In 1966, Daevid Allen asked postmodern author William Burroughs for permission to use the title of his novel The Soft Machine for his new band. In 2009 the Gong mastermind (who died in 2015) told Prog why it was such a good match with the Canterbury pioneers’ music.
Surrealist, satirist and beat generation figure William Burroughs has been an inspirational source of ideas for musicians over the years.
But the first time his work was used as a wellspring by a band came in 1966, when his novel The Soft Machine – published five years earlier – became the name for a group of young Canterbury-based talents.
When Robert Wyatt (drums/vocals), Kevin Ayers (guitar/bass/vocals), Daevid Allen (guitar) and Mike Ratledge (organ) united to create challenging music, an important question was what to call themselves. It was Allen who solved the dilemma.
“We had a number of names to choose from, and that one seemed to suggest that the human body and brain was a soft machine,” he says, matching the theme of the book. “And the internal textural contrast between the two words appealed to us as a group.”
Melbourne-born Allen had briefly worked with Burroughs while in Paris, prior to landing in Canterbury; and he’d performed theatrical pieces based on Burroughs’ celebrated novel The Naked Lunch.
Given the connection, it was inevitable that Allen would seek out the author to ask him about using The Soft Machine as a name.
Borroughs’ reaction still makes Allen laugh: “He said, ‘I can’t see why not!’ Then he looked hard at me and added, ‘If I were you I would get a haircut and disappear!’”
He still doesn’t recall many of the alternative suggestions the musicians had considered. “There were many quite good ones, but I can only remember two, neither of which appealed to me particularly. They were Mister Head, and Dingo Virgin And The Four Skins.
“To be honest, I don’t think anything we came up with got the full backing of everyone. Like most names, in the end it was a case of going with something that didn’t offend anyone.
“I’m glad we went the way we did, because I think that name still represents the type of music we made in those early days.”
They were known as The Soft Machine until 1969, before dropping the definite article. Why did they become simply Soft Machine?
“I’d left the band by then; so had Kevin,” Allen says. “I think they did it in order to reaffirm that they were now a very different group.”
Relentless. Much like their music, Aussie Death Metallers Werewolves continue with their barrage of intensity and their continued quest to complete ten albums in ten years. Given the current status, that ambition is very likely to become a reality as they throw You’re Weak And You Know You’re Weak, their blistering seventh album, at us.
Littered with their usual abusive humour, this is another solid release with some blistering music that rages at a temperature even higher than the outback in the height of summer. From the punishing opener of Uroboric Fuckwit there is only one speed that the trio behind this project operate at. And that is just brutal.
Werewolves – You’re Weak And You Know You’re Weak rages at a temperature even higher than the outback in the height of summer
You’re Weak And You Know You’re Weak is compressed into 33 minutes, yet the nine tracks do not feel any more rushed than previous albums. It is all compacted, aggressive and explosive in equal measure, enhanced by a decent production that allows room for all the instruments to breathe, which is saying something given the ferocity on offer here.
Burn It To The Ground and Triple Negative embed their position with hammering blast beats that at times are so fast you wonder if they are the product of David Haley or some programmed machine, whilst the roar of Sam Bean, one of two members of The Bezerker who will be gracing these shores at Damnation Festival in mere weeks, sounds like a gravel-guzzling colossus.
Lyrically, Werewolves are as irreverent as ever, as can be heard on So Say All Of Us. It is nasty, intimidating, and as the band say, for fans of “MARDUK, MARDUK, fucking MARDUK, and getting your teeth kicked right the fuck in.”
Yes, true Caveman Death Metal with blackened, razor-sharp edges, and the occasional breather thrown in. There are moments of clarity amidst the carnage, such as the mid-section of Fields Of Suicide where the band slow it down before ramping up the velocity even more.
It all hangs together wonderfully well, to the extent that it is impossible to move your attention elsewhere. The darkened discordant riff that opens We March enters a different realm. This is more brooding evil delivered predominantly at a slower tempo that is reminiscent in parts of Satyricon rather than Bolt Thrower or Cannibal Corpse.
And in an album that is just over the 30-minute mark, a smouldering five-minute beast really does demonstrate that these guys are serious. It may have an utter disrespect for normality, but these guys know what they are doing.
If I were a betting man, then I would be happy to wager a Welsh pound or two on album number ten arriving in 2029. And an appearance at Damnation to finish it off for Werewolves? That would be epic.
Werewolves release You’re Weak And You Know You’re Weak on 9 October 2026 via Back In Black. For more details, visit Werewolves on Bandcamp.
Eternity’s End are streaming a new single/video, “Sword In The Storm”, as part of their next full-length instalment Titanblood. The latter sees its official release on November 6, 2026 via Scarlet Records. Read more…
It has not been the best year for Thrash Metal. Bright lights have included the phenomenal Acid Reign release Daze Of The Week, alongside the debut from Imperium. But there has been some right sketchy stuff as well. Athens thrash outfit Eternal do not do anything new whatsoever. But there is something about their debut release Conspiracy Of Warheads that, apart from the dreadful title, ticks many of the Thrash boxes for me.
Topics of war, political manipulation and the dark side of modern life have been classic themes for Thrash Metal bands for decades, and Eternal do this well.
In fact, they follow many of the Thrash blueprints, including the acoustic outro Madman’s Playground, which closes off the release, possibly in an unsatisfactory style because it is so mellow, despite its misleading title.
Eternal’s debut Conspiracy Of Warheads delivers raw, retro Thrash Metal
But back to the beginning, and the raging anthem My Way Or No Way kicks things off with a big boot stomping the mud hole. These are youngsters influenced by the Thrash Metal of the early ’80s, and they do not hide it for a minute.
From the Slayer and Exodus influences that they wear boldly on their sleeve, there is plenty here to sate the Thrash appetite, whilst for more grizzled veterans like me, flashes of potential between the heads down no-nonsense approach.
Self-production is not the easiest thing. But they have done a solid job, aided by some solid mastering by Nasos Nomikos (Annihilator, Rotting Christ, Warlord).
There are some tracks here that struggle. Adrenaline Rush is weaker than a newborn kitten. The vocals of Nick Pogas are stretched to the limit, and the limit is winning. Some of the solos are a little sharp on the ears, although there is plenty of good stuff as you explore this release.
But overall, there are some well-constructed and enthusiastic songs. Theatre Of War explodes in your face in true ’80s style and is representative of the energetic effort that the band have invested here.
With cover artwork that provides another retro finish, it is evident where Eternal sit. There is space here for development.
Can Eternal do that? Only time will tell. But for now, embrace an album that should come with hi-tops and cut-offs as standard.
Conspiracy Of Warheads is out now, via Floga Records. For more details, visit linktr.ee/eternal.thrash.
Set to be one of the best releases of the year from my perspective, the self-titled debut offering from Norwegian Heavy Metal juggernaut-in-the-making AVRAK was literally love at first listen for me.
AVRAK are masterminded by Ted Skjellum on guitars, Moog guitar/synthesiser, additional vocals and effects (half of the legendary duo Darkthrone and ex:SARKE) and Anders Hegna on guitars and vocals (Nød, El Kayenne, Svidd Grevling).
Formed by the duo back in 2023 through a mutual passion for old, classic rock and Metal, it has taken a while with their other commitments to get to this point. But the final result is well worth the wait and the fact that the line-up is completed by drummer Terje Kråbøl (Gjendød, ex:SARKE, Faustcoven) and bassist Steinar Gundersen (Khold, ex:SARKE, Satyricon) and given that I am a big fan of the now split-up outfit SARKE, obviously this album is something hard for me to resist.
“AVRAK was literally love at first listen for me.”
Soundwise, AVRAK delivers elements of rock and Metal melded into nine gritty songs that still have, much to my delight, a decidedly Black Metal undercurrent as well as a Doom-rich edge.
From the outset, it was decided that Anders would be the main vocalist, and as much as I am a massive fan of Ted’s vocal style, I do really like Anders’ clean but rugged delivery. Meanwhile, Ted makes his stamp on this release with guitar work that is unmistakably his.
One of the standout aspects is the lyrics. They are hugely powerful and superbly delivered, with just enough ambiguity to make you ponder over them, at times quite deeply.
On opening track Forever Mountain an attention grabbing dark and catchy repeat riff runs throughout forming the unnerving backbone of the piece which is also drenched in dark doomy atmosphere. The lyrics are both powerful and bleak, with a tantalisingly ambiguous edge, and the soaring repeat of “Forever Mountain” impacts hard. Overall, it is a powerfully moving piece and a superb start to the album.
Waves of dark riffs open Unborn, with the pace upping and switching as the haunting vocals arrive, delivering an element of regret and warning, chugging their way through the repeat of “Unborn.” Throughout, an ominous air prevails, with the final crushing frenzy amplifying that atmosphere.
Long May The Lums Reek is very melancholic and reflective in mood as it opens with sharp but bleak riffs and a wistful undercurrent. Even better are the different twists in the pace and direction to this piece. It is like opening a succession of doors and discovering something new behind each one.
The vocals are superb again, strong but reflective, and even more so thanks to the subtle harmonies added selectively across them. The closing leadwork is restrained and movingly reflective, making again a hugely powerful piece.
Delivering a sense of unnerve is the brief instrumental interlude Rot Manifesting. As the sound of dripping water over noise and distortion fades out, then ramps up to the sharp, catchy opening riffs and rhythms of Varde, there is something very powerful and inspiring about this piece. You get a heady mix of fuzzy chugging riffs alongside haunting swathes and punchy, powerful passages, and the lyrics are delivered with well-phrased impact too.
Cloaks Of Power opens on slow, heavy and oppressive plodding riffs. Then the pace elevates, and the riffs sharpen rapidly as the punchily delivered vocals arrive and develop a more melodic stance on the repeated “Stand your ground, do not fold.” There is also a superb swathe of second-half lead work elevating this powerful track further.
The lyrics are interestingly ambiguous. I could hazard a guess as to the meaning, but I will not. I’ll leave that up to the individual listener, or just enjoy it for the rousing and hugely catchy piece that it is.
The Lonely Shadow is largely a great dark rocker of a track with riffs that are catchy as hell and with a bit of a groove. The lyrics really engage and make you want to sing along, but it also harbours faster, heavier, darker, and more intense swathes as an even more enticing contrast. On top of that, the lead work is great too.
Lyrically, I love The Rift. It is seductively ambiguous enough that you can interpret it in several ways, so it leaves you pondering. The delivery is superb too. Musically, it is sharp, yet melodic and also crushingly heavy and dark in contrast, and I love how it slows to a crawling standstill as it ends.
Closing on the outro, Hav, with its vocal repeat, clean reflective guitar, keyboard and distant whispers fade, then return to the repeat, now manifesting in the distance.
AVRAK is undeniably end-to-end a powerfully compelling listen, and you will love it more with every subsequent play as it gradually reveals more of itself to you. This is an essential album for Darkthrone and SARKE fans.
AVRAK is released on 9 October 2026 via Peaceville Records and will be available on CD, vinyl, and as a digital release. For more details, visit avrak.lnk.to/AVRAK.
French electronic music pioneer Jean-Michel Jarre has announced that he will release a 50th anniversary edition of his breakthrough album, Oxygene, through BMG Records on November 20.
Jarre originally released the album in France in 1976, ahead of its international release in 1977, Oxygene helped bring electronic music to a global audience and established Jarre as one of the figureheads of the genre.
The album was recorded in the former kitchen of Jarre’s then Paris apartment using an eight-track tape machine, a homemade mixing desk and a small collection of synthesisers and electronic instruments; the album went on to sell more than 18 million copies worldwide.
“When I created Oxygene, I was working directly with analogue instruments and tape, and the sound had a particular depth, movement and life of its own,” he recalls. “For this anniversary edition, we returned to the original tapes with the aim of preserving that character rather than changing it”.
A Dolby Atmos version has been mixed by David Kosten, Steven Wilson and Jarre for Distant Swimmer, the new immersive-audio partnership between Kosten and Wilson, with Oxygene its first project.
The release includes a 180g black-vinyl edition, half-speed mastered and cut by Miles Showell at Abbey Road Studios; CD; limited-edition coloured eco-vinyl; digital editions; and a deluxe Blu-ray mediabook featuring Oxygene in Dolby Atmos for the first time, alongside a new 5.1 mix, the 2026 stereo remaster and selected archival material.
Jarre will also publish Machines: A History Of Electronic Music through Thames & Hudson on November 24. The book draws on Jarre’s own collection of electronic and electro-acoustic instruments, and presents 130 machines, specially photographed, that trace more than a century of electronic music, from the first electrified machines of the early 20th century to artificial intelligence algorithms.
And Jarre will also appear on October 21 as Guest of Honour at Amsterdam Dance Event, where he will present the sold-out immersive concert Oxygene & Beyond: A Sonic Journey Celebrating 30 Years Of ADE at AFAS Live. His wider ADE program will also include three exclusive panel discussions at ADE Pro, bringing together the history of electronic music with the ideas, emerging technologies – including AI – and artists shaping its future.
Fusing pop, rock, and rap into a high-energy, modern blend with a nostalgic edge, Boston-based outfit Last Second Dropout (LSD) crafts heavy-hitting anthems rooted in radical inclusivity. Fronted by Canadian-American songwriter Mark MacDonald alongside Berklee College of Music alumni LJ (drums), Sophia (keys), and Brad (bass), the band brings raw emotion and top-tier musicianship to every track under the production guidance of legendary producer GGGarth Richardson (Rage Against the Machine, Red Hot Chili Peppers).
Their single “When It Rains” tackles the complexities of Canada’s MAID (Medical Assistance in Dying) program from the perspective of a young disabled artist. Channeling vintage Smashing Pumpkins dynamics through clean, beautifully arranged verses, a soaring vocal delivery, and a fiercely intense bridge, the track strikes a delicate balance between honoring peaceful end-of-life choices and advocating for a world where disabled youth can thrive, delivering an original, deeply moving performance packed with raw power.
Give it a go by clicking on the Spotify player below and follow Last Second Dropout if you like what you hear.
Desert Storm, Suns Of Thunder, Heavy On The Ride & Mould, The Bunkhouse Swansea, 03.10.26
A big old riff party hit Swansea on the first Saturday in October as Oxford’s premier noisemakers joined some of West Wales loudest for a night of superior riffage. I went down to check it all out and make sure I was made deaf for the rest of the week.
Starting the night were Mould (8), who impressed in this year’s M2TM and have refined their sludge driven crush with countless gigs this year. Pulling their sound from the tar pits of the NOLA sound, this is sludge with blackened vocals that will definitely get your head banging if you’re a fan of Eyehategod.
Their usually slow moving low end steamroll is punctuated by hardcore aggression which got the pits starting and the melodic guitar lines often counter the fuzzy bottom end, this black(end) Mould always manage to impress, and with a bit more refining and stage presence they could really be ones to watch in the local scene this coming year.
Next though are a band who you should have been watching for a long time, but always seem to be on the fringes, thankfully though this is changing with their debut album just being released and a renewed focus on playing shows as a much louder four-piece, who have gelled perfectly.
Heavy On The Ride (8) are probably the slickest band in the scene, with an overture of Kyuss/QOTSA style garage stone rock, drenched in psychedelic desert vibes and dual vocal harmonies, drawing from their eclectic debut album it was a set of some old favourites and newer treats for anyone that may not have been at their album launch shows.
Happily taking the spot as outright heavy turned into groove, Heavy On The Ride allowed for a bit of a transition in the night, from the sludge to the desert rock, we were moving though all the sub genres of the stoner scene before landing on Swansea’s answer to Clutch; Suns Of Thunder (9) took the stage and kicked out the jams, like the veteran rockers that they are.
There’s always an expecting of big riffs, big laughs and some grooving when the Suns come to town and that exactly what we got, the songs are crafted around the dual vocal/guitar inteplay, while in the business end the bass and drums lock everything down.
The between song banter was just as killer as the songs themselves, the band always having a sense of not having a clue what they’re doing but also being a slick unit. I dare you not to move when the Suns start laying it down and heck you may even get some pit etiquette advice! Always a good time with Suns Of Thunder and I don’t see that changing soon.
Speaking of good times, some of my favourite gig memories were with the legendary Orange Fucking Goblin Baby! I’ve never seen them play a bad gig and likewise I’ve never seen Desert Storm (9), who I would consider to be the heirs apparent to OFG, play a bad show either, and this Swansea headline set didn’t change anything as they took to the stage with the swagger and confidence of a band who knows how good they are.
Leaning heavily on their new album Buried Under The Weight Of Reason, Desert Storm play with the same reverence for classic metal and Black Sabbath as OFG did, full bore heavy that transcends into woozy psych/stoner and thundering doom, the band manage to fuse all these elements brilliantly.
Throwing it back to some earlier riffs for those of us that have followed the band for a while, Desert Storm really could have played anything and the crowd would have gone home happy, the riffs were colossal, the vocals booming, this was a carpet bombing of heavy groove from the Oxford riffslingers and Swansea loved every minute of it.
*As an aside that’s two gigs in two weeks at The Bunkhouse and my love for this venue grows every time, the sound system is ace, the bar area is conformable and has some great beverage choices (though a couple more Non Alcoholic options would go a miss).
The gig space too has had some of the structural issues addressed and everything seems to be moving in the right direction, please go out and support this venue and the events they put on as you don’t know what you’ve got in an alternative space that cares about it’s patrons and venue.*
