Album & Live Reviews

A night of female oriented rock blasted the walls of KKs Steel Mill which also featured a poignant moment remembering the life of Ozzy who sadly passed away the day before. Chez Kane First up was Chez Kane a Welsh vocalist whose band blends melodic metal and classic hard rock, and has often citied female rock icons like Lita Ford and Vixen as her role models so she was in perfect company tonight. She defiantly impressed with vocal power and showmanship. There was a really large crowd already assembled to see her set, you could clearly hear her 1980s influences with songs like All Of it and Get It On. A really strong start to the evening, warming the crowd up nicely. Set list TOO LATE FOR LOVE ALL OF IT NATIONWIDE LOVE GONE WILD GET IT ON ROCKET ON THE RADIO POWERZONE

If you’re here for the short punchy one-line review then let me lay this down nice and simple for you…this is the best melodic rock album you’ll hear this year, and it includes one of the best songs I’ve heard in decades. Now, if you’re still reading let me explain why. Cards on the table time dear friends, I’ll listen to, enjoy and review almost every kind of rock and metal you care to mention; but I am at heart, unashamedly, unapologetically and unreservedly…a melodic rock geek! When it’s done right, really right, there is a magic that is for me, unmatched. That said, when I was sent the new Roulette album to review, I was genuinely nervous for a couple of reasons. Firstly, I had just reviewed two stellar albums and the chances of getting three or the bounce are remote in the extreme, secondly and more importantly I like these guys and when it’s personal like that the disappointment can be crushing. This is Roulette though and if you’re not familiar with their work then this Swedish four piece have been on the go since 1985, and I was in the safest of melodic hands. From the joyous opening of ‘Answer to my Prayers’ to the wistful melancholy of ‘We Remember You’ by way of the gorgeous groove of ‘Don’t be Sorry’ this is everything that I want from a melodic rock album. It’s four decades of experience poured into ten songs and although there is absolutely no filler and a whole lot of killer there is one song that I need to single out for a line or two of its own. All my favourite songs all have one very simple combination in common and it’s one that was engrained in my musical DNA when I was being musically schooled and raised by my older brother. Build…bridge…hook…chorus, and the bigger the better! ‘Take Me As I Am’ is without doubt one of the finest examples of this I’ve heard since those halcyon days of yesteryear. It’s glorious in the extreme and even writing about it puts the biggest smile on my face. Much has rightly been made these past couple of decades of the new wave of melodic rock bands that Sweden has produced. The truth is though that whilst the likes of H.E.A.T., Eclipse, Crazy Lixx et al are out there blazing their own trails, the fire that lit the way for them was sparked by bands like Roulette and I’m absolutely delighted that Sweden’s best kept secret have stepped out of the shadows and back into the spotlight. Put simply; and to finish as we started with a simple tagline…Roulette’s GO is a ten-song explosion in the joy factory, and it comes complete with more hooks than a Peter Pan convention! Much love SS

Back in 1984 the world first saw and heard of WASP who prior to the album release had to delete the track Animal(F**k Like A Beast) which caused a bit of an uproar as expected. The PMRC which was active at the time had labeled the song as one of its "Filthy 15", songs that the group determined to be morally objectionable so the record company chose to not include it. I wonder if it will be played tonight as the band play their debut album in full. We'll get to that later. So here we are in Glasgow to see the shock rock masters WASP. Unfortunately as we all line up there is a lot of talk about who is supporting as it's not clear from the posters. Turns out that there is no support tonight and with reports of a short set the murmurs start to increase with a bit of disappointment if that's the case. So inside we go and yep that's correct. No support which is pretty poor considering the price of a ticket and transport these days. So as the lights go down and the smoke billows the band launch into album opener "I Wanna Be Somebody", something that in 43 years of the band they have never done. Usual set opener "On Your Knees" is kept for later since the album in being played in chronological order. With Blackie still wearing his white fringed boots and the rest in black he is sometimes difficult to see behind his "Elvis" microphone stand and with the rather moody lighting photos tonight were difficult to get. None the less the band storm through the 10 songs and with the additional backing vocals on tape the full experience of the songs are produced. Unfortunately Animal wasn't performed tonight as Blackie has publicly said he doesn't agree with it due to his religous beliefs, although it was played back in 2022 on the 40th Anniversary tour. The stage set up also has screens playing all of the original videos along to the relavant song and also some archive live performances. After 50 minutes the band leave the stage after saying Thank You and Goodnight. Again something that has sections of the crowd in a state of bemusement. However after a short towel down the band return to do a couple of medleys which include more recent songs, Inside the Electric Circus, I Don't Need No Doctor and Scream Until You Like It. The second one with The Real Me, Forever Free and The Headless Children. With little talking throughout the gig Blackie does a solo start to Wild Child before set closer Blind in Texas has the crowd singing along before the real end to the gig comes a little to soon. With the set length being only 80 odd minutes the venue clears quite quickly and folk are able to get home before the start of the 10 o'clock news, something that's unheard of at gigs these days and maybe a touch too short for many punters tonight. However what was on offer tonight content wise certainly pleased a lot of people and some songs that will never be played again live were heard.

"The shock rock master returns and better than ever. Long live Alice Cooper"

Well, the sunshine was nice while it lasted, but it’s raining in Maidstone this morning. Jack J Hutchinson graciously accepts that it’s probably his fault, given it was raining the last time he played in Mote Park too! It hasn’t deterred him, or his band from optimistically donning their sunglasses and fedora hats, and thankfully it hasn’t deterred the crowd from turning up early either. ‘Don’t Let the F****** Get You Down’, starts the day right, an appropriately loud middle finger to anyone who makes you feel unworthy. The big riffs of ‘Constellations’ and ‘Days are Gone’ are an excellent antidote to any fatigue, and augmented today by additional guitarist Ash Wilson filling out the sound. But it’s the gentle ‘I Will Follow You’ that hits the hardest and results in the first major singalong of the day, a moving reflection on Jack’s father’s battle with Alzheimer’s. Scheduled to perform last year, Big River were forced to cancel their appearance at short notice, a result of their “melodramatic singer going to hospital” (his words, not mine!). So it’s a joy to see them get their chance to open the Firestarter stage at last. Wearing the influence of Bad Company proudly, the heavy blues of ‘Hometown Hustler’ kicks things off nicely, Simon Gardiner’s lovely grooving bass underpinning Adam Barron’s soulful vocal. ‘Beautiful Trauma’ shows the band at their best, a classy slow burn with a show-stopping guitar solo courtesy of Damo Fawsett. Throwing in a “cheeky cover” of ‘Higher Ground’ initially seems a strange choice, but works well, showing Big River to be capable of funk as well as blues. Looking like some kind of heavy metal Avengers, Fury explode onto the stage with irresistible energy, tearing through new single ‘Interceptor’. The band has made the jump to the main stage, having opened the festival in a smaller tent back in 2023. Successfully mixing heavy with catchy, ‘Burnout’ showcases their unique approach, male and female vocals combined to great effect, the chorus complete with synchronised arm movements. Frontman Julian Jenkins asks us if we like it loud and fast and of course, the answer is a resounding yes; Fury give us what we want, but we’re less generous, declining to shout ‘I’m gonna buy JJ a beer’ despite his best efforts! One of many impressive front women to take to the stage today, Bobbie Dazzle appears to be attempting to revive the glam rock era, and is doing a fine job of it. ‘Flowers on Mars’ is pleasingly chirpy and uplifting; where many rock bands scowl, this band smile and bounce. Admittedly, it’s difficult not to when hearing the Quo-like stomp of ‘Revolution’ or hip shaking ‘Back to the City’ which sees a keytar employed and hand claps encouraged. More fun than should reasonably be allowed, Dazzle makes a suitably sparkling impression. Introduced to the stage as “something a little bit different”, Rosalie Cunningham and her incredible band are all the better for it. Unrestricted by genre or expectation, Cunningham is a truly creative talent. ‘To Shoot Another Day’ sounds like a Bond theme, ‘Timothy Martin’s Conditioning School’ reveals a Beatles influence and ‘Heavy Pencil’ is an utterly majestic prog epic, building to an unexpected conclusion. The heavy thud of ‘Spook Racket’ rumbles with menace, contrasted by Cunningham’s elegant vocal that is like no other in rock. Though it’s Cunningham and bassist Claudia Gonzalez Diaz who dominate visually and vocally (teaming up beautifully for ‘Ride On My Bike’), guitarist Rosco has a great voice too, taking the lead on ‘Rabbit Foot’ and sending the band on yet another, more bluesy musical tangent. For me, it doesn’t get much better than this. I hear many describing Kim Jennett as a powerhouse, and they’ve got a point. With the most aggressive vocals of any of the women on stage today, she certainly gives the performance her all, an incredible noise erupting from her petite frame. New song ‘Bloody Killing Floor’ is about being at rock bottom, and you sense that being on stage provides some catharsis, an opportunity to let it all out. A ferocious ‘Immigrant Song’ brings the set to a close, the Led Zeppelin classic reinvented, still familiar but much more angry. It’s not the first time Welsh trio Florence Black have graced the Maid of Stone main stage; not part of the original line-up for this year, they were called upon to replace a band who had dropped out. It’s hard to imagine anyone being disappointed by this news, as these lads successfully trample any audience they are put in front of with their bludgeoning riffs that are guaranteed to get heads banging. ‘Zulu’ is the kind of song that makes you contort your face in appreciation whilst ‘Sun and Moon’ utilises clever soft/loud dynamics for maximum impact. The band have made Budgie classic ‘Breadfan’ so much their own that there are some who probably don’t even realise it’s a cover! A masterful set that passes all too quickly. Over on the Firestarter stage, Flint Moore have a challenge on their hands trying to win over a largely new audience with their moody, atmospheric rock that generally unfolds slowly. The band has a strong look, all adorned with lines of black face paint across their eyes adding to the air of mystery that seems to surround them. There is reward in sticking with them, ‘Bury My Sins’ is a quality song, highlighting Francis Pennington’s rich voice that wouldn’t sound out of place fronting a grunge band. Absorbing and different, Flint Moore are ones to watch. There seems to be a lot of excitement around guitarist Sophie Lloyd, hopefully the result of her incredible proficiency as a musician and not just because she looks good in very little clothing! In any case, it’s encouraging to see a female guitar hero getting some attention, and slightly baffling as to why there haven’t been more over the years. Joined on stage by singer Marisa Rodriguez, the duo make a fabulous pair, both masters of their art. Nathan James takes over on vocals for an epic ‘Fall of Man’, but it’s the appearance of Black Stone Cherry’s Chris Robertson for ‘Let it Hurt’ that triggers even those who haven’t been paying much attention to run in for a better look. I’m very impressed by an instrumental ‘Thunderstruck’, Lloyd demonstrating that she can shred with the best of them. Having recently chatted to the Revenant lads, it’s a pleasure to watch them win new fans on the Firestarter stage with their no-nonsense rock imbued with Southern flavour. ‘Best Medicine’ is a perfect festival tune, easy to pick up and fun to shout along with. Pleased with the reaction, singer and guitarist Sam Lay acknowledges, “You guys are raucous” before treating us to a new song that, like much of this band’s work, feels warm and heartfelt. Less so, ‘Coming Back to Life’, a song that apparently got Lay “in a lot of f****** trouble!” but rocks particularly hard. I only really see and hear The Raven Age from a distance (I suspect it was probably time for some topped chips or something of a similar nature!) which is a shame, as their sharp modern metal seems to go down very well. Looking the part with their distinctive blacked out arms and necks, it’s great to see some heavier acts getting some representation in the park. I hope to catch The Raven Age properly another time. Though perhaps an acquired taste, there’s no denying that In Search of Sun are bringing something fresh to a genre that can sometimes feel a bit tired. Much bouncier than your average metal group, they lean into their pop sensibilities with songs like ‘Contagious’ and ‘The Fire I Play With’ that funk as much as they rock. Embracing the somewhat juvenile image that they have cultivated over the years with their long socks and shorts, Ugly Kid Joe are actually a very impressive live act. Whitfield Crane is a truly gifted frontmen who has such command over the audience that if he tells you to get your hands up or jump, you’re not going to argue. He encourages all the “little dudes and dudettes” onto their parents shoulders, cleverly involving the children at the event in a way that no other act has. And the band have some pretty cool songs to back up the performance; ‘Neighbour’ and ‘Goddamn Devil’ are transformed into something heavier than their studio counterparts. ‘Cats in the Cradle’ inevitably gets everyone singing, as does a cover of Motörhead’s ‘Ace of Spades’. But we’re all waiting for the finale, and ‘I Hate Everything About You’ is as infectiously catchy as it ever was. One of the best sets of the weekend. A riot of colour and energy, Beaux Gris Gris & the Apocalypse certainly know how to put on a show. Unfortunately, I only catch a couple of songs as I’m passing which I recognise may be a mistake as ‘Wild Woman’ and ‘Satisfy Your Queen’ are riotous slices of rock and roll that should warrant my full attention. In any poll about who people wanted to see headlining Maid of Stone, Black Stone Cherry always came out on top so it’s no surprise that the festival feels significantly busier today, and dominated by t-shirts bearing the band’s logo. As someone who has been with the band from the very beginning, it makes me happy to have witnessed their ascent and to see them back at Mote Park for the third time. A little less happy when they point out their debut album was released 19 years ago (But I can’t be that old? Can I?!) A band who give every performance their all, the energy is high from the very beginning, Ben Wells and Steve Jewell careering around the stage, Wells in particular in danger of giving himself a pretty nasty headache! Jon Fred is a fantastic drummer, always reminiscent of the Muppets’ Animal in the best possible way, thundering away at the back. It’s a killer set, favouring the familiar, just what you need to round off a day at a festival. ‘Me and Mary Jane’ gets things underway, the first of many anthems that we shout back at the band. Chris Robertson acknowledges that there’s not many countries that they would fly to for one show, but the UK has embraced them from the beginning. We’ve clearly got good taste and are certainly up for “a good time and a party with Black Stone Cherry”. It’s great to hear some of the band’s older material; ‘Devil’s Queen’ goes over particularly well. So devoted is the group’s fan base here that Black Stone Cherry could probably play anything and we’d still be singing along. As with any Black Stone Cherry show, there are poignant moments. I'm sure I'm not the only one who sheds a tear or two during 'Things My Father Said', a song that forces you to reflect on loved ones lost. And encore 'Peace is Free' a futile cry for the world to come together - if only it was as simple as it seems at a festival. Chris Robertson concludes “We want to thank you for a beautiful evening. We love you guys so f****** much” - well, right back at you boys.

For an old geezer like me, the name “Ten” first conjures up hazy memories of the Dudley Moore rom-com from 1979 with Bo Derek in the titular role of a woman he sees as a perfect 10 out of 10. It was a different time back then and I doubt that film will stand the test of time - unlike Gary Hughes’ rock band “Ten”, who have just started on their 30th anniversary T-30 tour (this was the first night). I guess they’ve been going since 1995 then – just a little too late for the period when quality melodic rock was at its peak and in the spotlight, which might explain how they seem to have flown under my radar. I’ve picked up a few songs here and there, I’ve even reviewed an album of theirs and I am certainly familiar with their cool artwork and imagery, but somehow, I had not yet seen them live. Better late than never, I suppose. The band are a classic 5-piece (two guitarists, keyboards, bass and drums) plus Gary on vocals. He strode on looking lean and fit, like a young Stone Cold Steve Austin, and joined in with the opening song ‘Arabian Nights’ which put me in the mood for a chicken shawarma to go with the very fine Outcider that they’ve now got on draught in LBA. That leads into ‘Alone in the Dark Tonight’ which was embellished by a very fine solo by the lefty Dann Rosingana, who might be the best guitarist the band has ever had, and then ‘Spellbound’. So far, so good, and Gary announced their intention to play something from nearly every album (17 studio albums, I think). The band had a selection of CDs from their back catalogue on the merchandise table for a bargain £10 but I’m told it is the last of the stock and when they’re gone, they’re gone, so jump on it quickly. The set list was indeed crammed with a fine selection of their well-crafted songs – typically ambitious in scale and sometimes exploring epic concepts, but always melodic and tuneful. One that particularly caught my attention was ‘The Tidal Wave’ from ‘Something Wicked This Way Comes’ which started with some Steiman-esque piano but when the revels began it was a tsunami of good sounds and inspired three guys down the front to form the most Eurovision-looking mosh pit I’ve ever seen. Their most streamed song is apparently ‘The Hour Glass and the Landslide’ from ‘Stormwarning’ – just one of several of their albums featuring an epic pair of well-drawn buttocks in the artwork. It seemed that all of the fan favourites got an airing. There is absolutely no shortage of very good tunes here, and yet, somehow, they seem to be missing that one absolute blockbuster that everyone knows or that random X-factor quality that would have put them right in spotlight. ‘The Name of the Rose’ is probably the closest thing they have to a “greatest hit” and it ended what was a thoroughly enjoyable show. The tour runs sporadically through to November, so it will be worth your while to check them out. Gary can’t seem to stop himself churning out immaculately-formed tunes – he’s previously created songs for Bob Catley and Tao, as well as solo material, and I’m told that they have enough quality material ready now for two new ‘Ten’ albums – watch out for details in due course. At the other end of the experience scale were the support act ‘The Reminisce’, who opened the show. They are a very young modern hard rock band from Stockport, channelling a Halestorm / Paramore vibe. They are very new but already have a handful of interesting songs, featuring some fiery guitar work from Fred Roberts and a bright vocal performance by Belle Rigden, who has a strong visual image. An early highlight might have been called ‘Burn Me Alive’ and there was a slower, more intimate song, possibly called ‘Look in my Eyes’ that worked well. Overall, they seemed quite promising. They will be appearing on some more of the Ten dates in Gravesend, Sheffield and Manchester and might be a great fit for smaller festivals like Wildfire. It will be interesting to see how they develop but they are off to a good start.

Three years in, and Maid of Stone Festival looks a little different this time around. Where once there were three stages, there are now only two; the Inferno, or main stage, and the Firestarter, a showcase for the best up and coming talent. It’s supposed to do away with clashes, and for the most part it does, but some technical difficulties cause a delay that throws the timings a bit out of whack. Not that it ruins anyone’s day; the sun is shining, the beers are flowing and there’s a solid eleven hours of music to get excited about. No longer just the opening party, Friday has been upgraded and is no longer an occasion you might decide to skip. It falls to Hillbilly Vegas to get the party started, and they do so admirably with their self-proclaimed “Hillbilly rock and roll from Oklahoma”. Bearing all the hallmarks of the best Southern rock, from lovely harmonies and catchy choruses to a little tinkling of the ivories, they are the perfect soundtrack to a summer day. Frontman Steve Harris (not to be confused with a certain well-known bassist) is warm and engaging, taking time to talk to the crowd and assuring that although it’s early, the band “don’t mind going first”. With songs like ‘High Time for a Good Time’ and latest single ‘Feels Good’, the band maintain the illusion that writing uplifting crowd pleasers must be very easy. Opening the Firestarter stage, Leadfeather are a proper old-school rock band, perhaps best described as a modern day Zeppelin. A four-piece fronted by tambourine shaking, open-shirted singer Apostolos with his incredibly powerful wail, they make quite the impression. The funky ‘Shoot for the Stars’ struts with an assured confidence, Simon Hurts’ riff driving itself straight into your brain, whilst ‘Roll the Dice’ makes a case for one of the strongest rock songs of the year, going all Whitesnake “oh baby” in the latter half. Definitely a band on the rise. I think some of us have solved the mystery of the secret set (the clues were an anagram!) but it’s still exciting to witness Kris Barras’ Hollow Souls make their live debut. Entering the stage like a champion, arms aloft, Barras has made a real impact on this scene and it’s interesting to see him positioned here as guitar hero rather than frontman. Though he steps up to the mic for ‘Bad Things’ and ‘Shotgun’, it’s Phoebe Jane who spends much of the time centre stage, showing off her powerful voice on the impossibly catchy ‘Borderline’ and a cover of Zeppelin’s ‘Rock and Roll’. As a band still in the fledging stage, it’s a privilege to catch them at the start; a tantalising glimpse of the potential still to be unleashed. Now recognised as a formidable photographer, there are some of us who are possibly too young (or ill-educated!) to know that Myke Gray was an equally formidable guitarist first. Returning to the stage after a couple of years away, the broad smile on his face says it all, the incredible solos he delivers suggesting that the guitar remains his calling. Assembling a band specifically for this event must have been a challenge, but there’s little evidence of that given the polished nature of the performance. Skin classics like ‘House of Love’ and ‘Raised on Radio’ are greeted with delight, and sung to perfection by Henry Gottelier (better known as frontman of the Karma Effect). With the inimitable Spike rightfully at the helm, the Quireboys play rock and roll as nature intended; raucous, rowdy and just a little rough around the edges. Spike’s charisma is arguably as important as his distinctive rasp of a voice, and there’s a lovely sense of camaraderie amongst the band which now includes Thunder’s Luke Morley on guitar and reinstated bassist Nigel Mogg. Dedicated to late guitarist Guy Bailey, ‘King of New York’ is the only sombre moment in a set that favours rollicking anthems from ‘Sweet Mary Ann’ to ‘There She Goes Again’. Of course, ‘7 O’ Clock’ brings proceedings to a close, truly signalling that it’s “time for a party”, even if we are maybe an hour or so early! Over on the Firestarter stage, Tom Killner and his band impress with their laid-back, Southern vibes. The countrified ‘Home’ and gently lilting ‘Ride With Me’ showcase the lovely harmonies and exquisite musicianship that make Killner’s music so easy on the ears. Unfortunately, I don’t have time to catch the entire set, but having seen the band fairly recently, can confirm that they are well worth your attention. In terms of commanding an audience, Sweden’s H.E.A.T seem to have it licked. Unapologetically cheesy in the best possible way, their debt to the 80s is great, but I mean that as a positive. ‘Disaster’ sounds absolutely enormous, as does everything that follows, the irresistibly huge chorus of ‘Back to the Rhythm’ surely the envy of many bands who would kill for one song this memorable. Kenny Leckremo’s voice is reminiscent of Europe’s Joey Tempest, albeit with more oomph, and stalking the stage draped in a Union Jack, he is very much a presence. Am I a little distracted because Spike is in the signing tent? Perhaps I am. But only a fool could miss H.E.A.T’s dominance of the stage and their wonderful presentation that sees keyboards given equal prominence with the drums, both elevated at the back of the stage. Throwing in a bit of ‘War Pigs’ is a clever move, appealing to the Sabbath fever that still seems to have the nation in its grip (well… those with any taste, at least!). Sharing the billing of co-headliner with Dirty Honey, it’s Joanne Shaw Taylor who takes to the stage first. She’s an interesting choice, perhaps lacking the big, well-known songs of some of the acts who have preceded her. That said, she brings a level of class with her sophisticated blues that’s difficult to resist. A likeable lady who jokes about her “dulcet West Country accent”, she is a talented guitarist blessed with an unusual voice that aches with soul. Up-tempo numbers like ‘Dyin’ to Know’ are interspersed with ballads like ‘I’ve Been Loving You Too Long’ and it’s pleasing to witness something a little different and perhaps, a little more elegant than we would usually expect from Maid of Stone. Headlining the Firestarter stage, Manchester’s Gorilla Riot seem capable of winning over any audience with their dirty rock and roll. The likes of ‘Molotov Sister’ and ‘Bad Son’ are elevated by two female backing singers who bring a contrasting softness to Arjun Bhishma’s deep, throaty vocal. There’s a pleasing grit to their sound that has clearly won them admirers in the scene; Bad Touch’s Stevie Westwood and former Collateral guitarist Todd Winger both get shout outs as they watch from the crowd, testament to the solid songs and irresistible swagger that will continue to push the band forward. Bringing day one to a conclusion, Californians Dirty Honey show why they are being tipped as the next big thing. Bucking the trend of unassuming bassist, Justin Smolian is surprisingly animated, getting the audience clapping and largely dominating the sound with his heavy bass wallop. If you were to picture a classic rock frontman, you’d probably conjure up someone resembling Marc LaBelle, with his shades, hat and studded jacket. His voice is possibly an acquired taste, a little shrill in a way that never hurt Geddy Lee or Robert Plant, sharply cutting through the big riffing of ‘California Dreamin’ and ‘Dirty Mind’. ‘Don’t Put Out the Fire’ really grooves and precedes an extended guitar solo from John Notto. They might not be doing anything particularly new, but they are doing it particularly well. It might only be Friday, but Maid of Stone has served up one of the strongest days I can remember. More of the same tomorrow please!

Gods of Tomorrow is the new band formed by Electrified co-founder, Konstantinos, who released their debut album on 11th July. The band are set to make waves with their melodic hard rock sound. From the very thundercrack of the intro, the band builds the atmosphere in a swelling chorus of ambience reminiscent of Nightwish or Sabaton, before blasting into the driving force of their title-song, complete with heavy guitar harmonies and pummelling mid-pace double kick. Filipe’s vocals provide a similar timbre to that of Dave Mustaine in the mid-register but combined with a more traditional or power metal style of vocalisation and harmony. The use of synthesisers add to the monumental wall of sound and ensure no space in the register remains unexploited. Second track Fire and Ice follows with a heavy melodic riff reminiscent of 80s Judas Priest and Running Wild. Cherubini’s double kick really shines through in the verse, with the reverberated snare hitting you in the chest as you bang your head to every beat, whilst the band’s multi-layered harmonies provides a welcome dynamic rarely seen in modern rock or metal. Hold Onto the Vision follows in the form of a mid-tempo minor-key anthem. The riff and style combination is much akin to modern Swedish bands like Crashdïet or Ghost (imagine Dave Leppard singing Danse Macabre), with the chorus definitely being one of the catchiest on the album and very possibly a modern classic! Devil’s Daughter starts strong with a thumping drum intro, with a gnarly bass tone throughout and a fantastic guitar solo. If you’re not already hooked by this point in the record, then this album isn’t for you! Tracks like Dying for your Love, Point of No Return and Face the Truth provide more driving, powerful riffs and virtuoso lead guitar playing that could definitely stand up with many of the legends. Every song is a no-nonsense, straight-to-the-point barrage of the senses and never once lets loose. You will listen and you will remember! Songs like Rise of an Empire and Girl from Tokyo feel like they would fit perfectly on Bon Jovi’s Slippery When Wet, which, when combined with the other aforementioned influences shows the breadth of influences the band has utilised. Gods of Tomorrow’s debut is a strong statement with a huge sound perfect for stadiums and festivals. I’m definitely eager to see how the band delivers the goods in a live setting. This might be the best album released this year! Bold name – will they deliver live? Huge sound perfect for stadiums and festivals.

Fife’s Buzzards of Babylon bring the riffs with Ancient Machine, a six-minute slab of bass-heavy, sludge-soaked stoner metal that demands repeat listens. It’s thick, it’s gnarly, and it grooves like the bastard child of Down, Crowbar, and Clutch. The bass dominates in all the right ways, while the guitars jab through the verses with sharp, deliberate stabs. When the chorus hits, it’s a full-body pummelling — furious, focused, and feral. Vocals stay clean but punchy, matching the heaviness with clarity and conviction. The drums? They hit like the guy’s using bones instead of sticks — relentless and raw from start to finish. The final quarter shifts gears, upping the tempo for one last pit-ready thrashing. It’s the kind of payoff that sludge and stoner metal often hint at but rarely deliver with this much precision. With a full-length album and an EP already out in the wild, Buzzards of Babylon are well worth digging into — and Ancient Machine is a perfect place to start. Buzzards of Babylon are: Dragonius Maximus – Vocals Breengemeister General – Guitar Rev Sludge Skull – Guitar Ragnar Thunderbucket – Bass Ljotulf, Harbinger of Doom – Drums