Swedish AOR/Classic Rock band Daytona return today with ‘Listen to the Silence‘, the first single from their forthcoming second album, ‘Sign Language‘, due for release on February 19th, 2027, as CD, LP and digital, on Escape Music. Released together with an official music video, ‘Listen to the Silence‘ marks the beginning of a new chapter […]
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Live Review: John 5 KK’s Steel Mill – October 14th, 2026 Reviewer / Photographer – Richard Davies A trip to one of my favourite venues this week, as we headed to KK’s Steelmill in Wolverhampton, to catch American guitarist John 5 on his first UK solo tour. First up in support is Dan Byrne. I’ve heard so […]
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Sleep Token have released a rare statement seemingly condemning other bands and artists claiming to be affiliated with the mysterious masked metallers. Following a year of inactivity – the band’s last live show was at the Crypto.com Arena in Los Angeles on October 11, 2025, and they haven’t released any new music since last year’s blockbusting Even In Arcadia – Vessel and pals have emerged to distance themselves from anyone using the Sleep Token name to get themselves a cheeky bit of extra hype.
“A word, for the sake of clarity,” the statement begins. “Sleep Token has no affiliation with any outside musical project that invokes this name, nor with anyone who uses it to promote one.
“Such claims are not made with our blessing and are not endorsed by Sleep Token,” it continues. “What is ours is here, and here alone.”
It is unclear who the statement is aimed at, though many Sleep Token fans are claiming it could be in relation to Arcus, another mysterious music project that emerged last month via a teaser video posted on Youtube.
Fan threads on Reddit from the time of the video appearing online allege that Arcus had described itself as a project “from the co-creator of Sleep Token”, though as of today (Monday October 19), Arcus’ social media bios have no mention of any connection to Vessel’s band.
Regardless, Sleep Token must have felt strongly about being mentioned by other artists in this fashion to have released a statement at all, as 2026 has been all but silent for them otherwise. Even In Arcadia broke records upon release, landing atop album charts around the world and confirming Sleep Token as the most significant heavy band of their generation. As of now, their future plans remain unknown.
They may be shorn of original members, but with Robert Garven still running the engine room with some fire, Tim Baker’s unique vocals giving the band their distinctive edge, and the dual pistons of Night Demon’s Armand John Anthony and Jarvis Leatherby driving the band ever forward, All The Shadows, the latest album by the legendary Cirith Ungol, bites as hard as anything they have ever written.
Release Date: 30 October 2026
Words: Paul Hutchings
Their history is well documented. Reborn in 2015 thanks to Leatherby, two excellent albums followed. Forever Black reminded us that there was very much room in the new world for these old masters, whilst 2023’s Dark Parade equalled the iconic Frost And Fire and King Of The Dead.
The statement in 2024 that they would be closing out the last chapter of live shows saw many sold-out shows, including a quite incredible set at a hotter-than-hell The Underworld in Camden when the band’s legions united in homage.
The fire clearly still burns deep within the Cirith Ungol homestead, for the band are back on the road in 2027, which includes a couple of UK dates.
But what of All The Shadows? Well, there is a traditional format for their seventh release. An absolute stormer in the title track to open proceedings, a couple of longer epics mid-album surrounded by a scattering of tracks that all ring every bell on the Cirith Ungol tree.
Back to the opener, High tempo, with Anthony’s guitar ripping away whilst Garven and Leatherby lock in tight. But it is the incredible vocals of Baker that always take the spotlight, and here he is in great form. Robust tales of blackened hearts and broken dreams. Echoes of madness, corruption, and sin all forged in the undeniable legendary style of this majestic band.
As Robert Garven says, “This is the band’s next chapter, describing mankind’s descent into darkness and despair! Tim Baker is the Nostradamus of our time.”
After the high-velocity start, Cirith Ungol drop the pace to a doomy thump. This Mortal Coil is dominated by a chunky riff and that typical off-tempo pattern that often forms the basis of classic tracks. Baker’s echoing vocals are sublime, whilst Anthony, not content with producing the album hits with an emotive, bluesy solo.
This tempo is maintained on the ambling Shallow Reflection, one of two six-minute-plus tracks and one that meanders for the first three minutes before launching into a classic Metal gallop, with Anthony again showing some fantastic fretwork.
The time changes and diversity of style are impressive. It is here that you realise that the grandfathers of traditional Metal are not just from Birmingham but from Ventura, California.
Empty Tomb is another darkened tale, with Baker’s vocal performance perhaps the best on the album, such is his power. It is followed by the melancholic On Broken Wings, which has more than an echo of Sabbath in their mellow times. A brooding beast of a song, it is definitely Ungol at their most vulnerable but also most creative. It takes some time to get used to, but it is now amongst my favourites.
Some albums drift towards the end, but Cirith Ungol finish with two face-melting slabs of Heavy Metal just to leave you wanting more. The sprawling might of Hollow Nimbus, with its grandiose passages and huge riffs, leads into the doom-laden Venus In Thirds, which stomps right to the end.
With more magnificent artwork by the equally legendary Michael Whelan, All The Shadows is likely to rank with the best in the Ungol catalogue.
Like a beast that refuses to die, Cirith Ungol stand defiant. There is still time. Join the legion.
Cirith Ungol release All The Shadows on 30 October 2026 via No Remorse Records. For pre-orders, head over to the band’s Bandcamp page.
Review: Arkado – III Pride & Joy Music – November 13th, 2026 Reviewer – Jason Hopper Arkado is a band that I would consider to be new to the ever-growing Swedish melodic rock scene, but their roots go back 40 years to the early 80s. A group of friends playing locally that disbanded in 1988, then […]
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Society has become remarkably efficient at manufacturing dissatisfaction. We are encouraged to acquire more, accomplish more, improve ourselves, and cultivate identities attractive enough to survive the judgment of strangers. Every waking hour presents another opportunity for advancement, provided we can overlook the rather inconvenient question of where all this advancement is taking us. Somewhere between the pursuit of happiness and the administrative business of maintaining a life, freedom begins to resemble an obligation. We have acquired unprecedented means of controlling our surroundings while remaining spectacularly susceptible to the forces governing our desires.
For BLAT, an indie Spanish-language post-punk and coldwave project led by Lith Alvedo and Søren Lūcius, this contradiction provides fertile ground for their debut full-length album, Ecos del Silencio (Echoes of Silence). Across twelve songs, the duo investigates the pressures of contemporary existence, from consumer culture and social conformity to romantic obsession, psychological distress, and the peculiar exhaustion of trying to remain oneself in a society that continually recommends becoming somebody else.
Drawing from the austere romanticism of Molchat Doma, the rhythmic severity of She Past Away, the gothic sensibilities of Twin Tribes, and the emotionally charged Mexican alternative rock tradition associated with Caifanes, BLAT build their songs around substantial basslines, pedal-treated guitars, and the mechanical insistence of drum machines. Their arrangements make room for sinister surf melodies, shoegaze diffusion, bluesy solos, and the melodic directness of mid-’80s alternative rock. Repetition provides a firm foundation, allowing relatively economical instrumental parts to accommodate considerable emotional upheaval.
At the center of BLAT lies the contrast between its two principal voices. Søren Lūcius moves from brooding declamation to tender, impassioned singing, while Lith Alvedo introduces a colder, more ethereal presence, sometimes softened by reverb and a youthful romantic yearning. Their vocal hooks lend an immediate, communal appeal to songs examining the peculiar human habit of constructing elaborate prisons and then complaining about the accommodations.
“Ecos del Silencio was born the moment we chose to stop living up to the world’s expectations and instead stand by our true internal philosophy,” the duo explain, describing an attempt to connect through the darkest corners of human experience.
Opening track Cadenas (Chains) launches with a thick, melodic bassline and propulsive drums, establishing the backbone of its atmospheric coldwave arrangement. Lith’s lead vocal confronts routine, modern isolation, and the consumerist bargain: time and autonomy surrendered for possessions that provide remarkably little satisfaction. A zigzagging smear of guitar cuts across the rhythm, its catchy phrases making each economical appearance count. The poppy, mid-’80s post-punk character brings to mind the March Violets in Some Kind of Wonderful, with guitars that readily break into a rock ’n’ roll charge. Broad, easily sung vocal lines carry the romantic feeling of Spanish-language post-punk, giving the song’s discontent an inviting melody.
Ominous electric guitar strumming introduces Dictadura (Dictatorship), which relocates authoritarianism inside the human mind, where inherited convictions become unquestionable laws. The drum figure suggests a slow ska or reggae rhythm, with a little of surf music’s rolling motion, while the restrained gothic guitars maintain an uneasy relationship with the arrangement. Dry, pessimistic verses swell into a more forceful chorus, and a peculiar buzzing tone, possibly a synth, adds a retro-prog tinge. That underlying discord suits the unpleasant revelation that one’s most fiercely defended beliefs may have become instruments of oppression.
Dark surf guitar and a deep rhythmic groove shape Ficción (Fiction). Lith takes the lead in a sharp critique of virtual appearances and digital noise, examining the performance of identity in a culture increasingly preoccupied with how it looks. The vocals move with greater emotional smoothness than on the preceding track, and a bluesy guitar solo opens out midway through the song. Its melodic ease accompanies a less comfortable proposition: ambition becoming an exercise in self-erasure, while time gradually dismantles the public persona its subject struggles to maintain.
Puedes Ser (You Can Be) settles between alternative rock and shoegaze, its deep bass supporting guitars spread through delay and other pedal treatments. A particularly catchy male vocal melody gives the song a familiar pop instinct, suggesting later Ramones refracted through late-’80s alternative rock and gauzy guitar effects. That accessibility carries a pointed examination of the cruelty directed toward people experiencing psychological distress, particularly when every attempt at self-defense invites further condemnation.
Repeated attacks from guitar and bass, reinforced by the drums, open Desvanecer (Fade Away) before a reverb-rich female vocal introduces a tinge of youthful romance. The guitar melody spirals through an alternative-pop arrangement, giving the song the wistful feeling of an affection remembered at a distance. This romantic quality lends a strange tenderness to its account of physical deterioration, sensory disconnection, and the uncertain boundary between transcendence and death.
A sinister strain of ’60s surf guitar ushers in Maldita Realidad (Damned Reality), followed by Søren’s deep, brooding lead vocal, which draws on the emotional weight of Spanish-language alternative rock and post-punk. The bass has a physical depth, with guitars carrying what sounds like a light coating of flange positioned behind it. Retro horn-like synths add another color before the chorus expands into a full Spanish-language singalong. Its raw attack, danceable momentum, and expansive chorus make it the record’s energetic centerpiece. Søren portrays romantic obsession as an elaborate negotiation with evidence that has already delivered its verdict; reality, unfortunately, has never been particularly accommodating to wishful thinking.
Pisotear (Trample) begins with wistful guitar strumming and a male vocal delivered with the intimacy of a ballad. Around forty seconds in, the intensity rises, then recedes, giving the arrangement a push and pull that deepens its emotional uncertainty. Its examination of humiliation and cruelty within a destructive relationship finds room for solidarity, introducing the possibility of resistance through the recognition of shared pain.
The mid-’80s post-punk and alternative-rock structure of Lucha (Struggle) is apparent from the outset, with guitar chords, bass, and steady drums forming a driving march beneath Søren’s lead vocal, sung in a slightly higher register. There is tenderness in the delivery, along with a sorrowful passion that gives this account of internal survival and perseverance an intimate scale. A guitar solo with lingering sustain contributes to the song’s slight Chameleons feel. Shared adversity, BLAT acknowledge, rarely produces identical experiences or guarantees success, though the melody gives that determination an affecting lift.
An icy punk guitar riff opens Me Aterra (It Terrifies Me), suggesting the Stooges’ I Wanna Be Your Dog brought into contact with Christian Death. Eerie synths lend the atmosphere a haunted-house chill before a female vocal enters with a dark affect. The pronounced deathrock character gives musical form to the song’s anxiety, where desire and fear become mutually obstructive forces and even the prospect of pursuing something wanted can provoke alarm.
A few ringing guitar chords and shuffling drums establish the dark opening of Pestes (Plagues), the rhythm repeatedly punctuating the same uneasy thought. A catchy post-punk guitar figure soon takes hold, its recurring shape and the vocal melody recalling the Ramones’ Pet Sematary. That persistent refrain gives a memorable form to the song’s vision of psychological corruption as an infestation requiring a thorough internal reckoning.
Fluir (Flow) opens with a dirty, melodic rock ’n’ roll riff and a male vocal steeped in dark bravado. Organ elements and icy minor chords appear throughout, while the singing periodically surges with passion. As the lyrics consider surrendering control as a possible route to liberation, the arrangement gives that uncertain proposition a strutting confidence. Acceptance remains an uncomfortable prospect, delivered here with considerable conviction.
Closing track Sin Destino (Without a Destination) begins with a repeating guitar melody whose dark, chiming resonance persists as further layers enter the mix. That opening figure fades, yielding to a higher, fuzzy guitar riff with an immediately catchy melody. Within the closing duet, a dark male vocal rises toward expansive, singalong heights before the guitar refrain returns. The song brings the album’s narrative to a close in an atmospheric limbo, with romantic loss supplying its unresolved tension. Hope stubbornly contests a separation that has already occurred, its recurring melody giving that attachment a persistent musical form.
Listen below:
There is an appealing irony in an album called Echoes of Silence being so concerned with the consequences of remaining quiet. Beneath the machinery of modern existence, Lith and Søren suggest, personal freedom begins with recognizing one’s own voice, even when the world has spent a lifetime teaching us to ignore it.
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I think I am safe in stating that an Inglorious Debut Album 10th Anniversary Concert by the lineup who created it was not on most people’s bingo cards for this year.
Words: Sophie James
Photography: John Inglis
There cannot be many British and European rock fans who are unfamiliar with their modern take on classic hard rock, thus hardcore fans from far and wide descended on KK’s Steel Mill in Wolverhampton for this Saturday night celebration.
There was a palpable buzz to the place even before the strains of Won’t Get Fooled Again boomed over the PA.
For those expecting the album in its original running order, please look away now.
The Inglorious backdrop gave way to a historical montage before the band launched into the fast ‘n’ furious Breakaway. Young Mr James looked incredibly dapper in his white jacket and obligatory shades. His opening tones hammered home the realisation that we were in for a remarkable evening. Before the song was done, we were treated to some Glenn Hughes-like vocal acrobatics. Not to be outdone, Andreas Eriksson let rip a blistering solo befitting the ferocity of the tune.
There followed the unmistakable riff and rolling bass of High Flying Gypsy with added keyboard colouration from Rob Lindup.
Now very much in celebration mode, what a marvellous rendition this was, with Phil Beaver frenetically thrashing away in the background and the audience conducting the first mass clapping of the evening.
“Here’s a song for ya!”
What followed was a genuine joy, which, of course, the Coverdale/Marsden/Moody classic Fool For Your Loving always is.
As a unit, they were so taut, the guitars of Andreas, Billy Taylor and Colin Parkinson produced something greater than the sum of its parts, while their backing vocals were exquisite, enhancing the virulence of this number. The whole thing had a celebratory feel and concluded with a thunderous zenith.
Nathan went on to explain how this “reformation” came about.
In a nutshell, “After a few glasses of wine, I messaged everyone to see if they would be interested in doing a one-off 10th Anniversary commemoration. They all said yes.”
So here we are.
The narrative proved a minor distraction, as the galloping Taking The Blame was initially introduced as Read All About It, which immediately followed.
“The last time I sung this in Wolverhampton, I did so with Glenn Hughes. He’s just had a major operation, so let’s send him our best wishes.” What else could it be but Burn, the crowd’s voice rising as one on that mononymous title.
While the vocals are a given, the delightful interplay between Andreas and Billy, Rob’s Hammondesque run and Phil’s fills made this an utter treat, which the audience’s ascending appreciation acknowledged.
Bleed For You was a pure exhibition of vocal magnificence, proof, should it be required, that Nathan is at the top of his game.
The epics keep a coming. Dedicated fans instantly recognise the bluesy opening of the brooding Girl Got A Gun. “You guys having fun? We are. No one or nothing sounds like these songs played with these guys.”
Now at the midpoint, a change of pace was the order of the evening. The Inglorious version of musical chairs saw Phil swap his drum stool for a 12-string, Colin switched to an acoustic while Billy went behind the kit.
“This is exactly how we recorded it.” What followed was the truly delightful Wake, where the sparkling acoustics were only outshone by Anders’ brief electric solo. And as for that sustained vocal note, goodness me.
After that delicate interlude, it was on with this electrifying set. Emblazoned in red on the rear projection was the title of Warning, which commenced with a bluesy grind before igniting.
With their feet now back on the gas, this adrenalised segment featured only the third live performance of the Joel Hoekstra co-penned You’re Mine with its staccato call and response and “The first song I wrote lyrics for”, Unaware.
While the sound became a little muddled at the start of the latter, it soon cleared to emphasise the relentless, mechanical-like cadence.
Following the final cover of the set, Toto’s Girl Goodbye, it was time for their eponymous song with its meatier, towering riff and evocative verse melodies.
Holy Water is a favourite of mine at any Inglorious show, of which a memorable part is Nathan’s walk through the audience. With its unmistakably sublime intro and gentle groove, it is akin to a modern lament. So many high points in this song, which also include Billy’s expressive solo and the magnificent vocal coda.
“I’ve said it before, and I’ll say it again, KK’s is the best fucking venue in the country.”
And to finish the set, the song my gig buddy had been waiting for. Anders & Billy joined forces to introduce I Don’t Need Your Loving. The rejuvenated crowd were revelling in it, and the place was bouncing.
Thus, only one song remained for the encore. Purpleish keyboard tones preluded a climbing rhythm before the main riff of Until I Die kicked in. The opening track of that debut, it has always been a crowd favourite, and here they responded with appreciative fervour.
The song and indeed the whole performance was triumphant. This was a definitive example of how to do a headline show and a superb celebration of the music and the people who made it. The band sounded tighter this evening than at that Islington Assembly Album Launch all those years ago.
I will leave the final word to Nathan. “If you think this was a success,” – cue huge cheers – “maybe we’ll do some more”.
Let us see.
Breakaway
High Flying Gypsy
Fool for Your Loving (Whitesnake cover)
Taking the Blame
Read All About It
Burn (Deep Purple cover)
Bleed for You
Girl Got a Gun
Wake
Warning
You’re Mine
Unaware
Girl Goodbye (Toto cover)
Inglorious
Holy Water
I Don’t Need Your Loving
Encore:
Until I Die
Nathan James (vocals)
Andreas Eriksson (lead guitar)
Billy Taylor (guitar)
Colin Parkinson (bass)
Phil Beaver (drums)