Italian heavy blues/doom rock trio Cripta Blue returns with a powerful new standalone single, delivering their own raw and passionate interpretation of “Sorceress”, the classic track originally recorded by NWOBHM legends Angel Witch. Read moreā¦
The Ghoulstars – The Dark Overlords Of The Universe (Season Of Mist)
Some Finnish horror metal/punk now with The Dark Overlords Of The Universe, from The Ghoulstars. Influenced by The Misfits, White Zombie and Murderdolls, there’s a certain expectation coming into the record that is cemented with opener Too Ghoul For School thundering with schlock horror lyrics, wavy melodic guitars, big drum sound and gang vocals it’s creepy, kooky, woozy and spooky.
Emerging from the grave in 2021, they’re something of a Finnish supergroup featuring members from Kuolemanlaakso, Hooded Menace and Thermate, their experience is second only to their fandom as The Dead In Purgatory is Morricone meets Volbeat as Zombie Apocalypse goes full Mr Only & Co.
Inspired by an 80’s VHS B-Movie aesthetic every song is brimming with retro gold lyrically there’s more to it than just catchy references to 40 year old media, a few of the songs deal with personal and emotional issues but mostly this album is about fun and if ghoulish, horror punk rock gets you bouncing and wanting to paint a skull on your face then you’ll get a lot out of The Dark Overlords Of The Universe.7/10
Hysterese – Hysterese V (This Charming Man Records)
Hysterese have been cranking out riffs since 2009 which explains why this other the cult metal acts fifth album.
They’re a band who do things very D.I.Y, punk, metal, hardcore fan base the whole thing, the dual vocals and guitars of Helen Runge-Kehle (guitars/vocals) and Moritz Kehle (guitar/vocals) rage and roar, with the rhythm section of Lukas Anderer (bass/vocals) and Kai Hirt (drums) thunder with a raw pace that emerged from the garage.
With album five though the band have done a bit of refining to their rough sound, with 80’s sounding melodies on Love Hurts, sleaze on No Dreams, post punk on Nightfall, classic metal on Obsidian and even cover of Necropolis by Manilla Road, switching up their garage punk with the leather and studs of heavy metal.
It’s an album that stalks, struts and strikes, punk and metal in a noisy unison, Hysterese still do it raw, loud and heavy. 7/10
Embrace Of Souls – The Battle Of The Dead (Rockshots Records)
It’s fair to say that after two records Italian band Embrace Of Souls know their sound. Dual vocal symphonic power metal, richly produced with orchestrations augmenting more tradibal European power metal gallops.
The vocal interplay between Giacomo Rossi’s powerful heavy metal voice against Martina Mazzeo soaring soprano tell these conceptual stories of “medieval world consumed by a mysterious plague that corrupts human souls” well as the records narrators, letting the band made up of Valerio Edward De Rosa (guitars), Xavier Rota (bass), Davide Baldelli (keys) and band founder Michele Olmi (drums) create the cinematic, music to accompany them.
Be it muscular power metal gallops on the opening Title Track, the neo-classical Spine, the dramatic Betrayal, the powerful The War or the symphonic brilliance of The Dark Lord, there’s not much the band can’t turn their hands too, moving through various aspects of power metal and doing all of them all well, the top tier drum work a highlight.
Will some of this be familiar to fans of power metal? Yeah of course. However Embrace Of Power have the experience to make it a unique, enjoyable, listening experience. 7/10
Hellforce – City Of Dis (Self Released)
Formed just under a year ago from the home of Sabaton Falun, Sweden, Hellforce are young band with a lot of talent and some very old school influences, inspired by classic heavy metal they cite Grave Digger, Savatage and Accept as who they want to sound like.
They kick off with The Cursed Land, a raging heavy metal romp that’s got all those influences in it, from the galloping bass and drums to the shredding guitars. It’s classic metal so it’s not the most complex sound but what is ultra impressive is that none of Hellforce are even 18 yet!
Leonard Hansson (vocals/bass) is 16, William Ols (guitar) is 14 and drummer Leo Mullback is only 12 but they already sound like they’ve been playing together for a decade or more, their skill is very high, just listen to the solo sections in Dawn Of Evil and Pain & Suffer.
Really all four songs on this album are well written and very well performed, not just for musicians of their ages but for bands with many more years on the clock. Lots of potential and some classic metal riffs from Hellforce on their debut EP. 7/10
Review: Sahara ā Sahara Pride & Joy Music (May 29th, 2026) Reviewer ā Chris OāConnor Now here is an album that is an absolute joy to revisit. I vividly remember buying this CD from S.T. Records in Dudley back in 2001 after owner Steve Thorley played it over the shop speakers. Within minutes I was […]
For most of us, acoustic gigs suggest unplugged sessions defined by restraint and subtlety. Barns Courtney brought the opposite. Armed with nothing more than an acoustic guitar, he delivered a fully charged, high-energy performance at The Lower Third that redefined what ‘unplugged’ can mean.
A modern artist with strong retro-Americana influences, Barns Courtney combines the storytelling spirit of the genre with the swagger and energy of classic rock. I first saw him a few years ago, opening for My Chemical Romance at MK Stadium, where he had the crowd in the palm of his hand.
Remarkably, none of that energy was lost in the intimacy of an acoustic setting. In fact, he may have achieved a first: crowd-surfing during a one-man acoustic guitar gig when he launched himself into the audience during Fire.
Barns Courtney – The Lower Third, London – 30 May 2026. Photo: Aggie Anthimidou/MetalTalk
Walking on stage in a velvet suit, his trademark waves in place, Barns launched straight into it. This was the second sold-out performance of the day at Denmark Street’s The Lower Third, following an earlier matinee, and part of his current acoustic tour.
There is a distinct ’70s quality to the way Barns conducts a show: immersive, raw and communal. The artist-audience barrier quickly dissolves into banter, repartee, and a shared sense of occasion. Without any context, you might have thought the room was filled with lifelong friends.
Barns Courtney – The Lower Third, London – 30 May 2026. Photo: Aggie Anthimidou/MetalTalk
The setlist struck a balance between fan favourites from theĀ Attractions Of YouthĀ era – including Glitter & Gold, Fire and Hellfire – and newer material, with the playful recent standout Supernatural from his 2024 album of the same name.
All this blended beautifully alongside 99, Sinners, and the dark, atmospheric ballad Dopamine. Fans were also given a glimpse of what is to come with Good Old Days, a track from his forthcoming album.
Each song sparked bursts of energy from the crowd, sing-alongs, and a general feeling of pure euphoria.
Barns Courtney – The Lower Third, London – 30 May 2026. Photo: Aggie Anthimidou/MetalTalk
Barns’ humour was sharp and unfazed, even when faced with a couple of tougher audience moments. Instead, he turned them to his advantage, winning the room even further.
This is a proper musician. In an era where spectacle and production often distract from weak delivery, Barns showcased his wide vocal dynamic, his musicianship, limitless charisma, and raw talent all wrapped in a rare, disarming humility.
Barns Courtney – The Lower Third, London – 30 May 2026. Photo: Aggie Anthimidou/MetalTalk
With relentless energy, crowd-surfing, audience engagement, underwear thrown on stage, and beer-challenge games, this gig had nothing to envy from a full-band live rock performance.
Early in the evening, Barns mentioned that it had been a while since he last performed in London. After a performance like this, one thing is clear. The city needs to see him far more often.
UK Sludge crew GURT stopped by for a chat at Uprising Festival.
The band discuss their upcoming EP ‘Survival of the Shittest’ and the epic new cover of 90’s dance classic ‘No Limit’. They talk about the festival and who they’ll be checking out today, the changing music industry and we touch on the great work that the Music Venue trust is doing (whom vocalist Gareth works for).
You can listen to the interview on this very page below!Ā
Or if you prefer to listen on the go, check out the interview on our podcast platforms:
Soulfly once again return to Europe and will be continuing their celebration of their latest album “Chama”. They will hit several festivals along the way as well as hitting some headlining shows as the tour progresses. They are looking forward to playing some great music and watching some heads bang and sing along.Ā Ā
Italian power metal representatives Noveria are located at Underworld Studio in Casperia (Italy) where they are tracking new material for their fifth long player, the successor to 2023’s The Gates Of The Underworld. Read moreā¦
2026 has already seen many some quality new music from some giants in the post rock world. Whether itās Hammock, Mono, or Plini, thereās no lacking in choice. As such, how can A.A Williams stand out and compare to such talent? Hailing from the Midlands in England, A.A Williams has wowed audiences all over the world, including headline tours in the USA, supporting the likes of Sleep Token, or playing on prestigious festivals like Damnation or Arctangent. Her work taps into a certain emotional fragility thatās utterly endearing, making you feel emotions you werenāt sure that existed previously! āSolsticeā aims to be an extension of this great work.
Alex possesses one of the more unique voices within the genre, as she showcases in āSolsticeā. Appearing quite delicate and fragile at times ā especially during āWolvesā and āOutlinesā, donāt let this fool you! When needed, she can shift directions and unleash a vocal with a surprising amount of venomous angst! She showcases this during āPoisonā, a song which leans into a more grunge style vibe. The deployment of this grunge spice can heard throughout the album, perhaps without the walls of distortion that Alice In Chains would be known for, but certainly not lacking in venom or impact!
Lyrics are important, and it feels as though theyāre chosen very carefully to help you to follow the narrative in the song. āLittle By Littleā being a prime example, portraying a narrative of severing ties from a toxic relationship; platonic, romantic, or with a family member, itās up to you how you interpret it.
A.A. Williams has been described as coming under the ādeath gospelā genre. Both the violin and piano have been used for centuries to reduce the most stoic of men and women to quivering emotional messes, with bands like Draconian utilising both in their brand of gothic doom metal. Alex understands this, and with songs like āIāve Seen Enoughā and āHold It Togetherā, she taps into the power of both instruments to produce potent pieces dripping in raw sentiment and a melancholic gothic edge. A gothic edge thatās never lacking in atmosphere and palpable tension. Thatās not the only way she can conjure up atmosphere; the cathartic atmospheric bursts you normally associate with the post-rock are seldom used on āSolsticeā but when they are, their impact is felt!
Thereās no denying it. A.A Williams has forged a path in the fiercely competitive post-rock arena. āSolsticeā is complex, sophisticated, and stimulating, representing A.A Williams most mature and refined release to date.
