MyRemains Reviews

There was a time, not so long ago, when Lamb of God looked like they might be finished. Thankfully, Randy Blythe was able to overcome those legal issues, and 32 years on the band are still smashing the metal world to pieces. With Into Oblivion, they now add a twelfth album to an already formidable catalogue.

My history with Lamb of God goes back to 2003’s As the Palaces Burn, but when Ashes of the Wake landed in 2004 it felt like a revelation. Few bands in metal can write riffs quite like Lamb of God, and despite not being a stereotypical metal obsessive, Randy Blythe possesses one of the genre’s most distinctive and enjoyable voices.

“Sepsis” is something else entirely. It exudes hardcore energy: fast, vicious and powerful, feeling like a long-lost relic unearthed from the Ashes of the Wake era. When Lamb of God are firing on all cylinders, nobody writes riffs quite like them. The title track, “Into Oblivion”, is a prime example—a thunderous assault from beginning to end, driven by Blythe’s roaring vocals, which erupt like magma breaking through the Earth’s crust. “Parasocial Christ” tackles the collision between false idols, modern worship and the toxic relationships forged in the digital age. Beneath its lyrical themes lies one of the album’s most savage performances, dragging the listener into the eye of the storm through punishing riffs, relentless percussion and Blythe’s characteristically venomous delivery. “St Catherine’s Wheel” explodes into life like the sleazier, more reckless cousin of “Ghost Walking”. Built around the kind of muscular groove that became a Lamb of God trademark, it’s a reminder of why the band’s riff-writing remains almost untouchable when they’re operating at full throttle. “Blunt Force Blues” takes a more measured approach, allowing its heaviest moments to hit with even greater impact. The chorus in particular carries a tight, neck-snapping groove that demands movement. Blythe’s performance deserves special mention too. His voice has always been iconic, but here he delivers his trademark grit and growl while also showcasing a knack for memorable hooks, giving the chorus an added sense of power and staying power.

With Into Oblivion, Lamb of God aren’t looking to rewrite their legacy—they’re adding another heavyweight chapter to it. Packed with razor-sharp riffs, bone-crushing grooves and some of the strongest performances the band have delivered in years, this is a record that reminds you exactly why they’ve remained at the top of the metal food chain for so long. Thirty-two years in, the fire still burns, and on this evidence Lamb of God are nowhere near done yet.

Atreyu have been around for a long time now. Even accounting for their three-year hiatus, the band have been going for 28 years. After hearing the re-recorded version of The Curse, I honestly wondered if the road might be coming to an end. Then I saw them live again, and any doubts I had quickly disappeared. Now we have a new album, and I have to admit I was a little nervous going into it. Atreyu have never been afraid to evolve their sound, but I wasn’t entirely sure what direction they would take this time around.

When “Dead” was first released, I found myself fairly indifferent towards it. It didn’t leave much of an impression initially, but over time that has changed considerably. Repeated listens reveal a song built around a strong groove and a chorus that is simple, memorable and undeniably catchy. “Ego Death” feels like Atreyu making a statement. It’s proof that they can still deliver a genuine gut punch when the moment calls for it, without sacrificing the melodic approach that has become a larger part of their identity in recent years. As for guest appearances, Max Cavalera was certainly not on my bingo card. His inclusion on “Children of Light” feels completely natural, though, with the song carrying an almost tribal energy that seems tailor-made for his distinctive presence. The track benefits greatly from the contrast between that primal heaviness and Brandon Saller’s soaring vocal performance. As ever, Brandon’s voice is exceptional; few vocalists in modern rock and metal can deliver melody with the same level of warmth, emotion and control. Unexpectedly, one of my favourite tracks on the entire album ended up being “All For You”. It’s an incredibly gentle song, but one with a huge emotional weight behind it. More than any other track here, it highlights why Brandon has become such a central figure in Atreyu’s modern identity. He brings a sense of soul and vulnerability that elevates the band’s more melodic material beyond simply being a change of pace. Further evidence of this can be found in the hauntingly beautiful ballad “Wait My Love, I’ll Be Home Soon”. It’s the kind of song that instantly conjures images of fans standing arm in arm, swaying along when it’s inevitably played live. Moments like this show a different side of Atreyu, one that feels every bit as powerful as their heavier roots.

I’ll admit that going into this album I wasn’t entirely convinced. Between the re-recording of The Curse and the band’s continued evolution away from their metalcore roots, I had my reservations. Thankfully, those concerns proved to be unfounded. This album finds Atreyu striking a balance between heaviness and melody while showcasing the strengths that have kept them relevant for nearly three decades. Whether it’s the punch of tracks like “Ego Death”, the unexpected power of “Children of Light”, or the emotional weight carried by songs such as “All For You” and “Wait My Love, I’ll Be Home Soon”, there’s plenty here to remind us all why Atreyu have and always will be invited to the dance. Twenty-eight years into their career, they’re still evolving, still taking risks and, most importantly, still writing songs worth coming back to.

Bloodywood [9] are the first band of my download 2026 experience, one I’ve been very eager to catch for quite some time now. They absolutely livid up to the expectation and then some; whoever designs their artwork and animations for the digital backdrop needs some kind of award, Bhadula and Kerr visibly having the time of their lives up there doing what they love to do, touching on deep subjects but not letting it take anything away from the task at hand. Thousands of people turning up this early in the day and getting so involved is a rarity in this day and age, these guys are just on an apparently unstoppable rise right now.

The Plot In You [9] I caught out of interest more so after having had “Forgotten” forced down my throat through my for you page… and loving it. I could have probably done with knowing a few more to be honest because the energy is there in spades, but I feel like I’m on the outside of an inside joke desperately wanting to be involved. It was quite an immersive experience, them backed by simple visuals and the lyrics, Tewer’s vocal transitions between clean and scream were seemless, all of which backs the consensus that they’ve earned their spot on the bigger stages, they have far surpassed the needed capacity that could be provided by anything smaller and I think they could be eyeing up the main stage with the level of performance it’s clear they’re capable of.

Taylor Momsen’s crew, The Pretty Reckless [7] stamp out a confident performance on the main stage; a position they appear to be comfortable with. A heavily fan favoured setlist performed professionally and polished as any good hard rock band in this position should be, finishing off with all time classic “Make Me Wanna Die” there is copious amounts of ass shaking and squelling along from out there in the crowd, a pretty strong sensible set.

Ice Nine Kills [10] just get better and better every single time I catch them, I mean having Art the Clown light a baby on fire and swing it around by it's umbilical cord was not something I’d have been able to foresee, yet it just added another layer on top of the theatrics, not to mention he got behind the kit afterwards. The setlist heavily comprised of Silver Scream 2 and the latest singles, they even drop a Nofx cover in there for good measure. They have the theatrics nailed, the visuals mastered, the pyro in synch, a collection of fantastic songs, I had a fucking fantastic time.

Bad Omens [9] have always been a band I feel I should be into but I just struggle. Well I can confirm - as I suspected - that since seeing them put on a show, I’m a lot more invested in the music. It appears a lot of people had the same idea, this was as rammed as I’ve seen the main stage, almost equivalent to that of the headline acts. Noah Sebastian is at home up there, no sign of nerves and no exuding anything other than sheer confidence. There is a lot of chatter that these guys could headline this festival, and from the turnout and reception I feel like that facts staring you in the face.

A Day To Remember [8] just be doing what A Day To Remember do, starting off a massive party; filled with beach balls, confetti, tshirt cannons, streamers, all their usual antics. Notoriously closing the second stage can be a hard job when going up against a particularly huge headliner like Linkin Park, and yes we do see numbers of people leaving earlier (which given how rammed the place was and Linkin Park being next was almost enviable), there is still an enourmous particularly rowdy crowd sticking it out till the end which doesn’t go unnoticed by the band. The only critique I have is that at times McKinnons vocals aren’t as sharp as they used to be, for the most part he nails it but there’s moments it feels strained, but with the volume of the crowd singing it back you really wouldn’t notice. It’s a greatest hits setlist and for a second stage headline set, you couldn’t blend that level of nostalgia and togetherness in whilst still reminding everyone you’re still quite the force to be reckoned with.

Linkin Park [8] was quite an experience, I mean I’ve been privileged to have seen them headline this festival before whilst Chester was still with us, but this is quite different. First things first, Emily made a huge statement and let her passion and talent speak for itself, absolutely slaying her own tracks whilst going big with the older stuff in the best way she could as a tribute by getting everyone to sing those words. The act was split into 4 sections, and at times I felt the space between was a touch too long, the setlist I think was fair, lots of meteora and Hybrid Theory and From Zero, knocking out a Fort Minor cover for Mr Shinoda. Was it my favourite set of the day? Nah, but they managed to put on a show that crosses over generations, old and new fans alike, the past the present and also now, the future of Linkin Park.

When it comes to British bands, Newport’s Skindred have to be potentially the most fun, the most reliable and most epic of them. The ragga metal punks are on album number 9 and are on the run of their lives thanks to a surge in popularity from going viral. With that has come a bit of a tone back in style but also broadened their horizons in other ways, let’s see how they follow up Smile.

A song I struggle with is “Can I Get A”, I have no doubt it’ll go down well in the mainstream, but for me it’s more wince than stank face, over time I have softened up with it (I took it out with me on a sunny drive) and feel better towards it, when you look at the lyrics it’s got a deeper theme of anxiety towards the future from having nothing, the execution though just isn’t for me. “Born Fe Dis” is much more like it for me, the level of heavy music is not on the level of Babylon or Roots Rock Riot (they were ridiculously heavy) but it’s back up there, it’s a nice thick guitar tone and who doesn’t love a YEE HAW for good measure. “Big Em Up” is my type of jam! This really takes me back to the old days, tapping the reservoir and finding a Nu Metal heartbeat, Benji goes deep into his reggae side but with some broad coarse vocal lines to compliment the heavier underlay, distantly relative to Roots Rock Riot. Being followed up by “Do it Like This” is crazy, what a banger and a half that is, it’s like everything has advanced like the rapping, the synthetizer and definitely like the last half of this album the heaviness has amped back up. I’m in heaven as “My People” comes on, another juicy track that’s not just both crunchy and smooth but also groove infused, see I feel that the masses would latch onto the radio friendly nature of the albums title track but it’s this one for me that sinks it's hooks into me, it’s an all rounder with a dash of everything. “Broke” is the working class anthem, why are we broke when we work all the time?! Relatable struggles packed up in a cheeky little ska-reggae package, it hits the serotonin receptors hard, an amazing song.

I think it’s only a natural progression given the trajectory of their career in the last few years thanks to social media. The sound and style changes, things are much more polished and professional. I’m just glad they still remember deep down, where they came from and the scene that backed them from the very start. I can very easily enjoy the whole spectrum of their sound, so I don’t really have any complaints, whilst I reminisce fondly on the Babylon days, I can still shift my ass just as much to this, just in a different way.

We haven’t seen York’s metalcore group Glamour Of The Kill drop an album in 13 years, that’s a long damn time. We had a brief glimmer of a revival in 2018 where they dropped 2 singles after announcing their return, teeing up a brand new album that never came. I was besotted with the band since their self-titled EP dropped in 2008, they blended together what was great about the different metalcore acts at the time, with Davey Richmond’s vocals providing hook after hook. All the members are OGs apart from new rhythm guitarist/backing vocalist Sam Brookes. 

“Grace of God” dropped first and just seeing their name come up shook me like a bottle of Coca-Cola, it's different to the band I once knew that’s for sure, initially I wasn’t a fan and longed for the past, it’s much darker in theme, replacing the sweet sounding riffs and hooks with coarse tones, just generally heavier and more malevolent. The album's title track “Vengeance” dropped second, I picture soldiers marching through the gates of hell towards unspeakable horrors with this playing in the background, it builds and ramps up in tempo with each verse but retains that gloomy unsettling ambience.By the time we got to “Feed Them To The Pigs” I was starting to vibe with this rebirth, it reminds me of Scream Aim Fire era Bullet For My Valentine but a bit more refined, that comparison kind of captures my feelings at this stage as I did enjoy Scream Aim Fire, but was it their best era? “Suffer” was the final single before the whole thing dropped, the impressing thing for me on this one is Richmond’s vocals have really developed, slightly lower on the pitch unless it calls for it, a sinister edge again when called upon, it feels the range between both sets of vocals is much broader as the track chugs along with it. “Rampage” is very brash and in your face, very aptly named I’d say, another alternative would have been the neck snapper with that riff, it's like a leech it sinks its teeth into your neck and it's all over. “The Forgotten” is like it's musical kindred spirit with it's heaviness but whilst employing similar speed and aggression they also manage to switch up and scale it back to a more solid and steady pace for its melodic but solemn chorus.

I was a very enthusiastic GOTK fan, from the Self titled EP in 2008 right up until their second full length Savages dropped in 2013 and they disbanded, my interest peaked arguably with their first album The Summoning. This revival is quite a far cry from those days, it's a lot darker this time around whereas their older material was quite upbeat and melodic, I like what they’ve done here and I’m quite keen to see how they move forward with it but a significant sized part of me longs for the old days, maybe it's because I’m old now and wish I wasn’t.

The mighty freakin’ Alter Bridge are back again! Kennedy, Tremonti and Co are dropping album 8 amidst all the members of the band having extremely busy schedules; with the Creed reunion, Tremonti putting out a new album, alongside Kennedy’s solo project and working with Slash. It has been 20 years since I first saw Alter Bridge live after my guitar teacher introducing me to them in my mid teens, following which I fell absolutely head over heels in love with the band and that has never faded.

“Silent Divide” was the lead single, I can see why this was chosen, it's very slick and thick but full of soul, when that drop hits towards the end I feel like I’m gearing up for battle, through the chorus I find myself swaying singing along and giving my neck a bashing, welcome back lads, welcome fucking back. “What Lies Beneath” was up next, this one certainly has perilous overtones, makes sense when it accompanies lyrics about darkness living beneath the skin, another flavor sachet that Alter Bridge have in their arsenal. Tremonti picks up the lead vocal role in the verses on “Tested and Able”, I am so happy in recent years they’ve utilized Tremonti's vocals because he’s got a fabulous set of pipes on him (as evidenced by his project Tremonti), his range contrasts the higher pitch of Kennedy but they- as always - go together gorgeously like butter and toast, it adds some extra stardust to an already uplifting track. You can hear a reminiscence of Blackbird’s iconic acoustic anthem “Watch over you” married together with AB III’s “Wonderful Life” inside “Hang by a Thread”, that acoustic tone of theirs soothes the soul, nobody writes a ballad quite like Alter Bridge.“Rue The Day” is one of my top tracks on this album, lyrically it's about not letting the devil take you but for me the chorus is a very mindful piece of writing, “breathe it in, breathe it out”, almost like a metaphor for not letting anger or evil influence take over, a thing that even the most righteous of people can understand packaged up with chunky distorted riff and silky bluesy vocals. There is a big association with card games association with rock and metal music, I mean accompanied with a cigar and whiskey I can see it (instantly made me think of Lemmy), “Playing Aces” sits in this category and is just marvelous, rough and ready but with an almost angelic chorus that right from the first listen earned itself a spot in my everyday playlist.

This whole album feels like a celebration of who Alter Bridge are at the core, right from One Day Remains until the present day, how they’ve evolved and stood the test of time. I’m extremely glad I got to see them in Nottingham recently, the new stuff does extremely well live and to still get that youthful excitement from bands dropping albums and announcing tours over 2 decades on is a rarity in this day and age.

Sevendust [7] to open the night?! Well what a way to start, albeit like a flash in the pan with a 7 song setlist spanning their extremely lengthy career. The only complaint I had was just that, I wanted more, I feel like set closer “Face to Face” got me too amped up for it to be the end. The only gripe o have, was th backing track use particularly for the harsh vocals on “Face to Face”, I don’t know why it disappointment me so much but it just took something away from the set.

Daughtry [6] are musically sound, everything they’re doing up there looks and feels right, the smoke cannons are a good addition too. However. Being sandwiched between 2 badass rock bands has left them feeling a little.. dare I say it.. generic? I have no doubt they’re in the right environment however I do feel they’re much more appropriate for a Shinedown show. That’s not to say I didn't enjoy it but it just felt too polished, I know that’s really weird to say but, everything just felt like it was planned to the last detail. Also, that cheeky encore.. this isn’t a headline set, I mean they got the reaction they wanted but it just felt.. wrong.

Lake Malice [8] impressed the shit out of me. It’s a name I’ve been hearing for a little while now but never checked them out, well that certainly won’t be the case henceforth after this! I love discovering amazing new British bands it warms my cold soul. They’re received amazingly by the crowd a lot of whom appear to know the tracks, they blast through a hefty 11 song set, fading out to “Cotton Eyed Joe” which will always be a winner for me. The stage presence appears so natural to them, however whilst they’ve only been together for a few years, the members have been kicking around in other bands since their school years and it’s very clear they’re not frightened of asserting themselves and pumping their energy into it. I cannot stress this enough, you must check these guys out.

Hanabie [8] have drawn an incredible amount of die hard fans tonight. First time in many many years I’ve seen a queue that large for a merch stand, 2 flights of fucking stairs man, like wow. The ladies file out individually to receive their own reception from the crowd with each of them sporting a similar but distinctive vibe of their own. Unfortunately as guitarist Matsuri tells us through a Love Actually card dropping interlude, she has lost her voice (blaming vocalist Yukina for an alleged 8 hour phone call), so asks us to sing for her, dedication to power through by any means necessary. They blast through an 18 song setlist with 2 as an encore, Yukina explains she loves a certain song and they want to play it, followed by “Nothing Beats a Jet2 Holiday”, Rosemary was elated, me however? I hate that bloody jingle. There were some awkward moments of silence, obviously the girls can speak English to a degree but we are in the Black Country so sometimes the interactions looks perplexing to them, I mean sometimes they are even to those of us to live here. The sheer energy and passion, whatever happens between songs as soon as the music hits, it’s game on and the embers ignite. It’s been an incredible night, I would definitely recommend them and would love to see them again. The Japanese takeover is coming people there’s so many great bands coming over just lately!

The Amity Affliction [6] confused me as I swore they were on second but hey ho. They have a unique backdrop which works well I assume giving the big curtain covering Parkway’s stage setup, it’s like banners across the top which feels very regal. They play well, they were into it and almost sounded perfect but in terms of interaction and presence, I found them to be a bit lacking, when I go to a gig I want a show particularly with how much they cost these days. Whilst Amity play great and with some passion they don’t follow it up with substantial engagement, no problem with them being the opening band tonight but I would want more if they wanted a higher spot at this level.

Thy Art Is Murder [6] say it best themselves that the show is like a death metal sandwich as they’re sandwiched between 2 metalcore acts. The mix of the sound felt a bit off for me, it felt like the guitars were too much and the vocals were too little, like you could hear him singing but not make it out as well until everyone else went quiet. I love the music of Thy Art and the setlist was great, their setup focused more on the lighting rig they bought with them and the screens either side of the stage (again I assume as Parkway’s stage is massive and complex), but call me old fashioned, I like a backdrop which they didn’t have. I feel like the energy in the crowd wasn’t as expected I assume due to the mix of styles and there being less of their usual diehard fans (I have seen them much better headlining smaller venues with phenomenal energy), Engagement far surpassed what TAA gave us but the lack of energy and mix issues just didn’t leave me with the usual hyper feeling when I’ve seen them before.

Parkway Drive [10] just put on one of the greatest shows I’ve ever seen. I love how they still take to the stage by walking through the crowd from the back, it makes it feel much more personable and inclusive. It just gasses everyone up in the room. The stage show, is absolutely stacked, so much fire, so many sparks, smoke cannons, spinning drum set - THAT SETS ON FIRE, very skilled dancers and actors that also throw Molotovs everywhere, some lovely lady’s with violins and a chello, a raising bridge linking the main stage to the square stage further out in the crowd which they alternate between and a isolated rain around the middle stage. Winston is one of the most natural frontmen in modern metal today, he’s out there on the crowd with a circle pit whirling around him, he flings and smashes himself across the stage. Not forgetting we’ve got to the level where he now has outfit changes throughout the set, everything just feels like a grand experience and the effort they’ve put into putting this together and the timing being so perfect just shows the dedication in putting on the greatest performance possible. On the surface (as we can’t truly know these people’s nature just what’s put out there) they appear to be very humble and very grateful for their position, a point that is emphasised throughout and with a huge shoutout to all the crew for their hard work and effort. Let’s talk setlist, the medley of the best moments of their debut album was a fantastic idea and hits like a detonator igniting the OG fans to lose their damn minds down there, I love to see it. They bring out TAA vocalist Joel Birch and Thy Art’s axe man Andy Marsh to help them out with “Boneyards”, latest single “Sacred” slaps hard live and has made it one of my favourite songs at present, they split the set through their albums making sure their list of albums get a fair showing - with a heavy emphasis on Reverence which is absolutely fine by me. The encore of - Obviously - “Crushed” with the biggest amount of fire of the set as Winston raises up on the bridge which spits out jets of fire from the sides. “Wild Eyes” though, I’ve seen parkway many times over the years, this is the LOUDEST I have ever heard a crowd (live in person at least) song that riff to the point you could barely hear the band. There was literally nothing else I could ask for, nor could want. I definitely feel I got my money's worth and more out of that set, there can be no doubt that they’ve “made it” and stamped their legacy as one of the most hard working and iconic metal bands in history.

The Amity Affliction [6] confused me as I swore they were on second but hey ho. They have a unique backdrop which works well I assume giving the big curtain covering Parkway’s stage setup, it’s like banners across the top which feels very regal. They play well, they were into it and almost sounded perfect but in terms of interaction and presence, I found them to be a bit lacking, when I go to a gig I want a show particularly with how much they cost these days. Whilst Amity play great and with some passion they don’t follow it up with substantial engagement, no problem with them being the opening band tonight but I would want more if they wanted a higher spot at this level.

Thy Art Is Murder [6] say it best themselves that the show is like a death metal sandwich as they’re sandwiched between 2 metalcore acts. The mix of the sound felt a bit off for me, it felt like the guitars were too much and the vocals were too little, like you could hear him singing but not make it out as well until everyone else went quiet. I love the music of Thy Art and the setlist was great, their setup focused more on the lighting rig they bought with them and the screens either side of the stage (again I assume as Parkway’s stage is massive and complex), but call me old fashioned, I like a backdrop which they didn’t have. I feel like the energy in the crowd wasn’t as expected I assume due to the mix of styles and there being less of their usual diehard fans (I have seen them much better headlining smaller venues with phenomenal energy), Engagement far surpassed what TAA gave us but the lack of energy and mix issues just didn’t leave me with the usual hyper feeling when I’ve seen them before.

Parkway Drive [10] just put on one of the greatest shows I’ve ever seen. I love how they still take to the stage by walking through the crowd from the back, it makes it feel much more personable and inclusive. It just gasses everyone up in the room. The stage show, is absolutely stacked, so much fire, so many sparks, smoke cannons, spinning drum set - THAT SETS ON FIRE, very skilled dancers and actors that also throw Molotovs everywhere, some lovely lady’s with violins and a chello, a raising bridge linking the main stage to the square stage further out in the crowd which they alternate between and a isolated rain around the middle stage. Winston is one of the most natural frontmen in modern metal today, he’s out there on the crowd with a circle pit whirling around him, he flings and smashes himself across the stage. Not forgetting we’ve got to the level where he now has outfit changes throughout the set, everything just feels like a grand experience and the effort they’ve put into putting this together and the timing being so perfect just shows the dedication in putting on the greatest performance possible. On the surface (as we can’t truly know these people’s nature just what’s put out there) they appear to be very humble and very grateful for their position, a point that is emphasised throughout and with a huge shoutout to all the crew for their hard work and effort. Let’s talk setlist, the medley of the best moments of their debut album was a fantastic idea and hits like a detonator igniting the OG fans to lose their damn minds down there, I love to see it. They bring out TAA vocalist Joel Birch and Thy Art’s axe man Andy Marsh to help them out with “Boneyards”, latest single “Sacred” slaps hard live and has made it one of my favourite songs at present, they split the set through their albums making sure their list of albums get a fair showing - with a heavy emphasis on Reverence which is absolutely fine by me. The encore of - Obviously - “Crushed” with the biggest amount of fire of the set as Winston raises up on the bridge which spits out jets of fire from the sides. “Wild Eyes” though, I’ve seen parkway many times over the years, this is the LOUDEST I have ever heard a crowd (live in person at least) song that riff to the point you could barely hear the band. There was literally nothing else I could ask for, nor could want. I definitely feel I got my money's worth and more out of that set, there can be no doubt that they’ve “made it” and stamped their legacy as one of the most hard working and iconic metal bands in history.

Slaughter To Prevail have become one of the modern day leaders of the Deathcore genre, albeit with some controversy from issues outside of the music in relation to certain imagery used by particularly vocalist Alex Terrible. The guys have dropped their 3rd album for us so let’s just get stuck in.

We had “1984” first, a plea to stop the violence from the war in Ukraine, this song is more of an extremely heavy metalcore track, I won’t say the chorus is clean as it’s raspy and harsh but it’s cleaner than we are used to from these guys with the usual nice thick guitar work, I love the little licks and riffs. “Viking” is an absolute monster, I have been obsessed with it since it dropped, it's definitely a chanting march off to battle before it drops through to the bottom rung of hell, there’s no doubt that STP are the masters of unfiltered aggression. “Conflict” is a complete barrage of anger aimed directly at your forehead, 100% the type of song I would expect from them from their last album, they somehow find a way to make it constantly fresh and it twists and distorts throughout the song, the little guitar squeaks and squeals elevate the beats and drops, I can see the OG scene kids and hardcore lads getting down to this. The orchestral arrangement on “Behielt” is gorgeous! I’ve thought this since the day the single dropped, it’s quite different from the sort of material we would expect from a band like STP, the chorus is - almost - melodic, whilst it’s heavy it’s not in a traditional way but more steady and drawn out until the end where that thunderous breakdown assaults you, amazing stuff. “Song 3” is the song they collaborated on with BABYMETAL, it’s a perfect collaboration for both parties, it embraces a more playful nature from STP and really heightens the heavier side of BABYMETAL, having seen this performed live by them on their recent tour I can confirm it’s a bloody screamer. “Rodina” is one of my favourites - unexpectedly may I add, it is a sort of half ballad but Alex’s clean vocals are reminiscent of Rammstein which I definitely think they should do more of, the song is in Russian but is an expression of how Alex feels for his homeland and where he comes from despite the pain and suffering that is plaguing that region at the moment, added orchestral backing really plays emotional strings. “Lift That Shit” is my new gym anthem, it’s an adrenaline fuelled chaotic and carnage infused banger, particularly because periodically it’s helpful to be told to not “be a fucking pussy” and “lift that shit”. “Imdead” guest features Falling In Reverse frontman Ronnie Radke, he adds his trademark style on the track and makes the whole thing feel so much more evil and sinister, with eerie clean vocals and higher pitched screams, combined with Alex’s distinctive head splitting growls makes for a very interesting song.

I will say I’m extraordinarily impressed with this album, they’ve really pushed the boat out as musicians and songwriters and explored what could be added to create more depth to their music beyond the aggression. Bands like STP and Lorna Shore are really changing the perception of Deathcore as a genre, opening up doors to express “hey, it could also be like this” to the scene and it really is bringing out the best in everyone in the scene.

Who, may I ask who likes rock and metal, doesn’t know who Killswitch Engage are? One of the utmost iconic bands to have ever have existed in metalcore. 26 years so far, this makes album number 9 which feels low for a band with such a long career, however I think we can all agree it’s been a great 9 fucking albums right? Jesse’s 5th album overall, 4th since he returned following the departure of Howard Jones, let’s go!

First single “Forever Aligned” has all the criteria of a Killswitch Engage track, chugging along like a steam train through the verses building up through to a clean hook over the cleaner tones on the chorus, it’s a good taster but I can’t help but feel we’re not really going to break the mould here. “I Believe” came next, and that one sat back from the angst and takes a more delicate approach pushing a big vocal hook, think more “Starting Over” as opposed to the likes of “Rose of Sharyn”. I wasn’t keen on “Discordant Nation”, it was too chaotic in the chorus for me to sink my teeth into the melody. “Abandon Us” on the other hand is absolutely my jam, an industrial machine passing the baton off to a fantastic vocal melody and impressive guitar work, the reason I fell in love with metalcore all those years ago. If the more aggressive side of the scale is where you sit then I give you “The Fall of Us”, enjoy the blast beats and deep growls, in this case the chaos and carnage works to keep the heaviness even through those vocal hooks.

Whilst nobody will say this latest album shatters any boundaries or revolutionize the genre, it’s another fine example of a band confident in their own skin flexing their muscles. I mean damn Killswitch basically raised most of us, and hopefully as they embark on a big tour later on this year they can still be around to guide future metalheads down the right path. Make sure you get your tickets to that tour, It's a gnarly line up.

Bleed From Within [8] have the - what can be - challenging task of opening up Sunday's proceedings (for us having arrived slightly late), not that you could sniff out any ounce of fear or worry in that performance. Commanding and always, visual video packages accompanying the tracks on their screen backdrop, I know it’s a big jump up to the main stage which is well deserved but I would much rather have had them on later on and for longer, their energy is meant for the darkness not the midday sun. Also starting my day with Pyro is always a way to get super hyped.

The Ghost Inside [7] in so glad I’ve finally got to see them because I never thought it would happen at one stage, they come on to a great sized crowd and they sound great, I’m living my teenage metalcore dream here, whilst they were musically spot on AND the pit looked to be in full swing, I felt some of the between song chat was a touch repetitive but they’re fortunate enough to have enough bangers to be forgiven for that.

Jinjer [8] have beyond earned their space on the main stage, the last time I was here you could not get in the tent to see them it was so packed. Also the Ukrainian Flag with “PUTIN WANKS ON ALL FOURS” is the most British way to support Ukraine I have ever seen. It’s a well deserved jump to the main stage and they prove why they deserve to be there, blasting through great material after sorting out some early technical issues allowing their musical ability to take the focus of attention.

Alien Ant Farm [5] was victim to wind distortion pretty badly, but not just that it’s like they’ve parked the bus really like, we got Alien Ant Farm but without the expected passion. I really wish I’d seen them back in the day, the crowd they pulled was shockingly big mind you I wasn’t quite expecting it! Also I’m all for people having their believes and faiths but I wasn’t a fan of the religious chatting.

I really wanted to see President, however after just being packed in like sardines for Alien Ant Farm, the Dogtooth Stage was absolutely rammed full of people spilling out of the tent quite a significant distance, I just couldn’t face it.

Spiritbox [9] were just stunning, the sound is spot on, LaPlante surpasses her impeccable studio performance with a gorgeous life showcase. The production is great, the screens fracturing and distorting the camera feed, trippy visuals and a packed setlist from their 2 albums and their EPs. I have been absolutely blown away by their performance, I’ve never seen a band ooze confidence and just simply belong whilst remaining so humble, in such a short space of time and at this stage in a career. Mark my words, Spiritbox will be festival headliners, and I don’t think we have to wait that long to see it.

Lorna Shore [9] is the band I’ve been absolutely stoked about seeing again, I have fallen deeper and harder AND faster than I ever have with a band. They absolutely back up all the hype that surrounds them, the guest vocals from Left To Suffer’s Taylor Barber on opener “Sun//Eater” is just, fucking gnarly. Bursts of the first pyro I’ve seen of the day only brought down by a rude interruption in the middle of the “Pain Remains” trilogy where everything just went off, stone cold silence. After already coping with the irritation of the very start of Bullet For My Valentine’s set over powering some of the end of their set, killing the momentum of a really powerful part of Lorna’s set was just such a buzzkill.

Bullet For My Valentine [7] have performed exactly the same set as their recent headline with Trivium Tour, not that I will ever complain of hearing The Poison, it didn’t feel as grand as when I they played in January, the production was the same but on this much bigger stage it doesn’t hit quite the same. Matt made his mission statement that they want to come back and headline this festival, well this next album has some big ambitions to meet if that’s the case Mr Tuck.

Korn [9] launch straight into the good stuff, nobody can ever say that this headline set is not well deserved, Korn have been dominant, weathered low periods and are still God damn here kicking ass. I have 0 complaints with the setlist, a great spread through their history of hits and some different gems peppered in. They’re on a mission blasting from track to track taking brief pauses to allow Mr Davis to whip up a frenzy here and there and give thanks for a huge career. Ending with Richard Cheese’s version of “Freak On A Leash” as the crowd disperses made me chuckle.

- Review by Jay

Hatebreed [7] do phenomenally however the organisation of this show has a lot to answer for, gate opened at 5 and took forever to get through when Hatebreed only had 20 minutes starting at 5:15, there were a lot of unhappy fans in the queue. The balls of death made an appearance, they only got 4 songs, they were a great 4 songs but this is the mighty Hatebreed! God forbid if the other opening band hadn’t have pulled out.

Mastodon [7] play very proficiently to a backdrop of trippy psychodelic video packages, as tradition. However for half the set the left screen wasn’t working at all. They’re a band of few words until their last track but I suppose when you’re only given a short time to play, but then they closed with “Blood & Thunder” leaving me a very happy man.

Anthrax [7] absolutely perplex me with how they still have this much damn energy! Vocalist Joey Belladonna at 64 years of age getting his ass out into the crowd, bounding round the stage with more gusto and fire than a lot of frontmen over half of his age, he amazes me just as much today as he did way back in 2006 when I first saw Anthrax. They get that crowd good and riled but we are left wanting more and the crowd let the world know it begging for one more song which unfortunately they were unable to give.

Amon Amarth [9] bring the fireeeeee, lots of pyro, a huge stage setup with a Viking helmet with horns housing the drum kit, 2 gigantic statues backed by the image of a shield war and an army of vikings. Singer fell off the platform but he laughed it off, “it’s not about how you fall, it’s how you get back up”. Having never seen Amon Amarth and not having been a huge fan of their records, they’ve made a convert of me today, Skål!

Slayer [10] just absolutely blew the place up, the last time I saw that much fire was at a Rammstein show, not to mention some of it made upside down crosses. 20 song set, showcasing an extraordinary journey through their beyond ample back catalogue. I’ve been privileged to see Slayer a handful of times in my life but this I can safely assure you has been the greatest. The event on the whole had been a strange one, the whole front left of the crowd being solely for VIP ticket holders and the weird set times, but overall I feel extremely grateful and in awe of the mighty Slayer for what could be (I’ve said this before) the last time in my life.

King 810 are a very special and unique Nu Metal band that have emerged from Flint, Michigan in the US back in 2007. Their lyrics and themes reflect the violent and dark experiences they’ve gone through growing up in a very rough area, I always refer to their material as poetic but in a demonic way where beauty is substituted for gore and vulgarity, no shock that I’m a huge fan. This is album number 5 now so let’s jump in and take it for a ride.

“Headshot” is an absolute beauty, David’s way with words in his storytelling is something else, whilst theming about life in the streets, it cuts straight through you with lines like “Little girls sell their panties to a pedophile” and “Balloon ruptured in her stomach, And I held her while she shook and died”, the hairs stand up on the back of your neck realising that’s a haunting reality. The violent topics aren’t all there is to it, again there’s a big dark religious aspect to their writing which is still as prevalent as ever, a good example of that is “Noonday Demon” which has sharp wheezy inhales that make the hair on the back of the neck stand on end, spitting out all the ways that God uses “King David” to do the darker things to keep his name away, it’s a highly volatile yet seductive song. “Raindance” has a chorus I can really vibe with, I feel like I do a type of dance to it with how slippery and sleazy it feels, it allows David time backed by silence to spit some lyrics at the end like an angry spoken word show. Initially it was those 3 tracks that stood out for me, but with each full listen, the others started to dig their way in like. Particularly the title track “Rustbelt Numetal”, it flows like an unpredictable ocean with an onslaught of aggression that calms for a brief respite before rocking the boat again, I can’t see how it didn’t stick quicker but importantly it has now.

I’ll always be saying I want more whenever these guys drop an album because I absolutely love their style. The albums seem to have dropped in length from around Suicide King and they have seemed to favour EP style size and length since then. As I said earlier the more I’ve listened the more that adoration has grown, they are literally the definition of shock and awe, in your face with the lyrical theme and then leaving me in awe with the composition, hopefully see you soon lads for another headline show!

Dynazty are another premium Swedish power/heavy metal band, they’ve been active for around 18 years, in which time they’ve produced what is now 9 studio albums. I only really became aware of them when they released their last album Final Advent in 2022 which caught my attention.

“Call of the Night” is a fantastic way to open an album, the thumping of the beat, the subtlety of keys boosting a fullness to the composition, it gives me Sabaton vibes but without the war and a more positive, sharper tone. I really like “Dark Angel” and it’s not just because I think of WWEs Stephanie Vaquer whenever I see the title, it’s like the Anti Frozen because the Chorus has this quality in the vocal melody that makes gives off this SLIGHT “Let It Go” energy but the antihero version, it’s a great emotionally charged song. “Fire to Fight” is the type of song they thrive in, it’s like they took the best parts of songwriting from bands like Journey and Foreigner and utilised the skills into their really epic sounding power metal, their story telling being the epitome of what Power Metal always has been, I would very much like to include “Devilry of Ecstacy”, they feel like big festival tracks. We’ve got a bit of a power ballad with “Dream of the Spring”, the lead guitar cuts through with a clean and sharp riff, the group vocals in the chorus really fill out the sound, I do love a good sing-along, so I’m sold.

I definitely favour the more traditional heavier style they’ve adopted on this album compared to their last, it just feels very natural. There more to it than that though because there are so many power metal bands, a lot stick with their well established style and just keep chugging along, but it’s bands like Dynazty that will keep the genre not just alive, but fresh.

It’s been 7 long years, since we last had an album from Orange County heavyweights Bleeding Through, prior to that it was 6 years! This band was a monumentous part of my youth and I really grew up with them. They blew my mind with 2012’s The Great Fire, adored it, thought it was superb. Then they broke up! It was crazy to me, I thought my God look what you have here this is going to be huge. The fact that post release of that album will always be tainted with the break up really killed the momentum. I didn’t feel they’d managed to rekindle that on their returning album Love Will Kill All, I am hoping that we can find that here.

“Gallows” in it's verses take me right back to that album but the chorus feels unexpected to me, it’s dreary and haunting instead of infectious melody, it’s unusual but I think I’m into it. “Dead But So Alive” has a chorus that really throws me back to their early career in the early 00s when they thrived in writing haunting melodic choruses and it worked so well. “Hail Destruction” is a track that perfectly exhibits what those keyboards with that Organ style tone can do to fill out and change the dynamic of a song, such a perilous sensibility amongst a steady and calculated pace. “Lost in Isolation” guests Doc Coyle (a lot of people know him as the guitarist of Bad Wolves but the OGs remember him from God Forbid), the difference in effect the feminine and masculine vocals pass off onto each other is hauntingly stunning, I’m also a sucker for a good ol’ guitar solo and this one flows through the eardrums like a dream. “I Am Resistence” guest features Andrew Neufeld from Comeback Kid, it’s the one that makes me most nostalgic and remember why I fell in love with the band to begin with, it’s a touch less malevolent and whilst you can feel despair it’s as though there’s a touch of positivity and hope. One I’m really not sure on is “Emery”, now I’m not sure if that’s because it was so different and I’m stand offish with it, or because it’s odd, I see what they’re doing but it hasn’t landed for me. Especially when it’s followed by “War Time” for which they’ve wrangled another legend of the business in Brian Fair from Shadows Fall, its a methodically written travel back to the core of where these bands came from, the heavy, the melodic, the filth, the headbanging, after initially not vibing with this song it's become quickly one of my favourites.

This is I think Bleeding Through showing they still know how to do this, I really hope it rekindles the touring as it’s been a hell of a long time since I’ve seen them and I’ve got the itch, it’s like the new stuff unearthed the attachment all over again. Nothing will ever slap me in the face as much as The Great Fire did when it first dropped, or equal the sheer love I had for songs like “Kill To Believe” or “For Love And Falling”, but it’s a great advancement from the last couple of albums for me.