Live Faster is perhaps a more genuine and honest reflection of how the band wanted things.

Because they aren't busy enough Wolfsbane have also remastered the 1990 EP, All Hell’s Breaking Loose Down At Little Kathy Wilson’s Place, as tracks such as Paint The Town Red, Steel, Loco and even the delightfully weird Kathy Wilson herself, all still feature in their set today so it makes sense for Jase to give them a sonic overhaul as well, having already done so once but after realising how difficult the EP is to get a hold of, he has re-remastered Kathy once again with the skills he has in 2025.

So two beloved records going back to where it all began, but both changed by experiences of those involved. Wolfsbane, live faster everyday and there's few that can catch them. 9/10

Excide - Bastard Hymns (Sharptone Records)

While recording Bastard Hymns at Down Under studio in Wilmington, DE with producer Austin Coupe, Carolina metal crew Excide drew from influences such as "Failure, Cave In, Snapcase, Queens of the Stone Age and classic western flicks." Throwing together all of these elements they've delivered a sophomore album that spans multiple genres, in a way that strongly reflects their influences but combines them in a way that is very modern.

Bastard Hymns is an intense listen, the ferociousness of hardcore collides with the groove of 90's grunge and 2000's nu-metal before unpredictably moving into glistening shoegaze atmospherics, post-hardcore anthemics and pop punk bounces, all underscored with technical ability and direct songwriting that has been honed on stage, over countless hours and relentless tours.

Their debut, Deliberate Revolver was well received, positioning Excide as ones to watch as genre smashing, up and corners in the hardcore scene, so with Bastard Hymns they have doubled down, on their unique approach, writing music for themselves and no one else. Now I'm sure that hardcore fans would be able to name all the bands that Excide are influenced by but just the small list they themselves provide will be enough for you to know that Excide pull no punches on this thrilling second record. 9/10

Adventure - Adventure 2000 (Apollon Records Prog)

25 years after it's initial release, Adventure, the debut album from Adventure, has been re-released in a remastered form. The album is said to have kick-started the Norwegian prog scene as these wandering minstrels combine classic prog textures with symphony elements inspired by the likes of Camel, Uriah Heep (Byron & Thain era) and even acts such as Magnum.

The neo-classical instrumentation, the Medieval atmospheres and the bardic journeyman lyrics all hark back to the bygone days of men in tights playing the Mandolin (The Wee Hours) as guitarists crank out solos inspired by Bach or Vivaldi and organs swell like some sort of church of complex arrangement.

The record has been remastered by Jacob Holm Lupo and having not heard the original I've got nothing to compare it too, but it at least sounds like an authentic vinyl record from the 70's so kudos if that's what they were going for. This isn't some throwback to a band lost in the mists of time though as Adventure are still going concern having released their most recent record in 2022, well two records that make up a two album concept piece!

They are still led by Odd-Roar Bakken and Terje Flessen who play the keys and guitars (through a bit more on the debut) and while Vebjørn Moen has been replaced as a vocalist (they now have two), this record is a very important piece of history for a band who did their bit to establish the Norwegian prog scene, and though it is now 25 years old, the music features on it is inspired by bands from 25 years before it. Double retro, can't get more prog than that. 8/10

Malemort & Cerbère - Aimless/Glace Mère (Rope Or Guillotine/La Harelle/Arsenic Solaris/Chien Noir)

I don't know what the collective name is for two trios however both Malemort and Cerbère are French based extreme metal acts that drag themselves from the torrid pits of doom and sludge to create abrasive, all consuming soundscapes fit for the apocalypse.

Contributing a song each, Malemort kick off with the 18 minute Aimless, a blackened, hellscape of a destroyed future, dissonant and visceral, the band showcase their first material since their debut here, deep in the writing stage if album two, this break from the studio shows off their harrowing approach to musical torment and bodes well for more evil things to come.

Cerbère's side of things is Glace Mère, which is a 16 minute descent into ice cold landscapes. Glacial bleakness that was recorded live in one day, and takes inspiration from the fantasy literature of Micheal Moorcock, the Parisian band are perhaps a bit more vicious than their doom wielding compatriots, siding more with punk and hardcore, there is a palpable aggression to their music, that both counters and works in symbiosis with Malemort.

Aimless then is a slow moving, nihilistic, descent into the abyss, while Glace Mère is a hardened, spite filled, journey across tough terrain that ends in madness. Two French bands who bounce off each other and deliver over half an hour of extreme music, I'll be awaiting what they both do next. 8/10

Reviews: Bygone, Jester Majesty, Indigosaur, EverRise (Rich Piva & Matt Bladen)

Bygone - Bygone (Svart Records) [Rich Piva]

The Boston band Bygone sounds like their name. A band from another time; but this Bygone’s time is now, because their debut self-titled record sounds as fresh as anything that has come out in 2025 while staying true to the sound of the band’s influences. What are some of those bands you ask? Uriah Heep, Blue Oyster Cult, Deep Purple, UFO, maybe some Hawkwind, and even a little bit of Kiss, just to name a few. This is outer space blast off riff and organ filled transported to 2025 from a better time killer head tripping rock and roll and boy oh boy am I here for it.

Lightspeed Nights opens up the record in all of its synth and riff glory, sounding like a space odyssey that Hawkwind with Paul Stanley on vocals may have sounded like, but heavier. The guitar work on Shadow Rising works so perfectly with the keys and paired with those vocals makes this a song of the year candidate. Deep Purple meets BOC and it is breath taking. The tempo slows a bit on Take Me Home where the keys drive and a chunkier Rush vibe appears from the sky. Synth solo!!! 

Into The Gleam is where space is the place, with a nice proto chug and killer synth work (again). Deep Purple in outer space is what The Last Horses Of Avalon is. As well as being awesome. The guitar solo on this one is top notch. Bygone is capable of creating earworms too. A good example of this is the chorus on the song that gives me (and probably only me) Kiss vibes, City Living. Fire In You Fire In Me closes us out with the most 70s sounding track of them all, in the best sort of way. The keys and the guitar seamless, the vocals spot on, the proggy synths, the chunky riffs…so awesome.

What a debut. When I bought the Bygone demo tape I knew we were in for something good, but for it to blow me away this much is surprising even to me. Bygone may sound like they are from the past, but they are here now to rule the earth. Amazing stuff. 10/10

Jester Majesty - Infinite Measure, Finite Existence (Xtreem Music) [Matt Bladen]

A progressive metal record from a technical twosome now as Jester Majesty deliver the debut full length Infinite Measure, Finite Existence, following an EP in 2024. Formed by Alessandro Gargivolo of thrash band Alchemist, Jester Majesty is a place for the songs he has written that are perhaps to dense and complex for a thrash band.

A way for him to be more creative and experimental with his songwriting as he draws inspiration from Death, Coroner and even Heavy Devy on the rapid shifts of Married To The Masterplan. Gargivolo (guitars/bass/vocals) was joined by Erymanthon Seth of Apocalypse on the EP and now with the debut and now with this full length they have a full partnership with Seth handling lead guitar & keyboards.

Notice there is not a drummer, so yes these are programmed but you know what? There are so many death/thrash bands that do this now that it's probably the norm. With the mix and master of Nikola Zanev, you can pick out all of the skill here especially in the guitars/bass which are the major contributors to this progressive metal feast, a record that has some serious virtuosity to it.

Proficiency in the extreme, Jester Majesty aren't just here to show off, this is progressive metal with songwriting that compliments the skill level. 8/10

Indigosaur - Cosmic Center (Electric Valley Records) [Rich Piva]

Cagliari, Italy’s Indigosaur are here to bring some straight up killer rock to a 70s rock themed party in the form of their debut album, Cosmic Center that is filled with riffs and anchored by some great vocals and cool sense of melody all while keeping a nice blend of heavy across the nine tracks on their first effort.

The band sounds tight and has a really cool sound that you get right off the bat with the 70s proto feel of the opener, Garden Blast. The guitar work across the record is excellent and the production is spot on. A nice stoner rock riff opens Titania that has a bit of a punk feel to it also. The pace slows with a bluesy feel on Fiery Engine, which reminds me a bit of Fire Down Below. 

I seem to write this a lot when talking about bands from certain geographies, but I also get a band like Tidal Wave in a song like Never At Ease, which is killer. A couple other stand outs for me include the 90s via 70s sounding Fangs, the psych-leaning fuzzy riffs on The Wage, and the almost funkiness of Fellow Astronaut. There is not a bad track on the record and the songs flow nicely throughout the entirety of Cosmic Center.

Indigosaur gave the people a great debut, filled with riffs, proto 70s stuff, and a not so subtle nod to 90s alt rock on Cosmic Center. A record very much worth your time if you like the fuzzy, riff filled rock. 8/10

EverRise - Lost (Eclipse Records) [Matt Bladen]

A French band playing Swedish melodeath now as EverRise return after quite a gap with their third record Lost.

With lyrics that deal with issues such as depression and suicide, there's not much catharsis to be had here, but the downbeat lyrics are delivered by vocalist Benjamin in just growled and screamed tones so there's not that duality between clean and harsh delivery you get with some Melodeath bands.

EverRise bring introspection and isolation on Lost, taking them down a heavier path than they may have stepped on previously. Maybe it was the gestation of this record or maybe personal things but EverRise are angrier on track such as My Shelter, but like Arch Enemy or At The Gates or Insomnium guitarists Stéphane and Patrice manage to change easily between HM-2 buzzsaws from melodic leads and solos.

The technical ability of the band is without doubt and while the guitars often get the attention in the back room Laurent's bass is the anchor for the heaviness while Fabrice can ignite a song with blast beats after periods of relative slowness, though nothing is too slow for too long as this is melodeath that leans on the deathier side.

The album title is Lost but EverRise have found an inner darkness that has made this record all the heavier. 7/10

Reviews: Cryoxyd, Muffasonic, Funeral Vomit, Bob Saliba (Mark Young, Spike, Joe Guatieri & Cherie Curtis)

Cryoxyd - The World We Live In (Dolorem Records) [Mark Young]

The shadow of Death amongst other heavy hitters looms large on The World We Live In, the latest full length from Cryoxyd. 

You can trace its musical lineage from the early 90s to present day, where it gleefully takes every influence possible from that rich golden period whilst driving a truck through and past the musical movements that have sprung up since then – Nu Metal, NWOAHM all that good stuff is ignored in favour of building the best music they can, music that sounds like their heroes without directly copying them. And why not? There are plenty of bands that continue to draw from Black Sabbath so why not look to the prime exponents of death metal?

Once we navigate past the intro into Day After Day, they take no time in showing us what they are all about. And they are all about the riff, the double bass and vocals that are part John Tardy and the mighty Chuck. There is a definite guttural approach, but one that is delivered in a way where you make out the lyrics. Comparisons with latter stage Death cannot be avoided, there is a feel running through it but like I said its not overt in how its done. 

Its more like they have gone for a ‘what would Chuck do here?’. Add in that they can play this music with their eyes closed and you have a powerful opening blast. Dismal Fate utilises starts slower and then they build it up and out, moving through the technical gears and its basically a showcase for intelligent riffing and quality lead breaks. Having that fast/slow one two is traditional, and as long as they don’t drop a ballad in next, then we are golden.

Spoiler – they don’t and in Injected Minds they drop a banger. This one has all of the tricks running through it – melodic lines that double up, leading into rapid tempos and again lead breaks that bridge that gap between the technical and the mental. Its quality, death metal written by pure fans who want to express their love for it.

You will be happy to know that despite the inclusion of an instrumental, the later songs don’t run out of steam despite the average run time being north of 5 minutes. Ambivalent Feelings is a good example of how they take a base riff and then build around it. Honestly, the approach is nothing new and I won’t pretend to you that it is. What I will say is that they have built effective death metal that is familiar but worthwhile to listen to. There aren’t any duff tracks here, and yes you could argue that they sound a lot like Death but should that stop you from enjoying it? Maybe, but then that would depend on you being the sort of person who only listens to death metal between a certain period and from certain bands. 

There is a lot to enjoy here, especially when they end with Mindless Human Form which is a stone-cold belter. Manic stop/start riffing, double bass for days is exactly what you want, especially as it segues into the outro track, which like the intro wasn’t really necessary. Putting those to one side, it’s a quality album that has a lot going for it and if you are a lover of death metal, especially well built, efficient death metal then you should be all over this. 8/10

Muffasonic – Brotheranza (EP) (Self Released) [Spike]

This is the sound of your inner ear being rewired by a massive fuzz pedal. Muffasonic—the Italian instrumental power trio has delivered Brotheranza, an EP that proves the most powerful statements often require no words. This is dirty, fuzzed Heavy Psych Rock that merges old-school Stoner grooves with modern, cinematic intent.

The manifesto is simple: epic jams and relentless volume. The EP is a short, five-track masterclass in creating crushing soundscapes, proving their claim that they can recreate their live impact in the studio. Tracks like the opener Komadrone and the following Phantoxication immediately hit with sharp, aggressive energy. These are not ambient pieces; they are direct, heavy rock movements where the guitar (Gianluca Sirri) and bass (Nicola Casadei) communicate solely through corrosive tones and intricate, interlocking grooves.

Muffasonic excels by leaning heavily into atmosphere. The material frequently evokes a sense of journey, driven by cinematic elements that feel ripped from a high-speed desert chase. The absence of vocals is a strength; it forces the listener to focus entirely on the relentless, hypnotic rhythm section provided by Giampaolo Farnedi's drums, which is the necessary engine for this wild trip.

The full weight of the EP is delivered by the monstrous closer, Bovindha, which clocks in at over ten minutes. This track is the definitive statement of Brotheranza, providing the ultimate long-form instrumental jam. It builds, it expands, and it ultimately dissolves into a psychedelic, satisfying drone, proving that this trio has huge potential for the future of epic, heavy psych metal. This record is essential for anyone who believes volume and texture are the true ingredients of musical aggression. 9/10

Funeral Vomit - Upheaval Of Necromancy (Xtreem Music) [Joe Guatieri]

Funeral Vomit are a Death Metal band from Columbia that formed in 2020. They have quite a few releases under their belt already with a demo, two splits, an EP and their first full-length, Monumental Putrescence, which came out in 2023. Now in 2025 they bring us their second LP with Upheaval Of Necromancy.

To begin with, we are presented with an interlude, that being Intro (The Disentombment). It brings up the feeling of isolation as images of crawling around a venting system in a spaceship in a far off world come to mind. The static in both channels represents the need for me to catch my breath and the low-down bass strikes hint that something may be after me.

Going into track two which takes the same title of the album, we are presented with what this record is all about. Blistering guitars which strangle your ears into submission, thunderous dark bass and wild drums with a surprising Hawaiian-esque timber, especially in the tombs.

Sulphuric Regurgitation in next, which is full of surprises. After the aggression, something more fun bounces into the picture, out of nowhere comes a Groove Metal section from 1:54 which tightens up into something that brings you in, instead of pushing you away like the majority of the album does.

It’s always nice to headbang whilst staring into the eyes of death, as then a Hard Rock solo washes over you and disconnects you from the server. It feels completely out of place, especially with its silly dive bomb but I just love it. I’m always here for the rug being pulled out from under my feet and Sulphuric Regurgitation does just that which is why it’s my favourite song on the record.

Later we go into track seven with, Altars Of Doom. Now to me, this takes a song that wouldn’t be out of place in Looney Tunes short and drags it through a fun house mirror, of course whilst being burned alive in the depths of hell.

It’s got a sick solo and the vocalist made me burst out laughing, they are saying so many words at once in their saliva spluttered growly delivery to a point where I don’t even think they are speaking English anymore. As far as I’m concerned, they have took the liberty of inventing their own alien language on the spot, how appropriate.

Upheaval Of Necromancy is on a seesaw throughout its runtime, juggling the menace of its cutting Lo-fi production and the band’s playfulness. Even when the layers of claustrophobic instrumentation are pressing against your person, the band’s character shines a torch through it, having fun in the dark.

Overall, Funeral Vomit have crafted an album that they can call their own. It’s got all the bells and whistles you could ask for with its impactful samples and threatening blast beats but it still could do so much more, it could of been scary. Upheaval Of Necromancy has substance but for me lacks structure. 6/10

Bob Saliba – Testimony (Independent) [Cherie Curtis]

Bob Saliba brings us Testimony which to me is a real mixed bag. We are presented with 13 tracks of determined, high powered and easy to listen to power metal mixed with hard rock. 

There's a mixture of emotionally dynamic and energetic anthems with traditionally sharp riffs and catchy choruses with sometimes gritty lead vocals with clean layered harmonies to then we get a joyously fun track which is almost peppy in spirit. Bob Saliba brings us radio rock that's fit for everyone and all purposes, no complaints to be had except that it isn't something ill choose to put on.

Each track has a creative and interesting build but after a few minutes the chorus can veer on the edge of boring as I feel like we’re given different versions of the same chorus, which isn’t necessarily a negative thing – it just shows that he has a distinctive sound and knows what works for him. 

It’s worth mentioning that instruments are played perfectly, cutting and distinctive solos and clean vocals with an elegant amount of reverb are gorgeous especially when in French which is his native language. It all works well together; it's an album that's well made with a clear intention of being an uplifting foot tapping tune. If it came out in the late 80s, it would have been a mainstream hit. 6/10.