Posted on September 25th 2026, 1:42pm
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Reviews: Burner, Kongh, The Bleeding, Suffering Quota (Matt Bladen & Mark Young)
Burner – No One Is Coming To Save Us (Church Road Records) [Matt Bladen]
The nihilism never ends as Burner have always approached their music with a slash and burn style of incendiary rage.On their last record If It All Returns To Nothing, they looked outwards, on this album they turn the lens inwards, looking at us the human race and the violence, destruction and division that we seem to continually create throught history. However its also about hope, how individuals are often the cornerstone to change or recovery, how sacrifice so often reaps biggest rewards.
So Burner return with another set of 11 absolute face rippers, the fast rise of Burner leading to some high profile guests vocalists such as Matthew K. Heafy (Trivium), Josh Middleton (Sylosis) and Anthony Lucero (Cult Leader), joining this record that straddles numerous genres. Death metal, hardcore, post metal and even black metal (A Shattered Visage Lies) all create these punishing atmospheres inspired by bands as varied as Trap Them, Darkest Hour, Bolt Thrower and Converge.
With The Third Revelation, Burner build the tension and then release it with some bludgeoning metal force, never fully letting you take a breath What Will You Give and Blood River both assault the senses. Harry Nott and Josh Middleton sharing the fury on the former while Matthew K. Heafy brings his unmistakable voice to Sunrise, Parabellum closing out this death/thrash trio.
A Shattered Visage Lies moves back towards an atmospheric doom crush that showcases the dynamic playing of Nathan Harlow (guitar), Finn Gannon (bass) and Jack Bryant (drums), as does the resonant and introspective The Agony Of Peace. The multi-discipline sound of Burner meaning they can move between tracks with melodic intensity and the more furious cuts seamlessly, never letting their extreme approach weaken.
No One Is Coming To Save Us? Perhaps then we should use this album as a catalyst to save ourselves. 8/10
Kongh – Dissolved In Time (Trust No One Recordings) [Mark Young]
For many, Sweden’s association with extreme metal points towards a particular sound, namely the melodic death metal of bands such as At The Gates and Dark Tranquillity, and I’m no different. I had no idea there were other distinct and unique voices at play, one of which is Kongh. Who have released their fourth full-length album, Dissolved In Time, which also represents their return after nearly a decade away. I know nothing about their previous output and, as a result, will be going into this with an open mind. Three tracks stretched across 39 minutes suggests something intense, but also something that could easily outstay its welcome.
Staining The Ether is this album’s big piece. Starting with a repeating guitar line that provides the base for drums and bass to come in and join, both building and adding until it really takes flight at around the three-minute mark, its sound suddenly expanding. It’s unhurried and evolves naturally, changing shape and arrangement while always finding its way back to its core. It’s all discord and grit, with vocals from David Johansson (who also handles guitars, bass and electronics) stamping a dense authority across the track and effectively moulding it to suit his vision.
I didn’t expect it to be as melodic as it is, despite being as heavy as it is. It’s a pretty perfect build in all honesty; everything sounds A1 and you can pick up on the little nuances that occur throughout, making it far more than just a hammer-and-nail exercise. If you’re worried that a near 19-minute opening track might be a bridge too far, think of it as a series of mini songs glued together, all of which offer something different to the sequence that preceded them. This isn’t a traditional doom song where the same riff is repeated until you instinctively reach for the skip button. It has a lot going on and genuinely needs that full running time to reach its destination.
It’s a monumental song and an incredibly bold move to open the album with it because of the benchmark it sets for everything that follows. Still, putting that to one side, just absorb this for the majesty that it possesses. Epic stuff.
Guided To The End wisely goes for a quicker resolution, well, kind of. Where Staining The Ether was about having room to breathe, there is no lingering this time as the pace immediately kicks up a gear. Nothing has changed in the execution on display, it’s just been given a charge. It’s still heavy, but Christ, you could dance to this. Suddenly the influence of the opening track pares back a little as this one rips along, mixing clean and guttural vocals with one of the lowest bass tones imaginable.And that central riff? Forget about it. Just top class. It’s spacey, full of movement and an all-round cracker.
Which leaves us with the title track, Dissolved In Time. It starts with a thick sound and I genuinely can’t think of a better way to describe it. I mean, it’s absolutely massive and would probably render you with some form of injury if you heard it live. It moves with the same energy as Guided To The End, with the drums doing exemplary work in providing that little bit of sparkle that lifts the entire piece.
And then they pull the whole thing down, slowing it to a crawl.
It’s ruthless in its execution. This is Sludge Metal 101 and everyone should be taking notes. It’s amazing to think that Kongh had anywhere left to go after that opener and yet Guided To The End and Dissolved In Time have the same kind of impact while offering entirely different perspectives. Each track leaves its mark in a different way.
What is this like compared to their earlier material? No idea.
All I can say is that it’s a magnificent album, and if this return leads to more material of this quality, fans of the genre have a lot to look forward to. 9/10
The Bleeding – Godless Communion (Redefining Darkness Records) [Matt Bladen]There’s change in the house of The Bleeding, for over a decade the London death metal crew have been unleashing steamrolling, gore-soaked death thrash that’s anchored in the underground. They’ve become more visible outside of their local scene with the release of last album Monokrator, gaining a following of death lovers across the UK and Europe. However long time vocalist Germ stepped down from the band during the recording process, with ex-De Profundis man Craig Land brought in behind the mic to continue the next chapter of The Bleeding.
In typical death metal fashion, to avoid the delays of having to re-record everything again, Craig’s vocals joined the ones already recorded by Germ to bring an as yet untapped intensity to the music. It’s almost like a celebratory release with a dual vocal assault bridging what is now and what came before as band founder/guitarist Tasos, bassist Guy and drummer Davide Marini deliver more ferocious death metal drawn from the inspiration of the most vile and vital bands in the genre.
Some are even homaged here as there’s cover of Cannibal Corpses’ Born In A Casket which features Ryan Howes of Sodomized Cadaver, as Adrie Kloosterwaardof Sinsuter appears on Bestial Bloodlust and original The Bleeding vocalist Themis K. appears on Death Eternal, making this the first record from the band with all three of their vocalists appearing.
You could consider Godless Communion to be a 15th anniversary release for The Bleeding and it’s probably them with a renewed intensity and a return to their underground sound due to the line up shift, though it’s an album with a lot of experience and craftsmanship behind it. UK death metal veterans that still kill the old way. 8/10Suffering Quota – Sisyphean Life (7 Degrees Records/Tartarus Records) [Mark Young]
There is something strangely comforting about listening to what probably best described as a twelve track sonic kicking whilst watching Last Of the Summer Wine (And yes, there are rumpled stockings, a tin bath and three old age pensioners rolling down a hill in Yorkshire).This is their 4th album and is inspired by the myth of Sisyphus and the eternal struggle faced with repetition in life. In any event, should you be unclear in what they are about and how they do what they do, just press play and let the punishment begin. This is a hard record, and by its very nature a difficult one to review because they are not writing long, progressive music here. This is 18 minutes worth of blistering attack, of what you could call primal grindcore. This is stripped of anything that is unnecessary, each song hammered to its truest form.
It would be utterly pointless in trying to do a song by song deep dive on this. That would defeat the object and weaken its ultimate impact. This is supposed to be enjoyed (endured?) as a whole, not to dip in here and there. Strain opens and Striving closes and between there is no discernible drop in the fury that is at hand or in the standard of music provided here. I appreciate that won’t be a lot for someone to make a decision on, so I’ll narrow that focus slightly by saying that any fan of no-frills extreme grindcore will find Suffering Quota and their music to be a welcome blast of refined noise. 7/10 -
Rattlesnakes – Post New Track & Video
“Forever”, the newest preview tune from Rattlesnakes‘ forthcoming debut full-length Shadows In The Night, has debuted online in the form of an official music video.
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Album review : THE MIGHTY BOSSCATS – Normal
Self release [Release date : 19.09.26] Having made his name with an impressive back catalogue of some 17 albums, in which he’s moved effortlessly though imagery-laden Americana, with all shades of blues, country and even jazzy influences, Richard Townsend and … Continue reading The post Album review : THE MIGHTY BOSSCATS – Normal appeared first on Get Ready to ROCK!.
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12 New Rock + Metal Tours Announced This Past Week
Get details on tours from Greta Van Fleet, The Interrupters and High on Fire among others. Continue reading… -
Black Sabbath’s Final Show, Captured in New Film Trailer
Black Sabbath's final show became something bigger than a concert. The new film captures what happened when a legend refused to leave the stage. Continue reading… -
DragonForce – European Tour Dates Confirmed
In support of their upcoming self-titled album release, due out on March 19th 2027, DragonForce have now confirmed a month-long headlining tour over Europe. Joining them on the rad will be Visions Of Atlantis, Wings Of Steel.
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Taylor Acorn Shares Reflective Track ‘Growing Pains’
Taylor Acorn has shared another track from the upcoming deluxe edition of her album ‘Poster Child’, and it is a heart-wrenching account of how things don’t change as much as you thought they would.
Titled ‘Growing Pains’, it’s a beautifully patient ballad all about realising that the things you worried about when you were younger are still very much the things you worry about today. It’s a tear-stained look at the realities of adult life: Perception of self, the way people react to your presence and the manner in which you deal with both of those things. Though in understanding that, growth is still very much possible.
Taylor had this to say about it:
“Growing Pains is a favourite of mine. I think it’s such a universal feeling to want to grow up and grow out of the feelings we feel when we are young. I remember thinking to myself ‘Man, I can’t wait to be an adult and never have to feel like this,” whenever it came to loss, the way I saw myself in the mirror, relationships, school, and so on—but oh boy was I so wrong,”
‘Poster Child Deluxe’ will be released on October 23 via Fearless Records. It will also feature ‘Isn’t It Strange’, which includes a guest appearance from Knox.The post Taylor Acorn Shares Reflective Track ‘Growing Pains’ appeared first on Rock Sound.
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Interview: Baest / ‘No Holding Us Back’ On Colossal And The UK Tour
On the back of the release of their superb album Colossal, just over a year ago, Baest have been getting the road miles in and having fun along the way. Tours with Arch Enemy and Bleed From Within in the US and a set of European Festivals this year have seen the band spread the music far and wide. In part one of our interview, Baest talk about the festival run, the freedom they found making Colossal, and what happens when those songs reach the stage.
The UK leg of their Colossal starts next Tuesday at The Joiners, the iconic Southampton venue, and runs to the Downstairs at The Dome on 9 October 2026.
I spoke to the band recently, just after they had completed a three-day festival run across the Czech Republic, Denmark and Sweden. The Brutal Assault Festival may have been rainy, but Baest found plenty of people ready to party with them.
“Kudos to Brutal Assault and how they handle things there,” vocalist Simon Olsen told MetalTalk. “It’s top-notch. It has something which is much more special than all the others. It’s a fucking cool place to be.”
Baest / Colossal: A Bold Gear Change To Embrace And Enjoy. Photo: Impuls Film Plan B Malmö was fun too. Hot, the show was in a historic setting. “It’s a legendary place to play,” Olsen said. “We haven’t played there before. But it’s always a great show up in Sweden. In terms of cultural icons they have in their music scene, [you could think they would not] care a shit about a small Danish fucking Death Metal band. But they always show up and have a shit load of fun. We have a lot of fans in Sweden.”
Their show at Copenhagen Metal Fest was a success too, and on the second biggest stage at the second biggest mainstream festival in Denmark. “The audience is Mrs and Mr Denmark,” Olsen said, “which is like a saying we have in Danish. It’s like the everyday average guy who wants to party and listen to the pop from the radio. A lot of Danish pop bands are represented at that festival. So we were very, very grateful to close that scene on the Saturday night.”
Guitarist Lasse Revsbech says their approach is to “get in there and do our best. You have such a small room of time, and with so many other bands playing, you just have to make that impression.”
“You try to reach out to the guys that haven’t heard you before,” Olsen said, “and then try to make them come and see your shows. Buy a ticket to a headline show. The festivals for us are like a showroom, where we can show what we’re made of. Full energy, of course. It’s be yourself on stage, and try to reach that guy in the back who’s like, fuck, yeah, what is this? Well, here it is.”
Baest, Bloodstock 2022. Photo: John Inglis/MetalTalk Colossal has been out there for over a year now. For Baest, it has been their best-received album to date. “People are singing along to the new songs as well,” Lasse said, “and we haven’t been too active touring with it yet. This is the first time we ever said, OK, let the album live a little bit before we tour with it. We used to do the other thing a lot. But now people have actually listened to the songs more than a couple of times, and that’s just awesome. I think it’s our best-received album ever, actually, so that’s what we live for.”
The album is still brutal, but that band took a different approach with Colossal. The album opens with an AC/DC style riff and hi-hat.
“We couldn’t hold it in much more,” Lasse said. “So we just decided we’ll put all the rock riffs that we’ve been writing over the course of our lives. Simon let loose his vocals. We started saying to each other, right, that’s not Death Metal enough. But now we can’t hold it back anymore. We were having so much fun with it.”
Simon Olsen says it was a natural process of evolving. “The first couple of albums, we were thinking around the albums and concepts. Now we let the guard down and just fucking did what we think is fun. The sound from the last EP, Justitia, was also a natural evolution. We were trying to get some of those riffs in there, with that certain style. Now we were just like, let’s try it. It’s fun to work with.”
Stormbringer really kicks in around the 18-second mark, and I love the title track too. There is a real old-school Death Metal style there. The theme running across the whole colossal album, to me, takes inspiration from some of the classic rock guitarists from the ’80s/’90s.
“It’s funny you mentioned it,” Olsen said, “because Colossus is the first song we made for that album, which came out two years prior to the actual album. Then you mention Stormbringer, which was the last song that made it.” It is cool to see the breadth of styles.
Lasse notices the Adrian Smith photo behind me. “Depraved World, the main riff is a riff I started writing when I was 14 years old and based on a Maiden song. We took it all in. No holding us back. Let’s have a melody here. Let’s have a brutal-ass riff here because why not? You know, why not?”
“That makes people happy, and that’s the fun part of it,” Olsen says. “The dynamic and the contrast in the music. I spoke to a good friend a couple of years and a couple of beers ago, who said some of the most rocking things in music are in the contrasts. That’s what makes people listen. So I guess in my raging drunkness, I actually wrote it down on my phone because I thought it was a great sentence.”
It is this that makes Collosal such a great record to listen to as a whole and certainly not in the Spotify single-track mode. You can notice the benefits of taking their time. To be able to develop the songs and try them out live must be a pretty cool thing to do.
“It is,” Olsen says, “and it’s always a challenge as well. Playing a song for the first time is very nerve-wracking for me. It’s also fun to experience your songs as a live performer, because when you’ve done it for a long time now, you know the old tricks. You try to work your way through the song. What kind of energy this does to an audience and to yourself. It’s very amusing, very challenging and very fun to do.”
Baest are very much a live band, and this was their approach to Colossal. Necro Sapiens, released in 2021, was a no-click-track approach pushed by the question of confidence and why not just play it.
“I guess it’s easy if you have to use backing tracks live, sequences and being mixed with the screens,” drummer Sebastian Abildsten said, “We’ll try to avoid it as long as we can. Hopefully we’ll never do it, but if we really blow up and we have to, I’ll take it. [laughs]”
Our conversation with Baest continues in part two, out tomorrow. Tour tickets are available via baestband.com.
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The post Interview: Baest / ‘No Holding Us Back’ On Colossal And The UK Tour first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
Baest Announce Colossal European Headline Tour 2026 -
Leadfeather Release New Single ‘Troubled Man’
Leadfeather release new single ‘Troubled Man‘, out now, new EP ‘Catch The Silvertrain‘ out October 23d . Exclusive Vinyl release ‘Super Deluxe‘ is out on December 5th, featuring both EPs ‘Roll The Dice‘ and ‘Catch The Silvertrain‘. “‘Troubled Man‘ is the bluesiest yet the heavier track of the ep, that alternates psychedelic and desert sounding verses […]
The post Leadfeather Release New Single ‘Troubled Man’ appeared first on ROCKPOSER DOT COM.