This week’s Heavy Music HQ reviews include releases from Admiral Sir Cloudesley Shovell, Armed For Apocalypse, Atreyu, Bringers Of Disease, Einar Solberg, Elegant Weapons, Golgotha, Gus G, Sepultura, Shadowlands, Six Feet Under and Terror.
The ratings are on a 5-star scale.
Admiral Sir Cloudesley Shovell – The Trouble With The Shovell (Rise Above)
On their fifth full length The Trouble With The Shovell, Admiral Sir Cloudesley Shovell return after a 7-year absence to bring back their greasy brand of hard rock from the depths of yore. Their sound is deeply rooted in the late ‘60s and early ‘70s before heavy metal was a genre as songs like “Laughing Gravy” and “A Better Day” greet you with their psychedelic and murky charm all while vocalist/guitarist Johnny Gorilla riffs away on his guitar accompanied by his gravely throated vocals.
Still a trio, the Shovell have added new drummer Glen Stebbings to go along with founding bassist Louis Comfort-Wiggett. Running through nine rollicking riff fests in under 40 minutes is something that deserves applause. These songs get in and get out, refusing to overstay their welcome; that’s the beauty of this grizzled group of rock veterans. The Shovell were clearly born too late to have experienced the salad days of this style, and that’s The Trouble With The Shovell, refusing even now to conform to someone else’s definition of what’s heavy and/or popular. This is a rocking good time.
Rating: 3.5
(Tom Campagna)
Armed For Apocalypse – The Earth Is Breathing Beneath Me (Church Road)
Armed For Apocalypse were smart for bringing in Converge’s Kurt Ballou to help with the production of 2022’s Ritual Violence. That was their best album to date, so it only makes sense that Armed For Apocalypse brought Ballou back for The Earth Is Breathing Beneath Me.
The group’s monolithic sludge metal is inundated with venomous feedback, a prime driver to the excruciating instrumental “Bathed In A Tepid Pool Of My Own Filth.” To follow that with the grim melodies of the closing title track indicates that Armed For Apocalypse’s songwriting is on point throughout The Earth Is Breathing Beneath Me, including the hurried tempos within “Spellbound” and tectonic breakdowns on “Ashes Of The Night.” They would be wise to have Ballou on speed dial for all of their releases moving forward.
Rating: 3.5
(Dan Marsicano)
Atreyu – The End Is Not The End (Spinefarm)
Atreyu have a well-defined sound that’s served them nicely throughout a 10-album career. At times, there’s merit to the group’s claim this release is the “most metal record we’ve made,” but The End Is Not The End will certainly feel familiar to long-time listeners. As expected, this LP sits at the more accessible end of heavy music’s spectrum; fusing metalcore, arena-rock and alternative in a manner that’s slicker than whale shit.
It’s all largely safe and sanitized; sometimes a little too machine-tooled to really resonate. Songs like “Dead” and “Ego Death” are efficient and tick the boxes via a melange of melodic hooks bigger than Trump’s ego, heavy riffs, and pit-friendly breakdowns. Max Cavalera’s guest barks are a standout within “Children of Light,” injecting genuine intensity and momentarily elevating an uneven track. Conversely, “All For You” is so saccharine it might give you a stomach ache, and “Afterglow” feels over-wrought. Atreyu have seemingly struggled to maintain audience interest since vocalist Alex Varkatzas’ departure several years ago. Whether this record yields a much-needed boost in popularity remains to be seen.
Rating: 2.5
(Brendan Crabb)
Bringers Of Disease – Sulphur (Disorder)
Sulphur may be the debut album for Bringers Of Disease, but that doesn’t mean the group are new to the black metal game. Their origins date back to 2010/2011, during which time they released the Gospel Of Pestilence EP. After that, they laid dormant for over a decade before re-emerging with a lineup that now includes guitarist Jeff Wilson (Chrome Waves) and drummer Zack Simmons (Goatwhore).
Simmons’ participation is not the only connection to Goatwhore, as vocalist Ben Falgoust guests on “Sacred Heart Of The Abyss.” Songs like that and opener “Return To Satan” are consumed with their own violent desires, while “First Born Of The Dead” and “March Of The Burning Tower” linger in the shadows with their malicious intent. Sulphur is a purposeful revival for Bringers Of Disease.
Rating: 3.5
(Dan Marsicano)
Einar Solberg – Vox Occulta (InsideOut)
Leprous frontman Einar Solberg embarked on a solo career with 2023’s 16. His latest effort Vox Occulta moves in a more symphonic direction, thanks to a collaboration with the Norwegian Radio Orchestra.
The cinematic bent of the album is evident from the dramatic opener “Stella Mortua,” a dynamic composition that utilizes a large part of Solberg’s versatile vocal palette including some harsh vocals. There are some lengthy songs, such as the eight-minute title track and the nearly 12-minute opus “Grex” that ebbs and flows between mellow and intense, with Solberg more than able to maintain interest throughout. Atmosphere and the symphonic elements drive Vox Occulta, an engrossing listen with the top-notch vocal performance you’d expect from Solberg.
Rating: 4
(Chad Bowar)
Elegant Weapons – Evolution (Exciter)
Whenever a so-called “supergroup” forms, many times it’s a one-off due to the other obligations of the members. But Elegant Weapons, whose lineup includes vocalist Ronnie Romero (Rainbow, Michael Schenker Group), guitarist Richie Faulkner (Judas Priest), bassist Dave Rimmer (Uriah Heep) and drummer Christopher Williams (Accept) are on album number two with Evolution.
They play classic metal with big hooks and plenty of guitar solos from Faulkner. There are catchy songs like the boisterous “Generation Me” and the ballad “Come Back To Me.” And while many of the songs have an ’80s influence, closer “Keeper Of The Keys” has some ’70s flavor. The band’s musical resume is unquestioned, and that shines through, especially Romero’s potent vocals and Faulkner’s on-point guitar work. Chemistry can be more challenging, but Elegant Weapons show they have that as well, with Evolution living up to its name, building on and improving from Horns For A Halo.
Rating: 3.5
(Chad Bowar)
Golgotha – Hubris (Abstract Emotions)
Finally, a band with a reasonably serious name. Golgotha’s Hubris offers death/doom with deliberate stylistic shifts, mixing clean, melancholy passages with heavier, punishing sections. The transitions are abrupt rather than smooth, creating a sense of whiplash. Vocals alternate between deep growls and clean, operatic delivery, which adds unpredictability and helps sustain interest through slower moments.
Structurally, the songs follow a similar pattern of tension and release throughout the album. Listeners who enjoy the first track will likely find the rest consistent; those who do not may struggle. The album commits fully to its chosen formula, leaving little room for structural surprises. It earns points for effort and tonal contrast, though its approach to songwriting remains steady rather than adventurous.
Rating: 3
(Carlos Tirado)
Gus G – Steel Burner (Metal Department)
Greek guitarist Gus G (Firewind) has released numerous solo albums over the years, though it has been five years since his last one (2021’s Quantum Leap). Some of his previous albums have been exclusively instrumental, but most have featured guest vocalists. That’s the case with Steel Burner.
There are several instrumentals that showcase Gus G’s shredding ability, which is impressive. As for the guests, they include Ronnie Romero, who fronts Elegant Weapons who are reviewed above. The legendary Doro Pesch appears on “Nothing Can Break Me,” with Iced Earth’s Matt Barlow lending his talents to the epic “Dancing With Death.” Dino Jelusick (Animal Drive, Whitesnake) guests on the hard rocking “No One Has To Know.” It’s a Gus G album, so having no instrumentals would be odd, but five feels like a couple too many.
Rating: 3
(Chad Bowar)
Sepultura – The Cloud Of Unknowing (Nuclear Blast)
After a career spanning more than four decades, the legendary Brazilian band Sepultura have decided to call it a day. They are currently on a farewell tour, and issuing what they say is one final EP, The Cloud Of Unknowing. It’s the first Sepultura recording to feature drummer Greyson Nekrutman, who joined the band a couple years ago.
The four tracks on the EP run the gamut from the opener “All Souls Rising” with some orchestral to the mellower “Beyond The Dream” that features melodic vocals from Derrick Green. “Sacred Books” adds a piano interlude to the heaviness, and closer “The Place” shifts from quiet to extreme. The four tracks on The Cloud Of Unknowing are wide-ranging, and if this indeed is the end, it’s quality material that will leave fans wanting even more.
Rating: 3.5
(Chad Bowar)
Shadowlands – 004 (Seeing Red)
Continuing their trend sent by their 2019 release 003, Portland post-punk quartet Shadowlands have returned to the darkness with their fourth release, appropriately titled 004.
With a sound best described as Health by way of Rosegarden Funeral Party, their blend of post-punk, darkwave and a sprinkle of ‘80s style synths make tracks like “Let’s Fall Apart” a pleasant listening experience. Each song feels like it builds upon emotions that remind us at the end of the day we are humans with complex feelings and emotions as demonstrated with “Nothing Has Changed” and “Burdens.” Shadowlands are another great example that no matter what genre you listen to, or who makes it, music has the capability to draw out a wide range of emotions at any given time.
Rating: 3.5
(Dalton Husher)
Six Feet Under – Next To Die (Metal Blade)
Six Feet Under’s Next To Die delivers a predictable and uninspired death metal experience. The riffs feel recycled, the production lacks depth, and the vocals carry little conviction. The album does not aim for innovation or intensity, instead settling into a flat and forgettable rhythm.
While not offensively bad, the record suffers from oversaturation and a lack of memorable moments. It offers little to engage longtime genre fans or attract new listeners. Overall, Next To Die feels like a routine exercise rather than a meaningful addition to the band’s catalog.
Rating: 2
(Carlos Tirado)
Terror – Still Suffer (Flatspot)
L.A. hardcore stalwarts Terror are approaching a quarter century as a band, influencing countless groups in the genre. OG’s Scott Vogel (vocals) and Nick Jett (drums) have been there since the start, but their current lineup has been together for nearly a decade now. Still Suffer is their ninth studio album.
Produced by former guitarist Todd Jones, the album shows the band hasn’t lost any passion or aggression. It’s filled with compact, focused tracks, many under two minutes, that are sometimes groovy, other times chaotic. There is zero filler on tracks like “Destruction Of My Soul” and “Death Of Hope.” Guests include Jay Peta (Mindforce), Brody King (God’s Hate), Dan Seely (King Nine) and Chuck Ragan (Hot Water Music). After the closing track “Deconstruct It,” there are several minutes of phone messages to Vogel set to music, which is an unusual yet oddly compelling way to close Still Suffer.
Rating: 3.5
(Chad Bowar)
