Sylosis - London Review

So far, this year has been very quiet when it comes to gigs. I have plenty of plans for the rest of the year, and things pick up quite considerably in March, but so far it has been quite quiet. My trip to Bristol last month for Epica and Amaranthe's co-headline tour was my only trip away so far this year until this past weekend - although James Bruner was a local welcome distraction earlier this month. This past weekend was my first multi-gig trip of the year, too, so it had been something that I was looking forward to throughout the quiet weeks that preceded it. I will cover Smith/Kotzen's London show shortly, which took place yesterday as I write this, but today's rather lengthy piece covers what turned out to be something of a mini festival on Friday night at the O2 Forum in Kentish Town  - headlined by Reading's metal heroes Sylosis. This is a show which changed and expanded over time. I had the ticket for the show for months beforehand, and it was essentially a Sylosis headline show, as part of their wider European headline tour, with a special guest in the form of Massachusetts-based technical death metal act Revocation and two opening acts. This was the case until about a month ago, though, when the line-up was strengthened by three more bands - two of which being notable acts. No-one has quite admitted such, but reading between the lines I think having Sylosis playing in Kentish Town and another show which would likely draw a similar audience topped by German melodic death metal veterans Heaven Shall Burn playing at the Electric Brixton happening on the same night was affecting ticket sales for both shows. I can only assume that was the case, especially given that when the tickets sold for Heaven Shall Burn's show were added to the pile of those sold for Sylosis' show that the combined show was still not sold out. Deftones playing at the O2 Arena on the same night likely did not help, either, but the combined show did eventually shift a fair amount of tickets. I do not know if it ended up selling out or not, but the venue was certainly looking pretty full for much of the evening - and the bands had been warning in the lead-up to the show that there were not many tickets left. Thankfully, for me, Sylosis still topped the bill - although they only had slightly longer than Heaven Shall Burn. Given that Sylosis' new album The New Flesh dropped on the same day, it made sense for the night to largely be about them - and they treated it as their album release show. They fleshed out the festivities further by holding a Q&A and signing session earlier in the day somewhere in Camden - so some likely celebrated with the band for most of the day. Given the trip up to London from Plymouth for me, this was not possible - especially given that the extended show started at 4pm and I had to contend with late trains and uncharacteristically slow tubes across London. I managed to get a bite to eat and check into my hotel beforehand, but getting to Kentish Town felt sluggish - and I was further delayed getting in due to Ticketmaster suddenly deciding I needed to change my account's password and then kept erroring when I attempted to do so. I finally got inside the building, though, and headed for the balcony upstairs - as the band had said on social media the day before that the usual ticket restrictions had been removed. Given the length of the show I decided it was wise to sit down - and I am certainly glad of that choice. I got to my seat literally as the first band were walking onto the stage - so I missed nothing despite the various travel and admin issues faced.

Given that there were seven bands on the bill, and that the first four only had half an hour each, the reviews of some of them might be briefer than is typical. Beforehand, though, I also want to give a shoutout to whoever was stage managing the night. Given how many bands played and the tight turnaround times things could have gone easily gone wrong - but every band stuck to their allotted times and some even managed to get on a little earlier than planned. The Stage Manager clearly was running the show with an iron fist - but that was appreciated as the night, at least out front, seemed to run really smoothly. Up first, from Texas, were the hardcore/crossover thrash act Life Cycles - and the band's mix of groovy riffing and fast-paced thrash songwriting got the evening off to a fine start. Whilst this was a heavy night, there was a fair amount of variety on show - and only one band that I actively did not really enjoy on some level. Given their hardcore side, there was plenty of energy alongside some big mid-paced headbanging breakdowns from Life Cycles - with frontman Jeremy Cuevas commanding the crowd from the off. Given that the doors opened at 4pm, with the music kicking off at 4:30pm, the first few bands had smaller crowds to contend with - but there was still a bit of an atmosphere in the room during Life Cycles' set. A few small mosh pits got underway early - and from the balcony it was good to see plenty of in-sync headbanging during the band's groovier sections. I think that bands like this tend to excel when they operate in a groovier manner - and it was the more mid-paced songs and sections which stood out for me. Shredded solos and a few strong lead guitar moments stood out - but generally Life Cycles seemed all about the riffs. They seem to have been going for about 10 years and have a number of EPs to their name, but this was their first show in the UK. They are not as new of a band as I assumed they might be, then, so they are likely scene veterans to an extent.

The following band, Distant, who seem to have members hailing from both the Netherlands and Slovakia, were the only act of the night that did not connect with me at all. Deathcore may well be my least favourite metal subgenre, so they were unlikely to ever win me around, and nothing the band played did anything to really change my mind. They did seem a bit doomier than is typical for deathcore, but all the typical deathcore tropes were present, including those strangely over-triggered bass drum patterns and the really incomprehensible deep vocals mixed with occasional shrieks. In truth, there is just nothing about deathcore that I really find interesting. The riffs are usually not very hooky and the pseudo black-metal vibes that are often utilised for atmosphere just leave me cold. The somewhat chavy look does not help, either, but the band still managed to whip up a bit of an atmosphere. I think that the bands either side of them fared somewhat better - but there was still some moshing taking place during the faster sections of the band's songs, whilst headbanging could be seen elsewhere. As mentioned, though, there was a doomy side to their playing which meant that there were quite a few slow sections. Some were very slow indeed, which did shake up the usual formula, and there was an odd vibe being generated during these sections. There was some originality, then, which was good to see, but overall Distant did nothing for me whatsoever - and they felt a bit like the odd band out as a result.

Another Texas band in the form of Frozen Soul followed - one of the three bands added to the line-up later on. Whilst many of the bands on the bill were upbeat in some ways, with the exception of Distant's doomiest elements, Frozen Soul felt at times like the heaviest, and certainly most crushing, band of the night. Their take on traditional death metal did not stray too far from the blueprint established many years ago - but there was a coldness to their sound, which was suitable given their name, and a focus on mournful guitar leads and crushing riffs. There were faster moments in their set, with classic death metal tremolo picked guitar lines and plenty of double bass drumming - but there was also plenty of groove and mid-paced riffs to be found. With two albums to their name, I felt as if the overall evening stepped up a notch with Frozen Soul. They certainly felt a cut above the previous two bands - and they are starting to make waves in the death metal scene. Despite having barely any room on the stage, which looked very funny during the first few bands due to the amount of gear that was set up, frontman Chad Green made his presence felt early on. He spoke to the crowd a lot and by the end of the set everyone seemed really into what Frozen Soul were up to. It likely helped that there were a few more people in the room at this point - so there was quite a bit of moshing to be seen during the faster sections. Green also took time to tell a few stories around some of the songs, which I think helped to draw people in, and I enjoyed the band's pretty traditional death metal antics. Frozen Soul's brand of death metal is certainly not the most original out there, but given that I am occasionally partial to some pretty traditional death metal I will likely give this band a bit more of a listen in the future.

The final act of the 30 minute club were Revocation - who likely suffered on this bill in terms of having a shorter set. I imagine that they have generally been playing for longer than half an hour on the rest of this tour - but the technical metallers did not seem phased by this and delivered a strong set full of twisting song arrangements, lengthy guitar solos, and pure death metal vibes. David Davidson (vocals/guitar), the band's sole founding member, looked like the least metal person on stage throughout the evening - but his powerful harsh vocals and intense guitar prowess certainly made up for his everyday looks. I have listened to a few of the band's albums but I am certainly no expert - but I enjoyed the arrangements which never stayed in one place for too long. Some slower, more melodic sections were welcome, given the onslaught of heaviness throughout the night, but the set was still largely heavy - with Davidson and bassist Alex Weber trading vocals back and forth. Weber's bass was high in the mix, and some songs really focused on his playing - especially whilst Davison and Harry Lannon (guitar/vocals) were trading lead sections or playing in unison. This bass focus at times helped to give the band a different sounding edge to everyone else on the bill. Tracks like Existence Is Futile and the newer Dystopian Vermin, from the band's latest album New Gods, New Masters (which I reviewed here), certainly filled the band's allotted time with plenty of power and intense riffing. Those aforementioned quieter moments did allow for some coming up for air, though, and the crowd seemed really into Revocation's set - which is unsurprising given that the band have been around for many years at this point.

Even though Revocation are a long-standing and well-respected band, I feel that the final run of three bands saw the overall standards and crowd reactions rise further. 45 minutes were afforded to the evening's fifth band, Michigan's The Black Dahlia Murder - a melodic death metal band that have been around for 25 years at this point. Guitarist-turned-frontman Brian Eschbach may be the only founding member left at this point, but the current line-up is certainly a potent force to be reckoned with. I had not seen the band live before, but I have been something of a casual fan for a while - so I was looking forward to seeing them for the first time. Despite Eschbach's voice not always high enough in the mix, and generally the sound mixes throughout the night were pretty good which is an achievement given how many bands played, the band smashed through a number of generally short and fast-paced songs to the delight of the crowd. The Black Dahlia Murder are generally quite thrashy in terms of pace - so there was little time for rest here. Occasional groovier riffs were thrown out, but largely the fast footwork of drummer Alan Cassidy kept things moving at pace. The overall vibe of the set was somewhat more light-hearted than everything else on the bill, too, with Eschbach generally coming across as a likable and funny frontman. There was not too much metallic posturing or taking things too seriously which was nice to see - but the playing from the five-piece was tight as one would expect from a band with such a pedigree. The guitar duo of Ryan Knight and Wes Hauch made sure that each riff hit hard - and both had ample opportunity to solo throughout the night. Whilst I was not familiar with all of the set, there were a number of standout tracks which I did recognise from my previous forays into the band's music. Mammoth's Hand, from the band's most recent album Servitude (which I reviewed here), was a rare slower moment in a pretty furious set - whilst the title track from 2017's Nightbringers also went down well. Perhaps the tracks which hit the hardest and the crowd enjoyed the most came from 2007's classic release Nocturnal, though, with the anthem Everything Went Black and the title track impressing towards the end of the band's set. The band's 45 minute set pretty much flew by, and it was great to finally catch this legendary and well-loved band live for the first time.

Perhaps this show in the end should have been seen as a co-headline effort with Heaven Shall Burn - but the night still very much felt like it belonged to Sylosis. Despite this, though, the German band were still afforded an hour on stage - and I largely enjoyed the band's efforts, particularly as the set progressed. I saw Heaven Shall Burn with Trivium a few years ago, and found their set to be a bit dull, but I had been listening to the band a fair bit in the lead-up to this show so was a bit more in the right mindset for them. Despite this, though, I am not sure that they came across well live as they do on their albums. Their take on melodic death metal is quite dense and a chunky live sound mix is not always going to help bring these nuances to life. As was the case with The Black Dahlia Murder, too, frontman Marcus Bischoff's voice was not always that high in the mix - and his raw growls are a big part of the band's appeal. Despite this, though, I enjoyed the band more this time than I did before - even if I feel that they might be a band better enjoyed on record than live. The guitar playing of Maik Weichert and Alexander Dietz was layered, with the latter laying down plenty of mournful and melodic leads throughout. The crowd were a little more muted than they were during the previous set a bit at first, which was perhaps befitting of the more atmospheric approach the band take, but the final third or so saw things really kick off. The security had their work cut out for them towards the end due to the number of people crowd surfing, something which Bischoff noted as things closed out, and their epic cover of Edge of Sanity's Black Tears saw plenty of singing from the crowd during the chorus. The band's own anthemic Endzeit also saw plenty of singing from the crowd - whilst Voice of the Voiceless, played early in the set, was another which got people going. Despite something of a slow start, then, I think that it is fair to say that Heaven Shall Burn went down well on Friday. They have not been regular visitors to the UK over the years, with that aforementioned Trivium tour a few years ago their first in around 10 years at the time, but they are clearly a well-respected band on the extreme metal scene who do something a bit different with a melodic death metal approach that has been done to death at this point. They were a worthy addition to the evening, with their dense take on the genre a good palate cleanser between The Black Dahlia Murder and Sylosis.

Despite the goodness which had come before, and some in attendance were likely there for Heaven Shall Burn and The Black Dahlia Murder - the reason that I and many others were truly there was for Sylosis. Afforded just over an hour, on the day The New Flesh dropped (expect a review on this blog in due course), the band soon set about showing the room why they are one of the current shining stars of the British metal scene. Despite their first release dropping 20 years ago now, Sylosis still feel like a new act. The hiatus and the glass ceiling that seemingly led to that hiatus likely help that vibe - but now, at last, Sylosis seem to be getting the recognition they deserve. Perhaps it took simplifying their sound somewhat to achieve it - but the last few years have been a great time to be a Sylosis fan given the amount of material the band have dropped and the number of shows played. This was my first time seeing the band since 2024, and the setlist was quite different. Four songs from the new album were played, with the mid-paced chug of Erased kicking things off, whilst the set largely focused on post-reunion material - with the occasional look back to the past. Thankfully, the mix issues which somewhat hampered to two previous bands did not affect Sylosis - with Josh Middleton (vocals/guitar) high in the mix. He continues, even now, to improve as a vocalist - as the focus on clean vocals during some of the new choruses showed. Backed by the now solidified line-up of Conor Marshall (guitar/vocals), Ben Thomas (bass guitar/vocals), and Ali Richardson (drums), Middleton really shone on Friday. His vocals and high-octane guitar playing were on show throughout - whilst the chemistry between the rest of the band seems tight. There were few moments in the set where Marshall was not windmilling his hair around - and the strut of Thomas added some grit to the proceedings. In terms of setlist, then, it was largely focused on anthems. This seems to be Sylosis' style going forward - with shout-along choruses from I Sever and Poison for the Lost coming early. I particularly enjoyed hearing the new numbers live, though, with the hooky Lacerations and the unknown to me All Glory, No Valour in particular impressing. The former has one of the band's best clean vocal choruses, clearly something Middleton has been building towards - whilst the later was pure venom with some great gang vocals from the rest of the band. It was great to hear some lesser played numbers in an amongst the new tunes and the classics from the recent past, too, with the rarely played Heavy Is the Crown getting a deserved outing - whilst the middle part of the set seemed focused on older material. The melodic and mournful instrumental piece Where the Sky Ends, which had not been played live before this tour, saw both Middleton and Marshall impressing on the guitar - whilst, sticking with the same album, the lengthier and knotty Eclipsed showcased the old sound Sylosis have largely left behind. The slower paced and grungy Servitude then showcased a slightly doomier, sludgier side, which was experimented with before the hiatus, whilst an all-time classic and crowd favourite in Teras took the crowd back to the band's 2008 debut album. It is good that the two eras of the band seem to be able to live together - and the 13 song setlist showcased just how much variety there is in the Sylosis catalogue. The closing moments brought things bang up to date, then, with Pariahs and the band's true anthem Deadwood, both from the last album, seeing the now-large crowd go crazy. The amount of moshing during the band's set was impressive, but it really peaked around this time, whilst The New Flesh saw the set come to a triumphant end. The setlist was:

Erased

I Sever

Poison for the Lost

Lacerations 

Heavy Is the Crown

All Glory, No Valour

Where the Sky Ends

Eclipsed

Servitude

Teras

Pariahs

Deadwood

The New Flesh

Sylosis continue to go from strength to strength - and Friday's showing was another reminder as to why they are one of the best British metal bands currently on the scene. I am really looking forward to hearing the new album having heard some of the songs properly now once my CD arrives - and I am sure it will be another excellent effort based on what I have heard so far. The band also mentioned on social media that the show was being filmed - so perhaps there are plans for the band's first true official live release at some point in the future. I certainly hope so - and I also hope for Sylosis live experiences over the coming years. 

Tailgunner's 'Midnight Blitz' - Album Review

With the exception of Glamour of the Kill's latest offering, everything that I have covered so far this year new album-wise has been from long-established acts. Even Glamour of the Kill have quite a history at this point, despite a lengthy hiatus, so feel like part of the furniture despite only just releasing their third album - but today's featured artist, until recently, only had a single album to their name. That band is Tailgunner, from the UK, a five-piece classic-sounding heavy metal band that have started to make some waves in recent years. Whilst Encyclopaedia Metallum suggests that they formed back in 2018, it does not look like the first full line-up came together until 2020 - with singles dropping in 2022 in advance of their debut album Guns for Hire coming out in 2023. I feel like I had heard Tailgunner's name mentioned occasionally beforehand, but I truly came into contact with the band in 2024 - when I saw them opening for both Armored Saint and KK's Priest in quick succession. I had picked up Guns for Hire in advance of seeing the band live, and had enjoyed it, but I think it was those two gigs that really made me a fan. Everything just sounded so much bigger live - and the band clearly put a lot of effort into their presentation, too, with an electric stage presence and excellent retro outfits. I had tickets to see the band headline in Bridgwater later in 2024, too, but a combination of not feeling too great following another gig the previous night and, what ended up being well-founded, concerns relating to getting home the following day given the weather forecast. I would have likely been stranded in Bridgwater had I gone to the show, so it was probably for the best that I ended up giving it a miss, but I was looking forward to seeing the band headline and playing a longer set. 2024 was a busy year for the band on the road, but last year was less so overall. The band still got out and about to play some shows, but much of the year seemed focused on writing and recording album number two. Guns for Hire was released through a small label, Fireflash Records, but the band's profile has risen quite significantly since 2023 - and album number two, which is called Midnight Blitz, was released earlier this month on Napalm Records. Tailgunner have stepped up in the world, then, and their tour with KK's Priest clearly made an impression on the former Judas Priest guitarist - as KK Downing ended up working with the band to produce Midnight Blitz. It looks like the video for the album's title track was filmed at KK's Steel Mill, too, Downing's Wolverhampton venue, meaning that everything here just looks and feels a little glossier this time. Sound-wise, though, Tailgunner have not changed significantly on album number two. This is very much a traditional heavy metal album in sound, with lots of Iron Maiden influences on show, but with a thrash-like pace at times and even the odd hint of the tougher end of power metal. Tailgunner rarely feel as heavy as most thrash bands, but most of the band's material races along at quite a click - meaning that the 10 songs here generally feel pretty energetic. The songs are perhaps a little more concise overall on this album compared to the debut, too, with the arrangements mostly feeling a tighter. In terms of line-up, three of the five that made Guns for Hire return, with frontman Craig Cairns, guitarist Zach Salvini, and bassist and apparent bandleader Thomas Hewson, also known as Bones, having all been in place since 2020. Making their debuts in the studio with the band here, though, are guitarist Rhea Thompson, who has played live with the band since 2023, and drummer Eddie Mariotti (Mass Crysis; Coltre), who came on board last year.

For lovers of 1980s metal, then, this album is rather joyous. There will certainly be plenty more original-sounding albums released this year, but as far as this brand of traditional, melodic heavy metal goes I cannot imagine there will be an album in 2026 which is substantially better than this. Kicking off with its title track, the album sets the tone for the next 45 or so minutes from the off. I knew from first hearing this song that the album would be a strong one, even if the opening air raid siren noises are somewhat cliché, and the opening twin lead guitar harmonies are immediately exciting. Salvini and Thompson are busy throughout this album, and lead guitar moments are rarely far away. That being said, though, any lead and solo work is always there to serve the song - and their focus on riffing is just as potent. The song's main riff, following the initial guitar leads, is powerful, then, and the hard-driving pattern later forms the basis of a chunky and fairly fast-moving verse. Cairns is introduced here, and he delivers again vocally. He sounded great on the first album, but perhaps his tone and approach is a little more focused and consistent this time - and it feels as if he has grown as a singer over the past few years. His delivery during the song's powerful and hooky chorus, whilst backed by a strong guitar lead, feels grittier than anything he has done previously - and he manages to add some heaviness whilst still allowing the melodies to flow. Both guitarists solo later in the track, allowing for a busy and fast-paced instrumental section, whilst the song later closes with some impressive high vocals from Cairns. Taking a more mid-paced approach, with a somewhat epic edge, the Blade Runner-influenced Tears in Rain is less furious than the opening cut - showing that the band can approach a song in different ways. Soaring guitar leads open things up, but parts of the song are fairly low key - with Hewson's bass driving the verses whilst Cairns sings in a more restrained and emotive manner. Guitar chords and occasional melodies add depth to these verses, but generally the bass and vocals do the heavy lifting here - before the band crash back in in a bigger way for the anthemic chorus. Cairns switches styles here, returning to the grittier approach from the previous song - contrasting nicely between the verses and chorus, whilst crunching power chords and another melodic guitar lead back his anthemic delivery. The mix of the sparser verses, the busy chorus, and a couple of busy guitar solo sections allow the song to build naturally and, even though it is not especially lengthy, it feels like the sort of song which later longer pieces build on. Follow Me in Death returns to the pace of the opening number, but there is more of an overt pace this time - with Mariotti's double bass drumming driving everything throughout. This is one of the songs with a thrash-like pace - but the overall vibe is more similar to bands like Primal Fear, albeit with less gritty vocals. Twin guitar melodies dominate the song's intro, but the verses generally see machine gun riffing and occasional shredded accents back Cairns' melodic vocal delivery - whilst the chorus later does that classic power metal thing of somewhat slowing the chord progression down to appear to slow things down whilst the double bass drumming continues on at pace. This allows the chorus to shine, and it is one that has grown on me a fair bit since first hearing the album. The song was not one of my favourites at first but it has since risen up the ranks thanks to this epic chorus approach and the interlocking guitar riffing.

Perhaps the most power metal-esque track here, though, is the upbeat and bouncy Dead Until Dark, a snappy and fun song that sticks in the brain from the off. Cairns sings the song's title to kick things off as some strange synths and distorted guitars swirl around him, before another high-octane guitar pattern introduces the song proper. Whilst not as fast as the previous song, it is still a pacy number - with Mariotti leaving his double bass drums alone somewhat to lay down a more straight ahead groove. Hewson's bass once again dominates during the verses, but the guitars are more prominent this time - and the song builds towards a chorus which is snappy and fast-moving, with clever vocal melodies and a closing riff which elevates the fun nature of the song overall, sounding like a more grounded version of something a band like Beast in Black might come up with. Both guitarists solo again, with two distinct solos impressing, and the song is sure to become a live favourite due to its energy. Barren Lands & Seas of Red then takes a heavier turn, upping the pace once again. Fast double bass drumming again drives this one, whilst the band's usual twin lead guitar approach is largely reined in this time - instead allowing riffing to dominate, especially during the intro and the verses. There are some thrashy overtones here, then, especially from the more melodic end of the genre and bands like Annihilator, but the band's trademark sound is still realised. There are a few moments where the classic twin lead guitars burst through - generally to signal a transition to the next part of the song. The fact that these guitar moments are utilised less here means that the ones that are included hit harder - but the riffing and more hard-driving approach generally taken here is welcome overall to provide some variety. There is an epic nature on show here, too, largely as the song is one of the longer cuts here and due to the chorus being both melodic and sweeping. The Iron Maiden influence is obvious during the chorus, with the melodies very Bruce Dickinson-esque - but the overall pace keeps the song sounding more intense than anything Iron Maiden have done for many years. Lengthy guitar solos and some busy, somewhat progressive instrumental breaks fuel this vibe, too, allowing the song overall to become the album's real centrepiece. War in Heaven takes a bit of a turn, next, slowing things down and presenting the band's first proper ballad. Adam Wakeman (Ozzy Osbourne; Headspace; Strawbs; Snakecharmer) adds some keyboards to the slow-burning track. His playing dominates early on, with spacey synth melodies adding depth behind some clean guitar melodies and Cairns' lower than typical vocal delivery. The verses are essentially just vocals, guitars, and keyboards - whilst the chorus is much more involved, with the drums crashing in and some heavier guitars. The synth melodies remain, though, adding a different edge - whilst bluesier guitar leads are utilised in place of the band's usual shredded approach. Having a true ballad here adds further variety to the album - and it is good to see the band branch out into this type of songwriting. Blood Sacrifice is more typical of the band's core sound, though, with a Mariotti drum barrage returning the band to heavier territories. This is another fast-paced track, with double bass drumming throughout - whilst the heavier approach from Barren Lands & Seas of Red is largely retained. Fewer twin lead guitar moments are utilised here, but the chorus is backed by another snappy and instantly memorable guitar lead - whilst looser soloing is utilised elsewhere to allow a moment of danger to match the song's pace. It might not be the most anthemic of songs here, but it is another which has grown on me quite a bit - and the relentless pace helps.

The album is very much on the home straight at this point, and Night Raids seems to open slowly - before another big guitar melody kicks in, and the song storms away, again at pace. Not as furious as the previous song, though, this is a track which feels more melodic overall - with the guitar leads which were somewhat more absent from the previous song back again here. The song's opening is filled with busy lead work, whilst the chorus is again backed by some fluid playing. The verses are more crunchy, but there is a smoothness to them thanks to Cairns' vocal melodies. There is something a bit different about his vocal delivery here - and it feels nicely curated. There is a storytelling approach to his singing during the verses - and his performance is really what makes the song tick. The verses are not that interesting musically, but the vocal melodies really make them work - and the chorus is aided by that classic combination of big vocals and busy lead guitar. Lots of guitar soloing is included later on, with both players clearly trading licks back and forth - with some moments seeing them solo together. The last of this trilogy of faster paced songs during the album's back end, Eye of the Storm, perhaps reins in the pace overall compared to the previous couple of songs - but it still feels pretty energetic for the most part, thanks to a busy opening riff-led section and a bit of a shout-along chorus which is climaxed by some precise and melodic guitar harmonies. Parts of the some of the verses are a bit more stripped back, with the pace dropping and a more cinematic backing allowing Cairns' voice to shine - but mostly the song feels pretty energetic and hard-driving, with a good mix of snappy riffing and soaring guitar leads. The precise nature of the guitar playing extends to the solo, too, which features some slower licks - with plenty of tremolo arm action to give the solo a bit of a different edge. Overall, though, the song is very typical of the Tailgunner sound despite some moments of a slower, more cinematic approach - and the chorus is another strong one thanks to a mix of simple hooks and a more drawn out approach. The album then comes to a close with Eulogy - another number, like Barren Lands & Seas of Red, which is a little longer overall and feels a bit more involved. It opens in a somewhat slower manner, with interlocking guitar leads and percussive drumming - but once Mariotti lays down a busy drum barrage the song kicks off properly at pace. Despite the track feeling more epic and expansive overall, this does not mean that the band hold back and space the arrangement out. This song is another with thrash-like pace at times, with the verses really speeding along thanks to plenty of double bass drumming and tight guitar riffing. The chorus is also fast, but it is another which pulls that trick of feeling like it is a bit slower overall thanks to the slower chord progressions - even though in the background the drums are still really pounding away. The chorus does feel pretty epic as a result, though, and Cairns' vocal melodies are allowed to shine thanks to the slower chord changes - and his melodies really hit home as a result. The guitar solo section is lengthy, too, with lots of high-octane and fast-paced melodies - including a lengthy sweep-picked section which aids the thrash-like feel of parts of the song nicely. The slightly longer nature of the song as well as this one last big chorus means that the album goes out on a high - and the 10 songs here really fly by as a result of the overall pace and plentiful hooks. I liked Guns for Hire but Midnight Blitz feels like a more assured album overall. I feel like Thompson has been a great addition to the band. She impressed live, and her and Salvini work magic throughout the album - and the intensity just feels more apparent here as a result. This is a step up for the band, and with quite a lot of shows planned for 2026 - this could be the year that Tailgunner really push on.

The album was released on 6th February 2026 via Napalm Records. Below is the band's promotional video for Midnight Blitz.

Karnivool's 'In Verses' - Album Review

With January's releases now all covered and out of the way, we move into February's efforts - which, already, feel a lot more diverse genre-wise than January's pretty heavy offerings. Two classic thrash acts put out new albums in January, and I also covered a favourite, now-resurrected, UK metal act releasing their third album. Even the sole rock act covered released an album heavier than is typical for them - so big riffs and anthemic choruses largely fuelled January, getting 2026 off to a heavy and melodic start. For the first of February's offerings, then, things take a different path - and we return to the world of all things progressive and atmospheric. We also take a rare trip to Australia, as one of the country's premier prog acts, Karnivool, dropped their long-awaited fourth album at the start of the month. Despite having been aware of Karnivool for many years at this point, they are actually something of a new band for me. I definitely heard some of their stuff a while ago, but it was not until I read that this album was imminent that I decided I should check them out properly. I thought about diving into their back catalogue, but by the time I caught up with the news I just decided to wait for the new album - so In Verses, the aforementioned fourth Karnivool album, has been my first foray into their work. I know little about the band's history, but they formed back in 1998 - with the current line-up having been in place since 2004. This line-up is responsible for much of their recorded output - and for a while they were semi-prolific, releasing three albums between 2005 and 2013. Until last week, then, the last time anyone heard anything from the band was in 2013 - with the album Asymmetry. As such, In Verses is the band's first album in 13 years - and I am not exactly sure why there has been such a big gap between releases. The band never broke up as far as I can tell - I can only assume that, instead of having a difficult second album, Karnivool had a difficult fourth album. Whilst I am sure that the fans will be happy to have the band back, I do wonder if the long gap between releases will have hurt the band's momentum. I remember Karnivool being quite a big name on the prog scene - but I had barely heard them mentioned of late, so I had somewhat forgotten about them. Regardless, I was keen to check out In Verses to see what I had been missing all these years - and I have been digesting the slow-burning, atmospheric album over the past week or so. Karnivool are one of those modern prog metal bands that straddle the line between rock and metal - utilising dryer guitar tones, cold synths, and meandering song structures. Metallic riffing and percussive drumming gives the band a heavier edge at times - but there is as much prog rock here as there is prog metal. I imagine, particularly given how much their name was being thrown around at one point, that Karnivool were one of the pioneers of such a sound, following the likes of Porcupine Tree, but nowadays this sound is very common - which perhaps robs the album of some the impact its predecessors enjoyed, particularly given the aforementioned gap between releases. Personally, too, this brand of prog metal has never really landed with me. I have generally struggled with all things Steven Wilson, and bands like Leprous and The Pineapple Thief do not do much for me. Fellow Australians Caligula's Horse, who merge this sort of sound with something more bombastic, I do like, though, and I did recently get into Katatonia's recent output to an extent - so I am always keen to try new things.

There is nothing here which really changes my mind about this brand of prog metal. That being said, I have found things to enjoy here - and it has been good to finally catch up with Karnivool. Opening with Ghost, the album gets off to a slow start - with cold synths and a bit of a simple drum groove, before the big riffing of guitarists Drew Goddard and Mark Hosking kick in. The riffing throughout the album is generally quite dry and doomy, but perhaps not as mechanical and grinding as some of the riffs which sit on similar albums. There is a smoother, less tech metal sound to Karnivool's approach, then, which I do quite like - and the doomy riffs fit nicely with the atmospherics. Frontman Ian Kenny soon starts to sing, too, and his voice moves back and forth between a lower, semi-whispered style which have a vulnerability to them, and a higher, more powerful approach - and this song features the former during the verses and the latter during the chorus. Structure-wise, the song tends to grow towards its chorus. Despite moments of heaviness, which are welcome, much of the verses are slow-burning - with chiming clean guitar melodies, subtle grooves from the rhythm section, and the synths filling all the gaps. I am not sure that I would call anything Karnivool do anthemic, but the chorus certainly has more life to it - and Kenny delivers an emotive and powerful vocal during it, whilst he riffing behind him picks up a bit. Generally, though, the riffing only feels big during instrumental moments, and there are a handful of doomy moments here - such as where the song's ending and the final vocal-led section which feels more urgent. I think my problem with this kind of prog metal is that there is actually little variety to be found within its walls. The formula of Ghost essentially informs the rest of the album - with Drone taking a similar path. Despite this, though, Drone is perhaps more overtly hooky. The bass playing of Jon Stockman features more prominently this time, giving the verses a little more of a snappy vibe - despite Kenny still singing them in a downbeat and mournful manner. There are doomy moments, too, but the guitar melodies are perhaps a little busier throughout this time - and the chorus is perhaps the album's most catchy thanks to Kenny's slightly pacier and heartfelt delivery. There is also something of a guitar solo here, with tremolo, fast-picked guitar melodies adding a slightly different vibe to parts of the song - even if Kenny sings over much of it. Much of the album is quite one-paced, but this song does have a little more urgency to it - which does help it to stand out and be one of the strongest cuts here in my view. Opening even more slowly than what has come before, Aozora is very quiet as it starts up - but it gets going proper once Steve Judd starts to lay down a staccato and punchy drum groove. There is less big riffing here initially, with the drum groove forming the main focal point - whilst clean guitar melodies and Kenny's vocals wash over it. An off-kilter and exciting drum break then transitions the song into its next mode - and some riffs do crash in at this point. The song never feels as doomy as the opening cut here, but there is a heaviness which was perhaps absent from the previous number - with the verses backed by some big chords, whilst effects-heavy clean guitar melodies also add depth. This is another track with a chorus that utilises more overt hooks, although it is quite short so it never seems to fully capitalise on them. Despite this, though, I do quite like the song - largely due to the excellent drumming from Judd throughout and the fact that, once it gets going, Kenny pushes himself a bit more vocally.

Animation feels a bit sparser overall. This brand of prog metal is generally on the sparser side, especially compared to the more bombastic, symphonic prog metal I tend to prefer, but this song feels sparse at times even compared to Karnivool's core sound. There are riffy moments, with another pretty decent chorus feeling quite weighty thanks to some dry riffing and emotive vocal melodies, but much of the rest of the song is very low key - with rim shot drum work providing a distant groove and simple guitar and bass textures adding a droning backing. Kenny is a bit more expressive than some of his peers, but he does spend much of this song in that semi-whispered/mumbling mode which characterises this type of prog metal - but he comes alive during the chorus which is welcome. A rare guitar solo is also a welcome addition to the song, despite its short length. Conversations, which is the longest song here at just over eight minutes, opens similarly to the previous song - but the overall arrangement feels a bit more lush from the off, with warmer strings sitting over the top of the simple drum groove and fading guitar melodies. The song feels somewhat more cinematic than much of the rest of the material here, then, but once Kenny starts singing the strings largely retreat and the typical slow-burning Karnivool sound is back - albeit with busier, more melodic guitar lines in the background. Given the length of the song, though, the arrangement is given quite a lot of room to stretch out. As such, the sections generally feel quite lengthy. They do subtly change in tone as things move forward, with Kenny's voice becoming more powerful during certain sections and instrumental breaks with punchier drums adding accents. There is certainly smoothness to the song overall, and I do like how all the sections seem to mesh together nicely. Given the song's length, though, I would have preferred a bit more variety. The band's core sound is really pushed to its limit here, and there are very few genuinely heavy moments which seems strange given its length. Reanimation is somewhat similar, albeit not quite as a long, and it is a collaboration between the band and guitarist Guthrie Govan (Asia; GPS; The Aristocrats; Steven Wilson). Whilst similar in tone to the previous song, there are some weightier moments this time - but largely this is another longer, slow-burning piece with subtle verses and a chorus which rises above the murk just a little. This chorus is a bit more overt, though, which means that Kenny gets to deliver some strong hooks - and the chorus is another which pushes the band in a more anthemic direction. Given Govan's prowess, though, this song does not especially make use of his talents - save for a guitar solo which is melodic and soaring (especially compared to the band's usual approach). Elsewhere, though, the guitar playing is no different to the rest of the album really - so it would have been nice to see Govan utilised more to create something different. All It Takes was actually released back in 2021, so this album had been in the works for some time, and the shorter piece immediately feels crunchier than the two longer songs which came before. The guitar riffing is more prominent this time, and the verses actually feel weighty - with a grinding guitar and bass pattern grooving away behind Kenny's emotive vocals. This riffing style largely continues on throughout much of the song, too, with quieter moments featuring more of a bass presence than usual. As such, this song feels a bit fuller than some of the others here - but the band's core sound is very much stuck to in general.

Following some riffing being reintroduced in the previous song, Remote Self Control continues on such a vibe - and opens in a more frantic manner than is typical for Karnivool. Judd's opening drumming is faster and less controlled than usual, whilst dry riffing is laid over the top of it to create an interesting, off-kilter sound. Nothing on this album feels fast really, but this is possibly the song which feels the fastest and most kinetic thanks to this drumming approach. It certainly shakes things up in a subtle way, but much of the track remains firmly rooted in the band's core sound - with spacey verses and plenty of floaty vocals from Kenny. The riffing from the song's intro does crash back in fairly often, though, which does help to keep the song moving. It feels a bit more dynamic and hard rocking as a result, then, which helps the track to be another favourite cut of mine here. Opal returns to a slower opening, with chiming clean guitars and a distant beat opening things up - over which Kenny sings with his typical approach. I would not say that the album contains any true ballads, largely as the band's core sound is quite ballad-esque a lot of the time by default - but there is something more ballad-like about this number. This is likely due to the lack of any big drums during much of the piece - with programmed beats and percussive drumming utilised during much of the song - at least the first half or so. Big riffing is kept to a minimum, too, allowing an atmospheric sound to settle in - but this does change later on, when something heavier does crash in. This heavier moment is welcome, but it is quite short lived, and it is not long before the more atmospheric and ballad-like vibe returns - albeit with a bit more of a potent drum backing. The song does evolve in quite a pleasing manner, then, and the way the drums are utilised does make it stand out. Kenny really shines as a singer during this one, too, with the somewhat cinematic arrangement giving his vocals plenty of room to breathe. I would prefer a bit more grit from him at times, but songs like this really play to his strengths - with the pseudo-ballad a great home for him emotive and, at times, fragile delivery. The album then comes to a close with Salva, another lengthier song which opens in a very slow manner. Even compared to the band's usual approach, the sparse arrangement is very limited - and Kenny's early vocals are sung so quietly they can barely be heard. Thankfully, though, this extremely quiet approach does not last for too long - and something more typical soon takes over, with another cinematic vibe allowing for some big, expressive vocals from Kenny and plenty of chiming clean guitar melodies. The chorus-like section of the song is perhaps one of the album's most moving and emotive moments vocally, showcasing Kenny as a great singer, but the rest of the song feels a bit bland in comparison - and it really meanders along without ever really getting going, with the exception of a bit of a heavier moment towards the end. These arrangements are generally why I struggle with prog metal of this ilk - and this song is an example of some good ideas which are stretched thin without the riffs and melodies to truly back them up. Overall, then, In Verses is an album very much of a genre and a sound which I struggle with - but I did find songs and moments to enjoy here. Kenny is a great singer for the most part, and I like how drum-driven a lot of the material is - with Judd delivering some great grooves. It is not an album that is going to change my mind about this brand of prog metal, but I am glad to have listened to it and entered the world of Karnivool after many years. I imagine the album will do well despite the gap between releases - with lovers of this brand of prog metal likely to lap up each mournful melody and dry riff.

The album was released 6th February 2026 via Cymatic/Sony Music Entertainment. Below is the band's promotional video for Opal.

Megadeth's 'Megadeth' - Album Review

For those of us that still follow many of the legendary hard rock and metal bands of the 1970s and 1980s, final albums and tours are becoming regular occurrences. Some bands seem as if they will go on forever, such as The Rolling Stones, but even very long-standing acts like Deep Purple and Uriah Heep are hinting at slowing down over the next few years - whilst others have called it a day. Clearly there are also plenty of bands that did call it a day only to return a few years later - but we have to take a band's word for it when they initially announce that they are retiring. One of the latest bands to announce such are the California-based thrash titans Megadeth. Formed back in 1983, Megadeth have, save for a hiatus between 2002 and 2004, essentially been ever-present on the thrash scene since. Considered one of the genre's 'Big Four', alongside Metallica, Slayer, and Anthrax; Megadeth have often been my favourite of the four. They were probably the first that I properly explored, despite likely knowing plenty of Metallica songs beforehand, and I would say that their catalogue is likely the strongest and most interesting. Not every experiment that the band took throughout their career paid off, but there are few genuinely poor albums in the Megadeth catalogue - and they have also remained the most prolific over the years, which is something I really value in legacy bands. Not only have they remained prolific, too, but many of Megadeth's more recent albums have also been strong. Metallica's last three have been strong too in fairness, but they have released significantly fewer albums - whilst Slayer are done as a recording act and getting a new album from Anthrax in recent times is like pulling teeth. As such, Megadeth just have more to listen to and enjoy - although in recent years I have not listened to the band as much. There has been no specific reason for this. My music taste continues to evolve and expand, and that means that there is just so much more to listen to. I know that I can return to a classic Megadeth album at any time and enjoy it - but I feel that a bit of a deep dive is due. The reason for such, at least in part, is the release of the band's seventeenth album last month. The self-titled release will be, according to bandleader Dave Mustaine, the band's final offering. Mustaine is looking to retire after over 40 years in the business - with the next year or so focused on a final big world tour in support of this latest release. Mustaine is younger than many of the old rockers still going strong, be he has not always been in the best of health in recent years - and it is harder for metal bands to keep going with the same levels of intensity that they once had. It is better to go out on a high than with a whimper - and as far as recorded output goes Megadeth is certainly a strong effort. Coming four years after 2022's The Sick, the Dying...and the Dead (which I reviewed here), Megadeth feels like a tight, punchy offering. The 2022 release was a longer, more sprawling affair - whereas this latest effort feels like an old-school album in terms of length and flow. Mixing fast-paced thrash with the creeping, melodic mid-paced sound that the band did so well in the 1990s, Megadeth does a bit of everything in just over 40 minutes - although it focuses on the latter. Given the number of personnel changes over the years, Megadeth's core sound has remained largely consistent. Mustaine keeps a tight grip on things, then, despite generally being surrounded by strong players. Drummer Dirk Verbeuren is the only musician to return from the 2022 release, whilst Megadeth is the first album to feature bassist James LoMenzo since 2009's Endgame despite him re-joining the band before the last album dropped. The new face here is guitarist Teemu Mäntysaari (Wintersun; Smackbound) - who replaced Kiko Loureiro in 2023 and has made significant writing contributions to this latest album.

In terms of songwriting, this album is a fairly collaborative one. There is only one song credited to Mustaine alone, with Mäntysaari co-writing everything else. Both LoMenzo and Verbeuren also make significant writing contributions, ensuring that Megadeth feels like a true band effort. It opens with lead single Tipping Point, a hooky track which is sure to become a real setlist favourite on the band's final tour. It opens in a mid-paced manner, with a snappy riff right out of the band's 1990s playbook, which is soon improved with a harmony guitar lead, but this mid-paced intro is a bit of a ruse - as the song is generally a fast-paced and thrashy track. After the main riff establishes itself, Mustaine launches into a trademark furious, buzzing riff - which forms the basis of the song's verses. Snappy drumming, the buzzing riffing, and Mustaine's snarling vocals fill the verses - and they are full of all the vim and vigour which Megadeth have always been known for. Mustaine's voice might not be as strong as it once was, but he does a good job throughout this album - and the simple, shout-along chorus is a really hooky moment. The pace slows a little during the chorus, and Verbeuren lays down some great double bass drum fills, whilst each chorus rendition is followed by high-octane shredding. Mäntysaari follows the first chorus, whilst the second sees Mäntysaari and Mustaine trading off. Ending as it began, with some more mid-paced riffing, Tipping Point gets the album off to a fiery and impressive start. The first half of this album is particularly strong - and these vibes continue on throughout I Don't Care, a punky mid-paced number. Driven largely by LoMenzo's bass and a simple drum groove, especially during the verses, I Don't Care features that semi-spoken word delivery previously used on songs like Sweating Bullets. This vocal delivery is not for everyone, but it works well here in my opinion - especially given how simple the arrangement is. The bass does all the heavy lifting, whilst guitar riffs are thrown in here and there to add colour. Regular short solos are also utilised, with both Mäntysaari and Mustaine soloing throughout. The snaking bass is ever-present, though, even during the soloing - and there is something smooth about these instrumental moments which contrast nicely with the punk feel of the main verses and pseudo chorus. Hey, God?! retains the mid-paced vibes of the previous song, but the punk feel is reined in - and the song instead goes for that snaking, creepy mid-paced vibe that Megadeth have done so well for many years. Chugging guitar riffing, with knotty little accents, propelling bass playing, and organic drumming are a great backing for Mustaine's storytelling vocal style on this track - with the verses and chorus melding together nicely to allow the song's core groove to remain. The headbanging and foot-tapping overall feel that this track conjures up very much taps into Megadeth's more commercial side, but Mustaine has always had the knack for making songs like this hooky - and there are more solo spots, with Mäntysaari shredding and Mustaine laying down some bluesier licks. So far this album has covered three of Megadeth's core sounds in three songs - and there is still plenty more to come.

Picking up the pace again is Let There Be Shred, a fast-paced, thrashy number which really showcases that NWOBHM influence which has forever found its way into the thrash scene. The main riff, which resurfaces throughout the song has that spiky Diamond Head vibe which the West Coast thrash scene was essentially born from, whilst a simplified version of such forms the basis of a furious verse - which sees plenty of short busts of shredded lead guitar punctuating Mustaine's vocals. Unlike many faster songs, the chorus does not see the song slow things down. The riffing becomes somewhat simpler during the chorus, but it maintains the song's overall pace - with hanging chords allowing Mustaine's vocals to stand out a little more. Given the song's title, the use of plentiful lead guitar throughout makes sense - even if Mustaine's main solo section is actually the slowest part of the song overall. Puppet Parade returns to the snaking, somewhat smooth mid-paced sound of Hey, God?! - and it is very much a song which feels inspired by the sound of 1992's Countdown to Extinction. It is certainly a fairly mainstream-sounding song overall, but Megadeth have always done this sort of song well - and it feels like Symphony of Destruction is being channelled in the sense of the song's simple, pulsing verses and a slightly haunting chorus backed by a lyrical guitar melody. Semi-spoken verses against a simple riff and a strong bass presence echo the band's classic era, then, whilst the overtly melodic nature of the chorus is sure to get people singing along live. In some ways, I am surprised the song was not released as a single. I would not be surprised to see it included in the setlist of the upcoming tour, though, as it feels like many of the classics of the past. Another Bad Day opens with a distant guitar lead, which returns when the song starts proper - laying down a simple melodic hook over another crunchy, mid-paced riff. Like the previous number, too, this song is clearly tapping back into Megadeth's 1990s sound - but perhaps the more overtly hooky vibes of 1997's Cryptic Writings are more closely represented here. Mustaine sings the song in a more melodic manner, and the repetitive chorus, with its bluesy guitar lead backing, feels somewhat poppier than much of the rest of the album. Even the guitar playing here feels a bit more reined in. The guitar leads throughout are slow-burners, and the riffing is deliberate and crunchy. Mäntysaari's solo is fairly slow-paced, too, with plenty of bluesy licks to fit in with the song's somewhat more restrained feeling. Opening with a big drum barrage, Cozy Powell style, Made to Kill picks up the pace somewhat following the last couple of songs - and injects back in plenty of that classic Megadeth attitude. It is not the fastest song here, but there is certainly a powerful urgency throughout. Given how high LoMenzo's bass is in the mix, the verses have a buzzing sound to them which only aids the urgency - and the overall guitar riffing is a bit more potent again here. Despite my previous comments about the song's overall speed, there are a couple of very fast sections which significantly up the urgency for brief periods. These moments are full of pure thrash energy - and are capped off with high-octane guitar solos.

Moving to the back end of the album now, Obey the Call opens with some almost laid back lead guitar licks which slowly fade into view. This guitar playing sounds strangely distant until the song gets going proper - and the overall vibe is that of another mid-paced crunchy hard rocker. The verses here have something of an old-school heavy metal sound, with Judas Priest-esque drumming and chugging riffing - over which Mustaine snarls in that semi-spoken word approach he utilises so well. As was the case with Puppet Parade, and a couple of other cuts here, the chorus feels more overtly melodic. Mustaine seems to truly the sing the chorus here, whilst a subtle guitar lead in the background somewhat seems to harmonise with him. Whilst the song is largely mid-paced, then, things do speed up at the end. The last section of the song is essentially a big guitar battle - with two solos from Mäntysaari sandwiching one from Mustaine. This final burst of energy makes the song much more interesting than it otherwise would be - and it becomes a pretty powerful effort as a result. I Am War opens with something of a phased guitar riff, which continues on as the rest of the band crashes in - albeit with an edgier and more powerful overall tone. As was the case with Made to Kill, LoMenzo's bass is quite high in the mix again - meaning that the verses chop along despite the overall mid-paced grooves. Overall, though, this is another pretty melodic mid-paced number. There are a few songs very similar to it here, and I feel that others are stronger. There is nothing wrong with the song, and the simple chorus is pretty effective thanks to some strong vocal melodies and another decent guitar lead, but this is a seam which Megadeth have mined a lot on this album. Another truly fast-paced number would have really added to the back end of the album in my opinion. Some true thrash would have been welcome, then, but Megadeth have always operated in mid-paced circles - so a focus on such here should not come as much of a surprise. The album then comes to a close with The Last Note, a somewhat lengthier piece which, whilst not exactly a fast-paced number, feels crunchier and heavier than the previous song. It actually opens slowly, with clean guitar melodies and some mournful vocals from Mustaine - before a fairly quick, crunching riff takes over and dominates the rest of the song. I do not always pay close attention to song lyrics, unless they genuinely stand out or I am trying to follow a concept album, but I do like the lyrics here - even if they are a bit on the nose. The song is essentially Mustaine setting out why he is going to be calling it a day in the near future - and it seems surprisingly heartfelt, which is not something I would generally say about Megadeth's songs. It is a memorable and strong song for those reasons - but it is also hooky, with a decent chorus and a great overall groove. Mustaine's solo is actually done acoustically, too, which gives the song a different feel - before Mäntysaari takes over with one last shredded moment. The acoustic guitar returns for the song's coda, too, which features Mustaine talking over the delicate melodies - bringing the band's recorded output to a typically snide close. Megadeth have released stronger albums over the years, but as a final effort I think this self-titled album gets a lot right. I would have preferred a little more speed overall but many of the songs here are hooky and the guitar playing throughout from both Mustaine and Mäntysaari is excellent. There are worse ways to go out than releasing a very solid album that covers a lot of ground and Megadeth can go out feeling that their recorded output ended with something strong.

The album was released on 23rd January 2026 via Tradecraft/BLKIIBLK Records. Below is the band's promotional video for Tipping Point.

James Bruner - Plymouth Review

Living in Plymouth, a decision to go to a last-minute gig is not one that I often make - but living a short walk away from The Junction, one of the city's premier small venues, occasional last-minute evenings out do happen from time to time. I have said something similar here before, but given how barren the city often is when it comes to live music, particularly when it comes to hard rock and metal, The Junction can sometimes be a little oasis. The city's largest purpose built venue, formerly the Plymouth Pavilions, has recently rebranded itself as Plymouth Arena in an attempt to attract more talent. We will see whether or not that makes a difference. I do go to that venue on occasion, and will be seeing 10cc there next month, but it has been a long time since I went to a proper metal concert there - with Slayer back in 2015 being the only one springing to mind. Alternative lovers were treated to Gary Numan performing there a few years back, though, and my last trip to the venue actually fuelled last night's trip out. Back in October 2025 I caught the high-flying Welsh rockers Those Damn Crows on their latest UK tour. I was surprised that the band booked a venue the size of the Plymouth Arena - but I think I under-estimated how popular Those Damn Crows are these days. I had not kept up with them since seeing them open for The Quireboys in 2018 - but the five-piece are likely one of the current British rock scene's biggest names. It was fun to catch up with the band again after so long, and seeing a young rock band pull a pretty decent crowd in Plymouth. The venue was laid out to make it look smaller, but there was still probably around a thousand people in attendance that night - and those that turned up early would have caught the short set from American rocker James Bruner which opened up the night. I knew nothing about Bruner before seeing his set that night - but I enjoyed what he had to offer. I remember him coming across like a bluesier version of The Struts' Luke Spiller - and his music fused retro bluesy rock with snappy modern indie traits to create something energetic and hooky. I was not blown away that night, but I certainly came away thinking that Bruner and his band had talent - and that is where I left things. That was, until a week or so ago, when I realised that he had booked a headline show at The Junction. Currently Bruner is over here again opening for modern guitar hero Orianthi - and he decided to schedule in some headline shows around those support slots. The show was announced a month or so ago but I did not really pay attention at the time - but after seeing the poster a few times it clicked and I decided to check him out. The ticket was cheap and it is little effort going to The Junction - plus it is always good to support up and coming interesting new rock acts. Every ticket and t-shirt sold really means a lot to acts rising up the ranks - and given the lack of live music action here from touring acts anyone making the effort deserves to be rewarded. I knew that I would at least casually enjoy the show, having casually enjoyed his previous set - so I headed up to The Junction after a long day at work last night, getting there just before the evening's sole support act kicked things off.

Opening the show were local act The Outlanders - a band who seem to be something of a mainstay on the Plymouth scene these days. I had seen the band live a couple of times before, but I had not seen them since 2023 when they opened for Massive Wagons. I remember casually enjoying them before, and that is essentially how I felt about their 45 or so minute set this time. Whilst not a true hard rock band, there is certainly enough hard rock in their sound to keep me interested. Easily the star of the band for me is Jake Walke (guitar/vocals), whose riffs really drove everything. Not to take anything away from anyone else in the band, who are all fine musicians, Walke seemed a step above everyone else. His riffing looked effortless, and was generally hooky, whilst his soloing was busy and fluid considering that the band are more modern in tone and arrangement - where soloing is often curtailed or left out completely. I enjoyed watching him play, but I think, overall, I was a little less impressed songwriting-wise this time. I think when I last saw them the band were still in their early stages, but now they seem to have released quite a few songs - so I was expecting a stronger repertoire overall. There were a couple of strong choruses, but there was nothing played that I would call anthemic - and some of the riffs played deserved bigger choruses to bounce off. Despite this, I still enjoyed watching the band's set. The band are clearly very passionate about what they do, and there is a bit of a mix of influences present which makes for an interesting mix of sounds. Frontman Kalum Wilmot has a fine voice, but I am not sure that his slightly emotional and occasional falsetto quite works with the dryer riffing the rest of the band churn out - and at times the different influences seem to be fighting each other rather than harmonising. That being said, The Outlanders have been around for a while now and have made a name for themselves locally - so are clearly doing something right. A few in attendance were clearly fans, which was good to see, and, despite them not really being for me, their set was a fun one.

It is always hard to know what you are going to get when it comes to headline sets from young acts that have not released that much music. Sometimes the shows can be very short - but Bruner gave people their money's worth (which was easy given the tickets were only £10) by playing for around an hour. I would not say that the turnout was especially great - but given that Bruner is only just starting out, being able to attract 40 or so people on a Tuesday night so far from home is likely a win. Everyone in attendance was up for the night, though, and there was a good atmosphere in the room as Bruner and his band took to the stage. I remembered guitarist Zach Mears from the previous show. I seem to remember him having more of a beard last time, so he looked a bit less like Gregg Allman this time without it, but perhaps this time he resembled Duane Allman more - given that he opened the set with a lengthy slide guitar workout. I knew some of the songs played, as I had listened to EP The Otherside, a handful of times before the gig - but much of the set was unfamiliar. This opening number was unknown to me - and it opened slowly with Mears' aforementioned slide guitar melodies before Bruner started singing and the mid-paced number proved to be something of a brooding opening cut. Despite having much less space to work with this time, Bruner still moved around a lot. He is a great rock frontman already, pulling all the trademark moves and interacting well with the crowd - whilst he strapped on a guitar himself for a few songs to add some tough rhythms behind Mears' soloing. Mears soloed a lot, which was good to see, and the tight rhythm section of Shannon Wilk (bass guitar/vocals) and Sam Jenkins (drums), the latter of whom was also in Bruner's band last year, added a lot of groove to help the songs move forward. There were some songs played which I was familiar with, such the riffy Switchblade early on - alongside the lengthy closer I Get Everything. Stand-alone single Alibi was also included - but some of the best moments of the night were actually some of the new songs which have not yet been released. One was played early on which Bruner said had not even been recorded yet, but the fast-paced, punky rocker was one that made an impression - whilst there was another newer number later on which really focused on Wilk's bass playing to drive everything, with the guitars adding colourful leads. Despite the low turnout, the crowd helped to make a strong atmosphere and reacted well to all the songs played. There was some good banter between Bruner and the crowd - and he seemed to having a good time back in Plymouth. So much so, that there was even an unplanned encore - something which is rare. Following the final song, Bruner had made his way over to the merch and ambient music was playing in the venue - but he was persuaded to do another one, so he and the band quickly crashed through one last rocker to the delight of those in attendance.

Overall, the night was very much worth the short walk to The Junction and the £10 entry fee. Bruner is a clear talent and his tight band put on a strong show in Plymouth. I am looking forward to hearing more from him as he moves forward in his career - and I would not be surprised to see him return to Plymouth one day. I bought a vinyl copy of The Otherside after the show, which he duly signed. A new 12" record for £10 is rare in this day and age - and the physical copy includes two songs not included digitally. I will enjoy playing that in due course - and I hope to hear more from Bruner going forward.

Glamour of the Kill's 'Vengeance' - Album Review

I have to say, I did not think that I would be covering the York-based metal four-piece Glamour of the Kill on this blog again following the band's ill-fated reunion in 2018/2019. As such, when the band's social media pages suddenly sprung to life last year I was genuinely surprised. I suppose bands come and go with regularity these days, but Glamour of the Kill seemed well and truly over. I am not sure exactly when they formed, but I first came into contact with them in 2009 when I saw them opening for DragonForce in Truro. In retrospect, that four-band bill of DragonForce, Sabaton, Sylosis, and Glamour of the Kill went on to have a big influence on my musical tastes, and I have seen each band numerous times since that night in 2009 - and Glamour of the Kill kicked off the stacked bill with their melodic metalcore-esque sound which I always think sounds like how Bullet for My Valentine would have sounded if they had more fun and listened to more 1980s metal. At the time, the band just had a self-titled EP to their name, but they made an impression - and I saw them as a headline act a couple of times in 2010 and then again in 2011. By the time the 2011 show rolled around, the band had released their excellent debut album The Summoning - which is still likely the best thing they have done. It seemed that the band would kick on from there - but sadly that never really happened. Savages (which I reviewed here) followed two years later, but it felt like a step down from what came before. Around half of the album is great, but the other half remains lacklustre - and it was clear that the band were trying to 'modernise' their sound by included a lot more synths and moving away from some of the razor-sharp 1980s-inspired riffing which made their early material really tick. The EP After Hours (which I reviewed here) followed in 2014. It took a similar route to Savages despite feeling a bit stronger overall, but I do wonder if, looking back, the band were struggling a bit with their direction as this era felt somewhat trend-chasing. I saw the band a few more times during the Savages/After Hours era and they were as good as ever live - but in 2015 they decided to call it a day, citing financial pressures - save for a handful of farewell shows in 2016. I was saddened by the news, but it was a statement I had read many times before from other bands. I suppose most bands come back eventually, though, and Glamour of the Kill did reunite for a run of shows in 2018 - which promised to be a full-blown reunion. A new album, Resurrection, was announced and two singles were even released - but by 2019 the band were once again no more. Resurrection never happened, then, and I recently saw a 2019 tour poster online which I have no memory of - which suggests a tour that likely never happened. Given that they had tried to reunite once, I had assumed that the band were very much dead at this point - so the current reunion was a genuine surprise. Especially as frontman Davey Richmond had been active in DeadFlight, who released the strong Arrival (which I reviewed here) in 2022, but I guess the Glamour of the Kill pull was too strong - and the band formally reunited last year, releasing a string of singles in the lead up to the dropping of Vengeance, the band's actual third album. Three quarters of the band's classic line-up return here, with Richmond joined as ever by guitarist Mike Kingswood and drummer Ben Thomson. Guitarist Sam Brookes, who played with Richmond in DeadFlight, rounds out the current line-up - replacing Craig Robinson from the ill-fated Resurrection era, who in turn had replaced Chris Gomerson from the band's original run.

Sound-wise, Vengeance finds Glamour of the Kill in a heavier mood than ever. Gone are the up-beat synths and flashier elements that the band added to Savages and After Hours - with metallic riffing back in a big way. The material here is closer in tone to the debut EP and The Summoning, but it stands alone sound-wise in my opinion - with a much thrashier overall feel and less of an emphasis on anthemic choruses. That is not to say that the album is not hooky nor melodic, as it is, but it feels like a much more mature and considered release - with little of the band's poppier side which had always been there and a much larger dose of true metal. The short instrumental First Breath of the Reaper kicks things off, and it sets the darker tone which largely permeates this release. Sombre piano melodies form the basis of the track, before crunching power chords are added - as Thomson lays down a marching drum beat. This vibe continues on for a minute or so, but the riffing gets more involved and heavier - whilst gothic strings add depth. The song acts essentially acts as an extended intro for The Forgotten, the first song proper, which opens with some percussive riffing and drumming - before Richmond shouts the song's title and the first thrashy riff kicks things off. The riffing style here is still very much inspired by the 1980s metal scene, but the guitar tones are tougher. Richmond's vocals still have that pop edge to add some melody, but even his delivery feels a bit tougher at times - and the occasional harsh gang vocals from rest of the band which used to be a part of the band's sound are also brought back. Parts of the fast-paced verses see Richmond backed by these growls - whilst Kingswood and Brookes riff away and Thomson lays into his double bass drums. The song is like the heaviest moments from The Summoning, only heavier and darker - but the overall vocal melodies and riffing patterns are instantly recognisable as by Glamour of the Kill. Those trademark melodies are present here, despite the darker tones, and the synths from the last couple of releases have instead been replaced by gothic strings. There is an epic feel to much of this album as a result - but there are still plenty of hooks, as the slower chorus, which feels somewhat poppier, showcases. The chorus is very easy on the ear, showing that Richmond still has a knack for a hooky delivery, whilst the song's lengthier overall arrangement allows for riffs to be lingered on a little longer - as well more diversity in terms of bridge-type moments. Lead single Grace of God follows, and looking back it was easy to see why it was chosen to kick off this new era. It is very representative of the album as a whole - whilst containing enough of the past to hook in long-time fans. Like the previous song, Grace of God is pretty thrashy overall - but the buzzing riffing is not too far away from the band's old sound. There is enough of that old-school metalcore sound here to please long-time fans - with Richmond's accessible vocals hooky as always, whilst those occasional harsh vocals once again act like punctation during the verses. Something that is a bit different here is the introduction of Kingswood as a supporting vocalist. He was always partially responsible for the growls, but he sings clean occasionally throughout this album - and he takes over for the pre-choruses here with his grittier vocal style. Richmond returns for the big chorus, which is pretty anthemic, and the contrast between the two vocal styles works well. It is certainly a chorus made for the stage - and the whole song just feels hooky, from the riffing through to the vocals. Multiple guitar solos are thrown in here, too, showcasing Kingswood's talents as a player - with shredded passages very much fitting in with the song's furious overall nature.

The album's title track follows, and it opens with a strong wordless vocal hook which resurfaces quite often throughout the song. As such, this song feels like another written deliberately to be more anthemic. There are shades of the old days here, then, but there is also a groovier overall approach taken - with the pace somewhat slowed at times. Parts of the verses are fast-paced, as has been the case so far on this album, but there are a lot more mid-paced moments to allow for some bigger, more pronounced guitar riffing - with the second half of each verse in particular benefitting from this pace change as Richmond's vocals and some choice harmonies really shine. The chorus is simple, as it is largely the wordless hooks from the song's opening repurposed around a couple of lyrics - but it is memorable as a result. It is another that I can see going down well live, as a crowd really latches into the hooks, and the good mix of faster and mid-paced moments would allow for a dynamic addition to the set. A harsh vocal-led bridge and another shredded solo finish things off nicely. Another single in the form of Feed Them to the Pigs in next, and the shorter number is the first here to rein in the thrashy vibes fully and go for a mid-paced approach throughout. The album's intro aside, it is the only song here under four minutes long. The band have generally stretched out here, writing longer songs, but this one is a bit more contained - with chugging, headbanging riffing complete with accenting pinch harmonics the song's main draw, whilst clean guitar-led verses allows Richmond's sneering vocals to really shine. Given that the song was another single, it is unsurprising that it is another hooky one. The main riffing and groove really gets stuck in the brain, whilst the chorus is maybe the poppiest on the album thanks to some interesting vocal melodies and its eventual shout-along core melody. The arrangement is much simpler than that of most of the other songs, then, but the song is satisfying thanks to its hooks. Diseased goes for a much more dynamic approach overall - mixing slower, ballad-like moments with heavier sections. Many of the songs here take a few listens to fully appreciate, and I feel that this song has only really opened up to me as a I write this. The opening guitar melody is busy and almost progressive metal in tone, whilst the slow-burning verses mix clean guitar and snarling vocals to create an emotive tone. Strange spoken word moments and occasional harsh vocals add heaviness - but the chorus injects some weight back in with fast double bass drumming sat under slow chord changes to create quite an epic sound as Richmond sings. All the different sections add up nicely, though, and the song is another strong addition to the album. Delirium changes things up quite a bit, insofar as it features Kingswood on vocals throughout. He has featured here and there throughout the album, but this is his first effort as a lead vocalist proper - and his breathy, slightly gritty delivery works well given the expansive and slow-burning overall sound that the song puts forward. He reminds me of someone else vocally, but I am struggling to pin-point exactly who annoyingly, but as traditionally a non-singer he delivers here - with a varied performance that mixes an emotional clean delivery with the occasional growled section. Richmond adds harmonies when needed, but this is Kingswood's showcase - and he particularly shines during the slow-burning verses with their mournful clean guitar melodies and sombre drumming. The heavier chorus sees him letting rip a bit more, but I think this song works at its best when it is more mournful - even if the choruses are still strong. The song is something different for the band overall - but it works well as a change of pace without sounding especially out of place.

Rampage gets back to something more typical of the rest of the album, unsurprisingly given its name, delivering more of the thrashy sound which characterises much of the album. The song is fast and furious from the off then, with snappy riffing and urgent vocals - with less of the dynamic approach which characterised the last couple of songs. In fact, this song seems to hark back to the sound of The Summoning quite a bit - despite feeling heavier overall. The chorus, with its easy-on-the-ear hooks and wordless vocal melodies certainly channels the overall vibe of that album - meaning that it is a song which grabs hold early. There are more interesting pieces here, especially as I like how the band has evolved their sound for the most part, but for a simpler throwback to the old days I feel like Rampage is a fun addition to the album. Aeternum Immortalis keeps the pace up, but injects back in some of the gothic elements which have been heard throughout the rest of the album. The song opens slowly, then, with gothic strings and choirs, which return occasionally during the later chorus, but much of this song is another hard-driving thrashy number - with razor-sharp verses and snappy vocals from Richmond. Like many of the songs here, though, the arrangement feels a bit more involved - so there is a dynamic approach once again. The verses are fast-paced and heavy, but the chorus is much slower to allow for a somewhat anthemic approach. It is not a chorus as hooky as some here, but it gets the job done - and the gothic strings add some depth. A bridge backed by a gothic choir later feels a bit different - but it soon transitions into a big, shredded guitar solo where Kingswood really lets rip. Some gothic vibes remain throughout Suffer - with the tolling of a bell kicking things off, before a buzzing, fast-paced riff kicks in. This thrashy riff is another candidate for the album's fasted and most furious - but a slow-burning guitar lead which sits atop it does perhaps limit its power somewhat. Despite the speed of this opening riff, though, much of the rest of the song is more mid-paced and groovy. The verses here feel quite typical of the band's past work, with Richmond's vocals in particular turning the clock back, his poppy snarl sounding as good as ever. There are bursts of speed, and the song does feel quite urgent at times despite some more mid-paced sections sitting between the outbursts of riffing, but compared to many of the other songs here Suffer is perhaps one of the least interesting in terms of hooks and arrangement. The album then comes to a close with Broken Halo, which opens slowly with some clean guitar melodies and percussive drumming. This initial murk sets a dark tone, but once the song gets going proper it feels heavier overall - with a strange fast-feeling, yet ultimately mid-paced, riff and verse section which sees Richmond singing in a hooky manner whilst harsh gang vocals add punctation. Overall, this song actually feels quite different to anything else here. It feels quite epic, but in a different manner to the band's usual hooky approach - and there are shades of mid-1990s Metallica here at times, with the grinding chorus feel like something Metallica would have included in one of their bluesier mid-1990s pieces. The chorus remains hooky, though, but more for its grooves overall - and I like how the last chorus goes through an unexpected key change. Despite the differences, I think the song ends the album well - with the snaking approach and different melodies all coming together well to bring the album to a close. The two singles from the Resurrection era aside, Vengeance represents the band's first release in 12 years - and overall it feels like a big success. There are a lot of memorable songs here, and I like how the band have evolved their sound without losing too much of what made them great in the first place and dropping some elements which perhaps they never needed to introduce. It is great to have Glamour of the Kill back properly this time - and I looking forward to hearing some of these songs live on the upcoming tour.

The self-released album was released on 22nd January 2026. Below is the band's promotional video for Grace of God.

Kreator's 'Krushers of the World' - Album Review

January 2026 is turning out to be a pretty heavy month. With the exception of Alter Bridge, despite a metallic edge to their sound at times, all of the bands that are dropping new albums which I am planning to cover this month are metal acts - with two of them being some of the world's premier thrash bands. I am writing this piece in the wake of Megadeth's latest, and supposedly final, album dropping - but today's piece looks over towards the Germany thrash scene, and Essen's Kreator, a thrash four-piece that has been active in one form or another since 1982. Whilst the US thrash scene, and in particular the Big 4, all found an element of mainstream success and somewhat crossed traditionally firm genre boundary lines, the German thrash scene was much less concerned with status and the odd hit single. From the outset, the German thrashers were always much heavier than anything America generally had to offer - doing a lot to influence the late 1980s extreme metal scene at the same time. Kreator were no different in this regard, and many of their early albums contain elements of what would become both death and black metal a few years later. It is somewhat funny, then, that in more recent years Kreator have streamlined their sound and have morphed into something much more accessible and anthemic. In fairness, it took the band a while to get to this point. Following their classic 1980s run, which many fans see as the band's true peak and where they were at their most aggressive, the band then spent the 1990s experimenting with different sounds. Many of the thrash bands of the 1980s had somewhat difficult 1990s, either commercially or critically, but Kreator's flirtations with gothic overtones and industrial sounds were perhaps some of the 1990s thrash scene's more interesting experimentations. I doubt many hold up those albums as true greats, but Kreator kept attempting to reinvent themselves during this time - and did find some success doing so. 2001's Violent Revolution was the turning point, though, as it saw Kreator return to their thrash routes - albeit with cleaner and more melodic sound. It was lead guitarist Sami Yli-Sirniö's first album with the band - who brought with him a more Scandinavian-based melodic death metal approach to riffing and guitar leads which has helped to fuel Kreator's sound ever since. Essentially, all of the albums to follow Violent Revolution have followed a similar pattern - with anthemic songwriting made for big stages, flashy guitar riffing and solos, and a retained thrash intensity the hallmarks of Kreator over the past 25 years. Founding frontman Mille Petrozza's gravelly voice suits this sound nicely - and founding drummer Jürgen 'Ventor' Reil never seems to slow down. Kreator have not really put a foot wrong since, then, and this sound and approach remains on the newly-released Krushers of the World - Kreator's sixteenth studio album and their first since 2022's Hate Über Alles (which I reviewed here). Hate Über Alles felt a little different in so far as it was heavier and grittier overall production-wise - which meant it was perhaps less melodic as a result. Krushers of the World see the band returning to working again with Jens Bogren - who produced the two albums prior to Hate Über Alles. As such this album feels a bit more anthemic and overtly melodic again following the last album which seemed to want to tap into the band's more extreme past somewhat without truly committing to such. Krushers of the World is the band's second album with their current line-up, too, with bassist Frédéric Leclercq completing the four-piece.

Kreator's albums do not tend to overstay their welcomes, either. Some of their more recent efforts have been on the longer side - but most are very digestible. At just under 45 minutes, then, Krushers of the World feels like the right length for this sort of album - as there remains plenty of typical thrash intensity here despite the hooks throughout. Kicking off with Seven Serpents, the album initially opens slowly - with some dense strings and a slow-burning melodic guitar lead. This guitar lead is soon doubled, as the strings become more intense, but it is not long before the band crash in - and the song picks up the pace with a snappy, melodic death metal-adjacent riff and plenty of busy drumming from Ventor. The main guitar hook during this riff pattern immediately sticks in the brain, and a simplified version backs Petrozza's snarling vocals during the fast-paced verses. The verses here are very typical thrash in terms of pace and intensity, with plenty of double bass drumming and the aforementioned guitar pattern providing a secondary hook. The chorus sees the pace slowed down somewhat, with more of a groovy mid-paced approach allowing Petrozza to really shout the main chorus hooks in an anthemic manner. Later iterations of the chorus are long, with choral vocals adding to the overall pot and giving the song an even more anthemic feel. Later parts of the song remain similarly mid-paced, too, with a groovy bridge and a shredded solo section reining in some of the thrash intensity to allow for something bigger sounding overall. Satanic Anarchy feels heavier from the off. There is little standing on ceremony this time, as the song immediately takes off at pace - laying down another melodic death metal-esque riff early on. There is less guitar flash during the song's intro this time, though, with the riff just being a barrelling thrash/melodic death metal guitar pattern as Ventor lays into his double bass drums. The verses are built around the same pattern, so they maintain the early pace. Petrozza has lost none of his vocal power over the years - and his fast-paced and punky delivery during these verses showcases all of his power and grit. His performance ensures that there is plenty of energy throughout the song as a result - whilst he goes for a more melodic approach during the chorus. The chorus is another which slows the pace somewhat - and it is clearly going for an extremely anthemic approach. A big guitar lead adds an additional hook during the chorus - but the shout-along vocal melodies are what really make the song tick. The title track follows, and I have to say I really hate the fact that 'crushers' is spelt with a K, and it reins in the pace somewhat - instead going for a much crunchier, mid-paced sound with a headbanging groove and plenty of bass in the mix from Leclercq. Kreator have often done this more mid-paced, melodic thrash sound pretty well - and this is a song which sticks in the brain from the off thanks to the stomping main riff, Petrozza's barked verses vocals, and the gang vocal-led chorus which is as fists-in-the-air as the album really gets. Despite the guitar playing this time largely being a bit less interesting to allow the grooves to shine, a few guitar leads are thrown in - with the chorus again backed by one. It is clearly a song made for the stage - and it can see it going down really well live on the band's upcoming tour. The chorus is made to shouted back at the band - and the mid-paced grooves will certainly inspire plenty of headbanging. Throw in a slightly haunting spoken word-esque bridge section and a pretty classic rock-inspired guitar solo - and the album's title track brings the best out of the modern Kreator sound.

Tränenpalast sees Petrozza duetting throughout with Britta Görtz (Cripper; Critical Mess; Chaos Rising; Hiraes) - who adds her harsh vocals throughout. Given Görtz's background in melodic death metal, and the elements of that sound which Kreator have incorporated for years at this point, it is unsurprising that this song channels a lot of that energy. The main riff features some of those tremolo twin guitar leads which are often a big feature of the genre - whilst the verse riffing is mid-paced and NWOBHM-inspired, just turned up to 11. Petrozza's thrashy barks and Görtz's growls are a good combination, with the two trading vocal lines during the verses - whilst another mid-paced, shout-along chorus sees Görtz using her growls as backing to make the gang vocals feel even more powerful. She also unleashes a couple of shrieks, too, which act as transitions between sections of the song - with one later giving way to a melodic guitar solo section. Barbarian then ups the pace, returning to something much more typical and thrashy. Kreator often throw in quite a lot of mid-paced material on their more recent albums, but there is still plenty of room for fast-paced thrash - and Barbarian is a good example of such. The riffing once again contains shades of a classic Scandinavian melodic death metal sound, but the pace and overall grooves are very much classic thrash. Fast-paced riffing really characterises the song, then, with the verses filled with that punky venom that all the best thrash bands can call upon at times. Fitting in with the overall vibes of the rest of the album, though, the chorus is another which goes for a more classic, anthemic feel. The pace does slow somewhat during the chorus, then, to allow Petrozza's simple and strident lyrics to be barked out of the speakers - but this song perhaps slows down less than some, which allows the thrash vibes and overall energy to be properly retained. Blood of Our Blood opens with a strident thrashy riff, and the song overall ups the pace again further. Following a couple of mid-paced numbers, the way the band move through the gears during this song and the previous number shows that Kreator still have plenty of old-school thrash energy to expel. Parts of this song may be some of the fastest thrash moments so far. The main riff is fast-paced, but it is slow enough to allow the hooky elements of it to shine, but the simplified version of it which later backs the verses does not care so much about clarity - and instead just goes for it in terms of pace. Some of Ventor's busiest and fastest drumming is found here, too, and there is some of the band's old-school intensity here despite the chorus still containing plenty of big hooks. It is another chorus which slows the pace down somewhat, but as with the previous song it does not do so all that much - which allows the band's old-school fire to really burn. A fast-paced and dual guitar solo also allows such a vibe to feel present. Combatants returns to a grittier, mid-paced sound - which following the lightning pace of the previous song ends up ensuring that the crunchy number feels suitably heavy. Headbanging grooves and a melodic approach to riffing is found throughout this number - and the guitar playing of Petrozza and Yli-Sirniö throughout seemingly focuses on hooks and grooves rather than a thrash intensity. The heaviness here comes from more of a place of traditional heavy metal, then, despite some snappy vocal arrangements - with wah used during parts of the guitar solo and some neo-classical melodies utilised for a NWOBHM-esque sound.

Psychotic Imperator opens in a similar fashion to how the album opened, with slow-burning guitar leads which are eventually doubled as Ventor lays down some percussive drumming. As was the case with the opening song, too, this slower opening is disguising a faster core song - and it is not too long before the song explodes proper with a burst of pace and a verse which is driven by some intense, heavy guitar riffing and plenty of double bass drumming. Some of the riffing here, despite the pace, feels like some of the album's heaviest moments - and Petrozza doubles down on this with a gruffer vocal performance. His verses vocals are typically punky as is often the case when the band speed up - but the chorus seems him delivering the shout-along lyrics in a more extreme manner. His throatier vocals here make it clear why Kreator were such an influence in the burgeoning extreme metal scene in the 1980s - and it is nice to see flashes of that sound and approach remain here despite Kreator having long streamlined their sound. Deathscream maintains the faster approach of the previous song, although it does slow things down somewhat - going for a more anthemic thrash approach, typical of the band's recent core sound. It sits somewhere between the band's anthemic mid-paced sound and the sound of the previous song - but the riffing is hooky and heavy throughout, whilst Ventor's fast drumming ensures that there remains plenty of pace throughout. Görtz is also utilised here, but only really in a supporting role this time - her growls adding a little more grit to a chorus which actually speeds up compared to the rest of the song rather than slowing down. Her role here is much smaller compared to her duet earlier in the album - but the brief harsh vocals do make the chorus pop, and it is another memorable moment on the album as a result. Another busy guitar solo section keeps the song moving, too, and Kreator feel as vital as ever here. The album then comes to a close with Loyal to the Grave, which opens with some gothic choral vocals and chiming clean guitar melodies - as the song builds towards a final mid-paced anthem that is another which is really made for the stage. In terms of the modern Kreator sound, this song is one which very much is in keeping with the band's current approach. There is little of the band's old-school thrash intensity this time, with traditional heavy metal vibes, big vocal hooks, and those flashy guitar riffs and melodies which come from the Scandinavian scene all present. This song just feels a bit more epic overall, too, thanks to some subtle strings utilised throughout - as well as the return of the choir used during the song's opening at times. The chorus feels particularly epic thanks to the strings, and it is another that is sure to go down well live as a result. As the song acts as the album's closing number, too, this more epic approach is fitting - and the grander Kreator sound does work well when it is used sparing, particularly in contrast to the thrashy numbers found elsewhere. Overall, then, Krushers of the World is another excellent album in a pretty long line now of melodic thrash platters from the German band. If the last album was perhaps a slight misstep, then this latest effort returns to the path - but there is still plenty of heaviness and thrash intensity here that will keep long-time fans of the genre happy.

The album was released on 16th January 2026 via Nuclear Blast Records. Below is the band's promotional video for Seven Serpents.