Aside from its mouthful of a name, this debut EP by Eleleth (a project featuring Michele from Gottesmorder and Alex from Light Bearer) is a concise affair given its weighty musical themes. The painful industrial noise that opens the title track is the kind that many an artist would choose to expand upon over a whole record but, mercifully for ears less accustomed to this kind of sonic brutality, Eleleth are a bit more ambitious than that. Within a few moments we get hymnal synths joining in the white noise and hoarse black metal growls that populate the aural foreground of the piece, and this theme continues over the course of the following three tracks.

This is minimalistic music for sure. The aforementioned title track stretches to seven minutes via the use of one thematic concept, but avoids sounding repetitive by virtue of its ambient qualities. Despite the harshness inherent within its makeup, it is a track that washes over the listener rather than pounding into their ears. 'Sophia', the second track, takes what on the face of it appears to be a similar approach but is more direct and powerful. It sounds almost like the ambient elements of the track are actually being projected over a raging black metal inferno, which conjures a slightly amusing but nonetheless intriguing musical landscape.

'Against Heresies' is more accessible in the sense that the vocals are clean and you can actually make out the sound of a guitar, but in many ways is a continuation of this EP’s attempts to define Eleleth’s aesthetic. Fuzzes of noise are still dominant. They just take a slightly different route to make it through to the listener, as they do on closer 'The Island Earth'. This final track returns to harsh vocals, only this time they rest on a beat that appears to bely influences from the world of IDM.

'Theothanatology' is a difficult release to judge overall. In terms of its commitment to a clear musical vision it deserves praise, although some listeners may feel it does drag a bit. The ideas may not be repetitive in the traditional sense of the word, but the impact of their differing modes of execution may somewhat numb their value even over the course of a brief EP. A full-length is probably required before exercising too much judgement on Eleleth then, but for fans of Gnaw their Tongues and that ilk of blackened dark ambient horror this is a recommended purchase.

Now, Voyager are “seeking to promote and share their universe with anyone willing to experience the world through the eyes of a voyager”. It’s lucky for them that I read their press release after I’d made my mind up on the music. (What is it with bands nowadays and this type of nonsensical wordage they use to promote themselves?) Anyway, keep reading because I’ve only got great things to say about the Belgian metallers from here on in.

The Seas E.P features 5 tracks of blistering Math/Metalcore/Post-Hardcore that instantly brings to mind French rockers Gojira. (Forgive me for the limited knowledge of genres/reference bands whilst composing this review, by the way).

Opening track ‘The Surface’ goes for the jugular, instantly jumping feet first into twisted riffs and throat shredding vocals. The fury dissipates before long into a quiet introspective piano section with electronic beats reminiscent of Idiot Pilot. My initial reaction to hearing this beginning was to recoil, but the melodic flourishes throughout this E.P really do lift Now, Voyager above the parapet of their counterparts.

‘Foundations’ is one of two standout tracks, echoing At-the Drive In with the shouted hardcore vocal styling and spoken sections. The track ebbs and flows and is bursting with energy and ideas, all the while charging along at a frantic pace.

Final track ‘Tabula Rasa’ closes the E.P with epic blood running through its veins. A brief moment of electronica to set off on the journey and the melody lines twist and turn intertwining with the metallic carnage to produce something that many ears ought to hear.

These guys could very easily find themselves being lifted to a higher echelon of success and they truly deserve the accolades. One of my albums of last year was ‘L’Enfant Sauvage’ by Gojira and the music on this E.P is of a similar high standard to that album, the production is really top notch (recorded at Outhouse Studios in Reading). I recommend you give this band your attention, join them on their maiden voyage.

Sometimes having three parties involved is nice. Sometimes it only increases the enjoyment, more options to choose per say. Sometimes you can get nervous though, don't know what to expect out of the others involved. So, one should take the utmost protection when diving in. I'll be honest: I had not heard any output from these three bands before hearing this. But that's not a bad thing; no opinion formed, no idea what may happen. I'm throwing caution to the wind and going for it. Exciting to say the least.

Three bands, three songs apiece. Simple enough. VYGR open up this album with a three song rollercoaster of harsh screamed vocals and dreamy guitar licks. Not too bad. My favorite contribution of theirs being 'Mescaline Hymn'. Quite a good song, instrumental only  (yes, I know what I said before. But I also said I do enjoy some instrumentals).

Next up: At Our Heels. A fitting name, as these lads play a nice d-beat/hardcore mix with sounds of despiration. They'd be lying though if they said they didn't enjoy the occasional Zakk Wylde song, lots of squeals over their offerings. Solid songs, short and to the point, never overstaying their welcome. Good stuff.

Bringing in the rear of this three way split is Griever. They offer first an instrumental intro. An odd choice when you only have three songs to show what ya got. It is a solid intro though, I'll hand them that. They live up to their name on the other two tracks that's for sure. Delivering a hardcore/ metal mix like their mates At Our Heels, with vocals that sound in pain and music to accompany it rightly. Again, not bad at all.

So, now that we've had a taste of all three bands its safe to say that we could delve into any of their single output and enjoy it on its own. I will say though, it would be nice to get all three back together for another group offering.

What is it with 2-piece bands and making a huge pile of noise, almost similar or even louder than any 3-, 4-, or 5-piece band? Listen to Bronto Skylift, Ultimate Slaymaster, Galvano, Birdhead, Lightning Bolt, Black International, Hella, and there are a lot more I’m probably forgetting at the moment. All blistering loud, and jaw-dropping amazing to watch live. To this class of bands we can now add DEAD (“spelled in capitals ‘cos there are only four letters and you have to make them count”), hailing from Melbourne Australia, who just released their second album Idiots.

Now follows an example why writing a good press release helps, as in the case of DEAD it sure helped me to actually listen to Idiots: “DEAD is the sound of two blokes with little man syndrome trying to punch above their weight and actually pulling it off. Their second LP is called Idiots and it’s really fucking good. If you don’t understand this you are an idiot.”

Back to Idiots. There are 7 tracks on this album, initially starting with a long rhythmic cymbal intro in the first track ‘The Carcass Is Dry’, which makes the listener wonder how long this will last and what will be next. Well, next will be this loud wall of noise. After around 2.5 minutes the bass kicks in, sounding heavily distorted and the drums start pounding rhythmically away, driving the song on to a full force. Vocally, both bass player Jace and drummer Jem share these duties, and I’m not sure who sings where, but at times it sounds like King Buzzo stepped in the studio to give these guys a helping hand.

The rest of Idiots continues to make lots of noise, some tracks faster while other tracks take a slower, more sludgier approach, like ‘Murder Hollow’. ‘Bed Bugs’ is one of those faster songs, sounding quite chaotic at parts, but demonstrates the technical ability of Jace and Jem very nicely. The only thing I found to be slightly negative (and I’m actually intending to make this sound as positive criticism) is that some songs last a wee bit too long (I’m particularly looking at ‘Lego Man’, which lasts a good 10 minutes). But this doesn’t steer away from the general musical quality.

A nice detail is that each take was recorded live, keeping overdubs to a minimum, which definitely helped with the dynamics as it sounds as DEAD would sound live on a stage in a small sweaty and smelly venue somewhere.

Idiots is a brilliant noise release, hitting upon Melvins-like sludge, whilst throwing plenty of experimental bits into the mix. If you like your bands noisy and dirty, you’d better give DEAD a chance. Listen to it loud, it sure benefits the overall experience.

So, I may need to preface this with a disclaimer: many of you will have already seen these bands, but as a proud antipodean my opportunities are a touch more… limited. When All Tomorrow's Parties announced this particular line-up of events, I was all over it, throwing cash at every website emblazoned with an ATP logo. The following is an attempt to re-create some of the magic I experienced—it may work, may not! Warning, results may vary.

On a balmy Melbourne evening, every neck-beard descended upon the Forum Theatre; probably Melbourne's best live music venue to see the mighty Godspeed You! Black Emperor (hereafter referred to as GY!BE). This is a band that I had given up hope of seeing live.  Sure, when they started playing shows in 2010 in the UK and USA I got excited, but what were the chances of them playing in Melbourne? Maybe in 2000-2002, but now? Nope. So I watched from afar and shook my hands at every blog post singing their praises, furiously listening to 'Lift Yr Skinny Fists…' as I read reviews of shows I couldn't go to—but then, the majesty of ATP occurred and GY!BE graced us with their presence. And WHAT a presence!

GY!BE took the stage in their usual understated fashion as the house lights dimmed, leaving their preferred red spots from above as the only light, apart from the projectors. It's this anonymity that adds to; not detracts from the music as you realise that everything they do is carefully thought out, planned, and structured. This is a deliberate band, operating within their own carefully laid out rules. And with muted red lights leaving maximum retinal space for the projections; as Efrim himself says: "It's about putting the whole into context.”

As the opening lilt of 'Hope Drone' rang out across the venue, you could've heard a pin drop—smooth atmospherics, static, violin, a double bass, and some wonderfully mixed cymbals providing a high end sizzle—but it wasn't until 'Mladic' began, that the band really hit their stride. When the kick drum finally came in the sound was huge, providing an excellent counter to the guitar and sweeping violin runs. It surprised me actually. I've listened to them a lot and I play violin, but seeing just how much Sophie plays on each track was fantastic. Normally violin in rock bands is almost an afterthought; sonically shut out by guitars, but not here. No, the violin almost leads the tracks more than the guitars, providing a different take on a well-worn genre.

I'll never get sick of seeing a violin run through so many pedals; it makes my inner music nerd squee with delight. 'Mladic' also gave the band the opportunity to demonstrate how the new material sounds – and it is great. The climax of 'Mladic' was a big, barrelling rock-out that seemed to rival Krautrock's driving minimalism, but with GY!BE's ethereal qualities.

That large rock-out led into 'Behemoth', where we were treated to the largest major chord progression/resolution of the night.  I'm a sucker for a big melodic rock out, but the way that they managed to resolve a 10+ minute song from a minor key into a major was nothing short of brilliant, and the smiles around me seemed to indicate this. This was a band in full flight with an audience of die-hard fans who all knew the material and were genuinely happy just to be there, seeing something they never thought would happen.

And then it was into 'The Sad Mafioso'; a fitting way to round out the show. This track demonstrated why GY!BE are superb on an album, but an order of magnitude better, live. There is simply no contest. I actually thought they would struggle to mimic the recorded sound, but it's the other way around. GY!BE live has so much more nuance, sonic variation, and quite frankly, balls.

So all in all, a fantastic show. It was an absolute pleasure to witness what was definitely a 'bucket list' gig for me. Seeing such an important band in such an important venue for Melbourne also made it a little more special, and the rest of the crowd seemed to be aware of this as it was easily the nicest crowd I've seen at The Forum. Great night, superb music, great people.

And I get to see it again tomorrow. Spoilt.

There must be something in the water in Colorado. This being the second ball buster of a debut I've reviewed (see Primitive Man - Scorn) of a band hailing from that state, I'm convinced I need to either move there or avoid it completely. Seriously (and I despise using that word as a statement/question) what's going on over there? (Here's where all you readers decide to tell our lovely editors that they need to send me on a travel assignment to investigate, all expenses paid of course.)

OK. Here's a list of rules Call Of The Void ignored.
1. Thou shall not sound as a great mixture of Converge, Integrity and (a band I miss greatly) Disembodied.
2. Thou shall not put outeth a debuteth albumeth that sounds-eth (that's a stretch) like you've been doing this for as long as the veterans.
3. Thou shall see rules oneth and twoeth and repeateth (OK I'm done now).

All rules aside, Call Of The Void bring a great mixture of all the bands you love without sounding like a tribute band that only plays on Saturday nights at your local bar. They're breaking all the rules, and still putting their own spin on it. From start to finish, Dragged Down A Dead End Path is a blast of hardcore mixed with metal. Not "metalcore" (that's two times, Mike) as what people think of when those genres are mentioned in the same sentence.

Bottom line: Call Of The Void bring ten dirty, heavy as hell, tracks of in-your-face urgency. Look for this album out on Relapse Records on March 19th. But maybe stay away from Colorado until then, cause you may not know what's going on if you do.

 Listen:

Twlc are a Welsh electro/dark ambient band with a musically minimalist approach. Twlc (which is Welsh for Pigsty) intend on 'taking electronic music back to post punk basics'. The band's new six track album is entitled "Radio/DimRadio". The tracks have an unsettling creepy atmosphere due primarily to the distorted/pitch shifted vocal samples and dark eerie synth sounds. There is some light within Twlc's material however. The music still provides ample catchy melodies that range from soft and propulsive to jagged and harsh.

The album starts off strongly with the track 'cof' (memory) which is largely dark ambient with some minimal drums. Midway through 'cof' some interesting and ominous vocals are introduced over the haunting synth rhythm. Next is 'mwnci' (monkey) with its prominent vocal loop that sounds like the wailing of a tortured soul. 'mwnci's' synth melody is catchy and the track has some crashing snare to propel it along. Twlc certainly evoke imagery from horror films and is probably what vampires would listen to during dinner. I'm not sure what to make of the track 'mam' (mum). The synth sound is awkwardly pitchy and jarring like an alarm and the industrial-ish vocals seem uncharacteristically menacing and repetitious. This track didn't seem to fit the vibe the other five tracks share on "Radio/DimRadio".  Perhaps it's an ode to 'Mother' akin to the Police?

Fortunately twlc return to a well balanced synth/sample mixture with the sullen sounding track 'ail' (second). 'ail' is a solid track that introduces some delicate yet somber piano near the end of the track which finishes the song beautifully. 'lwp' is hypnotic track with a curious vocal loop and a shrieky synth melody. Again twlc effectively introduce a light piano melody midway through the song. I found the sum of the vocals, synth and piano on 'lwp' to be quite compelling. 'lwp' seems unwilling to end as the ghostly synth reluctantly fades out. The final track llif (flow) begins with some stomping piano keys that sound mournful and bleak and lead into a twisted off-key piano melody. While the piano creeps along, a sample of what sounds like a man crying unnervingly rolls forward in the background. A very chilling ending to this dark synth ride.

Those desperately seeking some dark and sinister synth, oozing with macabre vocal samples will be at home with twlc. "Radio/DimRadio" at its best delivers music that is simultaneously ominous and beautiful, catchy and creepy. A noteworthy second release by twlc and a convincing follow-up to their first release "Mochyn".

When you think of how serious black metal morons can be most of the time, wait… all the time, it is safe to say The Beyond really take the piss. Their latest album is titled Frostbitepanzerfuck and yes I am being serious. It is the bands first full-length on Horror Pain Gore Death Productions.

So, this is apparently “black metal with crust influences”, that is a very accurate description when the record rips for the first time. In my honest opinion most genres or sub-genres for that matter can be improved by adding crust to it. Deathcrust, crustcore, blackenedcrust… the possibilities are not exactly endless, but you get the just of it.

I gave this a spin and from the first track titled ‘Roto-Cunt’ the full story isn’t told by just labeling it blackcrust or crusty black metal or whatever. It definitely has a crust influence that is for sure… a very thrash attitude, solos and a kind of d-beat vibe. Don’t worry, I am writing this and it doesn’t make sense, you have to hear these guys, it really does kick-ass.

The lyrics are pretty comical as in they don’t take themselves serious in the least, which is like a breath of fresh air, especially when combined with something labeled black metal. It might not be the most technical gifted band, but it sure has some crushing riffs and a lot of variety right across the album. The lyrics basically consist of zombies, satan, murder and rape references, so sure, you could listen this when you pick your siblings up from a shitty party or taking your kids to school. I mean, who wouldn’t?

This is the bands first full-length and let there be no misconceptions, this is pretty awesome, just not as clean, clear-cut produced as most of the records you’d pick up from your local record store. Who likes that over produced
garbage anyway?

One of the most intriguing things about the record is that it doesn’t seem to conform to one playing style, but a culmination of playing styles. D-Beat, crust, black metal and even some thrashy vibes, which really adds to the variety of the record and you’re not quite sure what to expect. The vocal style also varies between songs, which is pretty awesome.

That most unique thing about this record is the lyrics and as mentioned above, the varying playing styles and vocal styles. I won’t say this is for everyone, but if you like your music harsh, dirty and you don’t mind laughing - this definitely excludes the black metal elite - pick up this record.

The only other band I can think of in terms of making any connection to something that is vaguely similar, I would say Sextrash from Brazil and even to an extent Gama Bomb or a combination of the two, but that is pretty much it.

All round, it is an interesting album with some hilarious lyrics and it’s nice and dirty. So if you don’t mind messing about a bit, pick up The Beyond - Frostbitepanzerfuck.

I had heard Abyssal's first album Denouement before I picked up their surprise (self-released on January 1st this year) second album Novit enim Dominus qui sunt eius. So, I somewhat knew what to expect. Pure evil, fire and brimstone (I'm looking at you 'Tchard) and Hades and hellfire!!! Prepare yourself for one hell of a ride.

Musically this album is total mayhem. Mayhem in the best of ways. The drums sit in the middle of a wall of blackened guitars and bass. What may make this album a challenge for some listeners is the vocal mix. The vocals are good, make no mistake. Ranging from earthshaking bellows to whispers and mantras, they're top notch. But they are at times hard to place. They sit in line with the drums, not standing out completely. This, I feel, adds to the ominous tone and feeling of the album. Using the vocals as an instrument on their own to invoke the evil that Abyssal are capable of.

Some people will be quick to judge this album; write it off as a Portal imitation. And while they do share similarities (and a label for physical distribution), Abyssal take more time and sound a bit dirtier to get their point across. Allowing for an epic album experience, entrance music for the fallen angel himself...

Keep an eye out on Profound Lore Records for a limited CD release of 1000 on April 2.

When I first listened to the opening seconds of ‘Refused Recounting Words’, the opening track of The Shipwreck I initially thought I was sent the wrong album and I was listening to an unreleased Neurosis album. But, no, after a quick check I realised I was definitely listening to the right album; it is just that Whales and Aurora sound an awful lot like Neurosis. But don’t get me wrong here, because this is not a bad thing in my opinion.

Whales and Aurora are an Italian 5-piece band from Vicenza and they manage to create that characteristic Neurosis sound, also hitting upon ISIS, Amenra and similar post-metal/sludge bands. Even Alberto Brunello’s vocals remind me of Scott Kelly and Steve Von Till on the one hand and Aaron Turner on the other hand.

But enough comparisons here, as that would undervalue the great album Whales and Aurora have managed to create here. After the already mentioned opening track we hit one of the highlights on The Whipwreck with second track ‘Achieving the Unavoidable’. Clocking at nearly 11 minutes in length, this track is a typical long sludge/post-metal track, building upon slow, but heavy pounding drums and beautifully played, almost post-rock sections, nicely interchanged with those climatic full-blowing distorted guitar parts, where everything hits out at you in full force and Brunello starts grunting his guts out in emotional sounding vocal parts, creating the illusion his last hours on earth are accounted for.

What makes this release stand out a little bit from this huge supply of sludge releases we’ve been facing over the last couple of years is that everything just clicks instantly with this album. There are little instrumental intermezzos, like the tracks ‘The Aground Hard-ship’ and ‘Awakened by the Aurora’, and beautifully played instrumental post-rock like elements, greatly exemplified in the intro of ‘Abandoned Among Echoes’. But then this big sludge machine hits you in the face again and again. I absolutely love it.

The start of ‘A New Awareness’ has Russian Circles and What the Blood Revealed post-metal written all over it, but then these Kelly/Von Till/Turner like deep, emotionally laden grunting vocals kick in again. This track builds up on another huge climax before we leave The Shipwreck with the final track ‘Floating on Calm Waters’, which is another dreamy, non-distorted instrumental composition.

Whales and Aurora, I salute you. Yes, there are comparisons aplenty on The Shipwreck, but I love this sludge/post-metal genre as no other and I love it that another great band can be added to this illustrious list of names. Ay fan of the aforementioned bands would do good to give these guys a go as well. Believe me, you won’t be disappointed.

Ever go out drinking with the boys, even though you know you've got plans the next day? It starts out innocent enough; just two beers with lunch. Nothing big right? Next thing you know it's eight in the morning, you have 12 missed calls, 19 text messages condemning you to the flames of hell, you've a splitting headache, gut ache and you can't find your boots. You know what I'm talking about.

Where Headless Kross get involved in these shenanigans is that they were right there with you. Providing a soundtrack for you and the boys to pound the ale, dance around a bonfire half naked, run from the police for taking a piss in someone's yard all while throwing the horns (m/) in the name of the riff. It compels you. You can't not tap your feet to this tune. It just makes your body move!!!

Now, War Iron, they are pointing at you and laughing. They're no rookies, they can handle their spirits like men. They'll gladly remind you of yesterday and last night, pounding it into your mind and body. You're hurting, you gave it your all yesterday. War Iron just don't care, they've done it all before and didn't bat an eye the next morning. Ya sally boy.

Both tracks on this split provide a nice reminder of that one night you let it all go and paid for it the next day. I'm sure you've had a few, and may have more. I know I've got a story or two I could tell you. If only I could remember...

Does this album really come from Sweden? Really? No, REALLY? But you can feel the dust of the desert under the nails of the fingers that strum the guitar that sounds as if it was hand-made, sold and played by a melancholic cowboy.

It’s singer Johan Björklund’s rolled Rs that give away the band’s nationality and this Swedish hallmark provides a real idiosyncrasy to the eleven tracks.

Burning Bridges is Holmes’ third album, and one that if there’s any justice in the world, will see Holmes’ brand of Scandinavian Americana reach radios and stereos across a wider world than they’ve done so far.

It’s wistful from the offset with a slow pace riding alongside a mournful vocal as slide guitars and strings warm the bones of the track. “Cold, don’t let your heart grow cold, there’s warmth out there and love to share” is the opening line of a hugely lyrical album that offers optimism and encouragement to a mind seemingly without either.

The influence of Lambchop is immediately apparent; this is lighter than recent big Americana hitters like Band of Horses. It’s more delicate, poetic. The band hail fromVänersborg, a small town not far from Sweden’s music capital of Gothenburg (indeed the album was recorded here by Per-Ola Eriksson) and the remoteness and somewhat brisk conditions are a running theme throughout: “At times the cold will climb under your ribcage” sings Björklund on the bleak ‘Bells’.

The melodies alone on ‘Night Bright Night’ are worth the money alone. “There is a light in the field, from all the cars in the street and I always come back when I know I’ve strayed too long” is a line that says everything about small time living, the need to escape but the joy of returning, and hearing it built in layers is a joy.

‘I Will Never be Free’ picks the pace up and injects more of a folky influence before ‘All I Had in Store’ brings everything right back down. This pattern continues until the lengthy closer ‘Captain Weakheart’ ends on a folky freakout with instruments fuzzing and dancing around dueling guitar and piano riffs.

Emotionally, the whole album it’s fairy heart-wrenching, but in same uplifting way that Malcolm Middleton can make you feel pretty upbeat about the idea of dying alone. Turn it on, turn down the lights and immerse yourself in the fragility of something utterly beautiful.

George Orwell once said that “in a time of deceit telling the truth is a revolutionary act”. Now whether that has anything whatsoever to do with this, the second album by Welsh folk artists Little Arrow is a moot point but there is certainly a truth in the music that they play.

Following on from their debut album Music, Masks and Poems, Wild Wishes is a continuation of that theme and even more so, a vindication for not just Little Arrow but for the whole underground Welsh folk/psych scene that has been bubbling under for the last few years.

Maybe this is best exemplified by ‘State of You and Me’, a song coming a third of the way into the album which envelops you in its rustic charm and then proceeds to take you on an almost progressive rock journey. It is one of those songs where you totally forget about such mundane things as what type of music this is or who is it by. It is a moment of clarity and beauty which unbelievably continues throughout.

Opening with the majestic ‘Our Taste is Violence’, Wild Wishes is folk but not quite how you have heard it before. This comes from a place where few dare to tread and maybe don’t want to after listening to I Man Ogre. It sweeps you along in an unhurried way and you feel the Welsh hills and valleys taking on some sort of weird strangeness. This isn’t the urban oddness of say, Cate Le Bon, but something much more primordial.

It is beguiling, beautiful and heartrending, sometimes in the same song (‘The Ancient’) and deserves to be listened to with an open heart and complete faith in what you are about to hear. There can be no barriers here, this is music from another place, rustic, rootsy but also strangely contemporary. Orwell said truth is revolutionary, maybe Little Arrows truth will revolutionise us. The first great album of 2013.

Lords of Bastard from Edinburgh play bass heavy quirky stoner rock. They are not a traditional stoner rock band by any means and their second full length Cuddles is full of an interesting mix of kick ass styles. There’s anything from noise rock to math like beats going on at times. There are also hints of Big Business, Lords, Kyuss and Jesus Lizard... what more could you possibly need?

The vocals are relaxed but distorted and there’s a keyboard thrown into the mix which hammers out anything from delicate tones to psychedelic madness, Lords of Bastard just do whatever the hell they want. ‘Ghost Time’ combines all aforementioned tantalising ingredients and is a blinding opener.

‘Bloody Hell’ is an absolute cracker, lightning quick drums and just like the entire album, pull off a fine balancing act between the heaviness and mellow vibes. Your brain can focus in on the almost chilled vocals but behind that there’s utter riff devastation pummelling away creating all kinds of carnage.

Lords of Bastard conjure up a consistent yet chaotic flow, if that makes any sense. Delivering fuzzy melodies throughout, but there is complexity and wizardry layered ion which keeps you on your toes. ‘I’m In My Walls’ is a perfect example of this and very much the high point. It boasts catchy yet sludgy riffs with overlaid swirling keys, reminiscent of Astrohenge, which can only be a good thing. The final track ‘Squirrel Mirror’ is an absolute riff monster and the perfect sign off.

As interesting as it is, there’s not quite enough substance or power to elevate Cuddles into a classic and probably won’t make many top 10s come the end of 2013 but it’s a valiant effort. It’s early days for the band with the creativity they possess, I’m looking forward to full on intercourse with Lords of Bastard and not just "Cuddles”.