Back catalogue: Metal

Review: Halestorm's last album was 2018's Vicious, and since then the chart topping, hard rocking band has been working keenly on a follow up. It was proceeded by the title single with a morbid looking video fearing band member Lzzy Hale in a bodybag, and then a run of sold out gigs in club and festivals all around the UK. The full album follows up in fine style and will not disappoint fans. It was produced by Nick Raskulinecz of Foo Fighters and Alice in Chains association with co-production by Scott Stevens and showcases great songwriter laden with mental health, redemption and survival themes.

Review: Haunted Plasma's debut album, I, is an entrancing trip through a psychedelic blend of Krautrock, techno, and electronica. Comprising members from Oranssi Pazuzu, K-X-P, and Aavikko, the album features guest vocalists and explores genre-defying soundscapes. Each of its five tracks offers unique moods from the moody electro-rock of 'Reverse Engineer' to the ethereal ambience of 'Echoes.' The album's dreamlike quality is both discomfiting and pleasantly hypnotic, drawing listeners into a surreal soundscape. Standout tracks like 'Machines Like Us' deliver spiraling synths, while 'Haunted Plasma' concludes the album with an epic, undulating instrumental journey. With its subtle evolution and immersive atmosphere, I leaves a lasting impression, promising a compelling future for this avant-garde trio. Looking for something unique and different? Look no further.

Review: San Antonio, Texas based blackened doom-death hybridizers, Haunter, return with their much anticipated, decimating third full-length, Discarnate Ails. The follow up to 2019's exceptional Sacramental Death Qualia, sees a further eschewing of their screamo origins in favour of gargantuan, esoteric, depressive opus-like pieces that transcend genre and spectacle in favour of cathartic bombast.

Review: Originally formed in 2000 in Middletown, Connecticut, the duo of Dan Barrett and Tim Macuga, better known as Have A Nice Life are one of the earliest instances of a truly internet-based underground band. Using primitive platforms to easily distribute early material, by the time their opus Deathconsciousness arrived in 2008, they had already amassed a devout following which was amplified by the debut album's crushing marrying of distorted, harsh shoegazing, blackened atmospherics, nauseating drone and industrial post-punk. Avid fans would begin to track down sporadic demo versions and outtakes from the record spread out across the digital landscape and compile the cuts onto an unofficial bootleg titled Voids, which would later be released on limited cassette with the pair's blessing. Courtesy of The Flenser, and following last year's remastered streaming release, Voids finally comes home to vinyl with its first official pressing over a full decade on from inception, and expands the original compilation to include alternative, raw, lo-fi, otherworldly renditions of material from their two subsequent LPs The Unnatural World and Sea Of Worry.

Review: Ever since Los Angeles noise-rock trio HEALTH provided the score to Rockstar Games' Max Payne 3, both their sonic and career paths have veered down a direction that avid early fans still have trouble reconciling. Shifting from predominantly instrumental, spasmodic chaos to a unique form of laser-focused, industrial metalwave; their 2019 opus Vol 4: Slaves Of Fear newly established them as the ultimate electronic act for metal fans. While lockdown led to the Disco 4 collaborative albums, split into two separate volumes and boasting a remarkably dynamic array of features from the likes of alt hip-hop guru JPEGMAFIA, trap-metal phenom Ghostemane, hyperpop absurdist duo 100 Gecs, industrial overlords Nine Inch Nails and even groove metal legends Lamb Of God, their fifth full-length Rat Wars draws on the insidious influence from these more aggressive collaborators while simultaneously offering some of their most vulnerable, melancholic and fragile material to date. Complete with a Godflesh sample, it's rather fitting when considering HEALTH's attempts to marry such disparate yet equally punishing sonics mirrors Justin Broadrick's forays from decades ago. Grinding, mechanical percussion fuses to ethereal, androgynous vocals all drowned within EBM sickliness, whilst unpacking utterly nihilistic worldviews. Imagine Placebo or The Pet Shop Boys writing an album with Ministry, and you may start to have an idea of the war you're heading into...

Review: LA based industrial trio HEALTH have had quite the curious trajectory from their confrontational noise-rock beginnings, to providing the acclaimed score to Max Payne 3, all the way to redefining themselves as a gritty, synth-metal behemoth on 2019's Vol 4: Slaves Of Fear. Following on from their lockdown-inspired two-part Disco 4 collaborative project which boasted cuts written in tandem with artists ranging from a multitude of differing sonic spheres, such as alternative hip-hop (JPEGMAFIA, Ghostemane) to hyperpop (100 Gecs) and even grindcore (Full Of Hell), their latest endeavour appears to be taking cues from both their more vicious experiments as well as their newfound collaborative ethos. With features from the likes of Godflesh and Willie Adler of Lamb Of God, whilst embracing both their metallic and techno-leaning indulgences simultaneously, Rat Wars promises to distil the myriad of components essential to the sonic makeup of HEALTH into one oppressive, melancholic, hellish, absorbing and vital collection.

Review: .After Swedish psychedelia worshipping, garage-tinged hard rock heroes The Hellacopters returned to the stage for an apparent one-off performance in 2016, they simply couldn't put the project back to bed. Releasing their follow up to 2008's at the time farewell covers album Head Off in 2022; Eyes Of Oblivion was a groove-laden return to form, restoring the band's knack for earworm hooks delivered with authentically retro riffage. What many might forget is that mastermind Nicke Andersson cut his teeth as the drummer and primary songwriter for death metal pioneers Entombed before ultimately departing, looking to the melodies of his youth in search of creative fulfilment. Now with Overdriver, the second LP of The Hellacopters reunion era, Andersson pushes further back beyond the local and global psychedelic acts of his previous primary inspiration (many of whom were covered on the aforementioned Head Off) and looks to the blueprints of T. Rex and early Elton John to help craft a collection of vintage-seeming hard rock anthems, as playful as they are poignant and respectful. One listen to 'Soldier On' and you'll be convinced you heard your dad blaring it in the car when you were but a young'en.

Review: Swedish garage-tinged hard rock heroes The Hellacopters, made the mother of all comebacks with 2022's sonic refusal to stagnate on Eyes Of Oblivion, which served as their first full-length since 2008's original "farewell" covers project Head Off. Following a return to the stage in 2016, it appears that wasn't enough to satiate the creative appetite of mastermind Nicke Andersson, a pioneering force who started out as the drummer for legendary death metal outfit Entombed before allowing his side-project to engulf all of his prowess and energy. Being one of the band's primary songwriters and then subsequently freed from their aggressive constraints allowed Andersson to explore his own designs, now with the arrival of Overdriver, we hear a seasoned veteran refusing to be boxed in again by his own earlier psychedelic output by boldly embracing the vintage classic rock of his youth. Bombastic riffs, earworm hooks and the antithesis of shying away from melody culminate in a latter day work boasting anthems such as 'Soldier On' which genuinely sound like if Elton John in his peak years traded his piano for a fuzzed out axe of a guitar.

Review: While Swedish garage-tinged hard rock heroes The Hellacopters made their bombastic return with 2022's excellent Eyes Of Oblivion; their 2008 predecessor Head Off was originally envisioned as the band's swansong project. With that creative headspace in mind, the group opted to (try and) go out on a tributary whim with an album consisting entirely of covers of personal favourite cuts from acts they felt were deserving of far more praise, adoration and discovery. Boasting an eclectic mix of renditions from garage-punk outfits from their home of Sweden such as Demons, to seminal American fuzzed out troubadours like New Bomb Turks, Dead Moon, and The Bellrays, to name just a small portion, the LP serves as a celebration of all things garage, punk, fuzz and rock, often in the same sonic breath, from a band who at the time of recording felt they had nothing more creative to say. As time has shown just how wrong they were, what better time to revisit this farewell-turned-covers LP which receives a lush new repress from their recently found label-home Nuclear Blast.

Review: Arriving almost six years on from their Grammy Award-winning eighth full-length Electric Messiah, Oakland, California stoner-sludge behemoths High On Fire return with the highly anticipated Cometh The Storm. Plumbing the depths of post-COVID woes, the increasing proverbial fire of the world at large, and our brittle purpose within the cosmos, these long-gestating beastly cuts offer up some of the most heaving tonal bedlam the trio have delivered in well over a decade, whilst simultaneously operating as their most sonically daring and expansive chapter yet by tapping into middle-Eastern influences and utilising Turkish instruments to craft a worldly, encompassing sense of global dread. When you absolutely, positively, require some of the most grooving, hefty, nihilistic sludge/stoner/doom available, you're always in luck when High On Fire rear their Cerberus heads.

Review: HIM's third album, Deep Shadows and Brilliant Highlights, stands out as a significant release in their discography, now reissued on vinyl. Originally made in 2001, album opens with 'Salt In Our Wounds,' a track that skillfully balances slow verses with a heavier chorus, featuring a solid solo. 'Heartache Every Moment,' a single, initially took time to grow on listeners but is appreciated for its memorable lyrics. 'Lose You Tonight' offers a unique intro with a bass line and hawk-like screeches, while 'In Joy And Sorrow,' another single, showcases Ville Valo's soothing vocals and a captivating guitar riff. 'Pretending,' a fan favorite, features thoughtful lyrics and an impressive solo. 'Please Don't Let Go' and 'Don't Close Your Heart' provide upbeat and positive vibes, the latter seamlessly transitioning into the next track. 'Love You Like I Do' closes the album on a dark, powerful note with its organ-like instrumentation and deep vocals. Overall, Deep Shadows and Brilliant Highlights remains one of HIM's most important albums.

Review: HIM's third album, now reissued on vinyl for 2024, remains a standout in their discography. Opening with 'Salt In Our Wounds,' the album showcases a perfect blend of slow build-ups and heavier choruses, featuring a cool solo. 'Heartache Every Moment,' a single, grows on you with its poignant lyrics. 'Lose You Tonight' offers a unique intro with a bass line and intriguing background sounds, while 'In Joy And Sorrow' captivates with soothing guitar riffs and beautiful vocals. 'Pretending' stands out with memorable lyrics and an impressive solo. Although 'Close To The Flame' and 'Beautiful' are slower tracks, they add depth to the album. 'Don't Close Your Heart' and 'Love You Like I Do' close the album on a high note that create a lasting impact on the listeners.

Review: Hailing from Phoenix, Arizona, Holy Fawn have become quickly renowned thanks in no small part to their acclaimed debut LP Death Spells, released in 2018. Combining overwhelming levels of reverb-drenched shoegaze with blackened metallics whilst avoiding the obvious blackgaze assumptions, their unique brand of cathartic post-metal has been refined and polished to a severely impressive degree on the much anticipated sophomore effort Dimensional Bleed. Arriving toward the end of 2022, the work builds upon the melancholic grandiosity of their The Black Moon EP with shimmering ease, conjuring levels of emotive despair usually occupied by acts of the more extreme metal variety. Atmospheric, forlorn and utterly crushing, this is doomgazing at both its most ethereal and punishing.

Review: Gone Dark, the sophomore album from Human Impact, pushes the boundaries of noise-rock with a fiercer, more streamlined approach. The band, composed of Unsane's Chris Spencer, Cop Shoot Cop's Jim Coleman, Made Out of Babies' Eric Cooper, and Daughters' Jon Syverson, delivers a potent blend of taut grooves, jagged guitar riffs, and raw vocal intensity. This release is not merely a cry from the void but a powerful declaration of defiance against a world teetering on the brink. Following their self-titled debut, Gone Dark represents a significant evolution, capturing the visceral energy of their live performances. Spencer emphasises the band's intent to create something rawer and more aggressive, which is evident throughout the album's tightly interwoven tracks and interstitial pieces, mirroring the flow of a live show. Recorded with co-producer Andrew Schneider at Austin's Cedar Creek Studio, the album benefits from the newly solidified rhythm section, with Cooper and Syverson's contributions adding heft and precision. The result is a cohesive, relentless sonic assault that showcases the band's full understanding of their identity. Gone Dark is a potent, focused statement from a group that continues to refine its craft, delivering an album that is enduring, resilience and aggressive.