ANDREW PERER wrote this book on Kevin Shields and MY BLOODY VALENTINE, and I'll be bloody damned — it's actually pretty good. And you're already asking yourself: "Why in the name of all that is holy would I want to read about some Irish dude getting a guitar so he can sound like a Boeing 747 sobbing into a pillow?" Ah, but calm your pint, buddy, because it appears that this isn't some hack Wikipedia cribbage scribbled between benders.

​Perer's been digging on this ground for decades, searching out everyone from one-time band members to sound guys still cringing at the word "reverb." He's found the lunatics who heard Shields warping his guitar into sounds that kept grown men in their shoes for hours, so "shoegaze," but I still envision it sounding like a lads' support group for dudes with wonky ankles.

Some of them are being told here for the first time, and you get the sense that it's because no sane human being had the endurance to follow half of Shields' orbit. Let's be honest: MY BLOODY VALENTINE's career is what a band would do with time travel but only reversed to leapfrog over deadlines.

Three albums. Forty years. I have heard buskers in Camden shell out that many albums in the time it takes to miss paying rent. But the three that they did release? Each one falls like a brick through your lounge window at 3 a.m. — frightening, inconsiderate, but somehow lovely when moonlight reflects off the splinters. "Loveless" (1991), the album everyone says is God sneezing slowly, is handled with the reverence it is given.

Perer not only buffs Shields' halo, but introduces us to the fellow and his cash-burning record company like a pyromaniacal accountant, scaring Island Records and engineers who likely still drink bourbon for breakfast. The book dispels the urban myth and presents us with the chaos for what it really was: half-genius and half-sheer and complete madness. "Loveless" isn’t the only era covered. Andrew Perer also chronicles the long, strange quiet period.

The "Are they dead or abducted by aliens?" decade, when Kevin Shields supposedly was working, maybe, or maybe just hiding in a cabinet with fifty guitars and a fear of sunlight. And he charts Shields' fill-in activities: production, remixing, inserting himself into Sofia Coppola soundtracks as some sort of musical vampire. Creeping around, messing about, returning with something that makes you wonder whether the guitar is an instrument or a weapon.

What I adore is that the book does not give anyone a free ride. It's not a gushy fan epistle. There are the breakdowns, tantrums of brilliance, the utter perversity of a band that created the most ground-breaking album of the '90s and then more or less coasted for a decade like they'd simply popped out to pick up some milk.

If you care about music history, this is a no-brainer.

If you merely wish to discover how one obstinate Irish boy rewired the way we hear sound, music, and guitars which can emulate dying engines, then this book is well worth your time. But if "shoegaze" to you is all about crashing around drunk and staring at the ground, then maybe hold the colouring book.".

Good book, good author. I still don't get it, why it would take twenty years to write three records, but now that I've read this, I nearly respect the sheer obstinacy of it. But then I spent three months putting in a shelf. Shields spent twenty years learning to tune a guitar. Maybe we're not quite so different, then. Words: Matt Denny.

The Brooklyn Hardcore legends known as BIOHAZARD are back with "Divided We Fall", their first studio album in over a decade, out October 17th via BLKIIBLK. 

Originally formed in 1987, and having had various personnel changes over the years, Biohazard has reunited the original line-up, creating an album that delivers a blistering statement of unity in chaos. Bobby Hambel (guitars) had this to say about the album:

"We are really excited to finally have the classic BIOHAZARD line-up back together in the studio. This album has been a long time coming, and the record is straight from our hearts - we can’t wait for everybody to hear it, and to head out and play these new songs live. See you out there!”

Now, in all transparency, I wasn't the biggest fan of them after their 1994 album, "State Of The World Address". Not for any other reason than my musical palette shrank as I dove into Death Metal; an egregious error on my part as diversity is the slice of life, and one that has since been rectified. With that in mind, don't ever limit yourself to one genre, it's extremely one dimensional, especially when you consider how much music is out there for us to experience. 

Anyway, as I sit here listening to "Divided We Fall", I can't help but notice that these guys, despite pushing 60 years of age, are just as vicious in their music as they were back in the day. I can't help but think that this is partially due to having the classic line-up back together, but also that there's a lot to be angry about in this day and age. We all are truly divided, both sides thinking that they're superior to the other, and both of them being completely wrong in that assumption. So yeah, "Divided We Fall" is exactly what's gonna happen if this country can't get its shit together!

Evan Seinfeld is still a badass, and having him back, he re-joined in 2022, has been a shot in the arm of this band. The way he writes and performs is absolutely essential to this band's sound, though that could be said about any of these guys, but for me, it centres on what Evan brings to the table. But enough ass kissing, let's talk about the standout tracks!

"Divided We Fall" opens up with “Fuck The System”, a statement that I completely agree with. Our current system in the US is irreparably broken, and we need songs like this to remind us that this shit is NOT ok. The Hardcore riffs are heavy, and in them I hear a bit of EARTH CRISIS, who are legends of the Syracuse Straight Edge Hardcore scene. While I do hear that band in there, this track is undeniably Biohazard, from the vocals to the overall tone and performance. 

Following that is “Forsaken”, another absolute banger of a track. This one also has all the hallmarks of classic era Biohazard, it's heavy, angry, and exactly what I want to hear from this genre. There's a sick lead break before what I'd consider to be the break down, which goes hard as fuck! Killer tune from start to finish!

“Tear Down The Walls” is pretty far down in the track list, but is no less a banger than any of the previous songs on this album. There's plenty of crushing Hardcore riffs, gang vocals, and positive messages hidden within the lyrics. Biohazard doesn't want you to take anything laying down, and they deliver that message as only they can. 

“Death Of Me” is another track that I find myself going back to over and over again. There's the obligatory sounds that one would expect from the band, riffs, heaviness, and the attitude that is a huge part of the genre itself. I believe that many of you will grasp onto this track like I have. 

Other standout tracks include “War Inside Me”, “S.I.T.F.O.A”, and “Warriors”.

Is Biohazard breaking the mold? No, but no one wants them to either. Fans expect a certain sound and direction from these old-school Hardcore legends, and they deliver it with all of the power and edge that they've exhibited throughout their career. So dig in now because the record is out and ready for your ears! Words: Tom Hanno.

ORBIT CULTURE is a band that's on the fast track to mass appeal, especially over the last 2 years or so. They hail from Sweden, a land rich in Metal history, and they carry that torch with reverence to the past, but while also standing firmly in the present. 

”This record represents change, a new beginning...”, says Orbit Culture guitarist, vocalist and songwriter, Niklas Karlsson. “It brings up a lot of good and bad emotions but it’s a big change for the better. It feels like a rebirth...”

Karlsson was inspired by a steady diet of METALLICA, GOJIRA and STATIC-X, all of which can be heard within the music on the band's newest, and possibly best album to date, "Death Above Life", released on October 3rd, 2025. I also hear influences from bands like IN FLAMES. 

“Inferna” kicks off the festivities in grand fashion! This track almost reaches the 7 minute mark, which can be tough for some listeners, but it never feels bloated or boring, making for an enjoyable listening experience. 

“Bloodhound” starts off with a riff that is as heavy as Thor's mighty hammer. Which is a fact that continues throughout the verse sections, but when he growls “You fucked it up, you fucking asshole”, that's when you really feel the power of this track. Then the band matches it with some groove heavy riffs, some nifty electronic elements, and killer vocal performances. This is one heavy track, serving as a perfect example of what Orbit Culture is all about. 

For a bit of back story, Orbit Culture had done an arena tour with SLIPKNOT in early 2024, which helped to open the band’s eyes to bigger possibilities. “If we never did the Slipknot shows, for instance...” says Niklas. “I would never have written a song like ‘Bloodhound’ on the new album. Just watching them every night, there was an intensity and furious rage that we got to see closely, first-hand, it pushed us...”.

“The Tales Of War” begins with a bit of orchestration, setting the mood for what is to follow perfectly. When the riff kicks in it also kicks your ASS, utilizing intricacy and groove in order to get your asses into the pit as soon as you hear it. This is one of those tracks that I feel is indicative of all the cool elements that this band has at their disposal.

“Inside The Waves” pulls in an influence that hit me hard when I realized what I was hearing, as I'm a huge fan of this band and their now deceased original singer … the one, the only, Wayne Static and Static-X. This influence is subtle, but it is most definitely there nonetheless. You wouldn't know it by listening to it, but … [Editor: Then...how did you know???]

 “For me, that was going into a LINKIN PARK phase...” Karlsson freely admits. “I wanted to write something that was easy and singalong friendly. Of course, it’s not written for the masses, because if I tried to do that, I would fail miserably!”

“Hydra” crushes from its intro, and will steam hammer its way into a lot of playlists, mine included. This one has the heaviest vibe thus far, and not because it's fast or complicated, but instead because of the undeniable power of the main riff. “Hydra” is in the Top 3 as far as my picks for the best of the best in Death Above Life.

Other standouts tracks include “Nerve” and “Death Above Life”.

I listened to this album for about the thousandth time while at work today, and didn't stop banging my head the whole time, all while customers looked at me like I was weird for that and for mouthing the lyrics like I was in the band.

In other words, I recommend that you go check out this album immediately! It's full of everything that the modern metal head loves, and I feel it will become a staple in your daily listening habits. Words: Tom Hanno.

Choose life. Choose a job. Choose a career. Choose a family. Choose a fucking big telly. Choose washing machines, cars, compact disc players and electric tin openers. Choose good health, low cholesterol and dental care. Choose fixed-interest mortgage payments. Choose a starter home. Choose your friends. Choose leisurewear and matching bags. Choose a three piece suite on hire purchase in a range of fucking materials. Select DIY and asking yourself who the fuck you are on a Sunday morning. Select sitting on that couch, scowling at soul-destroying mind-numbing game shows, stuffing your mouth with fucking rubbish food. Select to waste away at the end of it all, pissing away your final few in some sad hovel, nothing but an embarrassment to the self-centred, fucked-up little brats you brought into the world to take your place. Select your future. Select life. But why in the world would I want to do something like that? I chose not to choose life. I chose something else. And the why? There is no why. Who needs why?

GLASGOW KISS, "Down In Flames", is like gettin' yer heid bashed in the head with a bottle and kissed again by the same cunt who bashed it in there. No genre box for this one, no thanks to HALESTORM, no thanks to NIGHTWISH, no thanks to all their bollocks. This is no longer nice symphonic trash, this is riffs crawl oot the amp like septic in the pipes, Charlotte's screamin' voice like an angel got booted oot heaven for smokin' tabs in the loos. Daniel playing like he's got his guitars set alight, Sveinung slicing strings like he's flaying a rat, John Erik's bass thudding like the neighbour banging on yer door at 5am bawlin' ye still owe him fags, Frode on drums banging harder than the polis when they eventually kick the door in. The whole of them frightens ye like a bad trip ye cannae get yerself oot of, only ye dinnae want tae.

It ain't classy stadium effluvia, it's dirty, dripping, teeth-rattlin' metal still smolderin', wee pools of loveliness concealed in the muck. A chorus'll carry ye along, aye, then deposit ye belly-first once again in the sewer with the verse. That's the dance: highs that scorch yer lungs, lows that shake the bone.

Charlotte’s the one that fucks wi’ ye most -- she’ll croon ye soft, then suddenly she’s bitin’ chunks oot yer ear. One minute ye’re floatin’ in daylight, next minute ye’re choking in midnight smoke. Ye cannae trust her, and that’s exactly why ye cannae turn her aff.

This album’s postcards fae the abyss: wee moments of joy scribbled on the back of broken glass. They recorded it across random holes, clubs, anywhere they could plug in, stitched it together wi’ spit, sweat, and maybe a wee bit o’ blood. And it works -- it’s jagged, it’s cracked, but it’s alive, pumpin’ like a vein wi’ fresh gear.

When it's done ye're shakin', tryin' tae work oot what the fuck occurred. And ye'll dae it again, 'cos ye haven't got a choice. That's addiction. That's GLASGOW KISS.

Rating: 9 oot o' 10 Glasgow Kisses. Spare the last yin for the walk hame.

Translations (Scottish → English):
Cunt = Person (derogatory/familiar depending on context)
Tabs = Cigarettes
Fags = Also cigarettes. Words: Matt Denny.

"Down In Flames" is released December 12th, via ECLIPSE RECORDS

My nephew, he comes to me the other day, he says "Uncle, you gotta hear this music, it's called heavy metal." So I says to him, "What's heavy about metal? We got plenty heavy metal in the warehouse - lead pipes, steel beams, that sorta thing." But he shows me this... this compact disc thing from these Canadian broads called KITTIE.

Now, I don't know nothing about no kittens. I got three cats at the social club, they're good for keeping the rats away. But these KITTIE girls? They make more noise than when Tony "The Hammer" accidentally drove the Cadillac through Mrs. Benedetto's storefront!

This "Spit XXV" - and what's with all these Roman numerals? Are we trying to impress the Pope here? It's got four songs on it. Four! Back in my day, you paid for an album, you got twelve, maybe fifteen tracks. These kids today, they're running some kinda racket, but I respect the hustle.

The first song, "Brackish XXV",  I looked up "brackish" in my dictionary (The one I use to press flowers for my wife's funeral arrangements business). It means salty water. You know what else is salty? My cousin Rocco after he lost fifty grand at the track. But these girls, they're screaming about brackish this and brackish that, and I gotta tell ya - it's growing on me like a fungus.

Then there's "Charlotte XXV",  Now, Charlotte, that was my first wife's sister's name. Beautiful woman, terrible cook. Could burn water. But this Charlotte song? It's got what my nephew calls "aggressive energy". Sounds like when my crew found out somebody was skimming from the poker games. Very passionate, very loud, very... how you say... therapeutic.

"Do You Think I'm A Whore XXV",  Hey, I'm a family man! I don't ask these kinda questions! But the music, it's like when Paulie gets really worked up about the garbage routes. All that intensity, all that... what's the word... angst. These girls got more fight in them than a bag full of wildcats.

And the title track, "Spit XXV", now this one, this one I understand. Spitting. That's universal language, you know? You spit when you're disgusted, you spit when you're angry, you spit when somebody disrespects the family. These Canadian girls, they get it.

The producer, this Garth Richardson fella - sounds like a nice Irish boy - he did the original back in 1999. That's the same year I opened my third pizzeria! Good year for business. He comes back 25 years later to work with these girls again. That's loyalty. That's respect. That's what we call "doing business the right way".

Now, I don't understand why they gotta scream so much. When I got something to say, I just lean in close and whisper. Much more effective, believe me. But these girls, they got what we call in the business "presence". When they walk in a room - or in this case, when their music plays - everybody knows they're there.

My verdict? Listen, I still don't know what the hell a "nu-metal" is (Sounds like some kinda modern art garbage to me), but these Kittie girls? They remind me of my late wife - small, sweet-looking, but don't cross them or they'll tear your throat out.
Four cannoli out of five. Would recommend to anyone who needs music for, intimidation purposes.

So, picture this: it’s half nine on a Thursday night, rain coming down in that relentless sideways way it does when the gods are taking the piss, and I’m parked outside some cul-de-sac in Leith, trying to wrestle a busted washing machine out the back of the van. My hands are numb, my back’s a write-off, and I’ve got Classic Rock Radio spitting adverts for stairlifts and Viagra when my phone buzzes.

It's my mate Gary — the guy who thinks that doom metal is a school subject that you can learn at school — and he tells me (I say tell, when Gary tells you something, it’s basically a demand), "Stick on the new FRAYLE, mate. It'll shift the weather in your head." So I did. And he was right.

The second "Heretics & Lullabies" starts, and the world crawls along. "Walking Wounded" starts — heavy crawling guitars like a motor warming up in a cemetery. Gwyn Strang's vocals don't sing; they haunt. They wriggle beneath your skin and nestle near your ribcage. The harmonies enfold one another like smoke, and the entire thing seems too delicate to be, but heavy enough to break asphalt.

"Summertime Sadness" — may well be a LANA DEL REY cover song, but they’ve turned it into some velvet-trimmed funeral dirge. It's the tune that makes you think of all the awful things you did when you were in love, but you want to hit replay so you can relive it anyway.

And then "Boo" hits. Like they opened the doors on the van and let the ghosts out to dance. The riffs sway, the vocals drift and break down, and there's this odd, sensual pull at it all — like listening to terror sing sweet nothings.

Later on the album, FRAYLE start to really experiment. "Demons" has this creeping sense of horror that makes you remember doom is not necessarily about velocity — it's about heft. And "Souvenirs Of Your Betrayal"? That's a tear-fest. That's heartbreak concretized, a glacial autopsy of trust with a distortion pedal thrumming in the distance. Gwyn's vocals here are blade and cut.

“Glass Blown Heart” does what it says on the tin — fragile but deadly sharp. The mix from Aaron Chaparian deserves real credit: there’s air in the sound, but no relief. Everything feels close, too close, like you’re locked in a room with the band as the amps hum and breathe around you.

By the final song, "Hymn For The Living", it's pure transcendence. Doom metal for the last mass on the last day. The smashing drums are surf on steel, and the vocals drift like incense up through stained glass. "Heretic" ties it all together — hook-prone, epic, and in-your-face. It's one standing exposed amongst the ashes and unbroken.

And "Only Just Once". The ballad. Sad, soft, heartbreaking. It's like the band are leading your hand out with the lights fading. You feel each straw of fatigue, each rasp, each drizzle of disillusion. When it is finished, there is this silence that has been well-won — like you've witnessed something you shouldn't have witnessed, but you're glad you've done so, anyway.

FRAYLE are not some doom band. They've built a cathedral out of distortion, misery, and desire — and managed to set it alight. "Heretics & Lullabies" is simultaneously old and new, sadistic and calming. It's their best, and come on. It's got to be a contender for album of the year.

A solid 9.5/10, bordering on a spiritual experience if you’ve ever worked night shifts, lost something precious, or just needed a reason to keep the van engine running while the world falls apart outside. In another life, I might be a roadie and not a man in a van, but now, halted on the edge of town, with FRAYLE drifting through the speakers and rain tapering off, I reckon that's alright. Words: Matt Denny.

Woke up this morning, made myself a cup of coffee, and began checking emails... where I found the upcoming TESTAMENT album, "Para Bellum". I immediately unzipped it, pushed play, and was blown away by the extreme power of the first track, "For The Love Of Pain", which may as well be Extreme Metal with Thrash leanings. If the rest of the album is this good, then Testament just put themselves at the tippy top of the Thrash Metal pile. 

The album title was taken from the Latin phrase “Si vis pacem, para bellum”, which translates to “If you want peace, prepare for war”. So if you're going to war, maybe use "Para Bellum" as your soundtrack. [Editor: Let's not encourage war perhaps, David Draiman got justifiably rinsed for personally signing missiles]. After about 2 weeks of steady listening, "Para Bellum" comes across as a heavy AOTY contender for me, and I feel that many others will have similar thoughts on it. 

Chuck sounds so fucking good, like, did this dude even age at all? Even at 63 years old, he attacks the mic like it owes him money, a lot of money, and in the process he sounds hungry for more. This album feels like it has the late 80s/early 90s vocals but with the intensity that Chuck displayed on albums like "Low" and "Demonic". There's times when he's bordering on Black Metal, especially on the first track, which we're gonna talk about soon. 

Eric Peterson and Alex Skolnick, do I even need to elaborate further? These two are icons of Thrash Metal guitar playing, and they have done nothing but get better over the years, culminating in this, their most brutal album in years! The riffs are brutal, the leads are memorable and melodic, and all the pieces fit together tightly. 

The bass playing of Steve DiGiorio is what it always is... out-fucking-standing!!! As a bassist myself, I always pay attention to what he's doing, because he's an immensely skilled bassist, no matter how many strings are on it. His playing with DEATH opened me up to the fact that Metal can be played on a fretless bass, a trick that many now apply, but no one does it like Steve does it. He's your favourite bassists favourite bassist, and nails it every fucking time. 

Then we have Chris Dovas on drums, and he's equally as incredible a player. With him onboard, this band is firing on all cylinders. Chris has touches of Louie Clemente, Dave Lombardo, and Gene Hoglan, yet attacks these songs with his own style and sound.

Now we're gonna jump right in and talk about the standout tracks on "Para Bellum"!!

"For The Love Of Pain” is my #1 pick in this record, and a perfect one to begin the record. It starts off with a quick drum piece that gives us a taste of what Chris can do, and what he does gives off a bit of a vibe that could be lightly compared to JUDAS PRIEST’s “Painkiller”. This all happens before the guitars kick in, but when they do, all bets are off because you're about to experience the magic that is Testament. This track is very heavy, the guitars are at Mach-speed in certain sections, and in others they're some of the best Thrash riffs that I've heard in recent times. However, for me personally, it's Chuck's vocals that are the highlight of this tune, and it's truly mind-blowing that he can still be this heavy in his early 60s.

One of my top 3 tracks is, ironically, the 3rd one on "Para Bellum". “Shadow People” is a lesson in Thrash mastery, with all of the hallmarks of old school Testament, and an excellent use of, dare I say it, melody, a word that can sometimes persuade hardcore headbangers to run in the opposite direction. But don't you do it, otherwise you'll be missing out on an incredibly good song. 

“Meant To Be” comes to the delight of many of us life-long Testament fans, as its inclusion is the first time they've done a “ballad” in many years. It's also a lesson in diversity, as it encompasses all of the different facets of their earlier ballads, think of their song “Return To Serenity” as a reference for that statement. The entire song is truly incredible to me, so make sure you don't skip it as you check out this record. 

“I love how the song takes off at the end and just doesn’t look back”, explains Peterson. “It's different, but it fits. It’s like a breath of fresh air". This also marks another novel moment for the band using true, orchestrated strings performed by world renowned cellist Dave Eggar.

“Witch Hunt” kicks off with a fast guitar part, one that borders on Death or even Extreme Metal, but once that ends, we get a riff that sounds like it would have fit right in on their album "Low", which, if you haven't heard it, is a must hear release. They had James Murphy on guitar for it, and if you know anything about Metal music, then you know his name. This song is another example of Testament reaching into their past for inspiration, yet fully committing to their present day sound, which produces wonderful results. 

“Room 117” is another one that's in my Top 3. This is mainly due to how infectious the riffs are, seriously, I challenge you to not move during this one … you won't be able to sit still though, so get ready for a sore neck. The verses and the chorus are insanely catchy, but it's the section that starts off with the lyrics, “I'm feeling lonely, I'm feeling helpless” that is my favourite part of this track. I loved that the guitars started the melody by employing a Thrashy riff that ended up following the vocal melody perfectly. It's heavy, catchy, and will stick in your head for hours after listening.

Chuck recently told "The Metal Voice"…

“I’m just happy and looking forward to the fans to listen to it, check it out because to me, this record sounds current...” he said. “It sounds modern. It doesn’t sound like a band that’s been 40 years around rehashing the same riffs, going through the same motion, taking the easy route out.”

He's right, because this record is straight fire from start to finish, no filler tracks, no weak anything. So get ready to snap your necks while headbanging violently to "Para Bellum", out via NUCLEAR BLAST RECORDS on October 10th, 2025.

Score: 8/10 - Words: Tom Hanno.

"Chameleon", the long-overdue monument to TOYAH, Britain's patron saint of DayGlo war-paint, anarchist jazz hands, and gloriously over-the-top posturing. A box set so brazen it tries to condense 45 years of musical shapeshifting into one package, and challenges you to take it seriously in the process.

Across three discs, a Blu-Ray, and a veneer of promotional gloss that could laminate a small country, "Chameleon" will stop at nothing to make the point that Toyah is not so much a pop star as a walking, wailing work of art with a back catalogue that won't lie down or go quietly.

​They start with the singles. Even the strangest monsters must get to unleash their courtship calls. "I Want To Be Free", "It's A Mystery", "Thunder In The Mountains", records suspended in a hairspray capsule since 1981. They glitter, they thunder, they shriek their eye-lined facts across the decades, still somehow broadcasting from some dystopian panto somewhere nearby.

CD2 is where things get deep. The solo years/The Fripp experiments. Songs that sound like KATE BUSH took a side-street and wound up in a cyberpunk squat. A mood-whiplash experience: lust, terror, cosmic navel-gazing, and something very like spoken-word therapy over a Yamaha keyboard in agitated distress.

And then, of course, CD3, the "rarities and collaborations", or the aural equivalent of digging around your strange aunties attic and finding a VHS labelled FOR THE COUNCIL OF THE FUTURE. There’s a track recorded with Blood Donor (mercifully not as gory as it sounds), some Fripp-y ephemera that wheezes like sentient steam, and a track from a radio drama called "Children Of The Circus", which frankly raises more questions than I’m equipped to answer. By the time "Blue Pearl" whirls around, you’re not sure if Toyah’s an artist or a portal to a parallel dimension powered by shoulder pads and existential dread.
The Blu-Ray has 12 promo clips posing the question, "What if Ziggy Stardust was trapped in a BBC broom cupboard with a fog machine and just, leaned in?" There is also a newly edited version of "Brave New World", to remind us that Toyah's type of madness is, 100% organic.

And don't miss the sprawling 48-page book: half-archive, half-scrapbook, half-mad fantasy. It's punctuated by quotes from Shirley Manson (GARBAGE) and Saffron (REPUBLICA), who do their best to elaborate on Toyah's impact in straight human language. It's a glossy hymn to the woman who brought eccentricity into fashion and each gig look like some kind of celestial catwalk with the occasional electrical hiccup.

"Chameleon" does exactly what it says on the tin: it morphs, it scorches, it bewilders. It's a third act revisited, a rebirth, and a rebellion all in one. And like Toyah herself, it won't remain still and quiet, even though the box it comes in is devoid of embossed letters (cowards).

​Recommended for: eyeliner enthusiasts, time travel buffs, and the sound of post-punk fairies banging pots and pans in a glittering apocalypse. Words: Matt Denny.

The new VICIOUS RUMOURS offering has struck me in the same way as that one night in Tunbridge Wells, where I Woke up in a stranger’s bed, wearing one sock and a scratch on my neck I couldn’t explain. I didn’t plan it. I don’t even think I enjoyed it. But it had me grinning like an idiot the whole drive home, bruises and all. But, I digress...

For forty-six years they’ve been out there, dragging their gear from stage to stage, sweating on the faithful, building the kind of stamina you don’t get from going easy. You hear it in the opening minutes and it felt as if I still had that cheeky finger in my prison wallet from THAT night.

Geoff Thorpe’s guitar playing makes every riff feels like it’s got one hand on your hip, steering you somewhere you’ve never been. The new guy, Chalice has a voice that, by the time you realize what’s happening, you’re in it, and you’re not leaving.

Denver Cooper, that bastard could out play Beelzebub’s cock. The solos burn hot, curl into the air, and hang there long enough to make you squirm. The rhythm section Larry Howe and Robin Utbult keep things as tight as gnats vajayjay.

“Bloodbath” doesn’t waste time. It’s a slap, a bite, and a laugh in your face all at once. “Dogs Of War” is pure midnight mischief — the kind of track you put on when you know you’re not going to sleep until the sun’s up. “Crack The Sky In Half” is the song that convinces you to stay the night, even though you know you’ll regret it.

“The Devil's Asylum” is the moment right before you cross the line. You can still turn around, but you won’t. Every note’s a shove in the small of your back, daring you to step over.

They recorded this whole thing in a few weeks, and it’s got that fresh, dangerous heat of something that hasn’t cooled down yet and has no safe words.

If you’ve ever found yourself in the middle of something filthy and thought, oh God, I shouldn’t be here, but stayed anyway, you’re going to like this album.

​This album is worthy of going full on D.V.D.A. [Editor: Matt, I had to Google that and have questions...]

Words: Matt Denny.