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Album Review – Urne / Setting Fire to the Sky (2026)

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Whipping up a firestorm of grit, swagger and grandiosity, the new opus by this UK entity snarls hardcore, extreme inflections, and a strong sense of Heavy Metal’s inherent classicism.

Whipping up a firestorm of grit, swagger and grandiosity, Setting Fire to the Sky, the brand new album by UK’s own Stoner/Sludge Metal/Metalcore cult act Urne, snarls hardcore, extreme inflections, and a strong sense of Heavy Metal’s inherent classicism, all burn together within their own burial chamber, propelling the band forward. Recorded and produced by SikTh co-vocalist Justin Hill, mixed by Johann Meyer at Silvercord Studios, and mastered by Tony Lindgren at Fascination Street Studio, the follow-up to their 2023 album A Feast on Sorrow sees vocalist and bassist Joe Nally, guitarist Angus Neyra, and drummer James Cook expand their sound to even further lands, sounding and feeling heavier, tighter and more captivating than ever.

The acoustic guitars by Angus ignite the band’s festivities in Be Not Dismayed, suddenly exploding into a Progressive Sludge Metal aria where Joe’s vocals sound dark and visceral just the way we like it in extreme music; and James hammers his drums mercilessly in Weeping to the World, with their Mastodon-inspired riffs and bass punching us hard in the head while the music alternates between more introspective moments and sheer heaviness. Joe’s rumbling bass walks hand in hand with the pounding beats by James in the headbanging The Spirit, Alive, a serious candidate for becoming a permanent part of their live concerts, whereas the title-track Setting Fire to the Sky brings to our ears a sinister, grim intro that gradually morphs into a Doom and Sludge Metal creature, with James taking the lead armed with his undisputed, intricate and pulverizing beats and fills, followed by The Ancient Horizon, a more cadenced (yet still heavy-as-hell) creation by the trio, offering an overdose of caustic riffs by Angus.

We’re then treated to the also obscure Towards the Harmony Hall, carrying a poetic name for a hard hitting Progressive Metal beast where Angus’ carnivorous riffs clash in great fashion with the brutality blasted by James on drums. Then featuring the indomitable Troy Sanders of Mastodon as a guest vocalist, Urne will melt our faces with nine minutes of absolute metal magic in Harken the Waves, presenting several distinct layers that together form the most detailed of all songs, where melody and violence unite in the name of heavy music. Cellist Jo Quail adds pure melancholy to the band’s already deep and dark sonority in Breathe, providing Joe with exactly what he needs to shine with his introspective vocals, and as a CD and digital only bonus track we have Nocturnal Forms, certainly worth the investment in those formats as it’s another excellent song of no shenanigans Progressive Death and Sludge Metal.

“I feel like I’m in Metallica in 1988 with what we do,” commented Joe about the current state of Urne, and of course about the music found in Setting Fire to the Sky. You can also set fire to your music collection by purchasing such an amazing album from their own Big Cartel, from Rough Trade, or simply by clicking HERE, and don’t forget to also follow Urne on Facebook and on Instagram, staying up to date with their news and tour dates, and to stream their massive creations on any platform like Spotify. As aforementioned, Urne are moving forward with their newborn opus, leaving us eager for more in the near future by one of the most captivating band’s of the current British scene.

Best moments of the album: The Spirit, Alive, Setting Fire to the Sky and Harken the Waves.

Worst moments of the album: None.

Released in 2026 Spinefarm Records

Track listing
1. Be Not Dismayed  5:54
2. Weeping to the World 3:42
3. The Spirit, Alive 3:52
4. Setting Fire to the Sky 6:38
5. The Ancient Horizon 4:41
6. Towards the Harmony Hall 7:14
7. Harken the Waves 9:23
8. Breathe 4:19

CD and Digital bonus track
9. Nocturnal Forms 3:54

Band members
Joe Nally – vocals, bass
Angus Neyra – guitars
James Cook – drums

Guest musicians
Troy Sanders – vocals on “Harken the Waves”
Jo Quail – cello on “Breathe”

Album Review – De Profundis / The Gospel Of Rot EP (2025)

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The rot is everywhere, and it’s time to tear it down to the sound of the pulverizing new EP by one of the must-see names of the current UK Death Metal scene.

“The Gospel Of Rot is both a warning and a weapon – a sonic rebellion against the forces that seek to silence and subjugate. De Profundis offers not salvation but a wake-up call…” – De Profundis

Celebrating 20 years of death dealing and devastation, London, England-based Death Metal horde De Profundis has returned with a rejuvenated lineup and a brand new EP of stunning power and intensity, entitled The Gospel Of Rot. Recorded at Barking Dog Studio, mixed and mastered by Matt Jones at CapsaArx Studios, and embraced by a darkly beautiful artwork by Pierre-Alain D. of 3mmi Design, the new EP by frontman Stefano Bassi, guitarists Shoi Sen and Paul Nazarkardeh, bassist Simon McAuliffe, and drummer Tom Atherton will most definitely please fans of bands the likes of Death, Morbid Angel, Immolation, and Nocturnus, bringing together four tracks of furious Death Metal and masterful musicianship into a manifesto of resistance against the empty vessels that rule us, dragging our civilization into a mire of degradation.

The band wastes no time and kicks off the EP with the Death Metal extravaganza I: Corruption, where newcomer Stefano already showcases his ruthless deep guttural for our total delight, and Tom crushes his drums with rage and dexterity in II: Deception accompanied by the visceral Death Metal riff attack by Shoi and Paul. Then the quintet shows no mercy for our putrid souls in III: Indoctrination, offering an overdose of harsh riffs and demonic vociferations, with once again Simon and Tom making the earth tremble with their evil kitchen. And lastly, we have their cover version for Sepultura’s IV: Subtraction, from their 1991 masterpiece Arise (you can enjoy the original one HERE). De Profundis take the vibe from those Brazilian thrash and death heroes and add their own twist to it, resulting in a lecture in modern-day Death Metal where Stefano sounds brutally violent on vocals until the very end.

From their early days of primeval Doom and Death Metal, then venturing through the Progressive Death and Black Metal realms of their latest albums The Blinding Light of Faith (2018) and The Corruption of Virtue (2022), to the full-on Death Metal attack in The Gospel Of Rot, the band keeps crushing our putrid souls with their undisputed aggressiveness, precise musicianship, and a deep passion for the extreme, and you can get to know more about one of the precious gems of the British Death Metal scene by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by listening to all of their demented tunes on Spotify, and by purchasing the excellent The Gospel of Rot from BandCamp or by clicking HERE. In a nutshell, De Profundis are back at the very top of their game with The Gospel of Rot. Because the rot is everywhere, and it’s time to tear it down.

Best moments of the album: I: Corruption and IV: Subtraction.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. I: Corruption 4:11
2. II: Deception 3:45
3. III: Indoctrination 4:27
4. IV: Subtraction (Sepultura cover) 4:34

Band members
Stefano Bassi – vocals
Shoi Sen – guitars
Paul Nazarkardeh – guitars
Simon McAuliffe – bass
Tom Atherton – drums

Album Review – Eight Lives Down / Fates (2025)

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This multinational Progressive/Groove Metal four-headed creature is back with its sophomore opus, looking at forces beyond human control and how we respond in the face of helplessness.

Looking at forces beyond human control and how we respond in the face of helplessness, building and exploring tensions created from a sense of unease, Fates, the sophomore album by the multinational Progressive/Groove Metal four-headed creature Eight Lives Down, is a journey into the shadows of mortality. Recorded and mixed by Dan Baune at Tectonic Tone, mastered by Rasmus Andersen at Raw Sound Studio, and with a classy artwork by Diana Sawicka of What the Moon Brings, the follow-up to their 2020 debut Humans turns inward and downward, fixating on death, decay, and forces beyond human control. It’s a gaze into the abyss, and a study in how we respond when all sense of agency is stripped away, all masterfully brought into being by Aliki Katriou on vocals, Paul Allain on the guitar, Marcin Orczyk on bass, and Rodrigo Moraes Cruz on drums.

Dark and sluggish sounds kick off the opening tune Void before exploding into a modern-day blend of Groove and Progressive Metal, all embraced by Aliki’s vicious, raspy vociferations, who also declaims the words to the next song, titled Dog’s Breakfast, with tons of passion (“Everything changed seemingly overnight / Everything messed up and suddenly felt so right / Everyone covered eyes and ears / And climbed inside the anthill / Of despair and death / To practice learned helplessness”) amidst an overdose of heaviness. Fishbones sounds less violent while also leaning towards more melodic and experimental sounds, with Paul’s guitar transpiring electricity; and Aliki’s dark and pensive vocals are perfect for Phobia, again exploding into a feast of heavy and groovy sounds with Rodrigo dictating the song’s frantic pace with his classic beats and fills. Deicide brings forward more of the band’s caustic riffs supported by Marcin’s heavy-as-hell bass and Rodrigo’s killer beats; and Aliki sometimes sounds like a Death Metal version of the iconic Mike Patton, which is obviously awesome, like in the visceral tune The Point.

Then the band switches gears to a more melancholic, darker sonority in Green Light in the Distance without forgetting to blast our faces with their harsh sounds and tones; and the quartet still has a lot of fuel to burn, with Left Behind being a very good example of how they can mix harsher metal sounds with nuances from several non-metal styles. Marcin then blasts his bass, extracting pure metallic sounds in Storm, while Aliki keeps declaiming the song’s Stygian words nonstop (“It starts like liquid, water / One and the same / And I find comfort in the shelter / Hiding from the blame / I feed off you every day / And you infect my mind / In this race of coming out ahead / I’ve already fallen behind”). Constantinople is a bit disappointing compared to the rest of the album, sounding generic at times, but the band gets back on track in The Process of Dying, one of the most diverse, dynamic and vibrant of all songs, with Aliki kicking some serious ass on vocals. Furthermore, the bonus track (available on Spotify) featuring the iconic metal choir Hellscore, directed by Noa Gruman, sounds even more powerful.

Musically, Eight Lives Down maintained their progressive spin, with raw thrash foundations audibly peaking through in Fates (available in full on  Spotify), while the album weaves Greek Zeibekiko, snotty Punk, Black Metal, NWOBHM, and even Brazilian Forró rhythms into a dynamic sonic landscape, being therefore highly recommended for fans of System of a Down, Rage Against the Machine, Sepultura, Carcass, Pantera, Prong, Faith No More, Lamb of God, and Jinjer. you can find those unstoppable metallers on Facebook and on Instagram, subscribe to their YouTube channel, and purchase Fates from their own BandCamp page, from their webstore, or by clicking HERE. In other words, simply sit down, relax, and descend into the abyss of heavy music crafted by Eight Lives Down. You won’t regret the experience at all.

Best moments of the album: Void, Phobia, Storm and The Process of Dying.

Worst moments of the album: Constantinople.

Released in 2020 Independent

Track listing
1. Void 4:51
2. Dog’s Breakfast 5:39
3. Fishbones 4:35
4. Phobia 4:28
5. Deicide 4:20
6. The Point 3:17
7. Green Light in the Distance 7:16
8. Left Behind 4:48
9. Storm 7:33
10. Constantinople 4:56
11. The Process of Dying 7:17

Spotify bonus track
12. The Process of Dying (Hellscore version) 7:14

Band members
Aliki Katriou – vocals
Paul Allain – guitar
Marcin Orczyk – bass
Rodrigo Moraes Cruz – drums

Guest musicians
Hellscore – metal choir on “The Process of Dying”

Album Review – Phobetor / A Solitary Vigil EP (2025)

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UK’s own acolytes of the very darkest Blackened Death Metal are back after four years with a brand new EP, a work of rare mystery and malevolence.

In Ovid’s Metamorphoses, Phobetor (‘Frightener’), so called by men, or Icelos (‘Like’), so called by the gods, is one of the thousand sons of Somnus (‘Sleep’). He appeared in dreams “in the form of beast or bird or the long serpent”. In heavy music, Phobetor are a London, UK-based Blackened Death Metal band who has been around since 2018, having already released the 2019 EP Burning Memories and their full-length albums When Life Falls Silent (2020) and Through Deepest Fears and Darkest Minds (2021). Now in 2025, the band formed of vocalist Debora Conserva, guitarists Ross White and Ben Ash, bassist Dredgewood, and drummer Marc Dyos is unleashing a new EP, titled A Solitary Vigil, a work of rare mystery and malevolence. Mixed by Ollie Roberts at Kettle Brew Studios, mastered by Lawrence Mackrory at Rory Sound Studios, and displaying a haunting artwork by Ghost Kid and photography by Scott Chalmers, the EP simply leads us deeper into the darkness than ever before.

The piercing riffs by Ross and Ben ignite the band’s detailed, visceral and grim feast of Black and Death Metal titled A Solitary Vigil, while Debora offers our putrid ears an overdose of sulfur and rage through her harsh vociferations, followed by Absence of Light, another bestial blast of Black Metal magic, with Marc smashing his drums in the name of pitch black darkness accompanied by the always thunderous bass by Dredgewood. Debora sounds like a demonic entity, roaring as a true she-demon in Black Fading Winter, while her bandmates fire the most caustic and evil form of Blackened Death Metal; whereas in The Vacant World Within Us we can say that such a poetic name deserved a no shenanigans sound, and that’s exactly what Phobetor bring forward with their infernal roars and demented blast beats. Last but not least, the razor-edged guitar riffs by Ross and Ben will penetrate deep inside your soul in Where Mournful Shadows Dwell, while Debora continues to hypnotize us with her devilish vocals until the very last second.

After all is said and done, you’ll quickly realize A Solitary Vigil is more than just the new EP by these acolytes of the very darkest Blackened Death Metal; as you peer into its impenetrable blackness, an obsidian mirror, it disgorges all the terrors you had forgotten were real, the dream monsters that hide in the deepest recesses of your mind, resulting in an onslaught of blackened death and mind-rending fear highly recommended for fans of Behemoth, Immolation, Belphegor, and Dark Funeral. Hence, don’t forget to join Phobetor in absolute darkness by following them on Facebook and on Instagram, by streaming their sulfurous creations on Spotify, and of course by purchasing A Solitary Vigil from BandCamp or Big Cartel. Phobetor are back from the netherworld sounding darker and more sinister than ever, and I bet you’ll succumb to their obscure powers once you begin your descent into madness to the sound of their Stygian new offering.

Best moments of the album: A Solitary Vigil and Black Fading Winter.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. A Solitary Vigil 3:54
2. Absence of Light 5:02
3. Black Fading Winter 2:58
4. The Vacant World Within Us 4:08
5. Where Mournful Shadows Dwell 4:41

Band members
Debora Conserva – vocals
Ross White – guitar
Ben Ash – guitar
Dredgewood – bass
Marc Dyos – drums

Metal Chick of the Month – Valis Volkova

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I plan to polymerise your flesh and bone… With fire and void to best serve me!

Our metal lady of this month of May will definitely burn your hearts. She is an English singer, keyboardist, actress, and model, combining her stunning looks, undeniable charisma and a powerful voice to provide us with a unique sensorial experience. Better known as the vocalist and keyboardist for London, England-based Symphonic Deathcore outfit She Must Burn, she might be one of the most talented classically trained vocalists and performing artists of the current metal scene worldwide, always showcasing her deep passion for heavy music and for all things dark. Her name is Portia Valis Volkova (born Portia Victoria Graham-Jones), or simply Valis Volkova, and once you get to know more about her and her music, you’ll certainly get addicted to her Stygian and hypnotizing universe.

Born on September 22, 1993 in Liverpool, the hometown of The Beatles and a port city and metropolitan borough in Merseyside, England, Valis trained as an opera singer at The Royal Northern College of Music from the age of 12, later joining the Liverpool Philharmonic Youth Company, where she appeared on BBC Songs of Praise and Aled Jones MBE’s New Horizons album, released in 2005. After finishing her studies at the RNCM, she trained in musical theatre at The Elliott-Clarke Performing Arts, where she developed her acting and dance skills. She diversified her knowledge by studying popular music performance and music business at BIMM University in 2021. Valis excels in creating her own backing vocals and layered choral harmonies, blending classical and popular vocal techniques to shape her distinctive sound. She thrives on collaboration, offering guest vocals and songwriting services for artists spanning rock, metal, synth wave, and goth genres.

Known for her solo performances worldwide, Valis then joined Symphonic Deathcore sensation She Must Burn back in 2017. She Must Burn had been formed a few years before that, back in 2014, having released the EPs Under the Shadows (2014) and She Must Burn (2015), plus the full-length album Grimoire (2017), before the addition of Valis to their lineup. Delivering a lethal blast of Deathcore, Symphonic, Gothic, and Black Metal that invokes names like Cradle of Filth, Bleeding Through and Make Them Suffer, the band currently formed of Valis on vocals and keyboards alongside vocalist Kyle Lamb, guitarists James Threadwell and Jack Higgs, bassist Frankie Keating, and drummer Steve Padley released back in 2022 their sophomore opus Umbra Mortis, available on BandCamp and on Spotify, earning a nomination for “album of the year” and securing a spot in the Top 50 metal albums of 2022 by Metal Hammer UK readers.

The paradox between Kyle’s harsh growls and Valis’ clean vocals really stands out in the music by She Must Burn, bringing a more than welcome balance to their music and, therefore, adding extra layers to their core sound, turning the band into a must-listen for fans of the violence of Deathcore with the finesse of classical and symphonic music, as you can enjoy in the stunning videos for the songs Incantation, Misery Eternal, Eulogy, and Of Blood & Bone, plus you can also watch an Interview with She Must Burn for Rockflesh at Tech Fest 2023 to know more about Valis and the band backstage. A band that Valis was part of is called Dead Dolls, also known as Glamorous Ghouls, UK’s original rock and metal-goes-vintage vocal duo formed of Valis and Katja Macabre until 2024. “This project is in addition to She Must Burn and is a completely separate project. I’m a firm believer that we all need multiple channels to stream our creativity in different ways,” commented Valis, who joined the project back in 2022. Unfortunately we won’t see Valis singing together with Katja anymore, but back in 2022 they released two excellent videos for the songs I’m Not Okay, by My Chemical Romance, and Misery Business by Paramore, which will certainly warm up your darkened hearts and souls.

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Valis is also an accomplished actress, working regularly in theatre, TV and film, performing on stages all over the world including Edinburgh Fringe Festival, Adelaide Cabaret Festival and The Hippodrome in London’s West End, and having already made cameo appearances in television and film, including seasons 5 and 6 of HBO’s Game of Thrones, season 2 of Hulu’s The Great, and the 2022 indie thriller film Graphic Desires. Furthermore, she was only 17 years old when she played the role of Ariel in a touring production of Shakespeare’s The Tempest back in 2011, saying that Ariel has always been a “dream role” of hers since she was a little girl, and she’s also featured in the music videos for the songs The Hand is Quicker Than The Eye, by Inferno; Loops, by Amber States; So Automatic, by Jupiter In Velvet; Fun Gun, by Chemia; and Dirty Little Secret, by Massive Wagons.

Not only that, she was also featured in the stage play of The Swell Mob, playing Madame Vestris, at the Adelaide Cabaret Festival in in 2019 in South Australia; and in Magic Mike Live, playing ‘closer performer’ at The Hippodrome in Leicester Square, in London, UK, from October 2018 to October 2019. She also won the public vote and the title “Miss Popularity – London” after competing in Miss England 2019, fundraising for Beauty With A Purpose, and placed 3rd runner up in Miss Cheshire 2019 (a regional heat for Miss Great Britain), despite living in London at the time, and can be found in several magazines including the cover of Olympus Magazine (UK) in May and in December 2015, Liverpool Echo (UK) in April 2015, Scratch (UK) in November 2013, and Casting Magazine Paris (France) in September 2013.

Lastly, Valis was also crowdsourcing a few years ago to fund an alien horror movie called The Spawning, to be filmed in Liverpool (and later released in 2017), teaming up with her partner, Simon Riley. Simon, who’s from St Helens, wrote and directed the movie, while Valis produced and had a small role in it. “We want to create a genuinely frightening and original full-length horror feature film,” commented Valis during the crowdfunding campaign. “Everyone on the team is a huge horror fan, but few of us can remember a recent horror film that actually left us wanting to hide under our bed covers at night with the lights on! We want to change that and make a film that really gets under your skin and leaves you terrified and shaken to the core.” I still have to find a way to watch the movie, but one thing is certain even before doing that, and that’s the undeniable talent of a woman who’s not only an amazing musician, but also a great performer and artist, always sharing her passion for heavy music and the dark arts with us fans and, therefore, making the world a much better and more exciting place to live.

Valis Volkova’s Official Facebook page
Valis Volkova’s Official Instagram
She Must Burn’s Official Facebook page
She Must Burn’s Official Instagram
She Must Burn’s Official YouTube channel

““I’m a firm believer that we all need multiple channels to stream our creativity in different ways.” – Valis Volkova

Album Review – Gorebringer / Condemned to Suffer (2024)

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UK’s own bringers of gore are back with their third full-length beast, their most personal album so far reflecting different struggles they’ve gone through in the past five years.

Influenced mostly by Death Metal pioneers from 90’s the likes of Carcass, At the Gates and Dissection, while also presenting modern elements in their music, as well as Black Metal hints to the mix to make the music sound even darker and more intense, London, UK-based Melodic Death Metal beast Gorebringer has just unleashed upon us their third full-length opus, entitled Condemned to Suffer, the follow-up to their demented previous releases A Craving For Flesh and Terrified Beyond Measure. Formed of Serpent “Bilge Özce” on vocals and Stench “KAZ B” on the guitars and bass, with the support of session drummer Carrion, Condemned to Suffer is the band’s most personal album so far, showcasing lyrics that are more mature and complex, mostly reflecting different struggles that the duo has gone through in the past five years as a band, having worked really hard to make the entire album sound truly profound.

An overdose of brutality and rage flows from all instruments in the opening track Under the Full Moon’s Pale Light, bringing to our avid ears an amazing job by Carrion on drums while Stench slashes his stringed axe nonstop, providing Serpent with exactly what he needs to roar like a beast. The band continues to hammer their instruments mercilessly in the title-track Condemned to Suffer, again showcasing elements from Black Metal and even Melodic Black Metal added to their core essence; and get ready to slam into the circle pit like there’s no tomorrow to the sound of the venomous Melodic Death Metal feast Infernal Symphony, with Stench yet again stealing the spotlight with his caustic riffs, whereas Ants is absolutely devastating and obscure, with Serpent’s gnarls and Stench’s unstoppable guitars being flawlessly supported by Carrion’s drums, not to mention its official video might be one of the best AI-generated ones ever.

There’s no time to breathe, nor any sing of peace, as Gorebringer bring gore and savagery to our putrid ears in Lady Midday, with the hammering beats by Carrion being complemented by the thunderous bass by Stench, followed by Théâtre of the Grotesque, a pulverizing tune that reeks of At the Gates, proving how much those guys love their idols, with Serpent barking manically nonstop for our total delight. It’s then pedal to the metal in the infuriated aria Visions of Terror, with the strident riffage by Stench matching perfectly with the infernal drumming by Carrion in another lesson in melodeath; and last but not least, get ready for almost seven minutes of melodious yet infernal sounds in Embodiment of Aggression, which certainly proves the band has infinite stamina and passion for extreme music as they don’t stop blasting heaviness and fury from their instruments until the very last second of the song.

Serpent and Stench are undoubtedly one of the most hardworking duos of the current Extreme Metal scene in the UK (and probably also worldwide), and you can give them a shout and let them know how much you love their austere, visceral music and their resilience by following them on Facebook and on Instagram, by streaming their venomous music on Spotify or on Apple Music, and of course by purchasing their excellent new opus from the Great Dane Records’ BandCamp page. Put differently, Serpent and Stench are condemned to suffer under the full moon’s pale light, and they’re inviting us all to join them in that eternal darkness to the sound of their most bestial album to date.

Best moments of the album: Under the Full Moon’s Pale Light, Ants and Théâtre of the Grotesque.

Worst moments of the album: Absolutely none.

Released in 2024 Great Dane Records

Track listing
1. Under the Full Moon’s Pale Light 6:37
2. Condemned to Suffer 4:57
3. Infernal Symphony 4:32
4. Ants 3:56
5. Lady Midday 5:34
6. Théâtre of the Grotesque 5:19
7. Visions of Terror 3:39
8. Embodiment of Aggression 6:56

Band members
Serpent “Bilge Özce” – vocals
Stench “KAZ B” – guitars, bass

Guest musician
Carrion – drums (session)

Album Review – Adorior / Bleed on My Teeth (2024)

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This old school beast will attack once again with their brand new album, a revelation for the black-hearted survivors of this diseased and treacherous world, the true nemesis of pseudo-rebellious Heavy Metal.

An expression in Latin meaning “to rise up to attack”, Adorior are a  Black and Death Metal beast formed in 1994 in London, England that has always been the essence and the epitome of Extreme Heavy Metal. Now, after nearly two decades, this avalanche of fist-fucking, speed-thrashing, pitch-black death is about to bury the conformist and comfortable dreamland of nowadays domesticated metal culture with their new album titled Bleed on My Teeth, a nightmare absolute, the true nemesis of pseudo-rebellious Heavy Metal. Recorded and mixed by Greg Chandler at Priory Recording Studios, mastered by Patrick Engel at Temple of Disharmony, and displaying a demonic artwork by Belial NecroArts, the new opus by vocalist Jaded Lungs, guitarists T. Slutsodomizer and S. Assassinator, bassist R.C., and drummer D. Molestör has a lot of dirt under its fingernails, but it finally reanimates the corpse of mind-fucking, repulsive and dangerous music serving the devil, without giving an inch to newer, shitty genre definitions.

Like a train directly from hell the quintet arrives in full force in Begrime Judas, blending Black and Death Metal with endless sulfur and rebelliousness led by the she-demon vocals by Jaded Lungs, not to mention its scorching thrashing riffs; and the rumbling bass by R.C. kicks off the also demented Ophidian Strike, with the galloping drums by D. Molestör inspiring us all to bang our heads nonstop before exploding into a demented feast of old school Black Metal. Once again adding an endless amount of Thrash Metal and Hardcore elements to their core essence we’re treated to L.O.T.P. – Vomit Vomit Vomit Bastard, while D. Molestör crushes his drums in the most visceral Death Metal way imaginable, whereas in Precipice of Fire the band offers more of the guitar madness blasted by T. Slutsodomizer and S. Assassinator, resulting in an infernal metal attack that sounds like it was taken directly from the 80’s.

Jaded Lungs is a beast incarnate in the seven-minute aria of hell titled Sips of Sarin, where her bandmates blast their sonic weapons in the name of evil, allowing her to scream and gnarl with tons of despair, therefore turning it into one of the best moments of the album. It’s quite interesting how all of their songs go beyond the five or six minute mark, and Scavengers of Vengeance couldn’t have been any different than that, sounding insane from start to finish thanks to the slashing riffage by the band’s guitar duo, whereas the second to last blast of old school blasphemy by Adorior is entitled Moment of Mania, with Jaded Lungs gnarling rabidly amidst a hurricane of chaotic, demented sounds blasted by her bandmates, and with the sound of their riffs being a thing of beauty. Lastly, let’s all face almost seven minutes of impious, sulfurous Death and Thrash Metal made in the UK in the title-track Bleed on My Teeth, with D. Molestör sounding ruthless on drums and, consequently, putting a beyond infernal conclusion to the band’s blackened death and thrash attack.

Bleed on my Teeth is a revelation for the black-hearted survivors of this diseased and treacherous world, and you will certainly feel this record like it has been tattooed into your bones, but if you don’t, then fuck off and pray that you never will. Hence, keep an eye on their Facebook for news and tour dates, stream their depraved creations on Spotify, and grab a copy of the sulfurous Bleed on my Teeth from their own BandCamp page, from the Sepulchral Voice’s BandCamp page, or from the Dark Descent Records webstore as a digisleeve CD, a black LP, a red and black LP, or a cassette. Adorior are still alive and kicking after so many decades on the road, and you better be prepared for their ruthless attack to the sound of their high-octane, unfiltered new album as you’re quickly consumed by evil.

Best moments of the album: Ophidian Strike, Precipice of Fire and Sips of Sarin.

Worst moments of the album: None.

Released in 2024 Dark Descent Records/Sepulchral Voice

Track listing
1. Begrime Judas 5:55
2. Ophidian Strike 5:33
3. L.O.T.P. – Vomit Vomit Vomit Bastard 6:16
4. Precipice of Fire 5:40
5. Sips of Sarin 7:08
6. Scavengers of Vengeance 6:29
7. Moment of Mania 5:52
8. Bleed on My Teeth 6:51

Band members
Jaded Lungs – vocals
T. Slutsodomizer – guitars
S. Assassinator – guitars
R.C. – bass
D. Molestör – drums

Album Review – Phaëthon / Wielder of the Steel (2024)

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An up-and-coming UK Epic Heavy Metal band strikes with their debut album, an eight-song herald of metal reverence and majesty delving into the profound impact of narratives on humankind – be it of gods, superstitions, or outright lies.

Formed in 2020 in London, England with the distinct goal of delivering ripping old school Heavy Metal of the epic persuasion, the incendiary outfit Phaëthon emerged on the metal underground with their 2020 debut EP Sacrifice Doth Call. Now in 2024, the band formed of vocalist Vrath, guitarist Decado, bassist Aees and drummer Oskarath brings forth monumental classic metal on their first full-length, Wielder of the Steel, a masterclass in metal glory. Recorded, mixed and mastered by Tom Dring at The Arch Recording Studio, and displaying a stunning artwork by German artist Scheinlichter (aka Stefan Bleyl), Wielder of the Steel is an eight-song herald of metal reverence and majesty that will no doubt appeal to fans of Manowar, Mercyful Fate, Bathory and Cirith Ungol, delving into the profound impact of narratives on humankind – be it of gods, superstitions, or outright lies – extending beyond the confines of Greek mythology.

Soldiers, grab your swords, shields and hammers and head into the battlefield to the sound of Eternal Hammerer, where the riffs by Vrath and Decado will inspire you to bang your heads nonstop in an old school Heavy Metal party with a beautiful epic vibe, flowing into the six-minute aria Vanguard of the Emperor, led by the galloping bass and drums by Aees and Oskarath, respectively, therefore resulting in the perfect soundtrack for a violent battle against all evil. Then leaning towards classic Heavy Metal taken directly from the 80’s we have For the Greater Good of Evil, where Vrath delivers solid, deep vocal lines while his bandmates craft an electrifying sound tailored for raising our horns in the air; whereas Tolls of Perdition is a more cadenced, grim creation by the quartet which lacks more energy, although its Doom Metal elements sound heavy and vile.

Back to a more vibrant sonority, the band offers another warrior-like metal hymn titled Blasphemers, with the soaring vocals by Vrath matching perfectly with all riffage, bass lines, beats and fills. In other words, no one can stand still to its power and electricity; and their Epic Heavy Metal attack goes on in the headbanging tune Forgotten Gods, where Oskarath once again takes the lead with his pounding drums. After that, old school riffs and tribal beats ignite the second to last song, titled Phaëthon Must Fall, with Vrath leading his metal brigade with his inspiring vocals in another song that sounds like it was taken directly from the glory of the 80’s. And last but not least, let’s embark on a 10-minute metal journey in the title-track Wielder of the Steel, starting in a serene, soothing manner to the passionate vocals by Vrath, gradually evolving into a galloping onrush of traditional Heavy Metal where Aees and Oskarath sound amazing with their groovy kitchen.

Weaving a sonic and narrative journey through eras of valor and conflict, empires lost to time, and epic tales of defiance and ambition, all laying bare the eternal juxtaposition between mankind’s hubris and his indomitable spirit, Wielder of the Steel is a must-have for admirers of the style, and you can purchase your copy of the album on BandCamp or from the Cruz Del Sur webstore as a CD, a black LP, or a transparent blue MLT 100 LP. Also, don’t forget to join the band and their epic battles on Facebook and on Instagram, keeping up to date with all things Phaëthon. Those UK metallers are wielding the steel in the name of Epic Heavy Metal in their first full-length album, and you’re more than invited to fight side by side with them to the sound of their inspiring creations.

Best moments of the album: Eternal Hammerer, For the Greater Good of Evil and Blasphemers.

Worst moments of the album: Tolls of Perdition.

Released in 2024 Gates of Hell Records

Track listing
1. Eternal Hammerer 3:31
2. Vanguard of the Emperor 6:15
3. For the Greater Good of Evil 3:34
4. Tolls of Perdition 7:08
5. Blasphemers 4:08
6. Forgotten Gods 4:34
7. Phaëthon Must Fall 4:02
8. Wielder of the Steel 9:45

Band members
Vrath – vocals, guitar
Decado – guitar
Aees – bass
Oskarath – drums

Concert Review – Lamb of God & Mastodon (Budweiser Gardens, London, ON, 07/31/2024)

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Two of the most important bands of the current metal scene crushed the city of London, Canada in celebration of the 20th anniversary of their most-acclaimed albums to date.

OPENING ACTS: Malevolence and Kerry King

What a wild and busy day and night it was this Wednesday, when the cozy Budweiser Gardens in London, Ontario hosted one of the most insane tours of the year, Ashes of Leviathan Tour 2024, featuring nothing more, nothing less than MALEVOLENCE, KERRY KING, MASTODON and LAMB OF GOD. It was a rough 2-hour drive for me to get to London in time for the shows, but it was absolutely worth it as this tour is simply celebrating the 20th anniversary of two seminal releases, Lamb of God’s biggest-selling album Ashes of the Wake and Mastodon’s acclaimed sophomore album Leviathan, which were both released on August 31, 2004. My friend Keith Ibbitson of Metal Paparazzi was also there and was dying to photograph his favorite band of all time, Lamb of God, for the first time in his career; however, no idea why, he only got the approval for the first band, Malevolence, something we’ve never seen happening before nor any of our friends, which is why the only good photos of this review are for Malevolence. Sorry about that.

The first band to hit the stage was Sheffield, South Yorkshire, England-based Groove Metal/Metalcore piece MALEVOLENCE, and let me tell you those guys kicked some serious ass, working as the perfect warmup for the devastation that was about to come. Still promoting their 2022 album Malicious Intent, the band formed of Alex Taylor, Joshua Baines, Konan Hall, Wilkie Robinson and Charlie Thorpe put everyone at Budweiser Gardens to slam into the pit, turning up the heat on an already extremely hot day in the city. You can get more details about the band by clicking HERE, and also stream their infuriated creations on Spotify. I just wish they had more time to play, and that the start of the show wasn’t so early, before 6pm, which impacted in a negative way the amount of people already inside the venue for their show.

Setlist
Malicious Intent
Life Sentence
Still Waters Run Deep
Self Supremacy
Higher Place
Keep Your Distance
On Broken Glass

Band members
Alex Taylor – vocals
Joshua Baines – guitars
Konan Hall – guitars, vocals
Wilkie Robinson – bass
Charlie Thorpe – drums

It wasn’t even 7pm when Los Angeles, California’s one and only Thrash Metal icon KERRY KING and his crew took the stage of Budweiser Gardens by storm with their blood red (and sometimes dark blue) stage, endless heaviness, and a strong will to crush everything and everyone that dared to cross their path on Wednesday night. Playing songs from his insane debut solo album From Hell I Rise including Where I Reign and Idle Hands, plus the Slayer all-time classics Raining Blood and Black Magic, Mr. Kerry King was absolutely ruthless during his short but extremely destructive set, supported by the soaring vocals by Death Angel’s frontman Mark Osegueda and also by his Slayer buddy Paul Bostaph on drums, driving fans crazy and igniting some demented mosh pits for the delight of lovers of some good circle pit action. Once again, I really wish his setlist was a bit longer, maybe with a couple more songs from his album or from Slayer, but in the end he certainly proved there’s life outside Slayer as his solo material sounds incredible both in studio and on stage, and you can enjoy Kerry’s wicked music on Spotify, of course, or click HERE for all things surrounding one of the greatest guitarist in the history of Thrash Metal.

Setlist
Where I Reign
Trophies of the Tyrant
Residue
Toxic
Idle Hands
Shrapnel
Raining Blood
Black Magic
From Hell I Rise

Band members
Mark Osegueda – vocals
Kerry King – guitars
Phil Demmel – guitars
Kyle Sanders – bass
Paul Bostaph – drums

MASTODON

It was only 8pm when Atlanta, Georgia Progressive/Sludge Metal beast  MASTODON, one of the main attractions of the night (and it’s funny because there was still light outside the venue), kicked off their more-than-special set based on their 2004 album Leviathan, playing the entire album from the very first song, the breathtaking Blood and Thunder, until Joseph Merrick, all supported by a beautiful stage with lots of fire, crazy background images, and a lot of smoke too. Troy Sanders, Brent Hinds, Bill Kelliher and Brann Dailor were insane as usual, mastering the art of their instruments for our total delectation, therefore receiving a wild and huge ovation form the fans at Budweiser Gardens. The overall sound was a bit muffled to my liking, but nothing that could stop the quartet form putting on a fantastic show, taking us all back 20 years with one of the most important metal albums of the past two decades. There was even time for a nice encore with the songs More Than I Could Chew, Circle of Cysquatch and Steambreather, and after that Brann took some time to thank everyone and to say how insane it is to be on this tour with Lamb of God, both celebrating 20 years of their masterpieces, also taking into account the fact they’ve been friends for all that time too. Mastodon always deliver, and hopefully we’ll see them celebrating 30, 40, 50 years and so on of the great Leviathan.

Setlist
Leviathan
Blood and Thunder
I Am Ahab
Seabeast
Ísland
Iron Tusk
Megalodon
Naked Burn
Aqua Dementia
Hearts Alive
Joseph Merrick

Encore:
More Than I Could Chew
Circle of Cysquatch
Steambreather

Band members
Troy Sanders – vocals, bass
Brent Hinds – vocals, guitars
Bill Kelliher – guitars, backing vocals
Brann Dailor – vocals, drums

LAMB OF GOD

After a short break, where fans took the time to grab a few final beers and whatever was left from the merch booths, it was time for Richmond, Virginia’s magnificent Groove Metal institution LAMB OF GOD to pulverize our senses with the full play of their 2004 masterpiece Ashes of the Wake, and let me tell you that the city of London, Ontario simply loves Lamb of God from the bottom of their hearts. The reaction of the fans to each and every song played by D. Randall “Randy” Blythe on vocals, Mark Morton and Willie Adler on the guitars, John Campbell on bass and Art Cruz on drums was beyond superb, with the first three of the album, Laid to Rest, Hourglass and Now You’ve Got Something to Die For, already igniting some of the sickest mosh pits of the night. The show moved on majestically, with Randy delivering his trademark “WOOOOOO’s!” inspired by the iconic Ric Flair in between songs, while the fans kept running around like beasts inside the circle pit. And after Ashes of the Wake was over, the band crushed whoever was still alive with the classics Walk With Me in Hell and Redneck, crowning another spectacular performance by Randy and his crew in Canadian lands. As mentioned for Mastodon, I would love to see Lamb of God celebrating many more decades of Ashes of the Wake with amazing concerts like that, and maybe next time there will be less confusion in the communication between us and the organizers, and you readers can have some ass-kicking photos as well to enjoy.

Setlist
Ashes of the Wake
Laid to Rest
Hourglass
Now You’ve Got Something to Die For
The Faded Line
Omerta
Blood of the Scribe
One Gun
Break You
What I’ve Become
Ashes of the Wake
Remorse Is for the Dead

Encore:
Walk With Me in Hell
Redneck

Band members
D. Randall “Randy” Blythe – vocals
Mark Morton – guitar
Willie Adler – guitar
John Campbell – bass
Art Cruz – drums

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Concert Review – Kittie (History, Toronto, ON, 07/12/2024)

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Kittie’s first show in Toronto in ten years was an amazing celebration of the legacy of the band, of diversity, and obviously of our good old heavy music.

OPENING ACTS: Dear Evangeline and Vile Creature

I really want to understand what the hell is going on with traffic in the city of Toronto and surroundings. I left my place yesterday with plenty of time to get to History to see DEAR EVANGELINE, VILE CREATURE and KITTIE kick off their Fire Tour 2024, but due to all construction, rain and whatever else, it took me over two hours to get to the venue. Due to that driving nightmare, I missed the entire performance by Brampton, Ontario’s own Hardcore/Sludge Metal newcomers DEAR EVANGELINE, which was a real bummer as I was eager to see those girls live. At least we can all enjoy their self-titled EP on Spotify, and also click HERE to know more about such a promising Canadian band.

Another bummer was the fact that my buddy Keith Ibbitson of Metal Paparazzi didn’t get a photo pass due to some bullshit about “high demand for passes”, or something like that, but I was there as I had a ticket and I think I saw only ONE photographer apart from the band’s own, so I guess either the organizers didn’t want any external photographers taking pictures of the event (which makes no sense at all, as you want people to see those photos and get inspired to attend future shows, right?), or all of the ones who got the limited passes “didn’t attend the show”, if you know what I mean. Anyway, the photos in this review are a piece of shit because of that reason, and I almost though about not reviewing the show; however, I think Kittie still deserve a nice review because they kicked ass on stage on Friday.

At least I was there in time for St. Catharines, Ontario’s Sludge/Drone/Doom Metal beast VILE CREATURE, a non-binary duo who explores themes of veganism, LGBTQ, animal rights, and anti-oppression in their music, and let me tell you it was a dark and extremely heavy performance by vocalist Vic, vocalist and guitarist KW, and a special guest drummer who I knew nothing about. I have no idea about their setlist, but I’m pretty sure they played a few songs from their latest albums Cast of Static and Smoke (2018) and Glory, Glory! Apathy Took Helm! (2020), both available on BandCamp and on Spotify, and all songs sounded insane. One of the best moments of the show was when KW took a few minutes to talk about how much he loves Kittie, that it was Kittie who inspired him to play heavy music after years not knowing where he belonged as a gay guy, and that he sports his Kittie shirt from the very first Vile Creature live concert. It was a very emotional moment for sure, and seeing KW and his Vile Creature kicking ass right before his favorite band of all time was truly inspirational.

Band members
Vic – vocals
KW – guitars, vocals

KITTIE

The fact that both opening bands had short setlists allowed London, Ontario’s Alternative/Groove Metal powerhouse KITTIE to kick off their musical extravaganza relatively early, at around 9pm, giving a feeling of a matinee to the whole event as they wouldn’t play past 11pm for sure. That would have been a good thing if traffic back home wasn’t another nightmare, but I won’t complain about it again. Let’s focus on the show, and what a show it was! Morgan Lander, Tara McLeod, Ivana “Ivy” Jenkins (holy shit, Ivy was insane during the whole show!) and Mercedes Lander were on absolute fire throughout their entire set, which makes total sense as their new album Fire in indeed an incendiary one. Needless to say, their 22-song setlist inspired everyone at the venue to slam into the circle pit and to have a wild time with all crowd surfing going on, making the girls from Kittie really proud of their local fans in their first show in Toronto in ten years.

Blending some of the most electrifying songs of their new album the likes of Fire, We Are Shadows and Eyes Wide Open with classic including Cut Throat, Spit, Funeral for Yesterday and Brackish, the quartet sounded tight, focused and mesmerizing, and when we thought the show was over after the heavy-as-hell We Are the Lamb, the band got back and kicked us hard in the head with a special encore with the songs One Foot in the Grave and Do You Think I’m a Whore, a nice surprise that caught everyone off guard and that turned up the heat inside the venue through the roof. Having said all that, keep an eye on their tour dates by clicking HERE, stream all of their amazing albums, including their new beast Fire, on Spotify or on any other streaming service, and don’t miss the chance to see those four Canadian girls live whenever they take your city by storm. I just wish I had better photos of the band to show you, of course, but you can’t win ’em all, right?

Setlist
Fire
I’ve Failed You
Cut Throat
No Name
Spit
What I Always Wanted
Sorrow I Know
Look So Pretty
Ugly
We Are Shadows
Into the Darkness
Eyes Wide Open
Severed
Funeral for Yesterday
In Winter
Vultures
Charlotte
Mouthful of Poison
Brackish
We Are the Lamb

Encore:
One Foot in the Grave
Do You Think I’m a Whore

Band members
Morgan Lander – lead vocals, rhythm guitar, piano
Tara McLeod – lead guitar
Ivana “Ivy” Jenkins – bass
Mercedes Lander – drums, backing vocals