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  • Machine Gun Kelly Stands Out As He Sells Out The O2

    Machine Gun Kelly - Hellfest Festival 2023, Clisson.

    As a rising hip-hop star turned multi–platinum album singer, he established himself in pop-punk and alternative rock around the world. Colson Baker, also known as Machine Gun Kelly, performed his first gig at The O2 Arena in London during his Lost Americana tour.

    Machine Gun Kelly

    The O2, London – 5 March 2026

    Words: Naomi Hefter

    Known for his beef with Eminem and for dating arguably the most beautiful woman on the planet, this 35-year-old has received a lot of negative press. But when you remove the media and peel away the persona, there is so much more to Machine Gun Kelly.

    The stage name Machine Gun Kelly, or MGK, is derived from the nickname of Prohibition-era gangster George Kelly Barnes. Starting the gig with a bang, the song Outlaw from his latest album felt poignant. Flashes of his branded red and pink colours lit up the iconic stage. This song took the crowd on a metaphorical road trip, with sing-along lyrics, spirited energy and the feel of an adventure. 

    MGK has a way with words. Regardless of whether you enjoy his pop rap, hip hop, or post-punk sound, he is a true storyteller. From the 35 songs MGK performed at The O2, there was a flow of rapid rap, rebellious energy, and a raw, vulnerable stream of consciousness that flowed like harmonious diary extracts, yearning to be understood.

    Rising star and guitarist Sophie Lloyd was also seen performing. Since joining MGK on tour in 2022, Sophie has been involved in some fantastic projects. As you focus on her performance, the fan-favourite track Bloody Valentine bursts into action. Everyone immediately cannot help but visualise the incredible music video – you know the one! This song was a huge hit during the 2020 lockdown and remains the anthem that energises and brings smiles to fans’ faces.

    In the midst of the gig, a medley of British icons was featured, ranging from Phil Collins and Freddie Mercury to The Beatles. This could have seemed like an afterthought to fill time, but with seven studio albums to his name, that was not the case. This homage to British music only made him all the more charming.

    As a classic pop-punk genre, MGK is characterised by his fast-paced, energetic tempos and emphasis on storytelling. His pop punk songs show prominent influences from other punk-variant genres, which were inspired by 1960s innovative pop bands such as The Kinks, The Beach Boys, and The Beatles.

    There were personable, touching moments throughout the gig where MGK made minor mistakes, ones most would not have noticed. However, he did not hesitate to expose them, making him more real, more human.

    Maybe this was his defence mechanism, and having received much negativity, he calls himself out before anyone else can. To the crowd, this only made him more likeable, engaging, and even endearing. The entire gig felt like a portrayal of his life, championing great songwriting alongside his anti-authoritarian stance. But with such clever songwriting, depth, and an arrangement of wordplay and complexity, it makes him a true artist. 

    Misunderstood, criticised, and frequently ridiculed, Machine Gun Kelly’s true talent lies in awe-inspiring lyrics, breaking down cleverly chosen words into syllables that leave an impact. Turning his most intimate thoughts and exposing them, poetically, to the world.

    Love him or hate him, there is no doubt that his storytelling, persona, and goofy, shy kindness make him a special artist. Personable, playful, and passionate, this gig was a rendition through all his mistakes, his flaws and his inner demons.

    To the passing of his father, to his undeniable love for his Twin Flame, this entire gig took you on an emotional, expressive, poetic journey.

    The post Machine Gun Kelly Stands Out As He Sells Out The O2 first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
  • Nordic Giants Reach The Stars On The Majestic Under Celestial Alignments

    Album Review: Nordic Giants Reach The Stars On The Majestic Under Celestial Alignments.

    Every Nordic Giants album is highly anticipated. Over the past 15 years, they have delivered music that reaches deep into the soul, exploring sounds of the cosmos and soundscapes of cinematic majesty that transcend mere mortals. Combined with their ever-stunning visuals in their live shows, it is no wonder that the duo of Loki and Rôka continue to command such respect in the post-rock genre.

    Nordic Giants – Under Celestial Alignments

    Release Date: 13 March 2026

    Words: Paul Hutchings

    Described as a construction of emotional constellations, there is no doubt that Under Celestial Alignments is a work of master craftsmen who will inspire, confound, and bewitch the listener in equal measure. 

    Opener Logos, title drawn from the ancient Greek Logos, the ordering principle, begins the sonic journey with a slow building level of emotions with gentle piano and calmly delivered percussion before the song builds into a majestic crescendo. It is the gateway into the rest of the album, and it only gets better from here on. 

    What this enigmatic duo manages to create on each offering is more than just music. If you have ever seen them live, then you will know that the cinematic feel of their pieces can move you on every plane. Intimate passages weave through shimmering elements that use repetition in a comforting manner. This is music that wraps itself around you and holds you tight. Melancholic but warming in every sense, this is very much the sense of Undertow, a gentle aural massage which you will never tire of receiving. 

    This mood continues in Torus, the geometric definition of which is a surface or solid formed by rotating a closed curve, especially a circle, about a line which lies in the same plane but does not intersect.

    Beautifully layered, the piece is tinged in sadness through which you can draw your own emotional journey. It allows you to draw your own reflections as the song folds back on itself. It should be truly magical when performed live. 

    Red Falls is evocative, the astronomy flow from hydrogen-alpha emission. It is a track compared to a dying star shedding matter as it collapses. You can create that image as it gently segues into Raith, with its delicate, fragility once more tinged with a melancholy that fades ghost-like in the shadows. 

    As the Nordic Giants album progresses, so the immersion into it deepens. In the Half Light conjures the breaking dawn, whilst the dramatic elements of Reaper, with its low major key piano, build tension. Once more, there is time to pause, to reflect on the quality that two musicians can bring with their almost orchestral sound.

    It is another cinematic masterpiece that swells with majestic intent. At times, the drumming and percussion are intense, yet it never overwhelms. The piano fighting its corner in a tense harmonic combination. 

    Two tracks to finish, and it is the longest song on the album that is next. Clouded Minds shifts the atmosphere with an underlying urgency that pressures the tempo. Grandiose piano and repeated riffs add depth, the melody seductive and compelling. Epilogue Seren (Welsh for star) provides the conclusion with time and space, a steady passage providing opportunity for reflection, for perspective, and peace. 

    It is hard to find the right words to describe this musical release, for Under Celestial Alignments is more than just another album. It is a mediation, a passage through the cosmos, providing moments of hope amongst the melancholy.

    Immersed in post-rock rituals, it is an experience that will transcend so well live. The Nordic Giants are out on the road very soon. I, for one, cannot wait to experience this with them.

    Nordic Giants release Under Celestial Alignments on 13 March 2026. For pre-sales and tour tickets, visit nordicgiants.co.uk.

    March

    25mar7:30 pmNordic Giants, CardiffClub Ifor Bach

    26mar7:30 pmNordic Giants, BirminghamMama Roux’s

    27mar7:30 pmNordic Giants, LeicesterThe Big Difference

    28mar7:30 pmNordic Giants, SheffieldCorporation

    29mar7:30 pmNordic Giants, ManchesterAcademy 3

    30mar7:30 pmNordic Giants, LiverpoolDistrict

    31mar7:30 pmNordic Giants, GlasgowSlay

    April

    31mar7:30 pmNordic Giants, GlasgowSlay

    01apr7:30 pmNordic Giants, EdinburghThe Mash House

    02apr7:30 pmNordic Giants, NewcastleThe Grove

    03apr7:30 pmNordic Giants, PrestonThe Ferret

    04apr7:30 pmNordic Giants, LeedsBelgrave Music Hall

    05apr7:30 pmNordic Giants, NottinghamRescue Rooms

    06apr7:30 pmNordic Giants, LincolnThe Drill

    07apr7:30 pmNordic Giants, PlymouthThe Junction

    08apr7:30 pmNordic Giants, BristolThe Fleece

    09apr7:30 pmNordic Giants, LondonOslo

    10apr7:30 pmNordic Giants, SouthamptonJoiners

    11apr7:30 pmNordic Giants, BrightonQuarters

    Nordic Giants - Under Celestial UK Tour Poster
    Nordic Giants – Under Celestial UK Tour Poster
    The post Nordic Giants Reach The Stars On The Majestic Under Celestial Alignments first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
  • Whitechapel Announces European Headline Tour for Early 2027!

    – March 9th, 2026 –

    “Burn Forever European Tour” to Feature SYLOSIS and Label Mates 200 STABWOUNDS!

    New Video for “Nothing is Coming for Any of Us” live! Watch HERE!

    WHITECHAPEL are happy to announce their return to European shores in January 2027. The trek features them, Sylosis, 200 Stab Wounds and Tribal Gaze.

    Comments WHITECHAPEL‘s guitarist Alex Wade. “We are excited to announce the ‘Burn Forever European Tour 2027′. This will mark a long over due full European headline run featuring some of the sickest names in modern metal. The mainland Europe dates we will be headlining while all of the UK dates we will be co-headlining with Sylosis with them closing. We look forward to seeing everyone out there, new fans and old, don’t miss it!

    ‘Burn Forever European Tour 2027′
    WHITECHAPEL
    SYLOSIS
    200 STAB WOUNDS
    TRIBAL GAZE
    1/22/2027 – Hellraiser – Leipzig, Germany
    1/23/2027 – Batschkapp – Frankfurt am Main, Germany
    1/24/2027 – Trix – Antwerp, Belgium
    1/26/2027 – The Academy – Dublin, Ireland *
    1/28/2027 – SWG3 Galvanizers – Glasgow, Scotland *
    1/29/2027 – Electric Ballroom – London, England *
    1/30/2027 – Manchester Academy 2 – Manchester, England *
    1/31/2027 – O2 Academy – Bristol, England *
    2/01/2027 – XOYO – Birmingham, England *
    2/03/2027 – Trabendo – Paris, France
    2/05/2027 – Sala Lab/Wagon – Madrid, Spain
    2/06/2027 – Razzmatazz 2 – Barcelona, Spain
    2/07/2027 – Rayonne – Lyon, France
    2/09/2027 – Magazzini Generali – Milan, Italy
    2/10/2027 – Z7 Konzertfabrik – Pratteln, Switzerland
    2/12/2027 – Live Music Hall – Cologne, Germany
    2/13/2027 – Große Freiheit 36 – Hamburg, Germany
    2/14/2027 – Tivoli Vredenburg – Ronda – Utrecht, Netherlands
    2/16/2027 – Roxy – Prague, Czech Republic
    2/17/2027 – Arena – Vienna, Austria
    2/19/2027 – Backstage – Munich, Germany
    2/20/2027 – Metropol – Berlin, Germany
    2/21/2027 – Amager Bio – Copenhagen, Denmark
    2/23/2027 – Rockefeller – Oslo, Norway
    2/24/2027 – Fallan – Stockholm, Sweden
    2/26/2027 – Tavara-asema – Tampere, Finland
    2/27/2027 – Aeeniwalli – Helsinki, Finland
    2/28/2027 – Helitehas – Tallinn, Estonia
    3/01/2027 – Spelet – Riga, Latvia
    3/02/2027 – Progresja – Warsaw, Poland
    *Please note the UK dates are co-headline with SYLOSIS

    Previously announced US Dates:
    WHITECHAPEL w/ Slaughter to Prevail, Atilla
    March 21 – Nashville, TN @ The Pinnacle
    March 22 – St. Louis, MO @ The Pageant
    March 23 – Kansas City, MO @ The Midland Theatre
    March 25 – Denver, CO @ Fillmore Auditorium
    March 27 – Salt Lake City, UT @ The Complex
    March 28 – Garden City, ID @ Revolution Concert House
    March 29 – Seattle, WA @ Paramount Theatre
    March 30 – Portland, OR @ Roseland Theater **Off-date w/ @ideclarewarband @miserywhip.pdx and @eartheaterofficial
    April 1 – Sacramento, CA @ Channel 24
    April 2 – Los Angeles, CA @ Hollywood Palladium
    April 3 – San Diego, CA @ SOMA **Off-date w/ @carnifex and @rev3rent_
    April 4 – Las Vegas, NV @ Brooklyn Bowl
    April 6 – Tulsa, OK @ Tulsa Theater
    April 8 – Atlanta, GA @ Coca-Cola Roxy
    April 9 – Norfolk, VA @ The NorVa **Off-date w/ @interarmamusic and @ugabugaband
    April 10 – Philadelphia, PA @ Franklin Music Hall
    April 11 – Silver Spring, MD @ The Fillmore
    April 12 – Pittsburgh, PA @ Roxian Theatre
    April 14 – New York, NY @ Hammerstein Ballroom
    April 15 – Worcester, MA @ The Palladium
    April 16 – Hampton, NH @ Wally’s **Off-date w/ @bloodtithema and @iron.gate.metal
    April 17 – Montreal, QC @ L’Olympia
    April 18 – Toronto, ON @ History
    April 20 – Chicago, IL @ Byline Bank Aragon Ballroom
    April 21 – Waukee, IA @ Vibrant Music Hall
    April 22 – Maplewood, MN @ Myth Live
    -End Tour-
    May 10 – Daytona Beach, FL @ Welcome to Rockville *
    May 14 – Columbus, OH @ Sonic Temple *
    * Festival performance
    Headline dates w/ @entheosofficial @trache0tomy and @mauleddc
    May 11 – Destin, FL @ Club LA
    May 12 – Memphis, TN @ Minglewood Hall
    May 13 – Louisville, KY @ Headliners Music Hall

    WHITECHAPEL are launching the tour announcement with a brand new video for the song “Nothing is Coming for Any of Us“, check it out here: Whitechapel – Nothing is Coming for Any of Us (Official Video)

    WHITECHAPEL‘s Hymns In Dissonance finds the band reinventing themselves, going darker, deeper, and heavier than ever before. Revolver lauded “a blistering attack of ground-fissuring blasts, terror-thrashed guitar melodies and guts-hucking mosh sections.” Metal Injection concurred noting, “it’s heavy as shit, it’s unrelenting, and it will destroy you.” MetalSucks championed, “one of WHITECHAPEL’s heaviest offerings since the glory days of The Somatic Defilement and This Is Exile,” adding, “It captures that same raw energy and mouth-frothing rage in a way that… hasn’t been seen for quite some time, but with a new and improved modern twist borne of the nearly twenty years of experience they have accumulated since then,” while Blabbermouth hailed the band’s “…white-knuckle, weaponized deathcore with brains, brawn, and a point to prove. Hold on to your helmets.”

    The record earned the #2 position on Billboard’s Current Hard Rock Albums chart, #3 on Independent Label Current Albums chart, #4 on the Current Rock Albums chart and #7 on the Digital Albums chart upon its first week of release.

    Hymns In Dissonance is available now on CD, vinyl, and digital formats.

    For orders, visit: lnk.to/HymnsInDissonance. Find merch bundles and band exclusive vinyl at: whitechapel.merchnow.com

    Watch WHITECHAPEL‘s previously release videos for “Prisoner 666HERE, “Hymns In DissonanceHERE, “A Visceral RetchHERE, and “Hate Cult RitualHERE.

    WHITECHAPEL:
    Phil Bozeman – vocals
    Ben Savage – lead guitar
    Alex Wade – rhythm guitar
    Zach Householder – guitar
    Gabe Crisp – bass
    Brandon Zackey – drums

    https://whitechapelband.com
    https://www.instagram.com/whitechapelband
    https://www.facebook.com/whitechapelband
    https://x.com/whitechapelband

    Buy iTunes Artist Page Artist News

  • Chalk: Crystalpunk – Album Review & Interview

    Chalk: Crystalpunk (Alter Music) Order HERE March 13th DL | LP Ahead of the release of their debut album, Louder Than War speaks to Ross Cullen and Benedict Goddard of Chalk about Crystalpunk – their glimpse into the windows of the future by kicking against the walls of the past. By Ryan-Lewis Walker. A glove. […]

    The post Chalk: Crystalpunk – Album Review & Interview appeared first on Louder Than War.

  • Midnatt – Skräckfylld Förtjusning Review

    In case the recent surplus of hair raising releases delivered via today’s heavy metal torchwielders (Vultures Vengeance, Morax, Tower, Kuenring just to name a few) has led us to believe it’s not that hard to serve up a trad-platter that both evokes the auld ways and blazes a path forward, let Midnatt’s Skräckfylld Förtjusning serve as a reminder that it is, in fact, incredibly hard. Which is to say, even a perfectly competent and well studied group of players, which this Swedish quartet most assuredly is, can still fall short of the mark currently being set by the style’s big boppers. 

    Midnatt play street level trad/heavy that pays forward its debt the the genre’s forefathers by fastidiously stripping their compositions of the slightest whiff of bullcrap. If you’re in the business of knocking around lists of chancer bands who plied their trade during the micro-moment when NWOBHM was shedding the ‘N’ but thrash had yet to fully flower, then you know what I’m talking about. Which means you also probably know the feeling of tracking down those particular albums and the exhilaration of preparing to hit play on what must be a forgotten legend. And so then you’ve probably also experienced the slight comedown that hits when you re-learn the hard lesson that, for the most part, the best and biggest heavy metal albums earned their status fair and square.

    Release date: March 27, 2026. Label: Jawbreaker Records
    There’s a fair bit of that feeling here. While there’s not one moment of botched execution, there is a fair bit of mid-paced galloping that delivers not re: the goods w/r/t aggression or creativity. You feel this most acutely through the middle stretch of the album, after the vitalizing effects of the first few tracks wears off and the succeeding batch of compositions (“Sfinxen,” “Ljuva Midnatt,” “Transylmani”) need to start getting by on their gas. You’ll never once be compelled to turn off the tunes through this stretch, but you may well just tune out. And while I’ll never fault a band for over-promising when filling out their FFO, Midnatt’s allusions to countrymen Heavy Load in their press materials has mostly served to underscore how these fellers aren’t quite bringing it in the vocal department. Make no mistake, Aron Torstensson (who also handles bass duties) is a game participant in the proceedings, but his consistently gruff and atonal bark lacks the tunefulness or charisma to color in some of the more monochromatic compositions on offer. A Ragne Wahlquist-level singer/hook writer is an all-time easy button that the Midnatt simply doesn’t possess the luxury of pushing. For what it’s worth, Midnatt also nods to Gotham City in the packet and that’s a lot closer in terms of the overall approach and impact.

    And so, no, Midnatt has not produced an essential. 

    “Why would a reviewer make the point of saying someone’s *not* a genius?” 

    Because now that I’ve dispensed with the cold/critical assessment, I would like to tell you how much I appreciate what Midnatt is doing.

    Working at a steady pace to produce a demo in 2022, a split with Overture in 2024 and now a full length in 2026–just look at that consistency, that symmetry, that commitment to upping the ante!–Midnatt have rounded into form as an act at the very least worthy of contributing to the bumper crop of albums our beloved heavy metal needs to subsist. They prove that the gods of thunder are still dragging kids by the scruff of their necks into garages and bidding them “riff wickedly for me.” Midnatt heeds that call. 

    The sound of this recording? It is so choice. The guitars are crisp as an autumn day with just the right amount of mid-range to evoke the scent of tobacced fingerprints roasting on an amp tube. The room reflections on the drums invite you into a rehearsal space setting you may have inhabited in the past and hope to once again. How they deploy this sound, on occasion, rises to the level. You’ll push the intro track “Satán” from loud to louder if you play it in the right setting, which is obviously your car on an open freeway.

     

    The bouncy bridge riff in “Marken Brinner” starts promising then gets a little hey now when the double guitar action gets to work. New axe conscript Edward Pancetti classes up the stirring finale to the epic-curious “D.O.D.E.N.” with the kind of accomplished neo-classical noodlery that was definitely not in the mix of Midnatt’s prior outings. I wouldn’t describe Pancetti as a world-class shredder, but he’s got some shit to his game for sure. “Skuggan,” my favorite track of the bunch, sports just a touch of twangy world-weariness below the plucky riff-forward surface. The players move through this one confidently; the main riff is a winner so they let it ride, laying on some pleasant melody but not over-embellishing. Pancetti lays down another sparkling solo here; there’s no shred to speak of but every dive bomb and bend goes exactly where it needs to and nowhere it doesn’t 

    That Skräckfylld Förtjusning falls ever so short for my particular set of ears is mostly evidence of the privileged state trad lovers find themselves in nowadays. As I hear it, Midnatt knows the style they play cold, but are still sussing out the particular shining idiosyncrasies of their own voices that are needed to pop in a genre where the artists’ creative flame, as opposed to raw aggression or technical brilliance, are asked to do most of the heavy lifting. But I will say this; Midnatt could very well be on their way to finding that thing. In 2046, future crate diggers may not deem Skräckfylld Förtjusning a lost classic. But right here and now? I’m excited to hear where Midnatt goes in 2028.

    The post Midnatt – Skräckfylld Förtjusning Review appeared first on Last Rites.

  • Complete List Of Roxette Songs From A to Z

    Roxette took shape in Halmstad, Sweden, in 1986, when Per Gessle and Marie Fredriksson joined forces after each had already built a strong profile in Swedish music. Gessle had emerged as a songwriter and performer with Gyllene Tider, while Fredriksson had established herself as a successful solo singer. Their partnership turned into something much bigger than a side project. What began as a Swedish pop collaboration quickly developed into one of the most commercially successful duos in international pop history. Their first album, Pearls of Passion, arrived in 1986 and gave them early success in Sweden, but the breakthrough that

    The post Complete List Of Roxette Songs From A to Z appeared first on ClassicRockHistory.com.

  • Evermore Release Video For ‘Underdark’ From New Album ‘Mournbraid’

    Evermore has released a video for ‘Underdark‘, thrid single taken from the new album ‘Mournbraid‘ to be released on  March 20th via Scarlet Records. The third record for the Swedish masters of power metal, ‘Mournbraid‘ delivers the trademark Evermore sound made of aggressive guitar riffs, soaring epic vocals and unforgettable strong hooks – all amplified by a […]

    The post Evermore Release Video For ‘Underdark’ From New Album ‘Mournbraid’ appeared first on ROCKPOSER DOT COM!.

  • En Route, Boys – En Route, Boys

    Canada’s vast geography has always served as a profound inspiration for artists looking to capture the essence of
  • Reviews: Black Lung, Prong, Leaves Eyes, Lost Society (Rich Piva, Mark Young, Cherie Curtis & Matt Bladen)

    Black Lung – Forever Beyond (Magentic Eye Records) [Rich Piva]

    I have been a big fan of Baltimore’s Black Lung for a few years and a few albums now. I am excited to have the band back. They are both back and pissed off at the state of this world, and not afraid to show it, with Forever Beyond being their darkest and angriest record yet, and they do angry very well.

    Traveler starts us off, and right off the bat you hear this 90s thing going on, but also with a bleakness that gives me post punk vibes as well. Like a darker Catherine Wheel, which is flat out excellent. This is some of Dave Cavalier’s best vocal work, as he really nails it on this track. The band has mastered the layering of sound all throughout their songs, with synths bringing a song like Death & Co. to the next level. I love the drums on this one too. My Catherine Wheel but darker comparison stands on this one as well. 

    When I had the guys on the Rich & Turbo Heavy Half Hour, I gave my opinion of Radiohead, which as big fans I hope they forgive me for. I bring this up because Savior has this underlying Radiohead thing going on, and it is wonderful. Follow doesn’t pull any punches lyrically while musically keeping that dark 90s, wall of soundish vibe. The riffs rule this one. These guys get catchy and melodic too, with Forever Beyond Me giving off Therapy? and later-period Alice In Chains vibes in the best kind of way. 

    The two angriest tracks were saved for last, with the atmospheric Border Hoarder showing you don’t have to have the heaviest song musically be the angriest, even though this one certainly kicks in and rips it up too, and the eight-minute closer, Scum, which is their state of the world address set to some killer, dark chunky riffs and atmospheric bridges as Cavalier tells everyone what’s what.

    A dark, heavy, 90s post punk inspired state of the world address emanating from pretty much ground zero of where it is all happening. This record is built for 2026, where Black Lung has their finger on the pulse of what’s going down, brought to you in the form of the seven killer tracks that make up Forever Beyond. Black Lung knows that things are bad, but there is still hope underneath it all, which is what I hear and love about this record. 9/10

    Prong – Live And Uncleansed (Steamhammer) [Mark Young]

    Recorded live over a number of nights in 2025, Live And Uncleansed represents a worthwhile document showcasing a band that is still capable of squashing live audiences when called upon. 

    For me, they were a staple of metal nights with Snap Your Fingers, Snap Your Neck which continues to be popular today. Their songs always had that innate ability to land like a punch to the face and contained here are 14 examples of this. From a review perspective, talking about each song here would be a little redundant on my part as you would expect them to represent their best or at least most balanced live set.

    Each song is delivered with a thudding authority, the band sounding tight and on point as they rip through the set, starting straight into it without any drawn-out introductions with Revenge…Best Served Cold setting the tone. Straight away you can hear their influence on a ton of bands that followed and received the plaudits that probably should have been theirs. This is a debate for elsewhere, but you cannot argue with how good it sounds, and how good they sound. 

    They keep the between song patter to a minimum, concentrating on the performance as opposed to banter (which is always welcome) but the problem is that the songs miss that link between them. This is a minor point on my behalf and given that they were recorded over a number of nights then I suppose they wouldn’t do that anyway. But when you have The Descent crashing in like thunder, those riffs landing like a rock-fall any thoughts about anything other than the performance become secondary.

    Of course they play Snap Your Fingers, coming in slightly faster than I remember but no less of an early 90’s core anthem. That riff build is still razor sharp and here is delivered at pace whilst still sounding heavy. It’s a song that still sounds better than a lot of material that is out today and live, Tommy Victor is in top form here, sounding like a man demented in its delivery. 

    What is surprising is that Whose Fist Is It Anyway is presented as a bonus track, the last one and like Snap Your Fingers it is imperious. Live releases can be hit and miss with so many things affecting how they are received. From set list to how the band sounds being key, on here they manage to get it right and in its own right it’s a belter, one that will satisfy long standing fans and hopefully garner some new ones. 8/10

    Leaves Eyes – Songs Of Darkness (RPM) [Cherie Curtis]

    Leaves Eyes brings us Songs Of Darkness, and it’s exactly what it says on the tin; it’s symphonic and powerful, and theatrically heavy. Leaves Eyes prioritises grandeur and layers over raw aggression. The music packs a punch as it’s larger than life and extremely cinematic; it’s not going to be starting any mosh pits, but it will have you stop and listen. If given the chance, I’d love to see Leaves Eyes play live.

    Songs Of Darkness is dark and moody with lead vocals by Elina Siirala, whose vocals are silky, bright and vivid. She brings a romantic and almost operatic melody amplified by subtle, yet beautiful backing vocals all rooted down into the haunting themes by the fierce and bitter metal vocals Alexander Krull. They use the classic ‘beauty and the beast’ trope similar to bands such as Cradle Of Filth and Nightwish but more symphonic and create a stunningly bewitching and powerful dynamic.

    The whole album is simmering with energy. There are boundless repetitive drums, distorted riffs and a steady rhythm to serve as a strong, slow burning undercurrent that builds tension before delivering a satisfying vocal payoff. In Songs Of Darkness, instead of fighting for spotlight, the instrumentals show restraint and give a driving pulse so the vocals can have more of an impact.

    Overall, I really enjoyed myself as I’m a fan of this genre and style so I may be biased but there’s nothing not to like. It’s mixed well and the production value is top notch. There’s dark grittiness contrasted by sophisticated grace and theatrical power so even the black metal elitists will find something to enjoy but it won’t be something they’ll choose to have on their rotation as especially in the beginning, the tracks can be a little too soft. 

    Though only four track and the run time is relatively short, there is so much soul and effort, and Leaves Eyes has proven here that less is more. 9/10

    Lost Society – Hell Is A State Of Mind (Nuclear Blast) [Matt Bladen]

    What happened to this band? Maybe I’m the old curmudgeon but for a while there Finns Lost Society seemed to be the saviours of thrash metal, but overtime they’ve become just another band playing “modern metal” and even that is not a particularly descriptive title. I’d say more that they have become an Avenged Sevenfold clone with a bit of Bring Me The Horizon added for the radio.

    I wasn’t too enamoured with their last couple of albums, (though I was in the minority for the press core) and Hell Is A State Of Mind does even less for me. I think comparing yourselves to the likes of Children Of Bodom and H.I.M when you produce music that is just a clone of countless metalcore bands, but especially A7X who they have moved the closest too here.

    With electronics, hip-hop beats and some woeful gothic nu metal lyrics, tracks names such as Dead People Scare Me (But The Living Make Me Sick) just feel a bit like the sort of thing you’d see emblazoned on a t-shirt in Blue Banana. A very unsubtle move towards radio play and popularity. Now I’m not shooting down the band they’re talented performers and there’s a great use of strings with the 40-piece Babelsberg Film Orchestra the standout of the album but don’t save it for me. 

    Lost Society seem like they will stick with this direction for the foreseeable, but for me Hell Is A State Of Mind is listening to hell. 4/10