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  • Bloodstock Preview 2026

    Bloodstock Festival 2026 Preview



    We here at Musipedia Of Metal have been covering Bloodstock Festival for around 15 years now (probably with one or two gaps) and as we’re also one of the sponsors of M2TM South Wales it seems apt that we’ll be covering the 25th Anniversary of Bloodstock Festival once again from Catton Hall.

    So we thought we’d map out a few things you may want to check out when you’re on site as this year has one of the most eclectic line ups for a long while including some metal legends (and original headliners from when it first started), some modern metal heaviness and a few high profile returns and of course glut of bands making their debut at the festival.

    Four days, across four stages, let’s get to it then!

    Thursday

    Usually Thursday is party day the Sophie Lancaster stage opens for around five bands to get the festivities up and running, however as this year is special the Ronnie James Dio stage will also be open and will welcome The Mighty Saxon as headliners of Thursday night, as the headliners of the inaugural Bloodstock (when it was still indoors), expect the Wheels Of Steel to be in full motion for the first day of metal.

    Before that though Evil Scarecrow will be once again getting an entire field of people to make perfect robot squares and scuttle as they return with their unique brand of horror adjacent silliness, expect a workout and plenty of laughs.

    Over on the Sophie stage there’s some excellent music to be involved in, opened by former Birmingham M2TM winners Mantis Defeats Jaguar, the Black Country collective will make sure to get the crowd going early with their crossover/hip-hop/metal hybrid. 

    While from their it’s pure rock n roll from Black Spiders who will bring the spirit of Lemmy (and accusations against Kiss) to the Sophie for the rockers in the audience preparing for Saxon. 

    If of course you want something different to the RJD headliner, the Thursday Sophie is headlined by the tech death devastation of Crytopsy making for a brutal end to the first day of the mammoth Bloodstock.

    Friday

    On Friday it’s the first ‘full day’ and the RJD stage will be taken to the motorbike cyber fantasy of Battlesnake who’ll roar on to the mainstage with some mad as hell stage outfits and fist full of speed/power/trad/something metal

    From there it’s something with a bit more legacy behind it as Life Of Agony will be bringing the grunge/alt rock to the RJD, prefect for all the 90’s babys to throw themselves about to.

    Speaking of throwing yourself about, expect nothing but constant pits and stage dives when NYHC legends Biohazard and crossover nutters Municipal Waste hit the RJD with plenty of razor sharp riffs and chugging grooves, our advice is avoid the dudes in the camo but get down the front and get involved.

    Carrying on with the thrash assault will be Brazil’s most famous metal band Sepultura who will be saying goodbye to the UK stages at Bloodstock, so you will want to be part of their final assault as they will be showing exactly why they will be missed by metal fans around the world.

    Then it’s time for the main event as Richmond, Virginia’s heaviest sons Lamb Of God again take the headline spot at Bloodstock, with ten studio albums and countless shows under their belts, it’s fair to say they’ve got enough bangers to get all of Bloodstock going wild.

    With the indomitable Randy Blythe as the ringleader, get ready to Walk With Them In Hell all the way through Catton Hall’s hallowed ground.

    That’s just the mainstage though as over on The Sophie Stage there’s absolutely loads to get your heads banging, with the noise coming early from the Countess Bathory inspired Blood Countess who will bring the tremolos and blast beats early.

    Gurt however are more Transylvanian Chunder as their party sludge, will insist that you have an adult beverage in hand as they will pour crushing heaviness on you, any hangovers you have will be destroyed by Hammer as the Scottish extreme metal crew show no mercy no matter how bleary eyes you are, this is the start of your headache.

    In our opinion there’s no better way to shake off extremely heavy metal than with a good old shout along to songs about trebuchets. Happily this is pretty much what Sellsword do and the Saxon (the people not the band) metal crew return to Bloodstock armed with hymns from their upcoming thirds album as well as their sword waiving classics.

    The Sophie Stage closes on Friday with Shining, the Norwegian one, not the Swedish one, which you know immediately when you approach the tent and hear those saxophones. There’s is a weird and wonderful world as Jørgen Munkeby’s creative vision will draw you in with impressive experimental metal.

    Elsewhere on the New Blood Stage get over for some prog/alt rock from Temples On Mars and thrashing from Bristol M2TM winners MartyrsSaint while over on the EMP stage you need to catch Vanitas, it’s prog/power/death categorised by powerful vocals and technical accumen.

    Saturday

    Whew Saturday offers perhaps the least for us a collective howerer, there one band we will NOT be missing no matter what.

    So the RJD stage offers slimmer pickings but an opening slot from Inhuman Nature will do just fine to get the blood pumping after two days of “excitement”.

    Crossover thrash that will bring the pits early as the epic heaviness will increase for the mighty Urne, who are steadily climbing up the Bloodstock bill on the back of their incredible second album, it’ll be progressive and dynamic so you won’t want to miss these future headliners.

    Speaking of headliners Vended have a lot of familial headliner pedigree behind them but they are very much their own band, although with their outright intensity they do have a lot in common with the 36 limbed extreme machine from Iowa so let’s hope you’ll be Surfacing for this group of talented youngsters.

    Then for us what is the main event on the RJD stage as it’s the return of Nevermore for their first UK show since the untimely death of the much missed Warrell Dane. Jeff Loomis was wasted in Arch Enemy let’s not beat around the bush, he was just too good to play melodeath.

    Thankfully he felt the same and along with longtime drummer Van Williams has reactivated the American prog metal masters. With a new bassist and co- guitarist it’s vocalist Berzan Önen who has stolen the headlines with his uncanny similarity to Dane.

    There will be tears, none morseo than from a certain Mr Hall as Nevermore will be majestic.

    On the Sophie Stage its more riffs as those amphibian doomers Froglord take to the BOA stage once again, with low end fuzz and swamp dwelling riffs to get a heavy start to the tent

    The pace will pick up considerably though from there with the crushing blackened death metal of the cinematic Outergods followed by the modern thrash aggression of Imperium which brings us neatly into thrash veterans Death Angel another long time visitor of BOA and another band who will get the pits moving.

    If this trio are the pace then the headliner are the heart, the incredible live show that is Leprous pulls into the Sophie for soemthing a bit different to the breakdown driven main bands on the RJD stage, wrapped in brilliant visuals, melodic and anthemic songs and Einar Solberg’s crystalline vocals, this will be much needed emotional catharsis after a heavy as hell day.

    Over to the other stages and you CANNOT miss for the New Blood Stage are M2TM South Wales winners INSCAPE who will storm the stage with their electronic driven modern metal sound, clashing and contrasting but delivered with intensity, they wowed everyone this year so get down early if the likes of Don Broco and Enter Shikari are your thing.

    Continuing the Welsh theme on the EMP stage make sure to catch up with stoner doom trio Goat Major who’ll be slinging riffs all the way from Wild West Wales, then Caerphilly rockers Cancel The Transmission will be getting you bouncing in between the mainstage acts, while the always incredible Dosed will be injecting some hardcore into your veins right in time for that Bleed From Within/Slaughter To Prevail closing duo.

    Sunday

    Breathless, tired, hungover, it’s into the last day and there’s some serious treats for you here, again starting with the RJD mainstage and fantasy metal crew Castle Rat, a band who have been on a huge upward trajectory will be kicking off Sunday with some sword waiving battle metal.

    From there it’s time for some nu metal originators now as the much lauded return of Kittie hits the Bloodstock stage, since reforming in 2024 and releasing their first new music in 13 years Morgan Lander and co look to fill the RJD stage with massive grooves.

    Speaking of grooves, Orbit Culture, and their Swedish mechanised metal will be looking to steamroll you with riffs straight from the Gothenburg scene and beyond, perfect soundtrack of anyone who still has the energy to pit.

    As the day progresses things get a bit more old school with thrashers Testament, ready to see you go Over The Wall as they roll into Bloodstock with over 40 years of thrashing behind them expect wall to wall thrash classics.

    Body Count, will be turning BOA into warzone with their aggressive, politically charged, crossover metal. One of the first bands to meld metal and rap, you can expect confrontational classics like There Goes The Neighborhood, Cop Killer and maybe even their cover of Comfortably Numb.

    To close out the Ronnie James Dio stage on the last day of the UKs premier metal festival, you need something a bit special and Bloodstock deliver with the Metal Gods themselves Judas Priest.

    Packing 50 years of British Steel into two hours means that you may not get every single brilliant track you want but we can guarantee you, their set will feature some of the best heavy metal anthems ever and also some deep cuts from their huge back catalogue.

    A celebration of heavy metal music to close out the weekend.

    However there still loads going on the other stages to as the with New Blood Stage hosting some crossover violence from Bristol ragers Overpower.

    The Sophie Lancaster stage plays host to some massive doom riffs courtesy of Acid Throne and Alunah, fuzz and distortion are the order of the day here getting your morning/early afternoon tinnitus juuuust right after three days of heavy music.

    Trivax then increase the stakes with blistering exile black metal, this Iranian, by way of the UK band combine black metal assault with themes of Middle Eastern heritage and a continuing fight against the oppression of the Iranian state. It will be brutal and uncompromising.

    Speaking of brutal masked madness from Mushroomhead as the revamped line up, now featuring three vocalists, will be spitting venom from their latest record Call Of The Devil along with some other prim cuts of industrial/alt metal from their chart topping career.

    Going down the weirder path Noisepicker take to the Sophie Stage with some D.I.Y doom blues punk, Harry Armstrong (ex-Orange Goblin) and Kieran Murphy have been delivering the experimental sound of Noisepicker since just before Lockdown and from there it’s only gotten weirder. Get down to get your noise picked.

    Back to a band who are a bit more conventional but always deliver, as Welsh alternative rockers Dream State will make sure to display just why there deserve such a high billing on the Sophie Stage, headliners in their own right, this will be a set field with modern anthems.

    Closing out the Sophie Stage will be the apocalyptic race that is Carpenter Brut. Thumping satanic synthwave with the best visuals you’ll get all weekend, Brut is part of the new wave of metal where the riffs and attitude of our denim and leather tribe combine with the processed beats and wonos of electronic dance music.

    If you’ve still got the energy, then be sure to throw some illicit shapes as the French producer/alchemist welcomed you to his Leather Temple.

    A full four days of this music we love so much, if you don’t like our suggestions then that’s fine seek out the bands that appeal to you, read through the bios on the Bloodstock page, use this week to do some pre-listening, but most of all enjoy the best celebration of heavy metal in the country!
  • Iron Maiden x EddFest @ Knebworth Park

    Iron Maiden x EddFest Knebworth Park, 11th July 2026 The Darkness, The Hu, Airbourne, The Almighty Review by Jack Merry Photography by Artur Tarczewski There […]

    The post Iron Maiden x EddFest @ Knebworth Park appeared first on Metal-Rules.com.

  • Multiple Women Accuse Jared Leto Of Misconduct When They Were Teenagers In New BBC Documentary

    jared-let-2026

    Several women have accused Thirty Seconds To Mars frontman and Oscar-winning actor Jared Leto of sexual misconduct that they say took place when they were teenagers, in a new BBC documentary airing tonight. The programme, Jared Leto: Hollywood’s Dark Secret, reports allegations spanning 2002 to 2016, when the accusers were in their teens and Leto was in his thirties and forties. The BBC says it made repeated attempts to contact Leto about the allegations and that he did not respond. None of the allegations have been tested in court, and Leto has not been charged with any offence.

    What The Documentary Alleges

    The documentary airs tonight, July 29, at 9pm on BBC Three and 10:45pm on BBC One. The women who speak in it are identified by pseudonyms.

    One woman, identified as Isabel, alleges that Leto sexually assaulted her in a motel bathroom in 2002, when she was 17 and he was in his early thirties.

    A second, identified as Alex, alleges that Leto threatened her with sexual assault when the two were alone in a London hotel room in 2013, when she was 19 and he was 41. She says she felt the need to claim she was 17 in order to protect herself, and alleges he dismissed the age gap.

    A third, identified as Clara, alleges she had sex with Leto at his California home when she was 17 and he was 34. Because the age of consent in California is 18, that allegation, if true, would constitute statutory rape. She says that when she raised the age of consent with him, he brushed it aside, and that the visit was the first of several.

    A fourth, identified as Taylor, alleges that Leto made a lewd remark about her body and signed her shirt across her chest at a signing event when she was 14 and attending with her mother. She alleges he repeated the remark after her mother confronted him.

    Other women in the programme allege they received sexual messages and phone calls from Leto when they were younger. One, identified as Etta, says she met Leto at a Los Angeles modelling agency in 2014 when she was 16, and that online conversations with him quickly turned sexual. She says she was presented with a non-disclosure agreement in 2016 and refused to sign it. The BBC reports that it has seen that NDA, along with multiple text messages that corroborate her account.

    We’re deliberately not reproducing the more graphic details here. The BBC’s full report is available at bbc.co.uk, and that’s where you should go if you want the complete account in the accusers’ own words.

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    Leto’s Response

    According to the BBC, Leto did not respond to its repeated attempts to contact him about the allegations. As of publication, neither Leto nor his representatives have issued a public statement in response to the documentary.

    This is not the first time allegations of this nature have been reported. In 2025, the outlet Air Mail published an article containing accusations from nine women, including a woman who alleged Leto behaved inappropriately in front of her when she was 17 and 18. A representative for Leto expressly denied those accusations at the time.

    To be clear about where this stands: these are allegations. They have not been tested in court, no charges have been filed, and Leto is entitled to the presumption of innocence.

    jared-leto-thirty-seconds-to-mars

    Who Jared Leto Is

    For readers who know him primarily from one side of his career: Leto has been the frontman, songwriter and main creative force behind Thirty Seconds To Mars since he formed the band with his brother Shannon in 1998. The band broke through with 2005’s A Beautiful Lie and has sold in excess of 15 million albums worldwide, with Love, Lust, Faith And Dreams in 2013 and America in 2018 both landing in the US top 10.

    In parallel, he built a substantial film career — Requiem For A Dream, Fight Club, Girl, Interrupted, American Psycho — and won the Academy Award for Best Supporting Actor for Dallas Buyers Club in 2013.

    The documentary airs tonight. We’ll update this story if Leto or his representatives respond.

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    TL;DR

    • A new BBC documentary, Jared Leto: Hollywood’s Dark Secret, airs July 29 at 9pm on BBC Three and 10:45pm on BBC One.
    • Several women, identified by pseudonyms, allege sexual misconduct by Leto when they were teenagers, in incidents they say occurred between 2002 and 2016.
    • One allegation, involving a 17-year-old at Leto’s California home, would constitute statutory rape under California law if proven.
    • Another accuser says she was presented with an NDA in 2016 and refused to sign it; the BBC says it has seen the NDA and corroborating messages.
    • The BBC says Leto did not respond to repeated requests for comment. A representative previously and expressly denied separate accusations reported by Air Mail in 2025.
    • No charges have been filed and none of the allegations have been tested in court.

    FAQ

    What is the BBC documentary about Jared Leto?

    Jared Leto: Hollywood’s Dark Secret is a BBC documentary airing July 29, 2026 at 9pm on BBC Three and 10:45pm on BBC One. In it, several women allege sexual misconduct by Leto during periods when they were teenagers, between 2002 and 2016.

    Has Jared Leto responded to the allegations?

    According to the BBC, Leto did not respond to repeated attempts to contact him regarding the allegations. In 2025, a representative expressly denied separate accusations published by Air Mail.

    Has Jared Leto been charged with a crime?

    No. No charges have been filed and none of the allegations reported in the documentary have been tested in court.

    Who is Jared Leto?

    Jared Leto is the frontman and main songwriter of the rock band Thirty Seconds To Mars, which he formed with his brother Shannon in 1998, and an Academy Award-winning actor who won Best Supporting Actor for Dallas Buyers Club in 2013.

    If you have been affected by anything described in this story, support is available. In the US, RAINN operates the National Sexual Assault Hotline at 1-800-656-4673 and online at rainn.org. In the UK, Rape Crisis England & Wales can be reached at 0808 500 2222. In Canada, the Ending Violence Association of Canada maintains a directory of regional crisis lines at endingviolencecanada.org.

    The post Multiple Women Accuse Jared Leto Of Misconduct When They Were Teenagers In New BBC Documentary appeared first on Loaded Radio.

  • Vanir – Recording New Tunes

    Just a few months after the release of Wyrd full-length, Danish viking folk metallers Vanir already entered the studio where the recording process of the follow-up have commenced.
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  • “I feel like shooting people!” In the run-up to 1988’s US presidential election, R.E.M. guitarist Peter Buck had some outrageously dark and violent thoughts

    With a constitutional amendment forbidding Ronald Reagan from seeking a third term in office, the 1988 US presidential election saw Republican Party nominees George H.W. Bush (the sitting Vice-President) and Dan Quayle facing off against Democratic Party challengers Michael Dukakis and Lloyd Bentsen. At the time, few political pundits were prerpared to give Dukakis a sliver of a chance of securing enough electoral votes to emerge as the 41st President of the United States, and the run-up to polling day was a dispiriting experience for liberal and left-leaning US citizens who knew that, realistically, the result was a foregone conclusion.

    One American citizen who was particularly distressed about the prospect of George Bush becoming president was R.E.M. guitarist Peter Buck, as he made abundantly in a 1988 interview with UK music magazine Melody Maker.

    “That asshole Bush is going to win,” Buck raged, “and I’m gonna be one of those old crazy guys who builds fences around his house and thinks that having weapons isn’t a bad idea because, with someone like Bush, who’s funded by the moral majority and is a criminal, I can’t imagine what’s gonna happen to us.”

    “I hate this country, I really hate America,” the guitarist fumed. “We’ve turned into such selfish bastards. If Adolf Hitler came back and said, ‘I won’t raise taxes’, he’d win in a landslide. I’m washing my hands of it. I don’t give a shit. We’re essentially a nation of fat-assed used-car salesmen that wanna protect our pile. That’s all we are, and that disgusts me.”

    In his rant to journalist Steve Sunderland, Buck also expression his opinion that Americans were “pigs”, and shared his belief that the only way to make a “real dent” in the political system “is not voting, it’s murder”.

    “I recommend anyone reading this who’s a psycho and can buy a gun to shoot George Bush,” the guitarist stated in his wildest declaration. “I’m serious. l would consider it myself.”

    Buck doubled down on this outrageous statement elsewhere in the interview, stating that he was “fucking furious” about the state of America, and claiming, “I feel like shooting people – George Bush first and then the people who vote for him.”

    It should perhaps be noted that Buck had consumed a number of alcoholic beverages before conducting said interview.

    As it transpired, on election day, November 8, 1988, quite a lot of people voted for George Bush, enough to ensure that the Republican Party won a third successive landslide victory. According to the font of knowledge that is Wikipedia, neither Bush’s popular vote percentage (53.4%), his total electoral votes (426), nor his number of states won (40) have been surpassed in any subsequent presidential election.

    Peter Buck, we assume, grudgingly accepted the will of the people, and chose not to embark upon any killing sprees, which was definitely wise.

  • Krallice – Announce & Detail New Full Length

    Krallice have unveiled details and first single in regard of their new LP announcement. Dubbed Scour Order, it was recorded, mixed, and mastered by Marston at the new Menegroth, The Thousand Caves. The new offering will its release on September 18, 2026 through Profound Lore Records.
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  • Album review: OSIRIS – Within A Dream

    OSIRIS – Within A DreamEscape Music [Release date 14.08.26] Osiris is an all-Bahraini prog rock band founded in 1980 by brothers Mohamed Alsadeqi (guitars, vocals) and Nabil Alsadeqi (drums, percussion). They have been active ever since, bar a hiatus between 1993 and 2000. Osiris … Continue reading

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  • Every Spider-Man movie ranked from worst to best, from Raimi’s originals to Brand New Day

    First appearing in the hallowed pages of Marvel comics over sixty years ago, Spider-Man has become one of pop culture’s most iconic and enduring superheroes. Created by Stan Lee and Steve Ditko, ol’ Web Head quickly established himself as a foundational part of Marvel’s world, making an eventual transfer into the movie world inevitable.

    While Spidey made his feature-length debut in 1977 courtesy of a pilot for the 70s live action TV show, it was Sony’s purchasing of the film rights to the character in 1999 that laid the foundation for his legacy on the Big Screen. Since then, we’ve had no fewer than eleven Spider-Man movies across four entirely difference franchises, making his cinematic journey a rather convoluted one that ranges from the spectacular to the, quite frankly, slightly rubbish.

    With latest MCU outing Spider-Man: Brand New Day htting cinemas today, we’ve ranked all eleven of those ‘proper’ film adaptations in reverse order of greatness. Note: we’ve elected to leave the TV pilot by the wayside for this one, and we’re not including our friendly neighbourhood hero’s numerous appearances in other Marvel outings. You only have so much time in the day.

    11. The Amazing Spider-Man 2 (2014)

    Given one of the biggest issues with Spider-Man 3 was there being too many villains to make for a compelling, focused plot, it’s baffling as to why Marc Webb’s sequel to his own Spidey universe reboot fell into the exact same trap. Andrew Garfield and Emma Stone are both fantastic, arguably packing the best chemistry of any Spider-leads, but they’re lost in a convoluted story that introduces Jamie Foxx’s unconvincing Electro as chief antagonist while recycling Harry Osbourne’s pseudo-Goblin arc from Raimi’s three-quel. Plus, we also get a clunkily realised Rhino, throwaway Norman Osbourne, Felicia Hardy and Alistair Smythe cameos and a Sinister Six tease that never went anywhere. Garfield’s Spider-Man deserved better.

    10. Spider-Man 3 (2007)

    When the first teaser poster for Spider-Man 3 revealed our titular hero in a black suit, fans went doolally with excitement over what that likely telegraphed. Sadly, Raimi’s trilogy would end on the dampest of squibs, offering a messy plot, a bloated rogues gallery, a terrible take on Venom and one of the most cringe-inducing scenes in blockbuster history courtesy of that Toby Maguire dance segment. We’d later learn that studio pressure led to Venom being included in the film in the first place, which is doubly frustrating given that it took time away from Thomas Haden Church’s brilliant, layered performance as Sandman. The special effects are magnificent and there are some great set pieces, but this felt like an almighty piss had been unleashed into the Spider-pool.

    9. Spider-Man: Far From Home (2019)

    After a good first full outing in Homecoming, Tom Holland’s second solo flick had a high bar to grab at. Sadly, while it’s by no means a bad movie, Far From Home falls short in having to cater so fullheartedly to the wider MCU, Tony Stark’s death dominating too much of the film’s emotional pull and Nick Fury’s presence rendered flat by a fully phoned-in showing from Samuel L Jackson. There are also way too many rug-pulls, eroding the impact of any major plot twists to the extent that, by the time Jake Gyllenhaal’s (admittedly very good) Mysterio meets his demise, you’re left second-guessing yourself. Still, the core cast’s chemistry fizzes wonderfully, and the segment involving a zombified Iron Man is amongst the MCU’s most unique and visually impressive.

    8. The Amazing Spider-Man (2012)

    With Raimi’s franchise biting the dust due to the director not feeling compelled by any of the new ideas being put in front of him, it was up to Marc Webb to reboot the Spider-World. In Andrew Garfield, he found a pitch-perfect Peter Parker who ably embodied the character’s geekiest, cheekiest and most arrestingly charming traits. Garfield would find the perfect romantic foil in Emma Stone, and while Rhys Ifans’ Lizard just didn’t feel as emotionally wedded to Parker’s world as Doc Ock and Green Goblin had before him, the film’s mixture of dazzling visuals and intimate emotional stakes made for a very solid first outing for Spidey’s new era.

    7. Spider-Man (2002)

    After languishing for years in development hell, Spider-Man finally made his big screen debut proper courtesy of Sam Raimi, and Hollywood would never be the same again. While X-Men had officially made superhero films a mainstream concern again two years prior, Raimi’s eye for an unforgettable visual (the upside down kiss!) and an emotionally compelling narrative backbone gave Spider-Man the feel of both a true cinematic blockbuster and an adaptation in keeping with the spirit of its source material.

    Toby Maguire was easy to root for as the nerdy but determined Peter Parker, while Willem Dafoe’s increasingly unhinged turn as Norman Osbourne/Green Goblin remains world class. Then there’s J.K. Simmons’ legendary portrayal of J. Jonah Jameson, so good that it’d survive well beyond the Raimi era. Some of the effects looked a little ropey even for the time, and Dafoe’s Power Rangers-esque Goblin suit remains an absolute howler, but this is still a great first showing for the Webbed One.

    6. Spider-Man: Homecoming (2017)

    After a show-stealing turn in Captain America: Civil War, Tom Holland confirmed once and for all that he was another inspired casting choice as Peter Parker, his overawed, youthful enthusiasm providing the perfect emotional backbone for a more grassroots, very local friendly neighbourhood-centric take on the character. His cohorts, MJ and Ned, warmly brought to life by Zendaya and Jacob Batalon, offered a different dynamic to what we’d seen on screen to this point, while Michael Keaton’s turn as Vulture is one of the MCU’s most underrated villain portrayals. Breezy, funny as hell and action-packed, Homecoming gave us hope that we might finally have a Spider-Man franchise built to last.

    5. Spider-Man: No Way Home (2021)

    Even given the rumours that had been doing the rounds for months and despite the MCU finally toying with multiverses, the idea of Tom Holland, Andrew Garfield and Toby Maguire’s Spider-Men all sharing the screen at once seemed too good to be true. That it happened and produced some of the most triumphantly exhilarating moments in MCU history is one thing, but the fact that John Watts managed to so deftly weave those three heroes, their accompanying villains, a bonus Doctor Strange and a major character death together is an amazing achievement.

    No Way Home isn’t just the ultimate love letter to Spider-Man on the big screen; it’s a riotously fun, hilarious and emotionally devastating ride, giving welcome second winds to Alfred Molina’s Doc Ock and Willem Dafoe’s Green Goblin, a nice new coat of paint to Jamie Foxx’s Electro and a much-needed, satisfying moment of cathartis for Garfield’s Spidey.

    4. Spider-Man: Brand New Day

    While the Tom Holland era of Spider-Man has been very good and, on occasion, great, his Spidey has often felt compromised by being tied to the MCU’s ever-expanding mythos (not to mention also being tied to former Spider-Man franchises by the time No Way Home turned up). Taking over from Jon Watts, Shang-Chi director Destin Daniel Cretton attempted to fix that for Holland’s fourth solo outing in the mask, crafting a film that gave Peter Parker his Neighborhood Friendly stripes back while still wrangling with the fall-out of Brand New Day and stuffing a few MCU cameos in for good measure.

    The result is a brilliantly entertaining, emotionally resonant sequel that is easily the most SPIDEY!!!! of Tom Holland’s Spider-Man movies so far, evoking some of the narrative swings of Raimi’s films and peppering them with some particularly dazzling set pieces. It’s not perfect – those MCU connections are still tying Peter Parker down just a little too much – but it’s arguably the best Spider-Man movie of the MCU era and a hopeful signpost for what’s to come.

    3. Spider-Man: Across The Spider-Verse (2023)

    Topping the visually astonishing and wonderfully original Into The Spider-Verse was a tall ask, and while Across The Spider-Verse doesn’t quite manage that, it absolutely does its predecessor justice and is a brilliant, retina-singeing, breathless epic in its own right. Packed with so many stunning visual quirks and narrative flourishes that it requires repeat viewings to take everything in, Across The Spider-Verse very nearly comes off the rails thanks to its relentless pace and head-spinning array of new Spider-People, but manages to hold on thanks to the sheer charm of its voice cast and lovingly crafted characters, Hailee Steinfeld’s Gwen Stacy stepping up magnificently to help hold the film together alongside Shameik Moore’s conflicted Miles Morales. Not for the first time, we find ourselves tantalisingly close to having a great Spider-Man trilogy. Will Sony finally pull it off?

    2. Spider-Man 2 (2004)

    Having confirmed it was possible to bring Spider-Man to the Big Screen in style, Sam Raimi upped the stakes dramatically, producing not just an all-time great comic book movie, but one of the greatest blockbusters of the 2000s. Key to this is Alfred Molina, whose haunted, methodical and, eventually, maniacal Doctor Octopus arguably remains the greatest on-screen Spidey baddie, bringing an extra emotional weight to his dynamic with Maguire’s Peter Parker that makes the stakes feel that much more tangible. Raimi also brings Doc Ock’s battles with Spider-Man to life in astonishing fashion courtesy of some world class cinematography and brilliant set-pieces. Other great (and not so great) Spider-flicks would follow, but Spider-Man 2 perfected the simple supes formula of a hero that’s easy to root for, a believable love interest and a compelling, memorable villain.

    1. Spider-Man: Into The Spider-Verse (2018)

    With Tom Holland’s Peter Parker now bedded into the MCU, the idea of another new Spider-Man entering the chat seemed like overkill. That it could outdo the MCU’s take on the character seemed implausible. With Into The Spider-Verse, however, directors Bob Persichetti, Peter Ramsey and Rodney Rothman struck gold by shifting the focus to a different Spider-Man entirely, going for broke with a wildly out-of-the-box plot and embracing the limitless possibilities of animation to produce something thrilling, surprising and completely new. Into The Spider-Verse isn’t just the best Spider-Man movie; it’s the most accomplished piece of animation Hollywood has produced in a generation, every risk and strange flight of fancy paying off handsomely as we get to experience new visions of familiar characters and a near-unprecedented level of visual flair.

    None of this would matter as much if the story itself wasn’t convincing, however, and with Miles, Gwen and their increasingly ludicrous cast of Spider-buddies, Into The Spider-Verse becomes a film, more than any of its predecessors, that just gets what Spider-Man is all about. The message of anyone potentially being under the mask wasn’t just an easy catchphrase Stan Lee liked to throw out; it represented the potential for greatness that we all have within us, and this instant classic nails that idea. It took almost twenty years for us to get there, but Into The Spider-Verse finally gave us a perfect Spider-Man movie, and all without Peter Parker even being its central Spidey.

  • Tyraels Ascension – Grave Seeker Review

    Do I like metalcore? I’ve always struggled a bit with this question. That’s a terrible way to start a review of any variety, but it’s a question I’ve kept coming back to since discovering Tyraels Ascension, a metalcore group from the United States, and their sophomore full-length, Grave Seeker. Metalcore has so much energy to it, all mixed up with frustration, anger, sadness, joy—on paper, very much my cup of tea. So every once in a while, I’m happy to sit down, grab whatever -core the cool kids are talking about these days, and see what happens. Grave Seeker has all of the above qualities and more, so what happens when we put it all together?

    Liveliness is what happens—you get a lively record. Grave Seeker shows Tyraels Ascension at excitable peaks, with bombastic energy flying at your face from minute one. “No End in Sight” gives you a good idea of what to expect quickly, with duelling guitars, raspy shouts backed with growls, and a ton of excess energy. “The Summoning” shows Tyraels Ascension riffing with sleekness in their souls, while “Darkened Soul” shows off a burlier, more in-your-face side to the band. Occasionally some clean singing pokes through (“No End in Sight,” “The Summoning”) and there’s the odd piano (“Tears,” “Bittersweet”), but for the most part the songs are brief (3-5 minutes), guitar-driven, riff-tastic constructions.

    That’s the primary strength of Grave Seeker, really: guitarists Sean Searls and Kevin McNeil, supported by Adam Bodkin’s bass, are mighty forces for Tyraels Ascension. Their mournful leads make “Bittersweet” a song that lives up to its title and “Impossible Decisions” an adventure. By contrast, vocalist Alex Theesen has a tougher challenge; his style of rasping shouts confine him to a certain range of emotive performance that the duelling guitars help round out. In the aforementioned “Impossible Decisions,” for example, the guitars get the song off to a roaring start, fast-paced and very strong. Drummer Brandon Dorman sets a great pace, and everyone’s keeping up. When the chorus hits, Theesen shouts with all he’s got, but it feels like he wants to hit a more melodic feel than his style allows for. The guitars adopt a more mellow, melodeath-esque melody that gives the moment the added weight and catharsis to make it all work.

    What’s interesting about Tyraels Ascension is that they feel, at times, like they’re reaching across that blurry line that separates metalcore and melodeath. Theesen’s style is unmistakably -core, and the vocals all but cement the subgenre by themselves. But take the vocals away—as happens in the comparatively epic “Tyraels Curse”1—and the feel changes completely. Similarly, Gave Seeker features a handful of quiet, more emotional moments that Theesen’s approach is just too burly for (the interlude in “No End in Sight” is a perfect example; he can only really narrate-sing-growl these moments and it just doesn’t work, despite the beautiful guitar lead). This friction between multidimensional instrumentals that breathe ranges of emotion and a vocalist whose primary focus is power holds Grave Seeker back—though which way is preferable will, of course, be up to the individual listener.

    Grave Seeker is an adventurous album with some really good songs, a host of impressive guitar work, and a recognizable concept that I’ve come to really enjoy. With that said, I do have some mixed feelings about the full fifty-three-minute experience. For my part, it sounds like Tyraels Ascension are still working towards exactly what their sound is. But Grave Seeker is confident, fun, and enjoyable enough that I’m looking forward to seeing what they’ll come up with next.


    Rating: 3.0/5.0
    DR: 5 | Format Reviewed: 320 kb/s mp3
    Label: Rotweiller Records
    Websites: tyraelsascension.bandcamp.com | facebook.com/TyraelsAscension
    Releases Worldwide: July 24th, 2026

    The post Tyraels Ascension – Grave Seeker Review appeared first on Angry Metal Guy.

  • Cairiss / Wilderness Is One Of 2026’s Most Powerful Albums

    Cairiss - Wilderness is one of the best releases I have heard in 2026. Photo: Marie Korner Photography

    I had been listening to the new Cairiss album Wilderness for a long time before I found the impetus to write the review. Not writer’s block, but simply trying to absorb what has become one of the best releases I have heard in 2026.

    Cairiss – Wilderness

    Release Date: 31 July 2026

    Words: Paul Hutchings

    Although they have been together for 13 years, my understanding is that this is the debut album by the Hampshire outfit. Combining dual female vocals that bring both ethereal melancholy and raw Black Metal screams, the six tracks span a journey through suffering and pain.

    Cairiss - Wilderness is certainly an album that will remain on rotation for some time to come.
    Cairiss – Wilderness is certainly an album that will remain on rotation for some time to come.

    This is something evident from the beginning and opening track Nervosa. It soars and sweeps through a myriad of emotions, riding the highs and lows with an intensity rarely discovered these days.

    Complex passages switch from thunderous tremolo riffing through to almost folk, with all stops in between included. Written during a period of uncertainty due to an eating disorder, it describes the broken fragments of self, caught in a never-ending cycle of pain and torment on a frozen landscape. 

    You can feel the pain throughout the songs. They are drenched in personal suffering and experience. The Guide is a song of immense stature. Heavy nods to the progressive elements of Opeth dominate without suffocating.

    Moments of crushing intensity stand comfortably next to delicate passages of Shoegaze. It really is gargantuan in its performance and delivery. 

    Integrate describes a toxic relationship and the co-dependency that comes with it. A short piece in comparison to the rest of the songs here, it features multiple vocals that are woven perfectly through the song. It leads into the fever of existential dread and fear in the song Disassociate.

    Explosive aggressive passages once again combine in harmony with beautifully composed segments to create a crescendo of tumultuous emotion. There are moments of highs, despite the lyrical content that threads throughout the album’s six tracks. 

    At times, it is almost too much. The passion and energy that surges through the finale on Disassociate, for example, is amongst the best passages of music I have heard for ages.

    It simply takes your breath away as the combination of the two vocal styles battle above complex crafted movements. It is something you need time to absorb, but the payback for sticking with it is great.

    As you explore the meaning behind the penultimate song, Retrace, which focuses on intensive trauma healing, the band’s combination of Shoegaze, Post-Metal and Black Metal rushes over you. It is this track where, for me, everything knits together in a crescendo of magnificent power.

    It is impossible not to be almost overwhelmed by the soundscape that unfurls as the song sprawls over nearly nine minutes. 

    Deeply personal, deeply emotional and deeply intense, the conclusion comes with hope in the title track. Pulling together the threads that run through the record, it’s almost a cleansing track that, if it were a film, would be the part where the sun breaks through the clouds. Hope delivered in a triumphant six-minute passage that follows the style of that which has gone before it. 

    One can understand why this has taken a decade to create. It is truly magnificent on many levels, and touches on a rawness that no doubt needed time to heal before being cultivated into these songs.

    It has taken time to explore, to consider and yes, to enjoy. Wilderness is certainly, an album that will remain on rotation for some time to come.

    Cairiss release Wilderness on 31 July 2026. For more details, visit linktr.ee/cairiss.

    The post Cairiss / Wilderness Is One Of 2026’s Most Powerful Albums first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.