Back catalogue: Rock (All)

Review: The story goes with this one that a collective of seasoned musicians came together and discovered a rare camaraderie. With no hesitation, they poured their everything out onto tape and the results are now presented here on this one-sided and etched 12" under the title Better Lovers. Out features former Every Time I Die members Jordan Buckley on guitar, Steve Micciche on bass, and Clayton "Goose" Holyoak on drums with frontman Greg Puciato on vocals and Grammy-winning producer Will Putney. The music is dense metal with walls of sound washing over you and full of big guitar riffs, guttural vocals and dark energy.

Review: BIG BRAVE's music epitomises what has been called 'massive minimalism,' with layers of textural distortion and feedback accentuating its weight and frayed edges. Their artistry blends traditional folk techniques with a modern deconstruction of guitar music, all of which is evident in the new album A Chaos Of Flowers, which is a follow-up to their fierce 2023 album Nature Morte. Lyrically, the songs delve into vulnerability, isolation, and co-existence in nature and guitarist and vocalist Robin Wattie drew inspiration from poetry by female-presenting artists, exploring alienation's impact on the psyche. This record is a testament to the band's ability to evoke intense emotions through minimalist yet powerful arrangements.

Review: An album that surely needs no introduction and does precisely what it says on the tin (like Ronseal), Black Sabbath by Black Sabbath is often considered (and rightly so) to be the first true heavy metal album, while the deeper nerds will also attest to the project birthing the doom metal genre as an entity thanks to guitarist Tony Iommi's signature menacingly psychedelic tone. Originally released in 1970, this self-titled debut boasts some of the band's most iconic cuts to date such as the looming title-track as well as 'The Wizard', 'Behind The Wall Of Sleep', and, 'N.I.B.', while the fact that they managed to also record and release their sophomore follow up Paranoid the very same year is anyone's guess (drugs).

Review: 1995 saw the semi-controversial release of the final Tony Martin-era Black Sabbath album Forbidden, marking their 18th full-length overall. Reuniting the 1990 Tyr-era lineup with the re-enlisting of Neil Murray on bass and Cozy Powell on drums, the project was maligned upon release on both the critic and fan sides of reception, likely stemming from the unusual choice to have Ernie C of Body Count man the desk for production duties with bandmate Ice-T even providing the spoken word segment on the opening track 'The Illusion Of Time'. While in later years, Martin would consider the project a "filler album that got the band out of the label deal, rid of the singer, and into the reunion", based off the fact that guitarist Tony Iommi would reconcile with original frontman Ozzy Osborne not long after, that still doesn't alter the fact that the original lineup reunion effort 13 wouldn't arrive for practically another two full decades. Whatever your deeply held personal beliefs, they are those out there who still fly the flag for this peculiar era from the metal pioneers, so much so that the Anno Domini 1989-1995 box set release earlier in 2024 collates all of the Martin-era albums into one definitive collection while being freshly remastered by Tony Iommi himself in perhaps an internalised effort to undo the production choices many have highlighted as a major point of contention. This limited ultra clear pressing marks the first time since the release of said box set that Iommi's remaster of Forbidden has been made available for individual purchase.

Review: Following on from 1987's The Eternal Idol and 1989's Headless Cross, the very next year of 1990 would see the third full-length from Birmingham metal gods Black Sabbath to feature vocalist Tony Martin. Instructed to tone down the direct, in-your-face nature of the previous project's satanic lyrics, Martin looked toward Norse mythology for lyrical inspiration; a decision initially bewildering to guitarist and primary songwriter Tony Iommi. With the title Tyr, named after the son of Odin and the god of single combat and heroic glory, the band sought to seek out a new sonic identity to compliment the lyrical narratives, leading to what many fans consider to be the heaviest Sabbath album to date, while some bemoan that Cosy Powell's mammoth drumming utterly eclipses all other instruments. With the release of the Anno Domini 1989-1995 box set earlier this year which collates all albums from the Tony Martin-fronted era, this marks the first time any of these LPs have ever been reissued, and now with all albums being made separately available, the newly remastered Tyr does its utmost to restrain Powell's power and amp up everything else from the grooving riffage to the quintessential keyboard sections provided by perennial fifth member Geoff Nicholls. This would also be the last time this lineup would record together until 1995's Forbidden.

Review: Originally released in 1989, Headless Cross would serve as the second Tony Martin-era album from Birmingham metal pioneers Black Sabbath, following on from The Eternal Idol. Notably increasing the occult and satanic aspects to higher degrees than ever before, many heralded the work as a true return to form following the hard rock-centric turn of their latter material with Ozzy or throughout the majority of their Ronnie James Dio fronted run. With hefty, macabre riffage cloaked (and daggered) in shrouds of sonic gloom, the project would be the first to feature drummer Cozy Powell, while being their only full-length with session bassist Laurence Cottle. Marking the dawn of their deal with I.R.S. upon becoming disillusioned with the big major record labels, this criminally overlooked era of the band finally received its flowers in early 2024 with the release of the Anno Domini 1989-1995 box set which collates all the Tony Martin albums onto one fully remastered box set for many of the titles' first time ever made available on wax. This pressing offers the same updated, newly revitalised version, now being individually distributed.

Review: The year 1970 truly served as the dawn of Black Sabbath with not only the release of their iconic self-titled debut LP but also their even more legendary sophomore follow-up Paranoid also arriving the other end of the calendar. Embarking on a mammoth 121 date tour across Europe and the United States, kicking off in Swansea, Wales in September all the way through to April 1971, the middle point just before Christmas saw the metal pioneers land at L'Olympia, Paris on 20th December 1970 for a grandiose performance made up of some their greatest works and legitimately the most vital metal tracks of all time. From the opening riffage of the quintessential title-track to the resurgent 'Iron Man', the proto-doom stylings of 'N.I.B' and 'Behind The Wall Of Sleep' to the ultimate anti-war anthem 'War Pigs', this setlist reads almost exactly like the first disc of one the band's many greatest hits collections, as it just so happens that this early in their tenure, they'd already penned such a bevvy of classics. Pulled directly from the soundboard, this is Ozzy and co in their absolute prime before ego and mass quantities of narcotics would join as a permanent fifth member.

Review: While the critical reception wasn't initially kind to the final Black Sabbath album of the Tony Martin era, time's healing powers have offered the eighteenth full-length a slight reprieve, with many now learning to appreciate the ambition Tony Iommi imbued into the project. Many might have scoffed at Ernie C of Body Count handling production duties, even enlisting bandmate Ice-T for the spoken word section of opener, 'The Illusion Of Time', but with the subsequent reunion of Iommi and Ozzy not long after, there's no denying the sheer individuality this album offered, toying with everything from blues to power metal motifs. Martin would go on to refer to the effort as a "filler album that got the band out of the label deal, rid of the singer, and into the reunion", but with the near-two decade wait for, '13', some still gave Forbidden, the spins and attention it deserved. Reissued for forgiving ears and those willing to revisit.

Review: Caputing the band in live action during the early 80s, Black Sabbath's Born In Hell is culled from the short tenure of former Deep Purple singer Ian Gillan as lead vocalist, after the departiure of Ozzy Osbourne's replacemennt Ronnie James Dio. Therefore, among the run through the Brum band's overwhelmingly legendary back catalogue there nestles a very Sabbath take on 'Smoke On The Water'. Of course, the biggest selling-point here is simply Sabbath doing Sabbath, very loudly, although not quite as loud as the crowd's reaction at various points of the show. Not least Tony Iommi's insane solo as 'War Pigs' refuels in preparation for its monumental climax, worth the price of admission alone.

Review: Denver, Colorado based progressive death metal auteurs Blood Incantation have become renowned for their overarching science fiction themes and cosmic reimagining of genre motifs, with 2019's sophomore triumph Hidden History Of The Human Race garnering immense acclaim and exposure. Unexpectedly, their 2022 follow up would rip a page right from the book of Tangerine Dream with Timewave Zero being made up entirely of ambient synth-laden pieces designed to serve as a soundtrack to passing through the stars. With this unpredictable penchant and clear lack of genre boundaries illuminated, anticipation was rife to see if the band would have the balls and brains to marry both opposing sonic guises and that's precisely what Absolute Elsewhere delivers. Named after the mid-70s prog collective (who once featured King Crimson drummer Bill Bruford), and even featuring Tangerine Dream's Thorsten Quaesching, the album is made up of two tracks, both broken into three segments each, that weave hallucinogenic death metal with synthwave prog, Krautrock, and euphoric alien ambience to conjure a uniquely transcendental listening experience. This ain't your granddaddy's prog rock, nor is it your daddy's death metal, but in a sense, it's kind of both.

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: While there was once a time Nottingham's Bring Me The Horizon were known as the knife-edged fringe sporting MySpace era deathcore easy target, it's highly unlikely anyone ever had it on their bingo cards that within the span of a decade the band would become the torch bearers for mainstream metal, following in the footsteps of Linkin Park and 30 Seconds To Mars. Serving as the long-awaited sequel to 2020's nu-metal indebted Post Human: Survival Horror EP, their seventh full-length (and first since 2018's Amo) Post Human: Nex Gen doesn't simply follow suit, but creatively clusters essentially every sonic guise the group have adorned throughout their tenure into one singular sonic headfuck. Touching on everything from metalcore, post-hardcore, pop-punk, hyperpop, trap, nightcore and Anime music; the album is a testament to ADHD maximalism, and while it may come off as messy, obnoxious or utterly overwhelming, it's nigh impossible to not be impressed by the sleek effortlessness in which they appropriate vastly differing soundscapes like they were always theirs to begin. Marking their final effort with longtime keyboardist/programmer/producer Jordan Fish and boasting equally dichotomous features from the likes of Aurora, Lil Uzi Vert, Underoath and Daryl Palumbo (Glassjaw, Head Automatica), the second instalment of the Post Human saga simultaneously serves as the end of one era for Bring Me The Horizon, and the dawn of an equally promising new age. Report back for Post Human 3 in due course.

Review: Bring Me The Horizon were once known as Nottingham's emo-fringed MySpace deathcore scene kids, but the near two decades since have seen them balloon into the latest gateway mainstream metal outfit, taking the reins from the likes of 30 Seconds To Mars and Linkin Park before them. Returning with the highly anticipated sequel to their 2020 nu-metal-centric 'Post Human: Survival Horror' EP, their seventh album (and first proper full-length since 2018's Amo) Post Human: Nex Gen does its utmost to level up on every front just like a true sequel should. Condensing practically every sonic well the group have previously toe-dipped into one noxious bucket of hallucinogenic fluidity, the material here might make numerous nods to their metalcore and post-hardcore beginnings, but that's only to calm the trip with familiarity before being utterly doused in swathes of everything from pop-punk to trap, hyperpop, nightcore and even Anime music. Best described as "ADHD maximalism", the band and project make no qualms over its self-professed over-stuffed, chaotic, messy, obnoxious, overwhelming nature, though it's nearly impossible not to be impressed by the effortless fusions on display at every sonic turn. Their final work with longtime keyboardist/programmer/producer Jordan Fish, while offering a bevvy of dichotomous features from the likes of Aurora, Lil Uzi Vert, Underoath and Daryl Palumbo of Glassjaw and Head Automatica, the Post Human saga continues to rage through the mainstream and underground metal and punk circles like a coked-up unicorn, simply too farcical to be fucked with. Where the trip takes us on Part 3 is, for now, anyone's absurd guess.

Review: Welsh hard rock band Budgie never quite reached the highs of some of their peers by still did plenty for the evolution of their own particular musical niche. The were often said to be a blend of Rush's progressive styles and the more direct and dark heaviness of Black Sabbath. At the heart of the band was Burke Shelley's vocals - famous for their high-pitched banshee style - and despite being commercially unheralded, they have been mentioned as an influence by the likes of Iron Maiden, Van Halen and Queens of the Stone Age. This live show from LA in the late 70s catches them in electrifying form.

Review: Seven years after Bullet For My Valentine first formed under the name Jeff Killed John, they finally dropped a debut album. Gone were the Nirvana and Metallica covers that had defined the band's first incarnation, and in was a more melodic and poppier take on thrash and heavy metal. Going on to sell in excess of 1.6million copies between its initial release in 2005 and 2018, it remains BFMV's most commercially successful outing, earning them gold certification by the US RIAA and UK BPI, and platinum in the eyes of Germany's BVMI. If all this is news to you, perhaps we should start with some references. One for fans of Funeral For A Friend, Alexisonfire and more glossy emo-hued metal groups, it doesn't take long to realise why praise was heaped on The Poison, and the musicians, for their powerhouse riffs and unapologetically loud aesthetic.

Review: 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: This album collects together some of the very earliest pre-Black Sabbath recordings by the group then called Earth (until the permanent name change in 1970), as well as including some pre-Judas Priest Glen Tipton tunes from Flying Hat - these tunes were from a 1973 demo that was recorded a year or two before. There is also a special bonus cut 'Blue Suede Shoes' that was performed as Black Sabbath and mighty one of their earliest ever sessions to make it onto tape and now vinyl for the first time.