Fascinating metal innovators DORDEDUH have unveiled a new live video for the track ‘Timpul întâilor’, which was recorded during their show at the prestigious ProgPower Europe festival at the Sjiwa in Baarlo, the Netherlands in 2023.
While the Romanians were playing, their compatriot and renowned artist Costin Chioreanu created a live painting at the venue, which was directly inspired by the music. His artistic process was projected onto the backdrop behind the band.
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DORDEDUH comment: “First I need to mention that ProgPower is a very special festival with a particularly nice vibe to it”, frontman Edmond “Hupogrammos” Karban writes. “It is very intimate but feels like a big family meeting. There were great shows and great bands, but the afterparty at that castle-like hotel that accommodates both the musicians and the audience is something else entirely. We had a really great time there. Therefore, I am especially glad that we did something special there with our amazing friend of so many years now, Costin Chioreanu. Everybody involved deserves that and we are grateful for this opportunity. This kind of memory, this kind of beautiful moment will stay in our memories. Luckily, this one memory got immortalised for all to see in this video. Hopefully, you will enjoy it, too!”
The track ‘Timpul întâilor’ is taken from the album Har.
With mainstream music, all you have to do is stay tuned to prominent radio channels, watch TV, let Spotify recommend the next tune, and it lands in your lap. The further away from the mainstream you get, the more it becomes about keeping your ear to the ground, word of mouth, groups and forums – and occasionally, press releases and inboxing. Despite being a fan of a number of the acts involved, I discovered this one quite by fluke via a share in a Facebook group, which announced that ‘OMO DOOM , the Glasgow group who comprise members of Mogwai , The Twilight Sad , Desalvo , Areogramme and Stretchheads put out a new track this week, an intensely claustrophobic cover of a Head of David track – the brilliant late 80s UK Blast First act who everyone seems to have forgotten now’.
I’m perhaps one of the few who not only didn’t forget Head of David, but has a near-complete collection of their releases – and I can tell you it’s taken some years to assemble. While their first album – LP, released on Blast First in 1986, and later reissued as CD in 1990 isn’t too hard to find, and has a buzz around it on account of the fact that Justin Broadrick drummed with the band between leaving Napalm Death and forming Godflesh (although he didn’t actually play on any of their releases apart from their 1987 Peel Session, which features on the nigh-on impossible to find White Elephant compilation), their other releases are like rocking horse shit (as they used to say at record fairs in the 90s.
Their second LP, Dustbowl, which featured ‘Bugged’, was produced by Steve Albini and released in 1988. It’s a belter. While I snagged a vinyl copy in the 90s, I have never yet seen a CD copy in the wild, and it’s never been reissued, either. ‘Bugged’ also appeared on one of the 7” singles in ‘The Devil’s Jukebox’ Blast First 10-disc box set, and that’s hardly common or cheap either.
H.O.D.I.C.A. was a semi-official live album which captured Head of David playing at the ICA in London, delivering a purposefully unlistenable set with the explicit purpose of repelling EMI music execs who were sniffing around, and their final album, Seed State, released in 1991 lacked the same brutal force as its predecessors.
The reason for the history lesson is that they’re largely forgotten because their music is so hard to come by, and because Stephen R. Burroughs has pursued a very different musical trajectory subsequent to their demise, with both Tunnels of Ah and FRAG sounding nothing remotely like HoD.
But if you can hear Dustbowl, it’s aged well, a snarling mess of noise driven by pulverising drums and snarling, grinding bass that tears you in half. And this is where we resume the story, I suppose.
OMO DOOM’s version of ‘Bugged’ is slower, starker, more malevolent and menacing than the original which was ferocious in its unbridled brutality. Here, we get thick synths and punishing drum machines dominating the sound. The bassline is twisted around a way, and sounds for all the world like ‘Shirts’ by Blacklisters, and at around the two-minute mark is slumps into a low-frequency range that’s unsettling to the bowels as well as the ears. This sure as hell brings the dirt. The vocals are rabid. It’s gnarly, alright. Fans of Mogwai and The Twilight Sad and the late, lamented Aerogramme may be drawn to this, but probably won’t like it: it’s the work of a bunch of musicians trying something that’s nothing like their regular work, and it’s unfriendly and inaccessible and noisy and horrible… and of course, I absolutely love it. And maybe it could spearhead a Head of David Renaissance… We can hope.
AZURE EMOTE present the video clip ‘Disease of the Soul’ as the next single taken from their new full-length Cryptic Aura. The fourth studio album of the American progressive death alchemists has been slated for release on July 25, 2025.
AZURE EMOTE comment: “The dichotomy of silver and gold is forever entangled in our lives and pulling our proverbial strings”, mastermind Mike Hrubovcak states. ”This world suffers from an oppressive wealth corruption that engulfs every human soul. A landscape of crushed hopes is polluting our intentions and confusing our innate senses. When we relinquish control over to fear, the uncertainty slowly erodes our focus from what is meaningful to that which is an endless struggle. Much like the quick glimmer of silver and gold, it quickly passes like our reflection in the mirror over time. This hell that we try to erase, reflects on us face to face, as we observe this daily calamity and struggle with the agony of reality.”
From San Diego California Sledges is a four piece Alt-metal/Heavy-shoegaze band that blends genres like grunge, metal, shoegaze, emo/post-hardcore, and alternative to craft songs with catchy hooks and big riffs. The band’s goal is to create emotional/ heavy songs that you can sing along to.
Sledges is Philly Gomez (vocals and guitar), Alex Angulo (bass), Julian Romero (guitar), Mason Haidar (drums).
Sledges’ origin starts in mid 2020 taking place in the area of Chula Vista California. From the boredom and freetime during the pandemic Sledges started as a three piece and wasted no time writing original material. During 2020 Sledges recorded and released their first single ‘Melting Lives’ which helped them start playing shows in San Diego and grow a local fan base. The group recorded and released more singles throughout 2021-2023 and added a fourth member to play lead guitar. Some notable singles during that time include ‘Headwinds’ (2022) and ‘Disgusting’ (2023).
In mid 2023 Sledges began to record their EP Losing Pace with Mike Kamoo who engineered, mixed and mastered it at Earthling Studios. Losing Pace is a four track EP that is catchy and ambitious yet heavy. The group took inspiration from bands like The Smashing Pumpkins, Nothing, Sunny Day Real Estate, and Hum with its heavy but lush wall of guitars while adding their own flavor. Sledges experimented with acoustic guitars, melodic choruses, drum samples and My Bloody Valentine-esque leads. The group wanted to simply write strong songs that can stand on their own.
Singer/songwriter Philly Gomez says Losing Pace is about a period when he felt broken from the struggles of balancing life and in the process realizing you are falling apart. With heartfelt lyrics and contagious riffs, Losing Pace was released on May 2nd 2024. With great reception the EP led the band to get signed by the label Quiet Panic and open for larger bands like From Autumn to Ashes, and Ringo Deathstarr.
Absence makes the hearty grow fonder, so the adage goes, and so it also goes that some acts return not only rejuvenated, but more prolific the second time around: this has certainly been true of a number of acts, ranging from Earth to The March Violets, and it seems that Austere are also finding a purple patch of creativity, with The Stillness of Dissolution being their third album in two years after a thirteen-year break – having only released two albums in their initial four-year career.
Older and wiser? Or perhaps older and feeling a greater sense of freedom in creative terms… it matters not, really. Here, the Australian duo, consisting of Mitchell Keepin (guitars, bass, keyboards, vocals), and Tim Yatras (drums, keyboards, vocals), we’re reminded that ‘their roots in early Norse black metal and its depressive Scandinavian offspring remain clearly audible’, and the album’s six lengthy tracks offer texture and detail, and darkness… much deep darkness.
Opening, ‘Dissolved Exile’ clocks in a little shy of eight minutes, and what’s striking us just how crisp the guitars sound, both the crunchy rhythm parks and the spindly lead, which takes off into an epic solo, propelled by double-pedal blasting drums. But something else stands out, too: as raspy and demonic as the vocals are, there’s a strong sense of groove to it, the chugging chords presenting a solid form and structure. ‘Redolent Foulness’, too, has an epic quality, and an almost neo-prog accessibility. There’s melody in the vocals, not to mention an abundance of dynamics and detail.
It would be easy to criticise Austere for pursuing a more commercial sound and a more ‘casual’ audience, but the simple fact is that they’ve got some crafted tunes here, and The Stillness of Dissolution showcases songwriting ability, rather than simply the ability to play fast while burying everything in muddy production. The Stillness of Dissolution is by no means a commercial album, or a pop album, but in melding genuine hooks to monster slugging riffs, Austere have forged an album that’s compelling, exciting, and yes, I’ll say it, catchy. Not in a pop sense, of course, but those juggernaut riffs just grab you: ‘Rusted Veins’ fully rocks out, and at nine and a half minutes, closer ‘Storm Within My Heart’ is a solid epic. Overused? Yeah, but have you got a better word? It begins atmospherically, before blasting in with explosive force, and with the snarling vocals buried beneath a frenzied blanket or fretwork, it’s the most overtly black metal cut on the album.
And what an album: it really is well-considered, crafted, detailed. ‘The Downfall’ borders on shoegaze and prog-metal, but there’s blistering rage in there, too. Metal tends to be underrated when it comes to texture and emotional range, but The Stillness of Dissolution brings it all by the truckload: ‘Time Awry’ bringing three songs in one, with a nagging lead guitar line that loops over a thunderous riff. This is an album which makes you feel – and its power is as immense as its stunning quality.
Finnish progressive heavy psychedelic rockers Craneium have just released a music video for their latest single ‘The Flow of Time and Age’, marking their second track under the Majestic Mountain Records banner.
Leaning heavily into their signature riff-laden fuzz and heavy rock energy, the song delves into themes of mortality and the quiet urgency of time slipping away.
“Lyrically, we’ve often returned to the subject of mortality and the choices that shape your life. You only get one,” reflects guitarist Martin Ahlö.
“Another track that we decided to save for later on. We felt like it could stand as a single on its own. It started out with an acoustic intro that turned into something else completely when the bass-riff came along. Droning guitars and dreamy mellotron-melodies on top. It’s different but definitely Craneium.” Shares guitarist/vocalist Andreas Kaján.
When on tour we listen to the classic Pink Floyd track ‘Time’ a lot, and I think it is safe to say that ‘Flow of Time and Age’ is a not so distant relative, musically and lyrically,” adds Martin.
“Our new track dives into the weight of memory, the slow collapse of what we hold dear, and that urgent need to act before the moment slips away. It’s heavy, melodic, and it hits like a truth you weren’t ready to face,” concludes drummer Joel Kronqvist.
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To celebrate the release, Craneium have also announced a new European tour, kicking off this June. Check out the full itinerary below: CRANEIUM – EUROPEAN TOUR 2025
5 JUNE – Copenhagen, DK @ Lygtens Kro (w/ Dunes, Grinding Eyes) 6 JUNE – Berlin, DE @ Pump Track (w/ Black Magic Tree, Zen Bison) 7 JUNE – Frankfurt am Main, DE @ Ponyhof (w/ The Black Cat’s Eye) 8 JUNE – Göppingen, DE @ Zille (w/ High Priest of Haze) 10 JUNE – Prague, CZ @ Sally O’Neals (w/ The Winter Sounds) 12 JUNE – Leipzig, DE @ Black Label 13 JUNE – Słupsk, PL @ Motor Rock Pub 14 JUNE – Łomża, PL @ Pub "Pod Ratuszem
One of the strongest cases in favour of attending shows at local grassroots venues is that a punt may reward by striking pure gold with the discovery of a band that absolutely blows you away. It may be rare, but when it happens… POW! And so it was that a few months ago, I witnessed Glasgow’s Cwfen’s first live performance south of the border in the middle of the lineup for a £6 midweek gig at my local 150-capacity venue. Even before I learned that they were signed to New Heavy Sounds – a label which consistently delivers on the promise of its name, in finding bands which are heavy, but offer something new, something different, and have homed so many outstanding acts through the years – and had some much bigger shows lined up, it was clear that this was a band of rare talent, and who wouldn’t be playing 150-capacity venues for long. On stage, they had that quality that you only know when you see it. And they had songs.
And here they are, recorded in the studio, on their debut album, Sorrows. The huge, riff-driven epics are interspersed with brief incidental instrumental pieces, appropriately entitled ‘Fragment’ and numbered sequentially. The first provides a soft intro before ‘Bodies’ blasts in with seven minutes of supreme chuggage. It’s a gritty hard rock behemoth, but it’s more than just another monolithic riff monster: there’s a shade of goth sensibility about it, not least of all in Agnes’ brooding vocal, but there’s also the brittle-edged lead guitar work, and the song brings a powerful sense of drama and theatricality, building to a rabid, demonic climax… and straight away, it’s apparent that this is something special.
Cwfen have a supreme grasp of dynamics, of mood, of atmosphere, and Sorrows has all of these in spades. Single cut ‘Wolfsbane’ grinds in, meshing together gothy lead guitar, rich with chorus, and reverb-laden vocals which are simultaneously haunting and commanding, while a thunderous bass nails things down tight at the bottom end. Next up is ‘Reliks’, released as their debut single, and it’s different again, an atmospheric mid-tempo song which soars, managing to incorporate elements of classic 80s rock and shoegaze, while at the same time bringing the atmosphere of Fields of the Nephilim. Nothing’s overdone, and nothing’s underdone, either: everything fuses together in perfect balance, while ‘Whispers’ melds 70s rock vibes with a hard rock, delivered with a hint of anthemic power ballad. And in the background, raw banshee screams fill the swell of sound towards the end with pure emotional release. ‘Penance’ brings the weight with thunderous drums, squalling feedback, and a crushing riff behind a demonic howl of a vocal, which switches to achingly magnificent melody for the chorus. ‘Embers’, meanwhile, makes for a megalithic monster of a tune, delivering seven minutes of crushing riffery and standing as the heaviest and maybe one of the most overtly ‘metal’ song in the album – although full-force closer ‘Rite’ plunges deeper into darkness, a blackened anthem by way of a finale to a superlative set.
On Sorrows, Cwfen deliver on their name: magical, mystical, menacing, haunting, dark… but they bring so much more, and certainly do not belong in any given pigeonhole. While this is indisputably a ‘heavy’ album, it’s accessible – without going pop or being overly polished. It’s an album which makes a high-impact first impression, but reveals more depths and layers with subsequent listens. Sorrows is a masterful work, which ventures far and wide in its musical inspirations and touchstones, meaning it’s never samey, never predictable, but at the same time, Cwfen demonstrate an intense focus, forging a sound which is distinctive, rather than derivative. A rare gem, and a standout of 2025 so far.
Sometimes, when a band has forged its sound with the assistance of quality producers, there’s a niggle of concern when they decide to go it alone. Why are they doing this? Why now? Have they become overconfident in their abilities?
Eva Sheldrake explains the decision: “We’ve worked with incredible producers, and we’ve taken so much from every experience, but with Get With Me, it all came together so naturally that we knew Jude had to produce it. We caught lightning in a bottle—the energy is real, it’s raw, and it’s straight from the heart. The song channels something a lot of women go through but don’t always get the space to talk about. Instead of letting it fester, we flipped it on its head and made it ours. It’s fierce, it’s defiant, and it’s exactly what Eville stands for.”
The fact that it was simply something that happened, that felt right, matters, and that’s significant. More significant, though, is the fact that there was simply no cause for concern, as they’ve absolutely mastered the sound they’re after here. The track dives in with the fattest, filthiest bass grind, and then the guitar is a dense wall of distortion, and then Eva’s vocals are sassy but keenly melodic, and there are layers of harmony in the mix and once again, they’ve mined solid gold. Balancing crunching juggernaut grungy / nu-metal riffery – something about both the sound and structure of the musical elements are reminiscent of Filter here – with a pop sensibility which comes through in the vocals, ‘Get With Me’ has got the lot.
And if the title suggests some kind of schmaltzy romantic allure, think again. This is Eville, and they are not to be fucked with. The mid-section brings all the grunt and threatening fists like a menacing bodyguard looming forward, before the full-throttle finish. The message of ‘Get With Me’ is really ‘get real’ – and it’s driven home hard , with brutal force. Yep, Eville have done it again….
San Francisco punk rock band M.U.T.T. has unleashed their blistering new single ‘Runnin’ with the Devil’ a snarling anthem about embracing sin, seizing chaos, and stepping into the Devil’s shoes to rule the underworld. And the band isn’t stopping there. M.U.T.T. has also announced their brand-new LP, Toughest Street In Town, dropping June 20 via Quiet Panic Records.
The new album is a love letter to the band’s gritty San Francisco neighborhood—a place many outsiders fear, but where M.U.T.T. finds their strength.
Frontman John Jr. says, “I don’t fear my neighborhood, I am inspired by it. I find myself thriving in the mayhem. I walk around the blocks at night ’cause I know I can take care of myself. You gotta have a tough presence and a tough mind in order to survive in this part of the city. Some of you couldn’t last a week on my street. Maybe that’s why I love it so much.”
‘Runnin’ with the Devil’ captures that raw energy and streetwise perspective in full force. As No Echo puts it, the song sounds “like Appetite-era Guns N’ Roses trying to channel the Circle Jerks”—a perfect storm of sleazy glam rock swagger and unfiltered punk attitude. It’s rock ‘n’ roll that doesn’t compromise your punk cred.
Formed from the remains of the critically acclaimed band Culture Abuse, M.U.T.T. includes John Jr., Matt Walker, Isa Anderson, and Shane Plitt—four ex-touring punks with empty pockets and no plans to slow down. Their debut LP Bad To The Bone made noise across underground circles and was praised for its unrelenting, four-chord punk anthems and gritty authenticity.
With Toughest Street In Town, M.U.T.T. continues their journey—hardened, loud, and fiercely loyal to the place that raised them.
Portuguese heavy sludge hitters Vaneno have just dropped the official video for ‘Sludgehammer’, the crushing second single from their forthcoming album Chaos, Hostility, Murder, due out May 26 on Raging Planet Records.
Shot in black and white, ‘Sludgehammer’ embodies everything Vaneno stands for: heavy, unrelenting riffs, cavernous grooves, and a primal energy that feels like it could destroy entire brick walls. The track delivers a punishing blend of sludge, stoner, and death metal, the kind of sound that grabs you by the throat and doesn’t let go.
Aural Aggravation 