ALBUM REVIEW: Kvaen - The Formless Fires

The third album for one man project Kvaen, The Formless Fires builds on the work of Jacob Björnfot, the mastermind behind the outfit, which initially appeared in 2020’s highly commended The Funeral Pyre and followed up by 2022’s The Great Below. 

Influenced by his environment, there’s a creative blending on The Formless Fires, with a melancholic feel that intertwines and sees beauty and violence stand shoulder to shoulder. Listen through the harsh riffs and driving drumming and you’ll find some exceptional guitar work that shines. Like many Black Metal musicians, Björnfot draws from his surroundings as influences. Kvaen is named after the people who populated his home near the Finnish border in the Viking era. “Because of our surroundings, bizarre weather conditions, northern lights etc. help shape the way we see and hear things. It affects us more than we think” he explains, and one can certainly visualise the influencing landscape in Kvaen’s sound. 

 Assisted by drummer Frederik Andersson (ex-Amon Amarth) who provides some blistering drumming on the album, The Formless Fires comprises eight songs of varying degrees of intensity, but all delivered with a passion and power that is difficult to match. It’s often the case that single-solo projects, especially in the Black Metal genre can be at best limited. That’s not the case with this fireball of an album, an underlying ferocity rages throughout and on tracks such as The Perpetual Darkness, Traverse the Nether and The Ancient Gods the mix of melodic harmonies and punishing bursts stands tall. 

Subject matter is varied, with The Perpetual Darkness about being born different to the normal, whilst there is also reference to the ancient Norse ritual of Ättestupa, where elderly villagers jump to their death from high peaks on De Dödas Sång (Song Of The Dead). Although this is very much a solo project, Björnfot can call on Sebastian Ramstedt (Necrophobic) on Traverse the Nether and Chaq Mol (Dark Funeral) on The Wings of Death, who both add to the songs. Having a full band at his disposal for live work is important, and that’s where guitarists Kristian Gustavsson and Rasmus Rova and bassist Per Lindström bass fit in. With plenty of tour dates completed and planned for 2024 and beyond, it’s an interesting time for Kvaen, and one can only hope that some UK shows may be a part of their future.

The Formless Fires is out today via Metal Blade Records
Review by Hutch

EVENT PREVIEW: Day of Wreckoning - The Final of the South Wales Bloodstock Metal to the Masses 2024 at Patti Pavilion, Swansea 29th June 2024

We are now a mere seven days away from the 2024 Bloodstock South Wales Metal to the Masses final. The culmination of months of hard work, blood, sweat and tears from competing bands, fans, and of course, the team behind the scenes who spend many hours promoting, arranging, and everything else that makes this annual event such a success. 

In the past two years, the event has evolved substantially. Last year saw heats take place at The Bunkhouse in Swansea and Fuel Rock Club in Cardiff, with the final held at Fuel. 2024 sees a huge step forward, with the announcement of the Day of Wreckoning. A bold and brave move by the promoters, the 2024 grand final will now play out at the Patti Pavilion in Swansea on 29th June, with the six finalists battling it out for the right to play the New Blood Stage at Bloodstock Open Air in August. But what makes this special, is the stacked five band line-up that follows the final. Headliners Discharge need no introduction, and if you’ve not heard of Raging Speedhorn then one wondered where you have been all this time. 

Raging Speedhorn 

With Mother Vulture, Inhuman Nature and Silverburn also on the bill, this is a line-up that deserves your attention. Throw into the mix the best of South Wales metal talent in the shape of Root Zero, Rites to Ruin, Thrakian, Verletzen, Kill by Mouth and Confessions of a Serial Killer and this is one mighty metal sandwich. 

Mother Vulture 

Early bird tickets have long sold out, but 2nd release tickets remain on sale at a bargain £20 South Wales longest running music site, the excellent Musipedia of Metal will be running interviews with all the finalists in the run up to the day, so get across to their socials here to learn more about each of the competitors. The South Wales official Bloodstock Metal to the Masses page is also running profiles of the five guests, so if you don’t know about them, follow their Facebook page here to find out more. It’ll be a piece of history in the South Wales metal scene. Make sure you are a part of it and grab a ticket before it sells out. I’ll see you there.

Day of Wreckoning tickets

Root Zero

Rites to Ruin

Kill by Mouth

Thrakian

Confessions of a Serial Killer*

Verletzen*

All photos by Hutchie224 except * pinched from Facebook pages!

LIVE REVIEW: Metallica, Parken Stadium, Copenhagen, Denmark 16th June 2024

Photo credit: Metallica.com

Several factors come into play for this review of Metallica’s second show in Copenhagen. These include my disinterest in the opening bands for tonight’s show, my hope of narrowing down the window to drink the tasteless lager I had to endure on Friday and the fact we had a larger party that were in different places in the stadium. Despite one of this party being the one and only Miserable Simon from The Miserable Metal Mind Podcast, this was still a more pleasurable experience than an early entrance to the gig. If you were hoping for my opinion on these support bands, I am sorry. [the supports were Ice Nine Kills and Five Finger Death Punch in case you were wondering] 

Once in the venue and with a decent spot secured, I wince once more at the price and taste of the beer but more excitedly await It’s a long way to the top. A proud dragon atop a church blazoned on the massive screens around the stadium replaces Friday’s troll artwork, and it’s not long until the stadium darkens. Following AC/DC, The Ecstasy of Gold stirs the heart again as the band arrive and break into their opening track. We had discussed in the bars outside the venue which track Metallica would open with tonight, something I am sure was also the subject for many of tonight’s attendees. Not one of us went for Whiplash though, so surprise there. It’s not long before a blue hue envelope the stadium and a welcome bell begins to toll. Horns are raised as this metal classic rains down from the stage and we are well and truly off once more. Following Too Far Gone, it’s time for Rob and Kirk’s doodle, and they’ve decided to cover a Danish band in honour of our location tonight. The crowd goes wild for the Gasolin cover Rabalderstræde, and even the security guard who is stood just behind the railing to our right has a massive grin across his face. 

An emotionally charged Fade to Black follows, causing sentiment to stir; something I was not aware I was hiding. The Call of Kthulu replaced Orion from Friday night, and it does not seem to go down as well. It did for me, with a brilliant rendition. The third track from 72 Seasons played this evening is a solid version of Inamorata before the band move round the stage, closer to us, and break into a devastating rendition of Battery. I have seen Metallica many times and this could be the closest I have ever been to them, thanks to this in the round experience. 

One is amazing and it leads into the track we all knew would finish this two-night show, Enter Sandman. The drunken football shirts, plus the people who have come in to check out the show out of curiosity now join a rapturous sing along of this well-known track as the set closes. As the band, and especially Lars thank a grateful crowd, the realisation that it’s over dawns. 

Can Metallica still do it? You better believe they can! The new material has more of a shine in this live setting, and they mix well with the classics. This Sunday set list had a less energetic feel for about a quarter of it, but it was still a success in my eyes. Now it’s off to buy a 72 Seasons sweat band I will never wear.

Review and photos by Neil 'Thrashtash' Bolton

LIVE REVIEW: Metallica - Parken Stadium, Copenhagen, Denmark 14th June 2024

I dislike major stadium gigs. But when your favourite band are one of the biggest in the world, it’s either that or nothing. Therefore, on June 14th, 2024, I find myself in Copenhagen Parken Stadium to witness Metallica’s 72 Seasons world tour, no repeat, two-night show. 

We arrive at the venue in time to catch Mammoth WVH. His middle of the road rock entertains the reasonably sized crowd. Heads bob along while plastic containers of tasteless Danish beer are hastily downed. The band swap locations on the round stage giving all who wish to get a chance to see members of the band. All are suitably active and certainly look like they are enjoying this experience. Wolfgang gives us a demonstration of the harmonic guitar talents his father was famous for, before leaving the stage to applause and cheers.

The Architects played next. [I guess Neil was so overwhelmed that he was unable to write anything about the Bloodstock headliners] 

The stadium fills and we await the sounds of AC/DC’s It’s a Long Way to the Top. When it happens, the lights drop, and historical photos appear on the round screens sitting high on the many imposing gantries. The Good, The Bad and the Ugly then replaces these images on the screens while the sound of The Ecstasy of Gold floods the stadium, causing goose bumps to form on flesh. 

The tried and tested opener of Creeping Death blasts forth and you can see why this track is an oft used rabble rouser at the start of the set. It certainly sets the scene and gets the blood pumping. By the time we get to Hit the Lights I notice a percentage of the crowd have lost that blood flow. Some begin to stare bored around the stadium as if they were listening to a drum solo. Are these Black album only fans I wonder? 

We soon get yellow lights piercing the air and a frankly raging rendition of the new album title track. 72 Seasons once more demonstrates Metallica’s thrash skills. Fast, precise and very good. 50% of the band leave the stage after If Darkness Had a Son, leaving Rob and Kirk to take the limelight. Tonight, they play one of their own compositions named All Nighter at the Hong Kong Bar. This does give people a chance to visit the WC or the bar. To be honest it is fun and makes each night different. 

We then continue to run through more of the band’s greatest hits, all played with fury and passion. Orion stands out for me, I love this track, but to be honest all are excellent. We rip through the set while Metallica’s band members prowl around this central stage, taking different positions throughout the evening. The roof is on, but we still get firebombs in Fuel, making the skin on my face prickle in the heat. We get a false start to Seek and Destroy, which the band acknowledge before starting it again. No shame, no trying to hide it, just rock n roll. 

The familiar beach balls drop from the gantries around the stadium and the party atmosphere is heightened. The lights are raised while some fans next to us jump on one of the beach balls and assisted by at least six other people they manage to deflate this souvenir so one of the team can take it home. The lights then drop once more and the band tear into Master of Puppets causing me to internally rant. A minority of the audience are starting to leave. WTF! This is arguably Metallica’s biggest song and people are leaving to catch the train, metro or bicycle. I find this curious in the extreme, individuals who pay a decent amount of money only to leave to beat the crowds by a matter of minutes. 

Minor rant aside I leave the Parken Stadium a very happy man and Metallica fan, looking forward to night two.

Review by Neil 'Thrashtash' Bolton

SINGLE REVIEW: Halberd - South East Scum

The dogged and determined upwards journey to be one of the most exciting and prolific bands in the UK underground shows no signs of letting up for the lads in Halberd. Straight off the back of the fantastic Drinks All Round EP a mere two months ago, the modern metal band from Southeast London are back with another vicious assault of the senses with the snappily titled new single South East Scum.

If your ears have had the pleasure of the aural battering from previous Halberd releases, you’ll know what this new cut of wax is likely to offer. Halberd don’t do subtle but then they don’t need to. They do what they want to and thankfully for us, what they want continues to be a scathing communion of crushing thrash metal, monstrous riffs and good old fist pumping choruses! With more than a whiff of classic heavy metal and NWOBHM catchiness oozing through the track, the boys waste no time in instantly pulling you into their ferocious but wholly satisfying thrash metal charm. Make no mistake, South East Scum is a brutal beast of a single but don’t let the intense groove filled wall of noise hide the cute song writing and wonderful musical flair on offer. 

With a classy and joyously gratifying lead guitar solo appearing early doors, the momentum steam rolls on with the snap of Casey’s unmistakable bark, as gutsy and unique as ever. Equipped with a rapturous gang chant chorus and a searing energy, South East Scum will surely become a live favourite. The spoken word parts are worth paying attention to. Depicting various amusing examples of what goes on within Halberd’s world, they again add a clever dynamic to an already gripping blast of metal. For band who have a great sense of humour and always inject fun into their music and not in a gimmicky way, Halberd should be applauded for their song writing chops and the strength and tightness of the playing. The outgoing solo is sumptuous! Drenched in classic metal flavours it all ends too soon, as indeed does the whole song. 

South East Scum is a celebration of rising up against those that look down on you, those condescending naysayers that view anything alternative as failure and simply wrong. There is nothing more honest than being true to yourself, where you’ve come from and holding your values close to your heart. Yeah, those thrashy back streets where Halberd came from may be on the unfavourable side of town, but they are proud of those dark, gritty places they call home. South East Scum is a galvanising rallying cry which translated in musical terms is pure life affirming Heavy Fuckin’ Metal!

South East Scum is out on all major streaming platforms on Friday 21st June

Review by Robbie Maguire.

ALBUM REVIEW: Seven Spires - A Fortress Called Home

Although they sit under the symphonic metal banner, Boston’s Seven Spires throw just about every style into the mix on their fourth studio album, A Fortress Called Home. With a combination of power metal, symphonic passages, orchestral elements which are weaved around bursts of extreme metal, this is an album that will no doubt excite existing fans as well as pulling in many new one. 

It’s an emotional rollercoaster which begins with the dramatic intro followed by the majestic eight-minutes of Songs Upon Wine – Stained Tongues. If this dramatic and explosive track doesn’t grab you early on, then you may wish to walk on by. It’s got some phenomenal musicianship embedded in it, with the soaring vocal range of singer Adrienne Cowan tussling with the impressive guitar work of Jack Kosto. It’s certainly going to be an album that lights up the darkness, with sheer bone crushing passages that echo the likes of Wintersun alongside more balanced and calming symphonic sections. 

An emotional ride from the start, it’s difficult to really pigeonhole this album. Seven Spires craft an intricate soundscape that constantly evolves, providing the listener with the uplifting, more traditional symphonic style on songs like Almosttown, with its sweeping movements that switch with gentler yet still robust parts to singalong sections. It's evidently a work that the band have thrown their heart and soul into. Cowan comments that “I visited the void twice while writing this album. I don’t know which begat the other. It’s ugly. I love it and I hate it, and I think it’s our best work yet.” 

The interplay between the searing alto delivery and the death growls will possibly shock those unfamiliar with the band, and musically, there is so much going on that at times there is a little bit of a sonic overload. Just when you think that the band have slotted into one style, they explode into frenetic bursts of death metal, overlaid with orchestral elements. Check out the fire of Architects of Creation, a frenzied cacophony that sees the band meld aggression with cinematic scores. It’s quite the composition and one that has taken me a couple of plays to appreciate. 

There are even some folk metal styles hidden in the album, such as the shorter and delicate Emerald Necklace, a song that allows Cowan to take centre stage, with pipes and other orchestration providing the backdrop. It's not a short album, clocking in at over an hour, but by the time you reach the finale, the theatrical The Old Hurt of Being Left Behind, which sees Cowan adding more growling vocals to the mix, there’s a real sense of amazement at the sheer effort that has been added to this album. Not one for everyone, the complexity and layered approach may put some off. But if you like your music to come with an assault to the aural cavities, then A Fortress Called Home is likely to be for you.

A Fortress Called Home is released on 21st June Via Frontiers Music

Review by Hutch

SINGLE REVIEW: Krysthla - Unto the Loveless

It’s been five years since Northampton’s spine-crushing extreme metallers Krysthla blew the roof off with their third album Worldwide Negative and stormed the Bloodstock main stage with an opening set that still sounds brilliant today (Krysthla - BOA 2019 Full Set). However, things went a bit quiet for a while in the camp, not only due to the pandemic, and the departure of bassist Carl Davies and guitarist Noel Davies might have suggested a couple of cracks were appearing in the hull of the good ship. The good news is that is far from the truth, and shored up by the arrival of Tom Kelland and Jake Coles, Krysthla have just dropped their first single from their forthcoming fourth album The River. And it’s a beast. 

There’s always been a hybrid sound to these guys, but at the base of their music is a level of groove that makes you want to bang your head. Unto the Loveless certainly pushes the band forward into the modern age, with a contemporary sound that retains the essential influences that have always been evident within the band. Unto the Loveless shaves not one iota of their heaviness, indeed in many respects the ante has been increased. The drumming is exceptional, the riffs intense, and the pacing spot on. 

Clever crafting brings a piece of perfection toward the last third of the song, with a brief easing, before a savage reprise brings it home. And I can’t forget Ade Mayes’ bruising vocals here, for the man whose eclectic tastes are often hidden by his savage delivery is on fire. This is Krysthla 2024. It sounds mean, lean and the anticipation for The River has increased substantially.

The River is released later this year. Follow the band at https://www.facebook.com/krysthla for all the latest news. 

Review by Hutch

ALBUM REVIEW: Black Country Communion - V

It’s been seven years since the last album by Black Country Communion. Not that the members of this genuine supergroup have been idle by any means. Just check out what Glenn Hughes, Joe Bonamassa, Jason Bonham and Derek Sherinian have been up to, and the only thing that comes to mind is how they’ve managed to find the time to get the fifth album under the BCC banner completed. This is truly a band who are even better as a unit than individually, which is some statement. 

V is a superb album, from the richness of opener Enlighten through to the closing song The Open Road. Enlighten is a statement of intent, Sherinian’s lush keys working in harmony with the ferociously soulful vocals of Hughes, who simply gets better with every recording. He’s locked in with Bonham, making room for Bonamassa’s simple guitar work that carries with it a hard rock edge not usually found with this enigmatic and legendary guitarist. It’s an album of variety, such as the funk vibe on Stay Free, which harks back to Hughes’ time with Trapeze, the thunderous Red Sun with its Soundgarden feel, or the bluesy roll of Restless, which sees stellar performances from all the band, but especially Hughes and Bonamassa. And that’s just the first four songs. With such high quality, the only thing to do is kick back and enjoy every one of the ten songs as they come your way. 

Other highlights? There are many. Skyway resonates with the best that this band has done since its formation in 2010, You’re Not Alone is drenched in Sherinian’s glorious keys, whilst Hughes power as he sings the chorus is staggering. It’s got a distinct Deep Purple feel to it, which isn’t a bad thing in my opinion. Meanwhile Love and Faith tips the nod to Zeppelin in a style which works magnificently. The songs are nicely spaced, with the longer tracks interspersed with shorter, punchier songs neatly segueing with the longer ones to provide a balance that works. Production is crisp, as one would expect, and at 50-minutes, it’s not too short and neither does V outstay its welcome. 

In terms of quality, style, and sheer class, very little will get close to this album in 2024. It may have been a long wait, but boy was it worth it. Listen to V. Embrace the style, the playing, and the incredible talent of Hughes who at 73 still has everything, whilst Bonamassa is a force of nature that keeps on coming. Listen, stream, purchase. Just enjoy one of the best albums of the year.

V is released on 14th June via Mascot Records

Review by Hutch

ALBUM REVIEW: Axel Rudi Pell - Risen Symbol

At the age of 63, German guitarist Axel Rudi Pell shows no sign of slowing down. His 22nd album is as vibrant as much of his previous 21, full of anthemic European style hard rock with superb guitar work as one has come to expect. A pleasing and enjoyable listen, Risen Symbol is probably one of his best works in recent times.

Alongside Pell, the reliable team of vocalist Johnny Gioeli, drummer Bobby Rondinelli, keyboardist Ferdy Doernberg and bassist Volker Krawczak ensure that everything is tight and professional. There isn’t a dropped note in an album that is three minutes shy of a full hour. It’s a solid opening with the vibrant shredding on Forever Strong kicking things off in grand style. A stirring cover of Zeppelin’s Immigrant Song doesn’t do anything wrong, indeed, it’s one of the better versions of a song that’s been recorded many times. Pell explains his choice, not that the self-confessed Jimmy Page fan needs to do that. “I discussed the idea with our drummer Bobby Rondinelli, who also drums in a Led Zeppelin cover band. Bobby thought it was great and agreed with me that to get away with a number like that, you need an outstanding singer like Johnny Gioeli. Johnny can sing Robert Plant’s high notes, rising to that challenge with flying colours".

It’s a fact that Gioeli can hit all the necessary points, and he brings his usual flair to the album throughout. Talking of Zeppelin, the central pillar of Risen Symbol has a definite feel of the legendary band. Ankhaia is the song, and at ten-minutes in length it’s by far the longest song here. For me there’s plenty of classic influences, from the Dio era of both Rainbow and Sabbath, through to the Page / Plant oriental flair. “To me, Ankhaia is the number that Led Zeppelin forgot to compose” Pell says in his promo pack, no doubt with tongue firmly in cheek. “Although of course, Ankhaia doesn’t come with a 70’s sound, but has a contemporary flair and an awesome drum groove. I’m sure Page and Plant will love it when they hear it”. It’s certainly the epic that every album demands.

With an eye-catching piece of art on the album cover, which links back to the 1996 album Black Moon Pyramid, and a contemporary production, this is an album that works from start to finish. Even the grand finale, Taken by Storm, a mere seven-minutes in length, brings something excellent to the party.

I’ve been critical of ARP in the past, noting his quality but also the rather generic style he brings. Whilst there is nothing ground-breaking here, the quality and playing is certainly enough to catch the ear. If you enjoy some classic hard rock and metal, then Risen Symbol is well worth a listen.

Risen Symbol is released on 14th June via Steamhammer/SPV

Review by Hutch

ALBUM REVIEW: Wyndrider - Revival

I do like a bit of stoner doom and Wyndrider, from the mountains of East Tennessee fit the bill perfectly. Fronted by the deliciously soulful vocals of Chloe Gould, the band’s second album Revival is the natural successor to their self-titled debut that came out last year. Drenched in Sabbath-esque fuzziness, there’s a real high-quality style to the band’s delivery, even if it’s a genre where music can often sound similar. Gould has been compared to Grace Slick and even Elin Larsson, and I can see why, for her vocals resonate with a deep richness. Despite inevitable comparisons with the likes of Blood Ceremony, Lucifer and a host of other bands, I can hear something a little different in Wyndrider’s flavours. There’s a darkness that hangs over the album, unsurprising given the lyrical content, which focuses on their home in the Appalachian Mountains and the “smoke and mirrors of life in the Bible Belt”. 

It’s a strong opening with Forked Tongue Revival setting the pace, whilst Judas ensures interest is maintained with its meandering mid-section and downtuned guitar work that sees Robbie Willis lead whilst bassist Joshuwah Herald and drummer Josh Brock keep the low end intact. Riffs aplenty throughout, there’s a massive wave on Devil’s Den, with the hypnotic sway intoxica

tion, which contrasts with the smouldering and brooding feel of Remember the Sabbath. Although it slows a little in the final straight, there’s still plenty to enjoy as The Wheel grinds through to the closing point. Hauntingly epic, ghostly and intoxicating in equal measure, stoner doom is often done to a high standard and Wyndrider have ensured that another name is added to that ever-growing list.

Revival is out now on Electric Valley Records

Review by Hutch

ALBUM REVIEW: Kittie - Fire

Kittie is back! 

It’s been thirteen years, but they have returned with a new album. I was, and am a huge fan of the 2001 album Oracle but their follow-on stuff did not appeal to me quite as much. Some of it felt a little too poppy for me. This is no elitist gate keeping statement, it just was not for me. 

After watching the recent Kittie: Origins/evolution documentary on YouTube my interest was piqued, and Oracle was blasted out once more. So, it is was with a certain amount of interest and excitement that I played this review copy of new album Fire.  

I was already familiar with the single Eyes Wide Open, which I had enjoyed, and Fire begins in a similar vein. The title track opens with an impressive riff and the familiar voice of Morgan Lander demonically whispering over the music. Music that is both heavy and accessible. Fortunately, it has none of the pop links that disturbed me and it stays on the side of heavy. The breakdown is impressive while the words Watch me burn thrust from the speakers. 

Chunky riffs are prevalent on this album and the mix of clean and growling vocals works very well. Guitarist Tara McLeod is not shy of letting rip a solo either, an excellent decision in my opinion. Rock solid drumming provides a backbone for the grooves and the bass work is tight. I can confidently state this, as you can hear every element on this album due to the beautiful production of Nick Raskulinecz. This album sounds excellent. 

If singalong sections appeal to you as much as me, you will also be happy, as you can join in with both clean and dirty vocal sections  after a couple of listens. The bounce and skill involved in tracks such as We are Shadows and Wound compel the head to bob. My only complaint is with the sugary sweet intro to One Foot in the Grave and the vocal tone of this track. It displays the same attributes that put me off way back when. So, for me, that is the only low point to an excellent comeback album from these Canadian ladies.

Fire is released on 21st June via Sumerian Records

Review by Neil 'Thrashtash' Bolton