Back catalogue: Metal

Review: Originally released in 2012, Daybreaker would serve as the fifth full-length from Brighton progressive metalcore heavyweights Architects, following an identity crisis after 2011's more streamlined post-hardcore effort The Here & Now. While in the decade since, the band have gone on to become one of Britain's most successful heavy music exports, finally managing to balance their heftier proclivities with mainstream appeal, the material here strikes a curious retrospective balance between their mathcore origins, the increasingly vast melodious experimentations, as well as their first forays into embracing elements of nuanced electronica. Conceptually marking their arrival to politically driven messaging, with the now even more timely and oppressively hefty 'These Colours Don't Run' tackling US political division while 'Devil's Island' lambasts the London riots of 2011, the album is also noted for its guest features including Drew York of Stray From The Path on 'Outsider Heart', and Oli Sykes of Bring Me The Horizon on the standout 'Even If You Win, You're Still A Rat'.

Review: Originally forming in 2016 as a YouTube parody band providing metal renditions of well-known pop songs, it wouldn't take long for Bloodywood to realise their full potential as India's most successful metal act to date. Following on from their 2022 debut full-length Rakshak, the group return with their highly anticipated sophomore effort Nu Delhi, serving as both a tribute to their city of origin as well as their embracing of nu-metal and rap metal styles, combining low-end grooves and bilingual verses delivered in both English and Hindi, though the language palette is expanded to Japanese for the BABYMETAL featuring 'Bekhauf'.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


The debut studio album from Brigend crew Bullet for My Valentine emerged in 2005 on Visible Noise Records and catapulted the Welsh band to success, going on to sell more than two million copies worldwide. Here it is again, celebrating (almost) two decades of life in a flurry of hard, jagged riffs and distinctively screamo-flavoured vocals courtesy of Matthew Tuck. The band reputedly formed to cover Metallica and Nirvana songs and while their sound doesn't ape either of them, they all share a cunning knack for combining memorable hooks and sonic brutality. Choose your Poison.

Review: With 2021's Infinite Granite taking a sharp left turn into the realms of hazy, luscious dream-pop, eyes have been pointedly fixed on San Francisco blackgaze heroes Deafheaven ever since, with many of their fanbase pondering where to next? The answer is their highly anticipated sixth full-length, Lonely People With Power, which finally showcases the band freed from all creative restraint and audience expectation, marrying their equal and effortless understanding of black metal malevolence and shoegaze ethereality, even allowing frontman George Clarke to make full use of his recently discovered vocal range. Howling shrieks and delicate crooning weave around one another on the euphoric heft of 'Heathen', whereas 'Magnolia' offers up one of their most succinctly black metal cuts to date, radiating with the caustic aura of Emperor's more proggy latter-day output. Forgoing their usual post-rock penchant for a small number of tracks all clocking in at approximately ten minutes, the numerous cuts (12 in all, marking the most of any Deafheaven album to date) prioritise instantaneous delivery on their most sprawling and musically diverse collection yet, fusing their harshest and most accessible sonics into one monumental victory lap touching upon everything from black metal to shoegaze, dream-pop, thrash, post-rock, emo, screamo and post-punk.

Review: Based out of Melbourne, Australia, Takiaya Reed (better known as Divide & Dissolve) is a one-woman monolithic force of industrial-tinged, neo-classical leaning instrumental doom metal. Originally a duo, 2023's fourth full-length Systemic marked the first effort from the project following the departure of percussionist Sylvie Nehill (of M?ori and White-Australian heritage), with guitarist/saxophonist Reed (of Tsalagi and African-American heritage) embarking on a solo venture from there on out. Her second singular display of overtly political, droning sonic dread comes in the form of Insatiable, which coalesces mercurial beauty with bombastic abrasion, almost as if sonically illustrating the warring of mindsets active in our collective conscious. From drawing ire back in 2018 for their controversial music video for 'Resistance' which featured spitting and spraying urine-coloured water on monuments of colonial figures such as Captain James Cook and John Batman, Reed has made it clear ever since that their punishing instrumentals are designed with the artful intention of "decolonising, decentralising, disestablishing, and destroying white supremacy", which she makes overwhelming ends to accomplish without a single word uttered.

Review: The Butcher Basement is a reimagined and blood-soaked rebirth of Extermination Dismemberment's 2010 debut album, which is dripping with gore and heavy with brutality. The wholly re-recorded release captures the grotesque atmosphere of its original conference but with added detail worked into the sounds. With these revamped compositions of fresh material rooted in their early style, plus sharpened production, these metal sounds hit harder than ever and thrive in morbid theatrics. Rather than just a simple reissue, The Butcher Basement is a whole new resurrection.

Review: Serving as the follow up to 2022's critically acclaimed and super cheesy by design stadium-goth opus Impera, Swedish rock occultists Ghost make their grand return with sixth full-length Skeleta. The vision of Tobias Forge, renowned for his charismatic vocal cadence and immense range, but more so for his undertaking of different characters and monikers for each album cycle, the Papa Emeritus IV delving into empirical fallacies on their previous outing has been usurped by Papa V Perpetua, who promises to deliver his band of Nameless Ghouls' "most unflinchingly introspective work to date" while showcasing "distinct individual emotional vistas", touching on "demonic possessions" and the allure of succumbing to "dark forces". In other words, expect mammoth riffs, epic refrains, large doses of overt theatricality verging on camp, and on-the-nose song titles such as 'Satanized'.

Review: Skeleta marks the sixth full-length from Swedish theatrical goth rock entity Ghost, following on from 2022's retro stadium-goth swing for the fences Impera. Known for their high-concept aesthetic solely credited to mastermind Tobias Forge, who undertakes differing mantles and characters pertaining to each era and project, Papa Emeritus IV who fronted their preceding work has now been replaced by Papa V Perpetua, and while his predecessor was said to have been driven by ruminations on empirical reigns, the latest leader of the band of "Nameless Ghouls" is more concerned with "demonic possessions" and succumbing to "dark forces", with the album promised to be their "most unflinchingly introspective work to date" while showcasing "distinct individual emotional vistas". With big riffs, soaring hooks and a lead single as brazenly titled as 'Satanized', it's time for yet another era of overtly gothic and purposefully cheesy occult-rock.

Review: Rhode Island post-metal avant-garde duo The Body have made a name for themselves due to their caustic maelstrom of harsh, brutalist experimentalism as well as their prolific output and collaborative nature, releasing collab albums with the likes of Full Of Hell, Thou, Uniform, and most recently, Dis Fig. Their latest endeavour sees the pair link up with another duo of musical extremity, Toronto, Canada's recently reformed industrial two-piece Intensive Care. Was I Good Enough? has been on the cards since the artists first began making plans as far back as 2018, trading, warping and ruining mutual sessions with layers of loops, distortion, samples and even dubs, constantly striving to find the ideal haunting balance between both of their sonically hideous, oppressive worlds. For all of our ears' sakes, they just might have succeeded.

Review: The third full-length from Los Angeles-based progressive, jazz-tinged post-metal giants Intronaut was originally released in 2010 and celebrates its 15th anniversary this year. Further embracing the fretless bass, jazzgazing style of its 2008 predecessor Prehistoricisms, the material found on Valley Of Smoke was the first from the band to slightly eschew the use of exclusively harsh vocals and instead utilise the harmonious cadences of dual vocalist/guitarists Sacha Dunable and Dave Timnick, conjuring a hypnotic balancing act reminiscent of the synergetic fusion of Alice In Chains' Layne Staley and Jerry Cantrell. Featuring Tool bassist Justin Chancellor on the epic title-track, providing double bass flourishes, as well as the pitched glitching vocal processing similar to that of progressive death metal legends Cynic (both of whom the band would subsequently tour with), Intronaut have always deserved to be spoken of within the same breath as the likes of Mastodon, Baroness, Deftones, Hum, and any other respected boundary pushing group connecting the mercurial dots between grandiose, conflicting sonics.

Review: Captured during their World Wide Blitz Tour at The Palladium in New York City on 22nd July 1981, this double live LP from British heavy metal royalty Judas Priest showcases the band at the height of their prowess, touring in support of their seventh album Point Of Entry. Following the Platinum selling success of British Steel which saw the members refine their speed metal gallop into mainstream crossover appeal with glossy production and hook-laden anthems such as 'Breaking The Law' and 'Living After Midnight', this set also features first-time road tests of later bangers including 'Solar Angels' and 'Heading Out To The Highway', while the epic rendition of closer 'Tyrant' offers up a far heavier and fester counterpoint to that of its studio version.

Review: Originally released in 2002, Alive Or Just Breathing would serve as the acclaimed sophomore full-length from Massachusetts metalcore legends Killswitch Engage. Noted for initially marking the end of their tenure with original vocalist Jesse Leach, who would depart and be subsequently replaced by Howard Jones until 2012 before his eventual return; the album is considered a landmark in the scene due its ability to highlight the commercial viability of a melodious metal meets post-hardcore style, which had remained a niche underground subgenre up until this point. Produced by guitarist/ drummer/overall mastermind Adam Dutkiewicz before switching his sole focus to guitar, the crunching grooves, saccharine melodies and staggering confidence displayed quickly cemented the band's legacy, whilst lead single 'My Last Serenade' remains their most popular hit to date.

Review: Unatoned (stylized as UNATONED) serves as the 11th full-length from Oakland, California groove metal titans Machine Head and marks their first effort to feature drummer Matt Alston and lead guitarist Reece Scruggs (with the latter replacing Decapitated axeman Wac?aw Kie?tyka aka Vogg who worked with the band on 2022's Of Kingdom & Crown). First announced through lead single 'These Scars Won't Define Us'; a self-described "Wu Tang Clan-level thrash collaboration" featuring guest vocals from members of In Flames, Lacuna Coil and Unearth, who will all support the band across their 2025 North American tour in support of the project, the addition of secondary single 'Unbound' showcases mastermind Rob Flynn's knack for marrying venomous heft to anthemic structures, whilst the air of brevity compared to some of their previously far lengthier compositions is indicative of a much more instantaneous sonic delivery (or gut-punch) this time around.

Review: Melvins' back catalogue is so strong that they could make a living just re-releasing the hell out of it. But Melvins' Buzz Osborne is a true punk and has such an unrelenting passion for music that they will never stop. The good thing is that he is under no illusions that he's great... Melvins in 2025 sound absolutely incredible, like Black Sabbath good. The line-up for this album takes things back to 1983 as the band's original drummer Mike Dillard makes a relatively rare appearance. It's only the third album he's made with Buzz Osborne, but absolutely is it gold when it happens. Dillard famously played in a short-lived pre Nirvana group with Kurt Cobain called Fecal Matter and there's certainly parallels to Nirvana's frantic approach to drums on this album. In terms of the rest of the music it's tuneful in a heavy way and it's that balance between the two that was the cornerstone of grunge and you can hear how Melvins became such a prevalent influence, playing a role in shaping the sound of Nirvana, Soundgarden and countless others.

Review: The trailblazing godfather of grunge, Buzz Osborne, is the sole constant member of Melvins, but he's not burned his bridges. He's invited back original drummer Mike Dillard (with who he founded the band in 1983), along with Void Maines and Ni Maîtres, for the third Melvins 1983 album, the previous two being Tres Cabrones (2013) and Working With God (2021). They're on the form of their life with the new album; it is ferocious and exhilarating. A standout is the lead single 'Thunderball', which is a celebration of the drums. You can hear Dillard hitting his snare with unparalleled force and nailing countless fills. Meanwhile, Osborne's melodic and heavy guitar playing strikes a perfect balance. Vocally, Osborne has the highest level of conviction; he truly belies his years. And with Black Sabbath calling it a day very soon, we need Melvins 1983 more than ever.

Review: Swedish progressive groove metal legends and djent pioneers Meshuggah have always been in competition with themselves, nearly eclipsing all prior output with 2022's ninth full-length Immutable; a near 70-minute beastly display of ludicrously technical, poly rhythmic mayhem that served as both their lengthiest work to date as well as one of their most critically acclaimed, combining the unhinged aggression of 2008's ObZen with the post-prog hypnotism of their 2002 fan-favourite Nothing. The Indelible Edition offers a unique sonic enhancement and total remaster, redefining the album's depth and clarity, while including three bonus live tracks captured over the course of their 2023/2024 world tours. A very on-brand reissue from a collective known for their painstakingly detailed commitment to their vision and craft, whether you prefer the term "indelible" or "definitive", this is the version of Immutable the band finally appear content with sharing with their fanbase almost three years after initial release, almost like the Kanye West of progressive metal but without all of the antisemitism. Complete with updated artwork and gold foil intricacies for the aesthetically minded fanbase.

Review: This unmissable two-disc bundle nets Metallica's explosive live performances at the Seattle Center Coliseum on 29-30 August 1989, during their legendary Damaged Justice Tour. Widely regarded by fans as among of the band's finest shows, this tearout time capsule boasts a stellar setlist, including 'Seek & Destroy', 'For Whom the Bell Tolls', 'Creeping Death', 'Battery', 'Master of Puppets' and 'The Thing That Should Not Be'. Unleashed to the world like a cageful of batwinged, sledgehammer wielding demons, it came right after their fourth LP release And Justice for All, which in turn set the Damaged Justice tour in motion; these menacers will always come back to haunt us through the tube amps.

Review: ***B-STOCK: Sleeve damaged, warped records***


Arriving as the tenth full-length LP from the Finnish symphonic metal pioneers Nightwish, Yesterwynde shall serve as the third and final instalment of the trilogy of albums they've crafted with current vocalist Floor Jansen, since the departure of her predecessor Anette Olzon. Following on from Endless Forms Most Beautiful (2015) and Human. :II: Nature (2020), as well as Jansen's pop ballad LP Paragon released in 2023, the project promises to boast some of their heaviest and complex compositions to date, while also marking their first without bassist/vocalist Marko Hietala since Century Child (2002), as he would depart the band in 2021. With a self-imposed hiatus planned following release, and no tour dates to speak of, Yesterwynde appears set to provide avid followers with a calculated bookend to their latest era, designed and destined to be poured over and absorbed throughout the coming silence.

Review: Originally founded in 1982, Bristol thrash metal legends Onslaught are considered to be one of the UK's so-called "big four" along with Xentrix, Sabbat and Acid Reign, while their sophomore effort The Force from 1986 is often regarded as a worldwide, stone cold thrash classic. Originally inspired by frenetic hardcore punk acts such as The Exploited and Discharge, the band would eventually adopt a hardcore-shaped speed metal assault that would be perfected following the arrival of vocalist Sy Keeler, allowing Paul Mahoney who provided vocals on their 1985 debut Power From Hell to switch to bass duties. Keeler would depart following issues with the label regarding his performance on the band's follow up third record In Search Of Sanity, released in 1989, yet he would make a triumphant return with the rest of the members for the dawn of their new era on 2007's Killing Spree.

Review: This six-track release is a metal reimagining of River Boy's award-winning soundtrack for the cult indie game 'Cult of the Lamb'. This unholy alliance of metal heavyweights, including Howard Jones (ex-Killswitch Engage), Matthew K. Heafy (Trivium), and members of Polyphia and Animals As Leaders, delivers a brutal yet melodic take on the game's haunting soundscapes. Produced by Sam George (Pick Up Goliath), the music conjures a dark and atmospheric world, where crushing riffs and soaring vocals intertwine with intricate guitar work and thunderous drumming. This is no mere tribute; it's a full-blown metal exorcism, a testament to the power of video game music to transcend its original context and inspire new creative heights.