Insomnium are excited to announce a special run of headline shows across Finland in October and November. These exclusive performances promise a first chance to hear a new material on stage. As special guests, Kaunis Kuolematon will join these evenings of supreme sorrow. Read more…
It still seems bizarre to me that, as Manchester’s Winterfylleth hit their 20th anniversary and ninth album, The Unyielding Season, they still are relatively unknown and destined to play smaller venues than their quality and status deserve.
I have seen Winterfylleth many times over the years, from the bizarre setting of an early afternoon holiday camp, to a sparsely populated Rock Club, to appropriately packed audiences at the likes of Bloodstock and Damnation. They have never let me down, despite a plague of technical difficulties that must have driven them to the end of their tether at times.
Winterfylleth – The Unyielding Season – Album number nine finds them in stunning form
Album number nine finds them in stunning form. The Unyielding Season is undeniably a grower, getting better with each play. As usual, the playing is intense and technically top-level, whilst lyrically they wrap social commentary in crafted prose and poetry.
Now firmly ensconced on Napalm Records, their first offering for the new label opens with the blistering first single, Heroes Of A Hundred Fields. A pummelling of shimmering Black Metal riffs that power with rich melody lurking beneath, hypnotic riffs that swirl whilst layered synths add texture to a track that describes a fight of brave minds for freedom against a common oppressor.
Beneath the history that forms the baseline of Winterfylleth’s narrative. There has always been a focus on the current, and in The Unyielding Season, we see the band reflect the pressure and fear that is being pushed into the world.
Adapting Sir Philip Sidney’s 16th century poem, The Countess of Pembroke’s Arcadia, into a track is not something many Metal bands could consider. Yet that is what the mastery of this band have done on Echoes In The After, a reaction to the felling of the Robin Hood Tree at Sycamore Gap on Hadrian’s Wall.
Underneath the maelstrom of raging, Winterfylleth capture the emotions that most of us felt at this senseless crime. “Nature with care we can revere, and nurture, so it long remains, some men resolve to grow a life, but others tear it down again.”
There is ample trademark sound across the album. Hollow Existence sees the anthemic style that is the hallmark of Winterfylleth present itself. A slower tempo in parts, but with no less heaviness, the song soon hits top speed whilst Chris Naughton’s distinctive snarling delivery rages above.
This album also marks the debut of new bassist Mark Doyle, who joined in 2025 after the departure of long-serving Nick Wallwork. Doyle joins Naughton and co-founder member, drummer Simon Lucas, alongside keyboardist Mark Deeks and guitarist Russell Dobson.
A stable line-up on great form, evidenced on the massive title track, which stands as a central pillar in the centre of the album. Colossal in feel and delivery, The Unyielding Season draws attention to the current world situation whilst railing for those whose voices are currently silenced.
Letting their music seep into my very soul
What sets Winterfylleth apart from many of their peers is their ability to create such atmospheric pieces. Even if you do not delve deeper into the lyrical content, the sheer soundscapes they carve with their musicianship are guaranteed to envelop you. I certainly find myself closing my eyes and letting their music seep into my very soul.
And they can switch from blazing Black Metal to medieval acoustic passages in the blink of an eye. Here, they draw through from the title track to the beauty of Unspoken Elegy, an instrumental that features cello melodies that have equal amounts of hope and menace.
At over an hour in length, Winterfylleth do not do short. In Ashen Wake gallops through a near nine-minute escapade, slowly building with emotion and atmosphere before exploding into their galloping style and unleashing fury.
Towards Elysium takes forward an old-school riff which is guaranteed to get heads nodding before the enchanting acoustic two-minute piece Where Dreams Once Grew.
And then there is the bonus of a splendid cover of their UK counterparts, Paradise Lost. To take on Enchantment, the opening song on 1995’s seminal album Draconian Times is brave, and Winterfylleth nail it with their own take.
A glorious album then, despite the warning tones. As their press release states, “Where our surroundings grow more challenging every day, Winterfylleth offers a pause for respite and resistance. The world is on fire, and The Unyielding Season is a warning.”
Winterfylleth release The Unyielding Season on 27 March 2026 via Napalm Records. Pre-orders are available from here.
Rising from the underground with attitude, grit, and unapologetic energy, The Cali Mob is back with their brand-new single, ‘1 Percenter‘. This hard-hitting track is a full-throttle statement—built for those who live outside the lines and ride against the grain. ‘1 Percenter‘ is now available on all major streaming platforms, turning up the volume on what […]
19th March 2025 Support: Venus Grrrls, Precious Pepala
Words & Photos: Tom Atkin
Nights are starting to draw out, all the local venues are starting to pick up with activity and best of all, 7.30 doors no longer feels like it’s late! Opening the night we are treated to Sheffield’s Precious Pepala, a singer and song writer whose sound is certainly an interesting mix, there is a heavy influence of soul combined with both rock and dark pop. The first thing that stood out was her voice, which is absolutely incredible, instantly grabbing the attention of the whole room.
The soul aspect really shines through and it seems to really sit well with everyone. Lyrically, there is an audience connection as well, with content touching on mental health, victim blaming, acceptance and religion. The latter of which would normally be quite a decider for a crowd, not tonight though, she has everyone’s ears switched towards her.
The rock aspects of the music works wonders, hitting just as hard as the subjects that she is bringing to the table. Throughout her whole performance she carries an incredible amount of confidence, not faltering at all, even when talking about some of her personal life. Providing she carries on as she is, I imagine she is going to become one of those artists you wish you’d seen when they were smaller.
Photo Credit: Tom Atkin
The middle filler of the evening comes in the form of Venus Grrrls, a 5 piece group that bring a hint of goth to the show. The energy during the opener was at a suitable level for the vibe. Now though it is about to be forcibly dragged higher.
The shift in energy is instant throughout the whole of Epic Studios. From the moment the bass line thunders out for the intro of ‘3×3‘ it sets a precedence for the rest of their set, it’s raw yet tight, two words that often don’t work hand in hand. Each song has its own stand out parts, in the case of ‘Divine‘ its the beautifully simplistic but hitting guitar riffs.
They are consistent all the way through their unfortunately short set, each member of the band showing off their talent wonderfully. All of this being lapped up by the crowd, who are now a lot more active, although they didn’t have much choice in that though as vocalist Grace Kelly near on climbed into the crowd at one point.
Photo Credit: Tom Atkin
Now for the reason the Epic Studios is sold out tonight, the mighty Nova Twins. The London based duo that are taking the English music scene by storm, supporting some incredible bands and even collaborating with Bring Me The Horizon.
Starting the set with ‘Antagonist‘ is a brilliant choice, it perfectly sums up their flavour of Alternative Rock, high energy, in your face and made to make people move. The bass heavy aspect of it is satisfying and their ability to make the sounds they do, all live on stage, is a testament to the amount of work that they put in to this.
This goes on all the way through the set; the almost dub step sounding sections of ‘Sandman‘ sound just as at home as the chants of ‘Piranha‘. You can see why the crowd is so varied, being able to touch on so many genres and all done just as well as the last is no easy feat.
Photo Credit: Tom Atkin
As a tour supporting their latest album ‘Parasites & Butterflies’, the album features heavily, in fact there is only one song off the album that isn’t featured. However, they don’t forget their roots, ‘Taxi‘ from their debut album sounds amazing, the riff for this song feels like it came straight from Tom Morello.
The crowd is all over it as well, very few people are stood still, this energy is so infectious you would still be banging your head along to the riffs of ‘Cleopatra’ and ‘Black Roses’ for days to come. This is an absolute master class of some truly talented artists.
Nova Twins truly bring a very fan orientated experience to the stage, the fans know this, they even took time out to highlight their work with Amnesty International, a moment that didn’t feel forced or like they are sponsored to say it. It is clear it all that side of their lives comes from the heart.
La Mort – Death in French. For someone whose voice is as uplifting as the renowned artist Anneke van Giersbergen, this could have been quite a troubling thought. This is part of a trilogy of material, deeply personal, that the Dutch singer has produced, tracing the intimate journey through love, loss and grief. It is inspired by the passing of both parents within a two-month period.
“Not every song on La Mort is literally about death,” Anneke van Giersbergen says. “Writing doesn’t follow rules like that, and I’m glad it doesn’t. Sail Towards The Sun, however, is about saying goodbye to my father. He once built his own seaworthy sailboat, and we spent many family holidays on the water. That memory lives very close to my heart.”
Fans of Anneke van Giersbergen’s time in The Gathering will have been thrilled in 2025 when the original line-up reunited to celebrate the 30th anniversary of Mandylion. The Gathering are now lined up for a slew of shows across 2026, something that may have prompted the departure of Silje Wergeland.
O2 Shepherd’s Bush EmpireShepherd’s Bush Green, Shepherd’s Bush, London W12 8TT
The Gathering’s long-awaited 2026 Reunion Tour is making its way to London, and for fans of transcendent live music, this is a rare opportunity to
Event Details
The Gathering’s long-awaited 2026 Reunion Tour is making its way to London, and for fans of transcendent live music, this is a rare opportunity to witness one of the most emotionally resonant bands of the past three decades.
With Anneke van Giersbergen back at the helm, the band’s return feels less like a comeback and more like a revival of something that has been deeply missed. The O2 Shepherd’s Bush Empire’s iconic atmosphere is the perfect setting for their layered, atmospheric sound, equal parts heavy, ethereal, and emotionally devastating in the best way possible.
Expect a setlist that blends the best of their landmark 1995 album Mandylion with fan-favourite deep cuts and newer sonic explorations, all delivered with a live intensity that proves The Gathering have lost none of their power.
For longtime followers and curious newcomers alike, this will be a cathartic, immersive experience that reminds us why live music still matters. If you are in London and The Gathering are coming through, missing this show is not an option.
The Gathering play O2 Shepherd’s Bush Empire on 19 May 2026. Tickets are available from gathering.nl.
It was her appearances with Devin Townsend and Daniel Kavanagh that brought Van Giersbergen to my attention many years ago, with her performance on the former’s Epicloud a particular highlight.
I will admit I am not massively familiar with her solo music although I dip in and out from time to time. With her beautiful voice, it would be remiss not to at least take time to listen on occasion.
As she did on La Vie, Anneke van Giersbergen has brought in her live band to help on La Mort. The result is a swirling mix of emotions that provides four tracks with a slight ’90s lilt, rich in sound and high on production values.
Anneke Van Giersbergen has announced her new solo EP La Mort. Photo: Mark Uyl
It is a big cast, and the complex tracks highlight the quality on offer. Alongside Van Giersbergen, the EP features Allie Summers – backing vocals, Camilla van der Kooij – violin, viola, Edward Capel – reed instruments, Gijs Coolen – guitars, Matthias van Beek – guitars, backing vocals, Rob Snijders – drums, Roel Blommers – bass and Thijs Schrijnemakers – keyboards.
Four songs continue the story, the first one being Fade In, Fade Out. Opening with a single piano before the band kick in, there is a deeply poignant feel to the track. It is not rushed, at times deeply simple, but always uplifting despite the subject matter.
This is a complex piece, with swirling synths and reed instruments that whip around in a semi-chaotic pattern, building to a crescendo which sees the music strip back to acoustic guitar and Van Giersbergen’s elfin vocals before the music picks up for a stirring conclusion.
It is followed by the electro beat of Handle Me With Care, which shifts tempo and direction, and sits much more in the pop category. Would we be as excited if a TV poppet was given this to sing? Unlikely, but when this group of professionals get together, this is the result.
It feels almost as if it were spawned in a jam session, with elements of Blondie lurking underneath. You could easily dance to this, should you feel the mood take you. There is another stirring latter passage which does help elevate it high above the standard pop dross and craft it into a much more refined piece.
It is followed by the buoyancy of Red Sky, a four-minute amble which once again has an electro background, and an ’80s feel dripping down the wall.
It is the closing track Sail Towards The Sun which really captures the feel of this EP. It drips with sentiment and emotion and sees Van Giersbergen’s best vocal performance of the entire EP.
Simple, yet layered with clever pieces that intertwine seamlessly throughout, the reed instruments merge into the overall sound and never overpower the vocals. A song that would work on a warm summer’s evening or a cold winter’s night, it is the perfect piece to conclude this intricate and captivating release.
La Mort will be available digitally on 27 March 2026, with a special vinyl edition released for Record Store Day on 18 April. For more details, visit annekevangiersbergen.com.
Today, Purity ThroughFire releases From Distant Hills‘ striking debut album, …and Whispering Trees, on CD format. The vinyl version will follow later this year. Summoned from forgotten realms, From Distant Hills is a new, ancient-minded project between multi-instrumentalist Ungod (Greece’s Sad, Necrohell, Bloodmoon Eclipse et. al.) and vocalist Throne (Hor, Horrorography, Sad live member). As presaged by their moniker, the duo’s aim with From Distant Hills is to […]
Today, ancient speed metallers Cruel Force reveal the new video “Warlords.” The track is the third to be revealed from the band’s highly anticipated fourth album, Haneda, set for international release on March 27th via Shadow Kingdom Records. See & hear Cruel Force‘s “Warlords” video in its entirety HERE at Cruel Force‘s official YouTube channel. Truest of the true, Germany’s Cruel Force burst onto the scene in 2008 with the Into […]
What do you do when your passion is hurting you? In Hunter Young’s mind, the answer is to do it anyway, because it’s his oxygen. In 2022, he was diagnosed with a rare neuro-immune condition that’s completely curtailed his ability to tour either with Moodring or other outfit PSYCHO-FRAME, and with his condition worsened by exertion, making music wasn’t advisable either. Despite the pain and fatigue it causes him, music is how he survives.
It’s also where he grieves. On Moodring’s second album, that agony is most pronounced against the churning, roiling tones of Half-Life, whose skyscraping chorus offers no pill to sweeten the grim reality he faces. ‘I’m only half-alive now,’ he laments, ’I’m swallowing my fate, what’s left to change?’ Still, this pain doesn’t define him. Between images of needles, pain and medicine, there’s more to this album than a portrait of debilitating illness. It’s a visceral vision of the extremities the mind can go to when the body is failing.
Often, death fetish is incredibly violent, but thrillingly so. The propulsive thrum of Cannibal has a magnetic lure, as dark as it gets – ‘How violent do I need to get? / I want to make the conscience leave the back of my head’ – while Bleed Enough drips with bloodlust. ‘Drag it slow across the throat / Spill it out, I need it now,’ he orders over a pulsing industrial rhythm. Gunplay (Suicidal 3way), as its title suggests, entangles lust and violence in a vivid fantasy of Russian roulette with a difference, burning with danger with every strike of the guitar’s strings.
Amid its heavier, steelier sound, the dreamier tones of 2022 debut Stargazer have been all but washed away. The only remaining residues of it are found in Ketamine, channeled into the cold, hazy atmosphere evoking the feeling of floating in a vacuum as Hunter longs to drift away from his reality. ‘Sometimes I want to let the credits roll,’ he sings through a vocoder. Clearly, he knows when to step back and leave his exposed heart on the table, as it’s impossible not to feel affected by not just its vulnerability, but the feeling of fragility it captures.
These songs may have been born from immense difficulty, but within them, Hunter has mined brilliance. In all its shades, it’s a stunning, powerful body of work from a band who, after this, might be considered underrated no longer.
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
Photo Credit: Tom Atkin
