Hebi Katana’s self-titled full length debut, “Hebi Katana“, took essences of grunge, doom, glam and proto-metal and blended them all together in one big melting pot of groove, it was a sound that was different but at the same time bore elements of familiarity. The band followed up their debut with “Impermanence” and here they leant towards a much more 70’s proto-metal sound, the grooves were a tad more strident and gritty, the guitar solos a touch dirtier and the vocals sneerier. The band then went back into the studio and what came out was “III“, an excellent album that apart from the punkish desert rocker “Darkest Priest” seemed to take a large part of its influences from cult rockers Budgie’s first four albums. The bands star was on the rise and people were starting to realise that at last Church of Misery and Boris had some competition in the best known Japanese underground band stakes. One of those turning their heads in Hebi Katana’s direction was Todd Severin who signed the band up to his Ripple Music label for their next album, that album, “Imperfection”, has now dropped and it’s a BANGER!!!!
Opening number “Bon Nou” begins quite restrained with a gently picked guitar arpeggio but then in comes a dirty bass motif and the song takes off on a galloping groove that leans to the more punkish side of stoner rock, a strident but not overly furious groove decorated in clean vocals that have a similar stoner punk dynamic. The pace is slowed down somewhat for the following “Dead Horse Requiem“, musically the song has a proto-doomic feel, all reverberating riffage and thunderous rhythms, but boasts a very cool theatrical vocal melody not too disimilar to the melody utilized by rockabilly stalwarts Stray Cats on their UK chart bothering song “Stray Cut Strut“. “Praise The Shadows” is up next a frizzy fuzzy medium paced rocker with an ear-catching verse/chorus/verse structure that features rhythms, chord progressions and guitar solos that sit at the more classic end of hard rock. “Echoes From Old Tree” begins dark dank and menacing but then morphs into something more akin to playful with choppy reggae(ish) chord work and swinging rhythms framing equally swinging vocal melodies, the song does take off on a few musical tangents along the way but overall the feel is more hard rock than heavy rock. There is a Deep Purple Mk III vibe to next song “Blood Spirit Rising” albeit without the keyboards, especially in its fiery closing passages where we find guitarist Nobu shredding a mix of bluesy and neo-classical flavoured guitar solos over bassist Laven and drummer Goblin’s incessant rhythmic backdrops. “Yu gen” is restrained, psychedelic and grungy, both musically and vocally, and is punctuated with occasional burst of heaviness a trick that is repeated on final track “Yume we Kareno” only here the vocals , both lead and backing, are delivered a little more lilting and melodious.
It would seem that Hebi Katana, with “Imperfection“, have decided to dial down their worship of bands like Budgie and Black Sabbath and have instead opted to explore territories a little further afield, the band jamming grooves still very much rooted in proto-metal and doom but that are not limited to or by those genres. It may have taken a few albums to get there but it would appear Hebi Katana have at last found their sound.
Hebi Katana’s self-titled full length debut, “Hebi Katana“, took essences of grunge, doom, glam and proto-metal and blended them all together in one big melting pot of groove, it was a sound that was different but at the same time bore elements of familiarity. The band followed up their debut with “Impermanence” and here they leant towards a much more 70’s proto-metal sound, the grooves were a tad more strident and gritty, the guitar solos a touch dirtier and the vocals sneerier. The band then went back into the studio and what came out was “III“, an excellent album that apart from the punkish desert rocker “Darkest Priest” seemed to take a large part of its influences from cult rockers Budgie’s first four albums. The bands star was on the rise and people were starting to realise that at last Church of Misery and Boris had some competition in the best known Japanese underground band stakes. One of those turning their heads in Hebi Katana’s direction was Todd Severin who signed the band up to his Ripple Music label for their next album, that album, “Imperfection”, has now dropped and it’s a BANGER!!!!
Opening number “Bon Nou” begins quite restrained with a gently picked guitar arpeggio but then in comes a dirty bass motif and the song takes off on a galloping groove that leans to the more punkish side of stoner rock, a strident but not overly furious groove decorated in clean vocals that have a similar stoner punk dynamic. The pace is slowed down somewhat for the following “Dead Horse Requiem“, musically the song has a proto-doomic feel, all reverberating riffage and thunderous rhythms, but boasts a very cool theatrical vocal melody not too disimilar to the melody utilized by rockabilly stalwarts Stray Cats on their UK chart bothering song “Stray Cut Strut“. “Praise The Shadows” is up next a frizzy fuzzy medium paced rocker with an ear-catching verse/chorus/verse structure that features rhythms, chord progressions and guitar solos that sit at the more classic end of hard rock. “Echoes From Old Tree” begins dark dank and menacing but then morphs into something more akin to playful with choppy reggae(ish) chord work and swinging rhythms framing equally swinging vocal melodies, the song does take off on a few musical tangents along the way but overall the feel is more hard rock than heavy rock. There is a Deep Purple Mk III vibe to next song “Blood Spirit Rising” albeit without the keyboards, especially in its fiery closing passages where we find guitarist Nobu shredding a mix of bluesy and neo-classical flavoured guitar solos over bassist Laven and drummer Goblin’s incessant rhythmic backdrops. “Yu gen” is restrained, psychedelic and grungy, both musically and vocally, and is punctuated with occasional burst of heaviness a trick that is repeated on final track “Yume we Kareno” only here the vocals , both lead and backing, are delivered a little more lilting and melodious.
It would seem that Hebi Katana, with “Imperfection“, have decided to dial down their worship of bands like Budgie and Black Sabbath and have instead opted to explore territories a little further afield, the band jamming grooves still very much rooted in proto-metal and doom but that are not limited to or by those genres. It may have taken a few albums to get there but it would appear Hebi Katana have at last found their sound.
First offering from forthcoming as-yet-untitled 3-song EP kicks off a new era for the symphonic prog-metal collective.
Valcata, the symphonic progressive metal collective known for weaving cinematic orchestration with emotional depth, has officially released Overload the Reactor. This first single from their upcoming 3-song EP is now available digitally worldwide on Bandcamp and all streaming platforms.
Rooted in themes of connection and determination, Overload the Reactor uses sci-fi-infused imagery to tell a fundamentally human story: two souls uniting to overcome darkness and embrace hope.
“This song is about the power of support,” explains composer Oha Cade. “Our protagonists find connection through a shared purpose. When you find yourself struggling, often all it takes is one other soul to help you break through.”
A Global Lineup
• David Michael Moote (Operus) – clean and harsh vocals, honed in Toronto’s progressive metal scene.
• Sharon Portilla (Blind Hex) – clean lead vocals; she co-founded the Mexican neo-symphonic band Blind Hex in 2021.
• Landryx (ex-Unexpect) – versatile drummer from Quebec whose work on Unexpect’s acclaimed albums In a Flesh Aquarium and Fables of the Sleepless Empire fueled tours with elite acts including Dream Theater and Iron Maiden.
• Amin & Armin Saffar (Hyper Planet) – the Iranian-born duo add guitar and bass depth, fusing Persian heritage with avant-garde prog-metal (now based in the Netherlands).
• William Khan (Golden World Archive) – cinematic, neoclassical orchestration.
• Emil Reitan (Frostbitt, Trylion, Tulpas) – mixing/mastering at Iceland’s renowned Icicle Studios.
• Oha Cade – composer, lyricist, producer, and visionary force behind Valcata.
This lineup will continue across all tracks of the forthcoming EP.
Since debuting in 2019 with their conceptual self-titled album, Valcata has earned praise for blending symphonic, progressive grandeur, and heartfelt storytelling. Overload the Reactor is the group’s latest emotional anthem to signal a powerful new era.
First offering from forthcoming as-yet-untitled 3-song EP kicks off a new era for the symphonic prog-metal collective.
Valcata, the symphonic progressive metal collective known for weaving cinematic orchestration with emotional depth, has officially released Overload the Reactor. This first single from their upcoming 3-song EP is now available digitally worldwide on Bandcamp and all streaming platforms.
Rooted in themes of connection and determination, Overload the Reactor uses sci-fi-infused imagery to tell a fundamentally human story: two souls uniting to overcome darkness and embrace hope.
“This song is about the power of support,” explains composer Oha Cade. “Our protagonists find connection through a shared purpose. When you find yourself struggling, often all it takes is one other soul to help you break through.”
A Global Lineup
• David Michael Moote (Operus) – clean and harsh vocals, honed in Toronto’s progressive metal scene.
• Sharon Portilla (Blind Hex) – clean lead vocals; she co-founded the Mexican neo-symphonic band Blind Hex in 2021.
• Landryx (ex-Unexpect) – versatile drummer from Quebec whose work on Unexpect’s acclaimed albums In a Flesh Aquarium and Fables of the Sleepless Empire fueled tours with elite acts including Dream Theater and Iron Maiden.
• Amin & Armin Saffar (Hyper Planet) – the Iranian-born duo add guitar and bass depth, fusing Persian heritage with avant-garde prog-metal (now based in the Netherlands).
• William Khan (Golden World Archive) – cinematic, neoclassical orchestration.
• Emil Reitan (Frostbitt, Trylion, Tulpas) – mixing/mastering at Iceland’s renowned Icicle Studios.
• Oha Cade – composer, lyricist, producer, and visionary force behind Valcata.
This lineup will continue across all tracks of the forthcoming EP.
Since debuting in 2019 with their conceptual self-titled album, Valcata has earned praise for blending symphonic, progressive grandeur, and heartfelt storytelling. Overload the Reactor is the group’s latest emotional anthem to signal a powerful new era.
Our small staff at this heavy metal blog send our condolences to the family, friends and fans of the late Ozzy Osbourne who passed away yesterday morning. There are not enough words to express how much his legacy meant to the fans of the heavy metal genre. A world without Ozzy, it’s hard to imagine but it’s what we all have to deal with now.
Our small staff at this heavy metal blog send our condolences to the family, friends and fans of the late Ozzy Osbourne who passed away yesterday morning. There are not enough words to express how much his legacy meant to the fans of the heavy metal genre. A world without Ozzy, it’s hard to imagine but it’s what we all have to deal with now.
This year (2025) sees Sweden’s GAUPA returning with not only a brand new release, “Fyr” (Nuclear Blast Records), but also a slimmed down line up. 2024 saw co-guitarist Daniel Nygren handing in his notice so as to concentrate more on his family which left remaining members, Jimmy Hurtig (drums); Erik Sävström (bass); Emma Näslund (vocals) and David Rosberg (guitars), with the options of either finding a new guitarist to fill Nygren’s boots or carrying on as a four piece, it was decided that of the two options it was the latter that served GAUPA’s purposes best.
We at Desert Psychlist are of the opinion that it is this more compact line up, where each musician has to work just that little bit harder to achieve that signature GAUPA sound, which has resulted in “Fyr” being the bands darkest, tightest and heaviest release to date, see what you think…
Opening number “Lion’s Thorn“, begins haunting and mystical with what sounds very much like a set of solitary bagpipes (but could just as easily be a saxophone) parping majestic tones over a backdrop of droning textures, this then slowly fades away to be replaced by a throbbing low key but highly effective groove over which Näslund pours a fragile vocal containing all the usual distinctive vocal mannerisms fans of GAUPA have come to expect from her. Now you may be asking when does all this darkness and heaviness, talked about in the opening part of this review, kick in, well it is first hinted at around the songs 4:40 mark but really takes hold when the song clocks in at just over the five minute mark when guitarist Rosberg decides he’s had enough of laying down quaint textures and instead goes full on crunchy, the guitarist dragging Sävström and Hurtig along with him on a powerfully executed groove that teeters on the edges of doomic and sees Näslund’s vocals taking on a more forceful dynamic. Second song “Heavy Lord” mixes chugging stoner(ish) grittiness with prog and post-punk texturing beneath a delightfully delivered Näslund vocal that shows along with having ethereal and powerful in her locker she also has husky and smoky. “Ten Of Twelve” follows and sees GAUPA musically swaying between complex passages of strident progressive metal and bouncy psychedelic rock over which Näslund delivers another superb vocal, the real clincher here though is Rosberg’s ear-worming guitar motif’s which are reminiscent of something you might find gracing a YES album or something by Chicago’s Huntsmen. “Elastic Sleep” is an epic shape-shifting opus, a truly captivating blend of blustering progressive metal heaviness and heavy psych otherworldliness fronted by a truly incredible vocal performance. this song that really needs to be listened to without distraction to fully appreciate the true majesty and magnificence of its individual performances.
#Those opting for a physical release of “Fyr” also get the bonus of hearing GAUPA perform “Sömnen & Febersvan” live at Monkey Moon Studios, both songs featuring the now departed Daniel Nygren.
There were probably many that were hoping GAUPA’s next release would be an all bells and whistles full length album but “Fyr“, which the band describe as a “mini” album, is more a statement of intent, an announcement to the world that despite losing a core member they are still a musical force to be reckoned with, Of course losing a member is going to alter any bands dynamic to some extent and in GAUPA’s case that has resulted in a slightly darker and heavier sound but its more a subtle shift than a drastic one and all those elements that we have come to love about this unique Swedish outfit are all still very much in place, the genre blending grooves, the surrealistic lyricism, the distinctive vocalisations all remain but this time sprinkled with just a pinch more grittiness.
This year (2025) sees Sweden’s GAUPA returning with not only a brand new release, “Fyr” (Nuclear Blast Records), but also a slimmed down line up. 2024 saw co-guitarist Daniel Nygren handing in his notice so as to concentrate more on his family which left remaining members, Jimmy Hurtig (drums); Erik Sävström (bass); Emma Näslund (vocals) and David Rosberg (guitars), with the options of either finding a new guitarist to fill Nygren’s boots or carrying on as a four piece, it was decided that of the two options it was the latter that served GAUPA’s purposes best.
We at Desert Psychlist are of the opinion that it is this more compact line up, where each musician has to work just that little bit harder to achieve that signature GAUPA sound, which has resulted in “Fyr” being the bands darkest, tightest and heaviest release to date, see what you think…
Opening number “Lion’s Thorn“, begins haunting and mystical with what sounds very much like a set of solitary bagpipes (but could just as easily be a saxophone) parping majestic tones over a backdrop of droning textures, this then slowly fades away to be replaced by a throbbing low key but highly effective groove over which Näslund pours a fragile vocal containing all the usual distinctive vocal mannerisms fans of GAUPA have come to expect from her. Now you may be asking when does all this darkness and heaviness, talked about in the opening part of this review, kick in, well it is first hinted at around the songs 4:40 mark but really takes hold when the song clocks in at just over the five minute mark when guitarist Rosberg decides he’s had enough of laying down quaint textures and instead goes full on crunchy, the guitarist dragging Sävström and Hurtig along with him on a powerfully executed groove that teeters on the edges of doomic and sees Näslund’s vocals taking on a more forceful dynamic. Second song “Heavy Lord” mixes chugging stoner(ish) grittiness with prog and post-punk texturing beneath a delightfully delivered Näslund vocal that shows along with having ethereal and powerful in her locker she also has husky and smoky. “Ten Of Twelve” follows and sees GAUPA musically swaying between complex passages of strident progressive metal and bouncy psychedelic rock over which Näslund delivers another superb vocal, the real clincher here though is Rosberg’s ear-worming guitar motif’s which are reminiscent of something you might find gracing a YES album or something by Chicago’s Huntsmen. “Elastic Sleep” is an epic shape-shifting opus, a truly captivating blend of blustering progressive metal heaviness and heavy psych otherworldliness fronted by a truly incredible vocal performance. this song that really needs to be listened to without distraction to fully appreciate the true majesty and magnificence of its individual performances.
#Those opting for a physical release of “Fyr” also get the bonus of hearing GAUPA perform “Sömnen & Febersvan” live at Monkey Moon Studios, both songs featuring the now departed Daniel Nygren.
There were probably many that were hoping GAUPA’s next release would be an all bells and whistles full length album but “Fyr“, which the band describe as a “mini” album, is more a statement of intent, an announcement to the world that despite losing a core member they are still a musical force to be reckoned with, Of course losing a member is going to alter any bands dynamic to some extent and in GAUPA’s case that has resulted in a slightly darker and heavier sound but its more a subtle shift than a drastic one and all those elements that we have come to love about this unique Swedish outfit are all still very much in place, the genre blending grooves, the surrealistic lyricism, the distinctive vocalisations all remain but this time sprinkled with just a pinch more grittiness.
Due to the challenges of being an extreme metal band in Communist Hungary, Tormentor’s 1989 debut album Anno Domini didn’t see the light of day as an official release. But a tape of the record soon found its way into the global tape-trading network and it became a big influence on the burgeoning black metal scene of the 90s. A key factor in this influence was the brilliantly prescient track Elisabeth Bathory. Like a lot of black metal the track is rooted in place and history: a love-letter to the notorious Hungarian noblewoman and alleged serial killer rumoured to have bathed in the blood of virgins to retain her youth. It’s cold, hypnotic stuff with relentless mid-pace, eerie arpeggios and a theatrical, vampiric performance from vocalist Attila Csihar. The impressive Csihar was later recruited by the infamous Mayhem to record vocals for their genre-defining classic De Mysteriis Dom Sathanas, which sent many black metal fans (like me) scurrying back to investigate his previous work with Tormentor. But it doesn’t matter whether you encounter this song in 1989 or 1999… or ten years from now. Elisabeth Bathory is quintessential, fervid, eternal black metal.
Welcome to another posting of a series of gig listings for 1960s bands. None of these lists is exhaustive and my idea is to add to them in the comments section below over time. They are here for future researchers to draw on and, where possible, I have added the sources used, whether they are newspapers or websites. I have also added a few interesting bits of information and will add images in time.
I’d like to encourage band members to get in touch to share memories, or for anyone to send corrections/clarifications to my email:Warchive@aol.com
Equally important, if you attended any of the gigs below or played in the support band, please do leave your memories below in the comments section for future historians to use. If you know of any missing gigs, please add them too, if possible, with the sources.
Photo: Fulham and Hammersmith Chronicle. Image may be subject to copyright. Left to right: Derek, Tony, Jim, Ian and John.
Derek Savage – Lead vocals
Tony Noble – Lead guitar
Ian Milne – Organ
John Turner – Bass
Jim Van Sickle – Drums
According to an article in the Fulham & Hammersmith Chronicle from 10 March 1967 (page 8), Derek Savage formed this group in late 1965 with drummer Jim Van Sickle after leaving another band (Ed. Although the press says Jim was American, Tony Noble confirms he was born and raised in Fulham, southwest London).
Photo: Fulham and Hammersmith Chronicle. Image may be subject to copyright
Tony Noble arrived having responded to a newspaper advertisement and introduced his friend John Turner, with Ian Milne completing the formation.
The band played extensively at the Flamingo in Wardour Street in Soho, central London from late 1966 through to early 1967 and signed with Date Records, which issued a lone single – ‘Stop the Wedding’ c/w ‘Breakin’ Through’.
Photo: Fulham and Hammersmith Chronicle. Image may be subject to copyright
The musicians were also pictured, with a short article, in the Fulham and Hammersmith Chronicle, in the newspaper’s 17 March 1967 issue (page 4).
The Derek Savage Foundation continued to gig until late 1967 before splitting up.
We’d love to hear from anyone that can add further information below
Notable gigs:
Image may be subject to copyright
23 September – Flamingo, Wardour Street, Soho, central London with The VIPs (Melody Maker)
7 October 1966 – Tiles, Oxford Street, central London with Freddie & The Dreamers (Melody Maker)
Image may be subject to copyright
8 October 1966 – Flamingo, Wardour Street, Soho, central London with Remo Four (Melody Maker)
14 October 1966 – Flamingo, Wardour Street, Soho, central London with Ike & Tina Turner Show (Melody Maker)
22 October 1966 – Club Continental, Eastbourne, East Sussex (Eastbourne Herald Chronicle)
5 November 1966 – Flamingo, Wardour Street, Soho, central London with The Soul Trinity and Tina and Johnny Glover (Melody Maker)
12 November 1966 – Flamingo, Wardour Street, Soho, central London with Makin Sound and Tina and Johnny Glover (Melody Maker)
Image may be subject to copyright
15 November 1966 – Flamingo, Wardour Street, Soho, central London (Melody Maker)
19 November 1966 – Flamingo, Wardour Street, Soho, central London with The Soul Trinity and Tina and Johnny Glover (Melody Maker)
26 November 1966 – Flamingo, Wardour Street, Soho, central London with Alex Harvey & The Mox and Tina and Johnny Glover (Melody Maker)
3 December 1966 – Club Continental, Eastbourne, East Sussex (Eastbourne Herald Chronicle)
4 December 1966 – Toft’s, Folkestone, Kent (Folkestone, Hythe & District Herald)
9 December 1966 – Flamingo, Wardour Street, Soho, central London with O’Hara’s Playboys and Tina and Johnny Glover (Melody Maker)
Image may be subject to copyright
17 December 1966 – Flamingo, Wardour Street, Soho, central London with Locomotive and Tina and Johnny Glover (Melody Maker)
13 January 1967 – Flamingo, Wardour Street, Soho, central London with Jo Jo Gunn (Melody Maker)
