Walking through darkness doesn’t guarantee there’ll be bright lights at the end. One thing you can be certain of though – if you stay put there’s no hope whatever. After decades of making eloquent though predictable enough black metal, Norwegian collective Vreid found themselves five years clear of their last release and with nothing in the tank. Rather than bemoaning their fate, they simply allowed wild ideas – stuff they might once have smiled at and moved on from – to manifest. The result is The Skies Turn Black, a tenth album that is in some ways a first.
From the get-go, this is an album of immense scope, both crushingly heavy and beautifully melodic, both disconcertingly weird and comfortingly familiar. Opener From These Woods is all these things, and best of all, Vreid have placed their own stamp upon it. You can almost breathe in the lung-freezing air of their native landscape.
Kraken, their theme music to the monster movie of the same name, is just an intermission before Loving The Dead wanders into places the Vreid of old would have feared to tread. Featuring a magnetic performance from Djerv singer Agnete Kjølsrud, the shortened take featured in the video is startling enough, and not simply because we see rather too much of a near-naked Chris ‘Party Boy’ Pontius from Jackass. The longer, eight-minute album version is even more immersive, not outstaying its welcome.
Elsewhere the title track is a suitably heavy memorial to Black Sabbath and Ozzy’s iconic Back To The Beginning concert, while Chaos tips the hat to Metallica with some monstrously massed riff-building – yes, the sort that made Master Of Puppets one of the greatest metal albums ever released. It closes with The Earth Rumbles, less thrilling but a neat summary of the band’s vast repertoire. We don’t always know where we are, but we sure as hell like being here. Vreid, almost certainly, have their finest hour at hand.
Pix by Sarah Gilpin On a wet Friday night, after a delicious Mexican feast from El Rancheros, a synthesised bag pipes intro started kicking off over at Mo’s Desert Clubhouse. It was followed by hard rocking heavy blues driven fingerpicked guitar lick by Dallas Frasca that kick off the night. Dallas was joined onstage by […]
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Australia, prepare for spectacular sonic annihilation this June, with Michigan juggernauts I PREVAIL set to make their return down under. In what will be their biggest ever Australian tour, I PREVAIL announce today a national headline arena run joined by special guests IMMINENCE and INVENT ANIMATE. Set to commence on Sunday 14 June in Perth, […]
Aussie rock mainstays Luca Brasi will celebrate the 10-year anniversary of their landmark 2016 album If This Is All We’re Going To Be with a national tour this May and June, alongside a limited gold vinyl repress. Ten years ago, If This Is All We’re Going To Be landed in our lives. It soundtracked sharehouses, […]
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After getting the word on Instagram from Avalanche that they were starting at 7.30pm prompt, as Asomvel were back after their illness the night before, I raced up the M6 for a night of “rock n fuckin roll baby”!!!!
With Greig’s “In the Hall of the Mountain King” playing through the house PA, Avalanche appear with a great rock sound and kick off their brilliant set with “Blondie” followed by “Bottle of Sin”. They have a recurrent theme for their songs as bassist/singer Steven Campbell tells us the song is “about drinking and we know how much you fuckers like to drink”. The solos and riffs coming from lead guitarist Veronica Campbell and Blake Poulton are a joy to listen to, and the quartet are a bundle of energy on stage.
More drinking shenanigans appear with “On the Bags Again” as the Sydney based foursome rip through their, unfortunately, short set, as this is awesome fun to watch. From their new album, they play “Armed to the Teeth” and they are “loving their first time” over in the UK. “Down for the Count” is about getting back up after being knocked down, which Campbell insists has happened lots to him. With the crowds’ horns up, they play the excellent bluesy rock n roll number “Ride or Die” which has a strong tempo and is a storming end to their set. I look forward to seeing these again when they return to the UK.
Photo Credit: Rich Price Photography
After a night off in Birmingham, four-piece Asomvel return like leather clad gladiators to slay all before them. As “Gonna Fly Now” from Rocky rings out, there is no messing about, and they plough headfirst into “King of the World”. There’s high intensity as they rip through their set with “Louder & Louder” followed by the boisterous “Born to Rock n Roll”. They are owning the stage and look very comfortable up there, and when frontman Ralph Robinson asks, “Are you ready to rock n roll Manchester?” he gets an extremely loud roar of approval.
They have a huge collective sound, made bigger when all three are on vocals, and get the crowd worked up during “If it’s too Loud, you’re too Old” and “Your Worst Nightmare” which is dedicated to the previous evening’s food poisoning. “We’ll release a new album later this year, when we find a new label” quips Robinson before “Set our World on Fire” which has more scintillating solos flowing through it.
The band have grown into an extremely efficient and thoroughly enjoyable rock n roll band to watch. The speed goes up a few notches on “Luck is for Losers” and “Lone Wolf” which is a catchy song with big riffs aplenty. There’s some proper headbanging being done to “Take you to Hell” and we are encouraged to “Light `Em Up” before they end with the fury that is “The Nightmare Ain’t Over” which gets rapturous applause.
Photo Credit: Rich Price Photography
With two walls of Marshall stacks either side of the drum kit, the stage is set for the return of Airbourne. I’m almost ashamed to admit this was my first time seeing them live, but armed with a bag full of classic songs, I was in for a treat. With red spotlights crossing the stage, camera phones are poised and there’s a rumbling sound before they appear, with Joel O’Keefe taking centre stage as they start with “Gutsy”.
The crowd goes absolutely nuts and within seconds the band are in complete control whipping their audience into a frenzy. It signals the first crowd surfers with “Fat City” producing clap along moments, before the simple but effective “Cradle to the Grave” and what a song it is. Joel then informs us that “I love this fucking town, and when we rehearse for a tour, we always come here as it’s a week on the piss”. He is a true showman, as the others traverse the stage, he’s constantly jumping off stage rises.
Photo Credit: Rich Price Photography
“Hungry” was introduced with the story about they had nothing and “for years played to about two people” but the rhythm is fast and electric. This is exactly what I was hoping for, high-octane, high-energy rock n roll chaos, which was so much fun to witness. The monstrous “Back in the Game” and “Raise the Flag” get the crowd bouncing, more so as Joel gets on someone’s shoulders and heads into the pit whilst playing some cracking solos.
One of my favourites was up next, “Cheap Wine & Cheaper Women” which was everything I wanted it to be, full of riffs and Aussie swagger. “This is the best city on this island” which of course gets huge applause and tells us “only certain ones” from the crowd will be part of the video for upcoming single “Alive after Death” signalling a swarm of crowd surfers. I didn’t think it could get better, but with “Too Much, Too Young, Too Fast” they take things to a different level.
They play filthy, hedonistic, bluesy rock n roll, and with blinding lights, “Breakin Outta Hell” is followed by the sensational “Live it Up”, which starts with drummer Ryan O’Keefe breaking out the air raid sirens, and then has big brother throwing beers into the crowd for them to catch. They finish with two predicable, but nonetheless immensely magnificent songs, “Ready to Rock” as Joel appears on top of one of the stacks to kick it off and end with the raucous “Runnin’ Wild”. I’ve finally had my Airbourne cherry taken off me, and now I want more!!!!
We have had four years of calm since the release of Hammer The Bastards, but the storm of chaos returns as Manchester’s “feral kings of the underworld,” Black Metal/Crust Punks Wolfbastard, prepare to unleash their latest turbo-charged hellish offering. Their fourth full-length studio offering, Satanic Scum Punks, is eleven tracks just shy of thirty minutes, and is guaranteed to be a hugely catchy and entertaining assault on your senses.
Opening piece, It’s Fucking Dark, is definitely a track of two halves. Opening on a classic icy Black Metal intro filled with dark pomp and atmosphere, culminating in an acerbic scream, it then totally changes tack into a crusty D-beat drive and a punk riffing heralded by the vitriolic scream of “FUCK OFF!”
Throughout, there is the catchy title repeat of “It’s Fucking Dark.” There is also a great Black Metal undercurrent of riffing that surfaces throughout the piece, coming to prominence at its zenith before ebbing back to the dark atmosphere it opened with. A superbly imperfect circle of a track, I love it!
The longest piece on the album by far, at over four minutes, is the title track, Satanic Scum Punks. It is a punchy driver of a track throughout, with a touch of Poison Idea to the catchy repeat riff that courses across the piece, which I love. This is punctuated with searing screams across the duration of the piece, and is as lyrically catchy as well as witty.
Even more of a driving beast is Let The Bastards Burn, delivering an engaging meld of hardcore drive, blackened riffs and acidic vocals. The message is quite clear in the title, and the closing torturous scream and searing lead work perfectly visualise that.
Opening like a thunderous storm and continuing to deliver dark, destructive riffs throughout, Hail Satan Kurwa is an absolute annihilator of a track. With a mid-point blood curdling scream that bursts out of a wave riffs, it is not just a great listen but lyrically fascinating, given that Kurwa is a multi-purpose Polish expletive with the same broad ranging flexible usage as its English equivalent. Language is wonderful, isn’t it?
F.O.T.D. unleashes a more undulating meld of catchy driving crusty black riffing with slick switching that holds your attention throughout. The title and, therefore, lyrical content offer firm instructions to anyone who needs them and needs no explanation from me either. Not sure? You will find out when you hear it.
After a haunting opener, Blood On Steel jumps straight into a galloping drive with a straightforward but massively engulfing repeat that drags you along in its wake, whether you want to go or not. The mid-point scream cuts through like a knife, heralding an increase in intensity as this beast hurtles to the finishing line. But before it gets there, you get a drop in pace and a decidedly groove-rich edge creeping in, which contrasts well with Dez’s raw, acidic vocal delivery.
Heavily punk-influenced, Drink For Hell is a superb up-tempo beast. I love the D-beat rhythm and punk bass line. It adds a fun edge to the sound with some intense blasts of riffing packed in there for added impact. Lyrically, some might say it is an instruction manual for living your best life. Regardless, it is an excellent piece that is guaranteed to make you smile.
There is no mistaking the message in Fuck The Bastards, and let us be honest, we have all been there and said or thought it at some point. Now Wolfbastard have put it to music for us with this vitriolic, driving, and somewhat cathartic anthem.
Aside from the title being a great play on words, Manic Street Creatures is a brutal driving short, sharp shock of ninety-seven seconds. This is a get in, get the job done and get the hell out again, whilst leaving as much carnage as possible kind of track.
Musically, You Fucking Rat is calmer with a great undulation to the driving Punk-infused riffs that are melded with blacker intense swathes and a catchy D-beat coursing beneath. Lyrically, they make it quite clear what will happen if they are crossed. Quite right too.
The final black crusty and very angry offering B.I.F.F.O. charges to the finish with one maniacal and dark D-beat drive ending as it began, closing on a tirade of screams and a deranged shout of “FUCK OFF.”
One of the things I love about Wolfbastard is that, alongside that high level of creativity and skill, there runs in parallel a huge sense of fun and humour, which makes their music all the more engaging. It also has not escaped my notice that the further you get into this album, the faster and more insane the pieces get.
One thing is for sure is, when Wolfbastard are on a roll, there is no stopping or slowing them. So prepare yourself for wanton destruction and drunken devastation with the unleashing of Satanic Scum Punks.
Released on 13 March 2026 via Apocalyptic Witchcraft Recordings, Satanic Scum Punks will be available on limited edition vinyl, as a digipak CD, cassette, and digital download. For more details, visit the Apocalyptic Witchcraft Recordings website.