Nate Mars’ Inevitable Earth is a mesmerizing electronic instrumental that fuses acid-infused textures with a cinematic sense of progression. Drawing from the energy of classic rave culture while embracing a modern, forward-thinking production style, the track unfolds through hypnotic rhythms, evolving synth patterns, and immersive atmospheric details. The unmistakable influence of the TB-303 adds character and momentum, creating a sound that feels both nostalgic and refreshingly contemporary. Rather than relying on obvious peaks, Inevitable Earth captivates through its gradual development and rich sonic layers. It’s a compelling listen that highlights Nate Mars’ talent for crafting intelligent, danceable electronic soundscapes.
Geoff Tate, James Keegan & Sisters Doll, Y Muni Pontypridd, 05.06.26
It’s been a long old time since I’ve been to Y Muni in Pontypridd but I always enjoyed watching gigs there and since I last went they’ve had a big refurbishment so it feels very new but with that rustic charm of a being an art centre and theatre.
What better gig to return to the venue with than one of my bestest buddies favourite artists playing his biggest album only two days before he got married to his dream girl. He, myself and our other friend caught the train to have a couple of lovely beverages, on the way meeting up with one of his colleagues, along with members of King Kraken and Pantheïst, clearly an eclectic crowd but worthy of the headliners stature and longevity.
Before all that though the night kicked off with Sister’s Doll (6), an Aussie band who were picking up gigs around their second stage headline at Call Of The Wild, they are a very retro focussed act, ripped straight from the 80’s with a bit of Bon Jovi, some Poison, a flash of Kiss and even Y&T heard in their sleazy rock anthems.
They captured the audience immediately with their stage presence, many I’m the crowd would have been around the first time these bands were popular, but while they do what they do slickly and professionally they’re playing a tried and tested genre, that doesn’t do much for this writer.
Still we were off, this was a rock gig after all though had you walked in during James Kennedy (6) you wouldn’t have thought so. A solo Irish singer songwriter, he was the support for the whole tour and while I can appreciate that perhaps Mr Tate loves him and his music would be brilliant in a small Irish bar or indeed supporting Imelda May which he has done recently, in the middle of rock gig it did kill the vibe a bit.
James’ charm and charisma were enough to keep the audience in the room, but to me it was a little odd, perhaps a switch around may have made it felt a bit more natural. Kennedy though is a gifted performer just stuck out between sleaze and prog metal.
The climax of the evening though was the reason everyone was here, the smile on Mr Hewitt’s face grew larger as these fateful word “I Remember Now” came through the P.A and Geoff Tate (10) took to the stage to perform the seminal Operation: Mindcrime, in full, for the last time with his band of the same name. Striding straight into Anarchy X, you could hear Tate was on top form.
Vocally he still has power behind him, using a bit of technology to bolster the experience making it sound close to the record, but you can still hear his natural tone come through above it all. Tate’s all about the performance, skulking and striding around the stage as he re-tells these well worn stories through anthems such as Revolution Calling, Spreading The Disease, Breaking The Silence and I Don’t Believe In Love which all had the crowd belting them back at him.
Mindcrime is Tate’s magnum opus and with his young gun band peeling off those old Queensryche riffs and solos, for many in the crowd this was pure nostalgia delivered with youthful exuberance. A special shout out has to go to Clodagh McCarthy who takes the role of Sister Mary and duets brilliantly throughout the night on Mindcrime and beyond.
Yes beyond as with Eyes Of A Stranger, Mindcrime for the last time was finished, but Geoff wasn’t going to stop there, we got two form Mindcrime Part III which fit in perfectly with the rest of the album, but it was classic like Empire, Jet City Woman and Take Hold Of The Flame that made sure everyone was singing along, including our quartet!
It was the encore though that got the emotions running their highest with a massive sing along to the ballad that fans have been married too, alas Mr Hewitt is not one of those. Silent Lucidity is such a standard now it will follow Tate for the rest of his career but it always elicits a fantastic reaction.
To make sure things ended with a bang the final cut of the evening was Queen Of The Reich which is a brave choice for a closer, but was pulled off impeccably. So while we may never hear Mindcrime in full again, seeing it one last time with my best buddies made for a magnificent night in Pontypridd.
Hellfest 2026. Clisson, France. Bermuda shorts at the ready, it is time for Anthrax. One of the Big Four, on the Main Stage, these are titans. Scheduled to follow Cavalera Conspiracy and a prequel to Megadeth, this was a Thrasher’s party day.
Sadly, the Cavalera brothers and their Chaos A.D. show did not happen, with the band issuing a statement crediting their driver’s elite skill behind the wheel for preventing what easily could have been a “deadly bus crash.”
Anthrax – Hellfest 2026. Photo: Luke Vaughan/MetalTalk
In the red alert warning heatwave, Anthrax roll back the years. It is a mystery to me why they are often lower down the order at festivals.
Anthrax still perform like it is the mid-’80s. Opening with the Stephen King-inspired Among The Living, the band are going absolutely ape.
Joey Belladona is running up and down the line of the crowd, greeting them with big, cheery smiles. How good is his voice still? He hits the peak notes cleanly and many are held for long with ease. Find their performance of Medusa in the video below for a class example.
Frank Bello is jumping and tearing around like a rat in a food blender. He does not stop all gig. Then you have the unique presence that is Scott ‘Not’ Ian playing his luminous green flying V with panache and fizz, goatie beard bobbing to the beat. Charlie Benante is kicking seven bells out of his drum kit, and Jonathan Donais, all in black, is focused on keeping the technical precision of a masterclass in Thrash in check.
Anthrax – Hellfest 2026. Photo: Luke Vaughan/MetalTalk
Saturday is absolutely rammed here, and the crowd stretches as far as the eye can see. The pits are mayhem, and the occasional fan finds themselves picking a boot out of their head as they weight lift the surfers bundling over the top.
Flying through the classics, Madhouse rockets by. Got The Time is still tick, tick, ticking in my head. Medusa is a surprise play, and then another surprise follows with Keep It In The Family, which gives a slight respite to overheated moshers who are receiving full blast hose hits of cold water to keep them safe.
Anthrax – Hellfest 2026. Photo: Luke Vaughan/MetalTalk
Bizarrely, a rainbow appears off to the left of the stage. There are a few clouds, but this festival has been non-stop sun so far.
Fittingly, the rainbow turns up as Anthrax announce the release of their new album in September and tests a new song It’s For The Kids. It is pounding and fun, but halfway through it switches into a super-fast guitar solo with equally fast drumming. With harmonising guitars and Joey blasting his lungs out, wow, the new album promises good things.
In time-honoured tradition, Joey dons an Indian Chief’s head dress, creating a massive whirring circle pit that left the fans war dancing long after the final note ends.
Anthrax – Hellfest 2026. Photo: Luke Vaughan/MetalTalk
HELLFEST 2026
Prepare to be consumed by the relentless energy of the most influential bands in Heavy Metal as they ignite the Hellfest stages with blistering performances. The immersive atmosphere of Clisson will immerse you in a dark, captivating experience like no other.
With its unparalleled lineup and unwavering commitment to the spirit of metal, Hellfest 2026 promises an unforgettable journey into the depths of sonic mayhem. Read all the Heavy Metal News at MetalTalk.
Coming off the back of an incredible second stage headline slot on the Friday of this years Download Festival, just days prior, tonight Lzzy Hale and Joe Hottinger of Halestorm, bring their unplugged performance to UK soil.
What a venue for this special shiw, Islington Assembly Hall is an absolutely stunning place which lends itself nicely to an unplugged performance. Having seen Halestorm perform several times over their career, in venues ranging from local 1200 capacity clubs to the O2 Arena just a short trip over the river from here, seeing just two mic stands and a piano on stage before they come on seems strange.
It’s a much calmer entrance to the stage than they are known for, tonight just casual wander in to view, in more relaxed, yet still signature, outfits. Joe with his acoustic guitar and Lzzy’s mic waiting for her on its stand.
Opening the first set with ‘Amen’ is a powerful start, a song notoriously heavy will demonstrate perfectly what the fans are in for with this alternative style of performance. Straight away it is extremely clear that Halestorm do not need a stack of amps, effects pedals on mass and pyro to put on an amazing show. Every recognisable song felt like a completely fresh one with the stripped back feel of it , ‘Do Not Disturb’ and ‘I Get Off’ going from their usual had hitting heavy anthems to a much more intimate versions. I suspect Lzzy’s microphone wasn’t really needed and that she could performed tonight with no additional help.
Then we are greeted with songs that are normally on a more sombre wavelength of their albums, ‘Familiar Taste of Poison‘ being a stand out which just seems so much better in this setting, Lzzy’s voice just holding each note perfectly.
With no support act this evening, the performance was split into two separate sets, giving a bit of a rest in between for both band and fans alike.
When Lzzy re-enters the stage it is just her and three beautiful renditions of ‘Dear Daughter’, ‘How Will You Remember Me?’ and ‘Break In’. Normally these are already emotional songs, however, when it’s just Lzzy and her piano it takes that feeling up several notches, the crowd can feel the passion that is put in to the lyrics and the story telling is on another level.
There is a few covers thrown in as well, ‘Gold Dust Woman’ by Fleetwood Mac – a song Halestorm covered for the ‘ReAnimate 2.0’ EP – is delivered as another version with Lzzy’s own personal stamp on it.
Whilst Arejay and Josh are certainly missed on this run of shows it does not take anything away from the experience. The fans in the sold out venue are singing back every single word and with it being unplugged you can expect that the crowd will be a fair bit calmer with their movements.
Even ‘Love Bites (So Do I)’, a song that you would expect the fans to get rowdy to, gets brought down to an almost funky level; the tempo is very similar, but the feel is completely changed with everyone here completely involved with it.
Being called the Living Room Sessions Tour feels very apt, there is banter between songs, with reverences being made to the Ferris Wheel incident at Download, fans shouting out things and both Lzzy and Joe responding, something that doesn’t seem to happen with most bands, even at small shows.
Club 8’s Honestly is another irresistible entry in the Swedish duo’s long-running indie pop catalogue, effortlessly blending sophistication, warmth, and melodic charm. Driven by Karolina Komstedt’s distinctive vocals, the track radiates a breezy elegance while maintaining the understated emotional depth that has defined the band for decades. Lush arrangements and polished production create an inviting atmosphere, balancing dream-pop sensibilities with refined indie-pop craftsmanship. There’s a timeless quality to Honestly that feels both nostalgic and refreshingly current, proving once again why Club 8 remain such a beloved presence in the genre. A beautifully crafted song that rewards repeated listens.
Japanese power metal vocalist Saeko Kitamae unveils ‘Sins for the Gods (Reimagined)‘, the second single taken from her upcoming EP ‘Back to Life‘, scheduled for release on July 22nd. Listen to ‘Sins for the Gods (Reimagined)‘ – here With roots going back to the 1990s, ‘Sins for the Gods‘ is one of the oldest songs […]
10xx’s The Unknown is a gripping electronic journey that thrives on atmosphere, momentum, and precision production. Blending cinematic textures with driving rhythms, the Austrian producer crafts a track that feels both expansive and intensely focused. The arrangement steadily builds tension, drawing listeners deeper into its immersive soundscape while maintaining a strong sense of movement throughout. Polished yet energetic, The Unknown showcases 10xx’s ability to balance emotional depth with dancefloor appeal. The result is a compelling electronic cut that captures the excitement of exploration and discovery, confirming 10xx as an artist with a keen ear for impactful and engaging production.
The monsters are gathering. Dead of Winter has never just been about the bands – it’s the zombies in the pit, the blood-soaked maidens at the bar, the creatures roaming the venue and the beautifully strange energy that turns the festival into something bigger than a gig. For Dead of Winter’s Resurrection, we want Brisbane’s […]
The monsters are gathering. Dead of Winter has never just been about the bands – it’s the zombies in the pit, the blood-soaked maidens at the bar, the creatures roaming the venue and the beautifully strange energy that turns the festival into something bigger than a gig. For Dead of Winter’s Resurrection, we want Brisbane’s […]