‘Blood To the Leech’ gets the album off to a frantic start as Malevolence open fire with a blitzkrieg of different sounds. Alex Taylor’s furious screams of rebellion evoke a mass prison break, in which he leads the escape and guards can only watch helplessly as they’ve been outnumbered. Josh Baines and Konan Hall’s B minor tuned guitars do their magic, producing some riffs of the finest quality that will make you sweat buckets while Charlie Thorpe sees no limits on how much he can make the most out of his supreme talent. Finely executed radical tempo changes, blast beats and breakdowns out of nowhere says it all as to why he’s a top drummer who deserves a masterclass on Drumeo.

Where Only the Truth is Spoken focuses on Malevolence’s principles and values that they live by “since day one—honesty, loyalty, and integrity”. ‘Trenches’ is an example of that, where the band talk about how they’ve had to put blood, sweat and tears into getting to where they are today. It’s also an unapologetic rallying cry towards staying true to yourself and a slap in the face of their critics who wrote them off only to show up when they became bigger, because in return it’ll be Malevolence who have the last laugh “Now it’s fake smiles at the finish line / Nice to know I’m worth your time”. The band have admitted that they always wanted to be different and swallowing their pride to bow down to purists is something they’ll never do “Never wanted anything in return / I walk my own path, so I keep the respect I earn”. 

You can hear just how much this song touches Adam’s soul as he screams in a passionate tone containing nothing but authority, as he’ll fight until the very end when getting his point across. Every instrument is given room to manifest themselves in the mix thanks to Josh Wilbur, the mastermind behind all this who used Dave Grohl’s Studio 606 to the best of his ability. If you’re a Grammy award winner who’s worked alongside the likes of Lamb of God, Trivium and Gojira, it’s an opportunity you would never pass up. For instance, Wilkie Robinson’s dirty bass tone finds a way to form a deadly partnership with Josh Baines and Konan Hall’s guitars without becoming an unbearable barrage of noise.

‘If It’s All The Same To You’ is a classic Malevolence style song with all the twists and turns you’d expect, consisting of an in-your-face intro before all hell breaks loose. As soon as Charlie does some fills and tickles the ride cymbal, that’s when you know riots will start and no marshals at any show or festival can control a pit as he loses his temper behind the kit. Alex’s screams alongside Konan’s deep gravelly backing vocals spell fear in the air and it’s guaranteed that your neck will hurt from headbanging so much.

Alex mentions how this tune highlights that trying to change people who hold others back is pointless and not worthy of getting yourself involved in. “I don’t believe that times have changed / Another day and it’s still the same” further emphasises those reasons as attempting to talk sense into someone stubborn is like trying to teach an old dog to sit. Eventually, no matter how painful, letting go will be the best option in the long run “I’ll cut my losses / And separate myself in two” while the other party continues to miss opportunities to turn themselves around “I offered you my hand / But you would rather hold a grudge”.

There’s a cheeky surprise included for us too, because the band use every remaining trick in their arsenal with the end product being a Hollywood quality video. Malevolence’s confidence is on cloud nine by this point as they collaborate with Alan Ford, famously known for his role as Brick Top in the movie Snatch whereby he acts as a mafia chief asking them to perform a heist. It’s remarkable as to how quickly these guys have matured, because not many groups at this stage in their careers have the guts to pull off a move like that.

‘Counterfeit’ is where Malevolence inaugurate their museum of versatility by combining a vast array of sub-genres from hardcore, metalcore and deathcore all into one song as well as knowing just how to fine-tune them. Anger management will never work with Alex as he’s fully engulfed in rage, screaming in a protest-style tone as if he had a megaphone while leading a manifestation. Josh’s guitar solo may be short but in this case, it’s perfectly suitable due to many things going on simultaneously which shows his level of awareness, spotting any window of opportunity to add in something creative but not botch what’s well-built. Charlie, who didn’t take too long to announce his presence, runs the show with extra-tidy fills, chops and powerful grooves to carry everyone forward.

Until this point, Malevolence had been hammering our ears with constant onslaughts of fast-paced songs, but ‘Salt The Wound’ brings a bit of respite. They tone down previous aggression and dive into melancholic territory while jumping between ballad and groove metal tempos. While most of Where Only The Truth Is Spoken is in the key of B minor, this song in particular is where it hits hardest. Melancholy and B minor are like brothers in arms and have always gone well together with tunes such as ‘Comfortably Numb’ being a concrete example. 

Clean guitar melodies accompanied by a gentle drumbeat are so satisfying that you can picture yourself sitting by a stream after a long walk. Konan has a much bigger presence and it’s also where we get to hear a different side of him as he softens his vocal phrasing and texture. While roughness remains, there’s some velvet-like warmth sneaking in which matches perfectly with the mini-solos. When it gets to the more savage bits, Alex takes over and just like his vocal counterpart, there’s also a bit of sentiment, showing how much emotion they’ve poured into this piece.

Yet again, it’s not just through music that these guys illustrate their intentions. They come up with another music video to rubberstamp in our hearts exactly what they want to convey. Alex explains how this song exposes both faces of their sound and Director Daniel Priess deserves serious credit for what he’s done in putting Alex’s words into film. The cinematography is beautiful, consisting of scenes all shot in their hometown whether it be ruined abbeys or highlands. So, once you add all these dots together, it’s not hard to understand why their approach is touching. Lyrics cover topics of pain and struggling to let go of ghosts of people who betrayed you or mistakes made in the past, but you still can’t forgive yourself “If I could say all the things I really feel…”. As a result, you end up salting your own wounds as a coping mechanism “Salt the wound / Rip the heart from my chest”.

‘So Help Me God’ is a return to the album’s primary sound as the Konan of old returns with inner grunts reminiscent of Phil Anselmo from Pantera coming out at full force while Alex’s menacing screams reassures listeners that calmness will never prevail. Josh Baines does his longest solo yet, nailing complex patterns of shredding and tapping alongside Charlie, who jumps on the bandwagon of insanity, playing more and more breakdowns that if done at an underground venue, karate would actually happen in the pit.

Up until ‘Imperfect Picture’, things seem to be heading for a hell of a finale, but challenges start to arise. Tracks 8 and 9 feel like they belong in another album and the flow slows down. Also, the brief featuring of Randy Blythe in ‘In Spite’ doesn’t add much to what’s been an overall solid record. Thankfully, the last two songs (10 and 11) prevent Where Only The Truth Is Spoken from an anticlimactic end. Finishing any album on a perfect high is always difficult with many factors needing to be taken into consideration e.g. matching number of songs to their intensity and lengths.

Malevolence though are a very young band and have achieved way more than many other groups who are at veteran status so they can be very proud of themselves for getting to where they are this quick. 

Where Only The Truth Is Spoken comes out on June 20 2025 through Nuclear Blast Records.

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Without even pressing play, the album cover immediately gives away what we’re in for, featuring a portrait of a powerless king who has “lost everything except his crown” but still refuses to relinquish the throne as only death can overthrow his regime. This isn’t something unfamiliar to our history as all evil leaders have clung onto power at whatever cost until a coup, uprising or war has ousted them.

Opening title track ‘Bellum Regiis’ takes no prisoners with Hate unwilling to show any mercy for listeners who signed up for a one-way ticket to metal hell. What starts off as a gradual cinematic-like buildup consisting of clean guitars, an orchestra and soft female vocals (Eliza Sacharczuk) playing a melancholic melody quickly gives way to eerie whispers before an onslaught of max brutality. Like a hungry hellhound about to eat its next victim in the abyss, Sinner needs no introduction as his vicious death growls could probably make the grim reaper retreat into its shadows for good.

Both Sinner and Dominik Prykiel (Domin) let rip on their guitars, nicely mixing in old school blackened death metal riffs with a melodic touch while Daniel Rutkowski (Nar-Sil) at only the age of 27 is playing like a polished veteran on drums. Young talents may be aplenty but to have mastered an extremely complicated blast beat technique at speeds of 270+bpm goes to show that only those who possess that level of finesse can pull it off.

“Tree of Life with branches slowly burning” can be interpreted as the beginning of the end where the king loses grip on power and it’s only a matter of time before his empire crumbles. At the same time, this song highlights how pointless it is to want everything for yourself because it only results in unnecessary wars where many are used as puppets in the hands of those in control “Victors over meaningless greed / We all preach the sermon of the spear!”. In the end, another reign is born but the same old cycle of destruction repeats itself “Spectral voices welcome the dawn of Erebos”. 

If you thought that the rest of Bellum Regis was going to be a melodic blackened death metal experience that’s easy to absorb, then you’re deeply mistaken because it’s all mind games that Hate are playing with their listeners. In fact, this album is far from a walk in the park and the band have cleverly laid out all types of booby traps for us to fall into like Rambo dodging hunters. It’s one of those records where if you don’t read about its background, not even a casual listen will be enjoyable as the key themes need more than one listening session to sink in. ‘Iphigenia’ is concrete proof of that with riffs sounding much more haunted which is typical of the black metal sub-genre, not to mention slower tempos. 

Sinner solidifies his presence where any ifs or buts results in you getting thrown into a fire pit in Dr Evil fashion and it comes across clearly in the mix. He doesn’t have to yell relentlessly like other singers to make his point because his composure does the talking. Nar-Sil might be playing more slowly but the intensity remains, and he doesn’t drop his guard at all with faultless grooves that you can savagely grit your teeth to while listening along. Domim meanwhile, chucks in some cheeky mini solos to add a spark to what’s already an extremely satisfying journey so far.

Iphigenia (daughter of King Agamemnon in Greek mythology) was sacrificed by her father to appease the gods and make way for the fleet to sail to Troy. In this song, Hate use her story as example to show how one can only achieve their ambitions at serious costs “Death will be my marriage, my children and my glory” as well as highlighting how “War is the religion of small hearts and weak minds” which, in other words means that only those who have cold blood start conflicts. However, no matter what side you’re on, courage is what remains the same “One thing remains – thy courage”.

‘The Vanguard’ is a headbanger of a tune, the fastest one of the album with Nar-Sil going on another rampage. There’s nothing but fire in his veins and violence is the only answer to what comes next, so don’t give him any feedback when recording should you wish to get a stick thrown at your head. If you look up a blast beat encyclopaedia, he somehow manages to merge all types into one, whether it be hammer, skank, bomb or gravity and yet not let any ounce of strain seep through.

Sinner mentions that he used Scythian conquests as an example when writing this song in which they used in his words “brutal, ferocious invasive force” while “mercilessly destroying the land of an enemy”. Throughout the entire history of humankind, wars have been fuelled by nothing other than hate and the lyrics sum this all up. “Fueled by godlessness / Pouring hate unto the sacred world” echoes what goes through the minds of perpetrators when carrying out their atrocities, but it can also be a criticism of sacrificing for a futile cause that no god of any religion would approve of. In addition, until the enemy leader doesn’t fall, bloodshed will never stop “There lies hope… on the guillotine!”.

Track number four ‘A Ghost of Lost Delight’ is the last track before the interlude and arguably one of the hardest to concentrate on both sonically and lyrically. It’s where Hate want reassurance that you’ve been paying attention all along to their history lecture because no sob story will convince them by this point. Songs stretching beyond six minutes following unconventional structures are all part of the plan to wear listeners down slowly and painfully as the band want to make you feel that eternal cycle of torture and struggle while refusing to surrender. Topics of life and death are widely discussed with a message that there is hope in darkness “In darkness we crawl toward the starlight / In a race against the flow / We saved our world from oblivion / Ghosts of lost delight… now live!”  

Nar-Sil is at his most versatile by constantly flirting between half and double time, changing tempos at random sections and unexpected pauses to give off senses of delirium. Sinister sounds exactly like his own stage name this time as he shifts his tone to a far scarier one. Thanks to diminished chord progressions and key changes from guitars, he comes across as intimidating and paranoid as if he were the king himself from the cover barking orders at his servants in one last attempt at salvation.

While an instrumental interlude at the halfway point does offer a bit of a breather for listeners, Hate are far from finished salting our wounds. Don’t be fooled by the remaining songs being shorter because they’ve put a different twist on things that make the experience just as painful as the first half of the album. ‘Perun Rising’ picks up right from where they left off. It has the same level of complexity as every other tune consisting of constant fluctuations between odd and even time signatures, sudden orchestral pauses, and dark sounding riffs despite it being just over five minutes long.

‘Alfa Inferi Goddess of War’, the first track to be completed according to Sinner, highlights how we (humans) build an infinite cycle of creating what we destroy “We are creators who create ourselves / By our right” and nurture each other only to be chewed up and spat out once manipulated “She feeds you to grow before she steals your breath”/“An empty promise of salvation to adore”. It’s also a criticism of false hopes that religion and politics usually offer which goes back to the burning question being asked about why we still have a desire for power despite all these factors being blatantly obvious. 

‘Ageless Harp of Devilry’ brings Bellum Regiis to a close in similar fashion to the way it started as Hate inflict the killer blow to scar you for life. Sinner’s mission to cleanse listeners of their sins is finally complete while Nar-Sil’s marathon endurance helps us get over the line with machine gun speed blast beats, double kick hits and 16th note patterns on cymbals. Domin meanwhile joins forces on guitars, showcasing some more frightening riffs that can come out of his possessed instrument to give us chills. Lyrics are a summary of what this album is about in which the so called ‘harp’ is a metaphorical instrument that corrupts its victims who dance along to its tunes “Ageless harp of devilry! Let them dance to thy tune”. When one’s soul finds truth, it’ll then refuse to be indoctrinated again “No god no! Altars ablaze!” / “Raped soul… it won’t regress” and that’s the start of overthrowing the king portrayed at the beginning.

As the saying goes, ‘risk brings reward’ and it couldn’t be any truer because Hate have done what few bands dare to dream about, stepping outside of a genre’s comfort zone to break stereotypes built over time. Their moves have paid off and listeners need to put in extra effort to absorb its layers which can be tiring for some. However, this record will eventually grow on you and become enjoyable.

Bellum Regiis was released on May 2nd 2025 through Metal Blade Records.

The post Hate fight a ‘war of kings’ – Bellum Regiis appeared first on RAMzine.

Once you’ve completed your teleportation, opening song ‘Highway Hurricane’ is an instant memory refresher to make sure that you’re ready to enjoy your past self. The saying of “sex, drugs and rock ‘n’ roll” was practically in almost every young glam rock fan’s everyday vocabulary back then and this tune sums it all up in which topics of explicit love prevailed. Although the lyrics have a sexual message to them like most sleaze hits did “Get on top baby, let me take you for a hell of a ride”, it’s got the exact feel of the title. Fast and aggressive drumming with grinding riffs and soaring vocals gives an irresistible feeling of firing up your old muscle car and bombing it down an empty highway until its tires burn to shreds.

‘Who Said Rock ‘N’ Roll is Dead’ reinforces the band’s message of trying to keep a sub-genre alive, as mentioned earlier, where no matter what stands in its way, you can’t bring it down “They tried their best but never succeeded”. Not only do they make that clear in their lyrics, but sonically, they follow all the characteristics of hair metal to the core without modernising it at all. Danny Rexon’s Bon Jovi-like raspy voice and anthemic backing vocals in choruses is highly contagious while some raw, melodic power chords by Chrisse Olsson and Jens Lundgren confirm that our journey wasn’t a waste. On drums, Robin Nilsson rolls back the years playing comfortable beats with a kit tuned just like the old days in which snares have a snappy tone full of reverb, ride cymbal notes ring out in long spurts and kick hits contain a hollow punch. Trying to bring a classic style back to life gives little room for error and it’s very easy to botch but Crazy Lixx don’t put a foot wrong.

‘Little Miss Dangerous’ is where Crazy Lixx expose their rebellious side with a throwback to your classic track about a femme fatale portrayed as a ‘bad’ girl using her beauty to enchant and deceive, “She’s got something that your eyes can’t see – Oh yeah!, Not the whole picture, know what I mean?”. The video speaks for itself with scenes alternating between a graveyard and strip club where band members get their desires fulfilled by seductively dangerous women who could also be voodoo. Danny’s charisma and charm featuring a slick haircut with shades on is bound to get front row fans bawling.

After warming listeners up, Crazy Lixx have had enough of messing about as they quicken the pace with ‘Call of the Wild,’ which is the fastest track of Thrill of the Bite. Robin Nilsson ups his game by relentlessly pounding the drums like his life depended on it with rock-solid timing while Jens and Chrisse put their heart and souls behind producing crunchy harmonies. Danny also joins in on the action by adding extra authority to his vocal phrasing without losing that husky touch, as he doesn’t need tons of power to enhance his presence.

However, Crazy Lixx aren’t done yet when it comes to creativity because when there isn’t an official video for a tune, they might as well do it themselves so take a step back Hollywood and let them take care of business. If there’s a band that can marry music to imagery, then these guys are going to need serious competition. Throughout their career, the Swedish rockers have made a habit of editing scenes of cult classics and picking out which one goes well with each part of a song and they’ve beautifully mastered that art. In this tune’s case, they’ve grabbed bits from ‘The Lost Boys’ and it flows like a storyline with a clear plot that anyone can follow seamlessly.

As usual in most glam rock albums, you’ll get a ballad or slow song at the halfway point and that’s exactly what happens here. Remember, smart phones didn’t exist so make sure that your lighters have plenty of gas to be waved for the next 4.5 minutes. Robin goes nice and easy with grooves that one can happily vibe to while cuddling their partner on Valentine’s Day under a moonlit sky as Chrisse and Jens whip out joyous melodies to reignite memories of our first kisses. Danny may not have a sweet texture to his singing, but romanticism manages to find its way through the roughness which is what makes this special. Although ‘Recipe for Revolution’ comes across in a light-hearted way, it’s about voices of the forgotten who have been outcast in a rundown city “We are the lost and persecuted/The victims of the streets” and are ready to put up a fight for their existence to be acknowledged “They can take away our lives/But they will never break us all”.

After a cooling break, normal service is resumed with back-to-back fast tracks to headbang to until you rupture a nerve in your neck (‘Run Run Wild’ and ‘Midnight Rebels’). Apart from sex which we all know is a prevalent theme in sleaze, rebellion is another popular one and for those who got a reputation as the biggest troublemaker in school, then this is your anthem. It’s got all the ingredients to form an imagination of a group of lads cast out for their music taste and are now ready to roll up on their motorbikes, causing all sorts of chaos, whether it be doing doughnuts at roundabouts or fighting at pubs “Livin’ on the edge/We’re breaking all the rules”. 

Danny’s bad boy figure comes to life as he exposes all the dark secrets of being a rockstar in them days with a little bit of a mischievous tone to his singing while Jens and Chrisse go old-school, strumming away at their precious instruments full of cheeky riffs and harmonies that can get a smile out of a shy listener. Robin also can’t resist feeling like a youngster and unleashes simple but memorable patterns that no one forgets in a hurry.

Unlike many albums that run out of steam and get repetitive, Thrill of the Bite keeps its spark alight throughout. Songs may sound similar, but they don’t get boring and each transition to a new one is as smooth as seasons changing. The band keeps their energy levels high too and nothing comes across as tired or forced. Many factors including matching sound to thoughts as well as investing in a mix replicating the past also play a part in retaining listener engagement. Due to the record quality being almost identical to what this genre sounded like many decades ago, listening on a good system is recommended in order not to miss any raw details. 

‘Hunt for Danger’ is a prime example where once again, Crazy Lixx slow things down again at the right time to preserve overkill as we’re treated to a mid-tempo hit which has that chart-topping love song feel to it despite being about someone trying to live life to the max but at the same time flirts with ‘danger’ through destructive habits “I tried but still I hunt for danger”.

The only criticism towards this record is that if they’ve played glam metal/rock trait by trait, then solos throughout could be a bit longer as it makes a massive difference in how complete something feels if a tune has been done justice.

Crazy Lixx have proved that through hard work and dedication from both bands and fans, you simply can’t kill rock ‘n’ roll when done correctly. Therefore, it’s safe to say that this sub-genre is here to stay. Thrill of the Bite was released on February 14 2025 via Frontiers Records.

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Certain types of music pass the test of time and although disco (1970s mainstream pop) didn’t, it hasn’t gone extinct and Dynazty along with other electronic power metal bands such as Beast in Black, Metalite, Battle Beast and Amaranthe have made the most of what the metal genre can do to express an endangered style. The end result is a wonderful mix of raw vocals, brutal guitars and pounding drums that add aggression but most importantly, don’t destroy its essence.

‘Call of the Night’ gives no breathing space as we jump straight into an action-packed frenzy. Should Satans Hollow ever host a disco event, this one is a must for the playlist as it’s got all the vibes appropriate for a nightclub where one can imagine themselves shaking their hips under a lit-up globe. Georg Egg’s four to the floor patterns on drums along with skip beats by synths make the song easy to absorb while Mikael Láver and Love Magnussen work as a team in unleashing one of the craziest shred assaults you might hear. Nils Molin’s vicious vocal chords never seem to tire and every new record sounds fresh. His belted technique comes across smoothly and there’s not one hint of strain. It flows naturally and he doesn’t have to puff his chest out to execute high notes.

Lyrics touch upon how different times of day can play with our subconscious and nights seem to be the most dangerous. According to Nils, “When light shifts so does the mind of man” which is true as a lot of foolish behaviour in entertainment venues that for instance, don’t tend to happen in broad daylight. “Now raw emotion is in power” is an indicator that when night falls, impulsive thinking takes over common sense and that your brain gets easily carried away “We surrender to the call of the night” to the point where there’s no turning back. However, recklessness brings its consequences and once a new day dawns, you’ll regret your actions with a sane mind “When the smoke is gone the devastation’s clear as daylight view”.

The title track ‘Game of Faces’ keeps the party going with Dynazty determined to keep headphones glued to your head. Georg’s impeccable sense of timing is as precise as a DJ cross-fading songs on their turntable with neat fills and tempos that can get one shuffling their feet. The addition of orchestral backing tracks gives an exciting touch of suspense which goes well with Nils’ emphatic style of singing and themes discussed in this song. Love and Michael’s energy levels on guitars keep increasing by the minute as the shred fest continues to the point where you’d start fearing for them having any feeling left in their fingers by the end of the album.

While ‘Game of Faces’ doesn’t manifest the lyrical message in a serious manner, its meaning certainly is. It’s about the risks that come with ambition and setting unrealistic expectations, not to mention the aftermath “Lie with morality, And you’ll soon be corrupted”. In an era where social media prevails in human interactions, we already play a ‘Game of Faces’ with ourselves and no one really knows what’s true “Under the mask is another face”. That’s well-reflected by the cover featuring someone peeling a mask off, representing the idea of disguises people put on to cope with life.

‘Devilry of Ecstasy’ is the sort of song where after a few drinks in, you’re in cruise control and mumbling your way through gibberish conversations as the clock stretches past midnight. It’s about how looks can be deceiving in which something that appears charming is nothing but a trap “Never trust the gold that glimmers so beautifully”. However, temptation often wins and disastrous results await “Beware the kiss of death before your fate is set”. Nils cleverly adds a touch of romanticism to his voice with a seductive tone to bring the song’s message to life and mess with our imagination. Having a skill like this where you can play around with styles and textures to suit each tune is not easy at all and very few can pull it off. 

Georg’s ability to remain consistent for long periods is clear as day with an inner metronome ticking at full speed. There’s not the slightest bit of fatigue seeping through his playing and composure is at an all-time high. Although the beat is simple, maintaining a pattern of that type is no easy thing and can often be harder than trying the opposite with something mega difficult. Guitarists Mikael and Love are up to their old tricks again with a relentless barrage of solos that leave the likes of Yngwie Malmsteen and Chris Impellitteri clutching at straws. If their instruments could speak, they’d be begging for mercy by this point.

After three energising tracks, Dynazty step off the throttle with an arm-waving ballad ‘Die to Survive’ to refresh yourself for what comes next. 16^th note hits with cheeky harmonies that set the tone for an exciting experience and it comes at the right time because listeners could start switching off had the tempo been the exact same. Nils is given more space to roam as other instruments take a step back while he goes centre stage. This time, there’s extra power and charisma, proving how versatile he can be when required. The song also has a traditional power metal trait such as key changes in outros and there’s no better pick than Nils due to how well he can adapt to every transition. Love and Mikael couldn’t care less about how fast a tune is as they’ll shred at even 1 bpm by pulling off the mother of all licks, arpeggios and tricks while Georg happily takes responsibility in keeping everyone in time with relaxing fills and trickery worthy of an applause similar to an end of a classical encore.

‘Fire to Fight’ brings Game of Faces back to its energetic pace as Dynazty refuse to let the hype drop. Topics of resilience and facing one’s fears head on are highlighted and the use of major scales during the choruses helps propel feelings of not giving up. Unsurprisingly, Nils’ chameleon-like skills in switching voices for any situation come into play, adopting a spirited approach like a captain trying to get their team morale back while the Mikael/Love solo machine is firing on all cylinders accompanied by Georg’s pinpoint coordination.

As Game of Faces reaches its halfway mark, the afterburners are on and any sympathy for listeners getting rest is non-existent with the band moving away from their ‘disco’ influences in exchange for some old-school power metal to shake things up a bit. Georg hammers away at the double kick pedal as if he’s just had a lightning bolt shoved in his legs while maintaining superb composure of a skydiver jumping off the Burj Khalifa. Nils reveals his warrior side and sings in an adventurous way not heard before, belting out melodic battle cries like typical dragon-slaying knights with the backing of epic guitar harmonies reinforcing an image of a grandiose fairytale bound to have a dramatic finale.

While Game of Faces is a fun experience overall, it does have some challenges regarding structure and fans’ attention might start to wane after track 7. ‘Dream of Spring’ and ‘Mystery’ also feel somewhat out of place as the sudden jump in styles don’t marry well which takes some of the spark off what in general is a solid album. Perhaps, saving them for another record would’ve been a better idea.

Game of Faces was released on February 14 2025 via Nuclear Blast Records.

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Fearless Vampire Killers wasted no time in opening their account as a sold-out Academy 3 was already 2/3 full before they even introduced themselves. Unlike where lots of support bands can often get a weak audience as people settle in and preserve their energy for the bigger groups, these guys had a seriously impressive ability to get fans engaged. Formed in 2008 when chart topping emo was at its peak, the lads from Suffolk brought the old boy band vibes back with trends common in those days, including fringes, eye shadow and wearing same-coloured shirts. All that was left was to get your retro TV out of your attic and turn on Kerrang or Scuzz at max volume while dreaming of being a teenager annoying your parents at bedtime again.

Singer Laurence Beveridge’s onstage theatrics won people over in a heartbeat and before you knew it, vast sections were waving their arms and jumping. He barely had to raise his voice to encourage us to copy his commands as a strong presence did its trick, not to mention ultra-high confidence when it came to experimenting with vocal textures ranging from screams, borderline whispering and belting. Drew Woolnough and Shane Sumner’s riffs had that sort of touch where only an intimate venue is suitable for that sound, full of underground alternative rock feelings to bring out a rebellious side of you while Luke Ellingworth got the party going on drums.

After an energetic performance, Conquer Divide knew very well that ‘conquering’ our hearts wasn’t going to be a walk in the park, but they breezed past any sort of potential banana skin. Since their birth in 2013, the Michigan metalcore four-piece have been taking the world by storm whether it be awards from magazines or discography sky-rocketing in charts. That night was solid proof as to why they’re a force to be reckoned with and Manchester had no response for what was coming its way. Kia Castillo and Kristen Sturgis’ musical partnership was at its brilliant best as the marriage between clean and harsh vocal styles matched as if sound was capable of falling in love. Kia’s raspy voice had a touch of romanticism and when combined with some seductive dancing similar to Courtney Laplante of Spiritbox or Camille Contreras (Novelists), audience members were drooling with awe. Kristen’s more aggressive approach formed a wonderful contrast between both singers and brought extra authority with the backing of synth tracks.

Sam Landa on the drums had a wide smile on her face from start to finish with receptive and warm expressions enough to brighten anyone’s day. It’s an excellent example of what composure is like once you’re used to playing on big occasions with your soul doing 100% of the talking. That in turn brought the same reaction from fans who felt every ounce of her joy. Conquer Divide will return to English shores shortly to support Ankor and after such a display like this, it wouldn’t be a surprise if a headline tour comes next.

By the time New Years Day came on, not even a fly could fit in with hype levels too high for many to think of heading back to the bar for a drink. While it may not be Jan 1^st anymore, the band can shine on any day of a calendar with that night being no different.

Without a shadow of a doubt, you can’t highlight the sheer importance of Ash Costello both to the band and fans. She’s like that sassy friend at school who’s always fun to be around with and has a remarkable ability to unite audiences and pick out something that they can resonate with. Her presence and personality, whether it be through spoken word or choreography spreads at the speed of a common cold and the way that she could keep crowds constantly entertained during a long period of technical issues was astonishing. Little things like banter with other members while introducing them or hanging out in the pit during ‘Skeletons’ set an example of what a good rapport should be like. 

Character aside, her musical talent supports her likeable traits with a vocal range that can stretch like Elastigirl from The Incredibles. It can be whispers, smooth or belted cleans all the way to distorted fry screams often using telephone EQ. In other words, she’s got it all kept safely inside her locker ready to be unleashed when the time is right. Although Ash was always going to snatch the spotlight away from everyone else, the remaining members also played their part in energising us. Jeremy Valentine and Nikki Misery’s erratic onstage antics such as knee slides, stomping and magic tricks certainly got a good laugh out of the crowd. Not to mention drummer Tommy Rockoff making a fool of himself by constantly interrupting others or getting mocked for being ‘repetitive’.

While having a good sense of humour is a useful tool to break the ice between you and fans, you need to back it up with talent once grabbing hold of your instrument and that’s what Jeremy, Nikki and Tommy did. The guitars had a lovely djent tone which blended in well with New Years Day’s fearsome style as well as evoking memories of our teenage years moshing inside our own homes to emo anthems.

Meanwhile, Tommy was having the time of his life, taking the opportunity to excel once more and you could see just how much this occasion meant to him. It’s not hard to put extra pressure on yourself when you want to end a long tour on a high when fatigue has well and truly settled in. However, he rose above that challenge and used his experience as a superpower to set an example on how to thrive from these kinds of situations. Feeling nothing but passion while tidily executing complex patterns were the secret ingredients to win us.

Despite the show being highly entertaining, yet again the Manchester Academy 3 has fallen victim to poor mixes and there were times where instruments drowned each other out because it was far too loud for a venue of this size.

New Years Day taught Manchester one of the best lessons you could ever ask for when it comes to team work as a band and if they are to return to England in the not-so-distant future, we could be seeing them back at Download where a visit is long overdue.

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‘Nostradamus’ an instrumental intro, consists of a thunderstorm gradually building in tension with clean guitars and a choir before exploding into an epic orchestra. In the same way that a band of your dreams walks onto the stage in complete darkness before carnage unfolds, it’s the perfect soundtrack to get listeners on their feet in preparation for what’s to come.

‘I Will Rise’ is where the action begins as it’s bombs away and Bonfire’s inner flame is fully lit. Mid-fast tempos with some cheeky harmonies and spirited vocals bring a grin of pleasure while solos using tunnel-like effects guarantee that you won’t skip to another track. This song tells a personal account of how band founder and guitarist Hans Ziller felt “threatened, humiliated and cheated out of millions” after being fired in 1989. However, he refused to back down and came back in 1996 with lyrics depicting the resilience he used to overcome his troubles “I will rise, but barely breathing, on the edge, and I’m still holding on”. 

The music video itself is extremely surreal and might illustrate what was happening inside Ziller’s head back then, replicating what it’s like to go through such a dark period and come out victorious. It starts with someone receiving CPR accompanied by the grim reader reading a passage during a zombie apocalypse only to suddenly change to the big bang shooting Ziller’s guitar to earth. It could be interpreted as once you’ve escaped turmoil, you feel reborn and a new beginning awaits.  

It’s not just echoed lyrically though, as key changes between instrumental sections, verses and choruses represent different feelings. For instance, solos and bridges sound more aggressive, like the peak of an emotional crisis whereas choruses are a bit more uplifting, signalling triumph. While that itself is a clever tactic, Bonfire goes one step further and combines different music genres into one song. Each part jumps in and out of metal, hard and glam rock to match their meaning. 

The title track ‘Higher Ground’ is a much more uplifting, slow-paced song that you could enjoy while chilling in your garden watching the sunset. Just like ‘I Will Rise’, it has a motivational feel to it and will make anyone who lived through the prime days of glam rock young again. Choruses in major scales full of memorable power chords are highly reminiscent of the 1980s when rebel youngsters who liked heavy music would gather in intimate venues, chain smoke and drink until they dropped. The album cover appears to further emphasise what this tune wants to evoke with a backdrop of a city burned to the ground and a lady standing atop of ‘Higher Ground’ i.e. safety achieved through never submitting to adversity.

Dyan Mair on vocals has the sort of contagious and anthemic charisma which can make even the shiest fans sing along. Whenever he hits high notes, you can feel an onslaught of passion being released and that’s all we need to enjoy a song of this type.

‘I Died Tonight’ might have a melancholic touch but a straight-forward beat at a jogging pace, epic keys and crunchy guitars kills off any chance of not dancing along. Frank Pané and Hans Ziller engage the AOR/sleaze machine as they go old-school with delightful riffs and solos so irresistible that you’d want to hear them on an old, rusty radio that’s been decaying in your garage for years. Lyrics are about struggling to deal with heartbreak and learning to let go once you’ve come to terms with reality. While there’s optimism that you can work things out, “I still believe that we can work it out”, you soon realise that it was a mistake as the warning signs of betrayal were there “I should have read between the lines”.

Tunes of this nature are nothing new to hard/glam rock and Bonfire do a wonderful job of making the most of what thought a key can trigger. B minor is the dominant key and suits the video as it shows a sad memory of a couple’s relationship where things were going well until they fell apart. Eventually, they reunite and stay together until death which matches with a major outro (another genre trademark).

‘Lost All Control’ is one of the heaviest tracks of the album and covers the topic of ‘isolation and the disconnection of reality that people with mental illness sometimes have to deal with’. Fabio Alessandrini opens fire on drums with blistering double kick hits as powerful as dynamite explosions used to demolish buildings while Hans and Frank lead the adrenaline charge. Dyan ups his game to a more aggressive tone in which his vocal phrasing gets sharper and belting is noticeably stronger, carving feelings of anguish right into our ears. Trigger warning: although the video doesn’t depict mental health patients anywhere near as realistically as films like Shutter Island, certain scenes can be quite disturbing to some.

After six energetic tracks, ‘When Love Comes Down’ comes at just the right time for a breather as Bonfire slow it right down to ballad territory, so it’s time to wave your arms with a lighter in the air while burning marshmallows around a campfire. Just like 99% of hard rock ballads, they always flirt between acoustic riffs and soft vocals before going into full power, whether it be a sing-along chorus or wicked guitar solo. This is where we get to hear Dyan show off his entire vocal range with slick transitions between calmer and heavier sections as well as side-stick techniques on drums which never disappoint when needing some rest.

Once you’ve refreshed yourself, it’s back to business as Bonfire turn the clocks back even further with lots of 70s Deep Purple vibes during ‘Fallin’. Dyan’s high-pitched parts contain plenty of shades of Ian Gillen while melodies by Frank and Hans make anyone with long hair want to untie it and headbang until going dizzy. Energetic songs are tempting to play loud and fast but can be easily overcooked, so Fabio says “leave it to me” and shows that less is more couldn’t be more applicable. The beat is simple and he cruises through it like a sound check session, allowing breathing space for other instruments and fluidity to a tune’s structure.

‘Come Hell or High Water’ reveals yet another side of Bonfire who by this point, want to showcase their versatility back to front. They go into groove metal mode with drop D tuning at slow to mid-tempos, eerie-sounding female opera backing tracks and spooky synths. Dyan’s voice gets angrier by the minute, similar to Fletcher from Whiplash as if he’s about to punch a hole through a wall, full of fury and grit. Hans and Frank meanwhile mark their territory, keen to wear their guitars down like shredded tyres with disgusting riffs followed by picture-perfect drumming from Fabio.

Such drastic changes in sound throughout an album can in most cases be off-putting and confuse listeners but thankfully, the band don’t overcomplicate it and each new song smoothly transitions into one another.

‘Jealousy’ is solid proof that Bonfire are willing to just about dip their toes into all sorts of waters because their creative risks are all paying off. The flames are now uncontrollable and putting them out requires a fire brigade as we’re treated with a blitzkrieg of classic metal. Dyan’s raw nwobhm-like vocals in the style of Harry Conklin from Cloven Hoof contain the power of cross winds diverting aircraft while some screaming guitars backed by violent beats which sound like dragsters revving at max rpm can cure anyone’s depression.

For the last two tracks, the band returned to their primary glam/hard rock sound with one of them being yet another re-recording. Thanks to a variety of subgenres characterising each and every song, this album is a solid effort from start to finish and any fatigue from repetitiveness is impossible. While the way it ends is a bit abrupt, maybe one or two more tunes would’ve been ideal. However, it could be that they decided to avoid fillers and create a climax for their next release.

Bonfire are well and truly back with Higher Ground being a clear sign that their inner flame of creativity is far from burning out.

Higher Ground was released on January 24 2025 via Frontiers Records.

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The 2020s decade has been nothing short of chaotic and eventful and as we hit its halfway mark, our planet’s future remains on a knife edge with no sign of peace on the horizon. Taking full advantage of what’s happening around us, Labyrinth expressed how this period has inspired them to be free as artists and take creative risks without any hesitation while being boxed into a specific sub-genre. The band states; “With this album, we set out to achieve total freedom, allowing each of us to fully express ourselves”.

Opening track ‘Welcome Twilight’ gives no breathing space at all as a drum fill quickly gives way to a thunderous intro full of pulsating guitars and piercing synths in 6/8 before suddenly changing into 4/4. It might only be the first song but it’s clear that Labyrinth aren’t going to hold back and not even the toughest bouncers can stop them. Roberto Tiranti couldn’t be a better pick for a vocalist expressing the album’s key themes as his dramatic style resonates heavily with the time that we’re living in. You can feel the passion in his voice whenever he belts falsetto notes capable of scratching one’s eardrums, not to mention a Latin choir of doom yelling “SI VIS PACEM PARA BELLUM” (if we want peace, we must prepare for war). That itself is already potent enough to sink you to your knees in desperation as you can only brace for impact while an inevitable apocalypse approaches.

Guitarists Andrea Cantarelli and Olaf Thorsen join forces in releasing bottled anger as we feel the wrath of their skull-crushing riffs and solos. For over 30 years, the pair of them have been running the show with ultra-complicated licks and tricks top players have nightmares about not rivalling. Drummer Matt Peruzzi meanwhile sets the example as to why others should follow his lead with extraordinary fills, double kick and coordination that makes prog power metal an enjoyable genre when executed at the highest of standards.

The way in which ‘Welcome Twilight’ ends identically to the start after long periods of madness in common time signatures cleverly represents how uncertainty is such a prevalent feeling during times where no one knows if we’ll live to see another day. The video itself features Labyrinth playing in an underground sewage with AI made aerial footage of city landscapes possibly depicting the false narrative we’re living under where what we see in metropolitan areas is nothing but a disguise as to what’s happening down below us, hence the drain being a figure of a filthy reality. It eventually finishes with that same city in ruins destroyed by a nuke which acts as a grim reminder of how easily human ego makes them destroy their own creations.

Lyrics explain how humanity has come out of the pandemic worse than before and that our freedom is in the wrong hands. During this dark period, populism grew and we were brainwashed with fear and conspiracy theories “Brains infected with well-directed fears, they are leading us towards new wars”. The accentuated repetition of the Latin phrase “SI VIS PACEM, PARA BELLUM” mentioned before is nothing new to us because no peace has ever been achieved without bloodshed.

‘Accept the Changes’ continues the onslaught, full of electrifying beats, soaring vocals, crazy shredding and riffs hitting so hard that you’ll have a migraine from headbanging excessively. This is where Labyrinth start unveiling preserved magic gradually as their ability to mess with our emotions shines through with unexpected dynamic changes, diminished chords, clean guitar tones and keyboard sound effects. For instance, pre-chorus bridges go from all-out aggressive to suddenly soothing whereby Matt plays softly using a sidestick technique and Oleg switches to samples mimicking cricket trills, resulting in feelings of disillusion and excitement at the same time. 

‘Out of Place’ is where things start to get a bit more interesting and In the Vanishing Echoes of Goodbye’s message gets closer to its core. Roberto Tiranti describes how the song is a reflection of his current state of mind in today’s world in which he feels that music is the only thing he can still resonate with because everything else is alien and unrecognisable “We no longer recognise the world for what it was and sometimes we struggle to recognize ourselves”. When you listen to it, you can understand precisely what he means because Labyrinth have done a spectacular job of marrying sounds with meaning and imagination. 

But not only is that down to artistic merit sonically speaking, it’s also choosing audio engineers who can mix a record that aligns final product quality with its key message. Thanks to them, all instruments are distinguishable and you’re able to share the same thoughts that went through band members’ minds as if you were there during the recording process.

Previously, Labyrinth mentioned how they wanted to be totally free without being confined to a style and Roberto has definitely stuck to that promise. He’s let his soul fly away like releasing a wounded animal back into the wild by stretching his range to the absolute limit. What were once vicious cries of discontent have faded into desperation and hopelessness as we get to hear a new side of him for the first time. Weak, strained phrasing shows how much pain he feels, being lost without an identity and it’s impossible to not feel touched.

However, it’s not just him who can move us, as the rest of the band excel in sucking listeners into reliving their experiences. Frequent fluctuations between major and minor scales along with tempo changes are an accurate representation of the many phases you go through when feeling ‘out of place’. Such transitions display confusion of not knowing what to feel in times of a crisis while temporary acceleration mirrors panic mode when overwhelmed.

Until ‘The Healing’, Labyrinth give listeners enough rope to hang onto for what’s coming their way but the tables have now turned and their desire to be free gets the better of them. What you think acts like a cooling break before heading into round two is just the first of a series of booby traps laid out by the band to prove that Into the Vanishing Echoes of Goodbye is anything but plain sailing. The verses are quite calm with comfortable vibes consisting of acoustic guitars and ambient synths as if you were meditating in a jungle only to then change tempo for 90 seconds and jump back into a solo in its original form. In a way, this song subtly indicates that Earth can heal only so many times because if you underestimate her, she’ll bite back.

While Labyrinth have been very direct in the main theme they want to evoke, don’t be fooled as this album isn’t easy to break down like digestive biscuits. Each song is wrapped in multiple layers similar to a tiramisu and listening to them more than once in a quiet environment with good streaming services is recommended. The cover itself is already striking and gives a bleak indication of what our planet could very well look like should we continue heading down a destructive path. An eroded symbol in a dark, barren wasteland with only a few trees standing and a crow could picture a brutal aftermath of climate change, wars or even another pandemic. 

‘To the Son I Never Had’ and ‘Inhuman Race’ bring Into the Vanishing Echoes of Goodbye to a close with Labyrinth pulling out one last lethal trick from under their sleeves. It’s at this point where tiredness kicks in and bands want to truly test whether you’ve been awake all this time and enjoyed what you heard. Again, it’s the same elements of surprise to throw listeners off but this time it’s different. These tunes have a hallucinating feel to them by using more major scales than usual as well as a cheeky addition of sci-fi sound effects in random parts as if you were travelling in space.

‘To the Son I Never Had’ is a ballad that lives up to its name in which time just seems to drag on as a result of losing hope whereas ‘Inhuman Race’ gives off a futuristic sensation with a news broadcast mentioning Russian forces getting access to a combat vehicle supplied with intelligence instead of brutal force. It’s a somewhat ambiguous ending to a rollercoaster of a record leaving a giant question mark hanging over our heads as to whether AI could possibly decide our fate.

Labyrinth have delivered exactly what they promised and if this is what they can do without any boundaries, then we best brace ourselves for what could be a bombardment of mouth-watering albums to come.

In The Vanishing Echoes of Goodbye comes out on January 24 2025 via Frontiers Records.

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Before any band came on, pantomime style jazz tracks by Richard Cheese were playing but it was nothing more than a cheeky antic to fool any inexperienced concert goer into believing that it was going to be a slapstick comedy show. However, once Vitriol opened the bill, reality showed itself with family friendly entertainment off the cards.

They may only be a two-person band but boy can they make a hell of a racket. Like the cool kids at the back of class who always manage to get attention, these guys certainly made their presence known, eager to please a rapidly filling Manchester Academy 2. Matt Kilner’s Spiderman reflexes came to the rescue with drumming executed to the highest standard starting from a double kick. His feet barely came off the ground during faster sections as if gravity and him reversed roles. Magic tricks didn’t just shine from Matt’s lower limbs though as his upper ones were equally as potent with all sorts of blast beats ranging from bomb, hammer, gravity and skank travelling like Apache helicopter gunshots.

Kyle Rasmussen took centre stage and assumed responsibility of keeping fans’ eyes on him by pulling off some meaty riffs and solos which would make anyone fail a try not to headbang challenge as well as screams capable of exorcising any demons. Not to mention an ‘intimidating’ posture of a Viking ready to thrust their sword into a wounded enemy.

As has been a recurring pattern at this venue, the mix was muddy and bass/drums dominated with Kyle’s parts considerably drowned out. What’s a shame is that when a set is solid, poor sound quality can often take a spark off it.

Despised Icon were next and even though they slowed the tempo down a bit due to their deathcore style, there wasn’t a sign of boredom from the audience. Alex Erian and Steve Marois joined forces to peak Manchester’s adrenaline levels with call and response screams matching like Cupid’s arrow striking its target. Each of them performed a different type of scream in which Alex did most of the guttural parts while Steve did the fry/higher pitched ones and pig squeals, resulting in a pleasant contrast for listeners.

Ben Landreville and Éric Jarrin captained the riff ship with some picture-perfect guitar work containing satisfying tones which this time were clearer in the mix, filling out any emptiness. Alex Grind’s drums really did pack a punch in particular as you could feel the kick drum notes pound your chest like a subwoofer from close range including an authoritative snap to the snare. Playing wise, his technique excelled because pulling off heel-toe patterns without getting sloppy doesn’t take much but he swept that challenge aside and unleashed even more trickery, whether it be rapid-fire fills or grooves that not even the fastest Leica lenses could capture.

With every band having stormed through convincing performances, the pressure was truly on Chelsea Grin to deliver but they’ve been here before and calmly put any worries to bed. The Salt Lake City group continued raising noise levels and trying to catch crowd surfers was like riding Hawaiian waves without falling.

Unlike many bands where a singer doesn’t make their presence known without shouting at the top of their lungs, Tom Barber’s chilled body language and humorous tone of voice was enough to hype people up as the harsh vocals did the rest of the talking. In no mood to mess around, he took firm control by confidently juggling different techniques simultaneously and each type of scream fitted a song’s section like a successful blind date considering how rapidly things can unexpectedly change in a deathcore tune.

Stephen Rutishauser’s guitar skills played a key role in keeping us engaged, acting like a second mouthpiece to Tom with pre-breakdown riffs orchestrating the mosh pit to spread before all hell broke loose, which is a very important characteristic of this subgenre live. Other than that, he had an outstanding night and his playing was as polished as a shiny pair of shoes worn at a masquerade. After all the buildups, Josh Miller waved the chequered flag on drums to signal moshers to lose their heads with blast beats reverberating all around like anti-lag exhaust bangs and mega-tidy fills capping off a wild display.

With 2024 coming to a close and festive vibes prevailing, Dying Fetus crashed the party and turned Manchester into a bloodbath as for the next hour, the Baltimore brutal death metal trio terrorised the North West of England. Bodies were landing constantly over the barricade like Heathrow airport at peak time and pits risked turning into a stampede, giving security headaches all night long. Dying Fetus along with Suffocation are considered to be the pioneers of brutal death metal and have deservedly cemented their legacy as one of the best in the game. That evening was no different and the release of Make Them Beg for Death is concrete proof that they’ve still got it.

John Gallagher and Sean Beasley were on fire and since their partnership began in 2001, it’s aged like fine wine and has kept the well-oiled machine running stronger than ever. Together, they exchanged growls like animals preparing to fight for their mate and what’s most remarkable is their understanding of whose part works best for each one. To know a section made for you can only be felt inside your soul and there’s no simple explanation but the way that John and Sean pull it off both live and in the studio is something else. They didn’t even need to leave their spots as their presence was far too hypnotising and there were times when you couldn’t choose which one to focus on. 

Vocal abilities aren’t the only talent that these guys possess though, as John has extra spells hardwired to his arms. Already running on high voltage, his electrified fingertips produced some jaw-dropping arpeggios, licks and riffs that anyone could air-guitar to.

Trey Williams may not be the most extroverted of drummers but his concentration levels while navigating his way around the kit were the equivalent of Ayrton Senna on a wet day in Monaco. Songs like ‘From Womb to Waste’ which they opened with is a prime example of what he’s truly made of where he whipped out a ton of different blast beats all in the space of a few seconds and fills that only years of practice can bring outstanding results. When seen from a fan’s perspective, it’s a sight to make your mouth water. Dying Fetus smelled blood and mercilessly laid waste to a helpless Manchester with a loud and clear message that whenever they come around, they don’t play nicely.

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The opening title track ‘War Hearts’ pulls no punches and you don’t even get a chance to blink as it’s full speed ahead. No one’s successfully managed to go faster than light but Frozen Crown might just be on the verge of achieving the impossible. Drummer Niso Tomasini takes firm control of the supersonic machine with ruthless blast beats and double kick that only sheer practice can sustain for long bursts. You can perceive how hard he’s worked on perfecting his technique as the fills between tempo changes sound smooth and clearly signal what comes next.

Until now, we had been treated with the magnificent guitar duo of Federico Mondelli and Fabiola Bellomo but this time there’s a pleasant surprise. Folks, please welcome Alessia Lanzone. Together, the three of them act like the engine of War Hearts throughout by producing some outrageously infectious harmonies that sound like your stereotypical dragon-slaying fairytale. Not to mention some insane call and response solos which would’ve gotten a smile of approval from Iron Maiden and Helloween.

Giada Etro delivers the vocal performance of a lifetime, singing her heart out like a bird of paradise releasing its loudest mating call to impress their counterpart. Lyrics shine a light on how unity brings strength and courage to fight in the face of adversity “We came here as strangers in the storm, now we rule as sovereigns dressed in gold”. The album cover itself seems to echo that message with warriors joining forces to defeat a greater evil. When you combine the video setting of castle ruins on the highlands with her falsetto belting in a major key, you can tell that she was made for this genre, depicting a figure of a fearless knight sent out by their king to bring back the promised land.

‘Steel and Gold’ might be a slower track but Frozen Crown refuse to take their foot off the gas as they keep up the nerd levels of complexity. While fighting against your enemies, this song focuses on themes of absolute loyalty. No matter the cost, warriors will fearlessly sacrifice themselves in honour of their leader “To the throne we fight for, pledging our soul to the king”. The music video is also set in a castle with Giada not holding back in releasing her bombastic battle cries ringing out like bugle horns sounding the green light to march on towards victory. In a way, you can actually imagine each instrument making the sound of each weapon such as guitars being swords clashing against each other while drums replicate cannon fire.

For the next five tracks, speed prevails and Frozen Crown couldn’t care less if you keep up or not. ‘Night of The Wolf’ and ‘Edge of Reality’ are the fastest with tempos smashing the 200bpm barrier. Niso hammers away at his kit as endurance levels hit an all-time high, thanks to steel muscles that can withstand long periods of 16th-note patterns. It’s at this point that you can hear his soul set free because playing without feeling the need to beat up the kit shows how composure and control have taken over.  

Federico, Fabiola and Alessia all go into a shred frenzy, exchanging solos neater than driver swaps in a 24-hour Le Mans race with transitions between each musician as precise as Shinkansen bullet train punctuality. Similar to jazz bands having that sixth sense of when it’s someone’s time to shine and how long their sections should be, they’ve mastered that art and made it an enjoyable trademark of theirs.

The orchestral backing tracks also nicely fit in with the adventurous sounding melodies, bringing Frozen Crown’s key themes of legends and fantasies to life. Add that to Giada’s passionate vocals and it’s like you’re living in video games such as Fable, Assassins Creed or Skyrim. However, these symphonic elements often get lost in the mix, especially when other instruments are going at full blast during choruses. Therefore, you need to have good headphones on to tell them apart.

While War Hearts is a solid album overall, some challenges do arise. For instance, not all solos do a song justice. ‘Night of The Wolf’ was too stop-start with several fills breaking up the flow of what could’ve been an amazing, long-shred fest in DragonForce or Rhapsody of Fire style and ‘On Silver Wings’ has an obscure breakdown crying out for a solo. Considering that it was the happiest sounding tune of the album with lots of uplifting vibes, it deserved something to fill in that gap.

It’s a great effort from Frozen Crown and to bring out that many albums at this stage in their career is a sign that you are confident enough to produce high quality material on a consistent basis. My only concern is that autopilot could catch up to them if this pattern continues but that remains to be seen.   

War Hearts was released on October 18th 2024 via Napalm Records.

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Blind Channel were the only opener and put on a seriously impressive display capable of making the headlines on the likes of Kerrang or Metal Hammer just to name a few. Incorporating elements of rap and hip-hop, it felt like a revival of the underground scene back in the days of N.W.A when nightclubs were packed to the brim, raves lasted until the early hours of the morning and police would arrest organisers for disturbing the peace.

Joel Hokka and Niko Moilanen on vocals orchestrated all the action from left, right and centre with a fired-up Manchester bouncing nonstop. Both of them had an exceptional stage presence and never let any engagement slip. But it wasn’t just the pair leading the line as DJ Aleksi Kaunisvesi acted like an extra hype man whether it be through percussion or joining in on backing vocals. 

Joonas Porko didn’t hold back in showing off his wizard guitar skills by pulling off some gorgeous riffs with a lovely djent tone that could be felt vibrating against your teeth while Tommi Lalli kept everyone in check. His sense of rhythm matched Swiss clock precision and the mix was spot on as we could feel 100% of the bass drum hits thumping our chests like firework explosions.

Considering that Halloween and Day of the Dead were around the corner, Lacuna Coil were an ideal pick as their melancholic and gothic style brought a much-needed sombre note to add to the excitement.

Cristina Scabbia and Andrea Ferro were at the centre of attention throughout and if there’s something that they can always master is presence. Since the band’s formation in 1994, the pair have stolen the spotlight time after time with that evening being no exception. You don’t even need to put a curtain in front of other members as their glamour could superglue your eyes to them thanks to some outstanding choreography.

On the far left, you had Cristina singing the clean sections and this is where her versatility came to life. While there’s plenty of power and melody to her voice, subtle layers of vulnerability creep in to match the band’s primary topics of darkness, love and despair. Her seductive smiles that looked like Harley Quinn falling for the Joker were so hypnotising and whenever she made love heart gestures, it was enough to make your own skip a beat.

To the right, Andrea did the harsh parts and showed no mercy towards us with brutal screams hitting you like jet washers to bare skin. They added a wonderful contrast that gelled brilliantly with Cristina’s sound and also represented additional feelings of anger that add insult to injury. The minute he looked you in the eye similar to Michael Myers stalking his victims in ‘Halloween Kills’, it was a one-way ticket to the morgue. While Cristina did most of the hard work in energising the crowd, Andrea kept mouthing her sections mid-song which was an extremely clever tactic to eliminate any chance of boredom.

Richard Meiz yet again turned up to prove that he was the one for the job and made light work of what to many drummers only feels achievable in their dreams. As usual, the pressure of delivering on big occasions was second nature to him and he passed that test with flying colours by chucking in some adrenaline-fuelling short bursts of double kick, snappy fills and beats that couldn’t keep you still. 

Bandmate Daniele Salomone may only have joined this year on guitars but he sounded like he’d been there forever as his warm body language matched with some superb technical trickery showed just why he was prepared to grab hold of the precious torch passed over by a previous member. To play with such confidence for a band like them, as a newbie, in front of a 2/3 full Academy isn’t for the faint-hearted and fans loved it. 

It was a relentless display from the Italian powerhouses and despite this being their longest-ever absence from England (excluding Download 2022), they definitely haven’t forgotten about us as the crowd reception was a fierce reminder that the longer you stay away, the more restless we get.    

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