Music News

GAMA BOMB announce new album, BATS, Lead single and music video, ‘Speed Funeral’ out now

Domo Dixon – Guitars and Vocals
John Roche – Guitars
Philly Byrne – Vocals
Joe McGuigan – Bass and Vocals
James Stewart – Drums

Photographer credit: Emmett Moore

Ireland’s GAMA BOMB have today announced details of their upcoming eighth studio album, BATS; they have also unveiled the first single, Speed Funeral, and accompanying video. BATS will be released on November 10, 2023 via Prosthetic Records and will be available in three vinyl variants, on CD and digital. The video for Speed Funeral finds the band in the aftermath of the untimely demise of band mascot, Snowy The Gamabominable Snowman.WATCH THE MUSIC VIDEO FOR

Stream Speed Funeral via Apple Music, TIDAL, Deezer, Bandcamp and Spotify
Pre-order BATS here.

Of the new album, GAMA BOMB vocalist Philly Byrne comments: “BATS is the weirdest album we’ve ever made. It has a guest spot by hip hop legend The Egyptian Lover, a surprise ending, a futuristic prologue, and a crossover song with lyrics by Percy Bysshe Shelley – we finally felt confident enough to take the brakes off and had a lot of fun with the writing. Weird is good!”

Regarding Speed Funeral, he adds: “There are songs on our new album that diverge from the ‘Gama Bomb formula’ a lot, so we wanted to lead with Speed Funeral because it’s a fun, catchy, classic GB mosher. We’re breaking you in gently with this one!

“The lyrics are about something I’ve always dreamed of – when I die, I want to be strapped to a rocket and blasted off into space as my family and friends watch. We’re middle-aged men now, so maybe death is on our minds a bit more.”

From the tombs of Egypt to the faded glamour of old Hollywood, Philly, Domo, John, Joe and James (Vader and Decapitated) lead us through new sonic landscapes and all manner of novel adventures on BATS. BATS is an album that could only be borne from GAMA BOMB; they have embraced their inner absurdities, they’ve taken a trust fall into each other’s arms, relying on the idiosyncratic glue that has bound them together over the last 21 years to propel them forwards. BATS is the first GAMA BOMB album to be entirely produced, mixed and mastered by guitarist Domo Dixon; utilising the remote recording skills picked up during various lockdowns over the past few years, recording for BATSwas approached with a deliberately self-sufficient attitude.

Whilst the lyrical content veers into various different directions, the album is tied together with a 1960s-inspired aesthetic as demonstrated via the BATSartwork – serving as a visual tribute to the iconic design trends and pop culture of the 60s. The art was created by the legendary Graham Humphreys, the artist behind iconic posters for A Nightmare on Elm Street, Evil Dead and What We Do In The Shadows, now in his fourth collaboration with GAMA BOMB. John comments: “The accompanying artwork and inlay by the lovely Rory McGuigan are based on 1960s exploitation movies in the vein of Russ Meyer and other directors who didn’t want to put their name on their films.” Longtime GAMA BOMBfan and accomplished painter, Kirsty Clark, takes the starring role on the album artwork – welcoming you into the entirely fictional BATS cinematic universe.Sonically, GAMA BOMB manage to stay true to their distinctive thrash sound, honed to perfection over two decades at the frontline of headbanging and fist-pumping. There are nods to heavy metal titans such as Judas Priest and Iron Maiden, there’s even a sliver of Bad Brains-esque punk attitude, and more familiar influences such as Tankard and Sodom are still evident. But if you think GAMA BOMB are serving up something run of the mill then you’ve clearly not accounted for the guest appearance by Irish musician Gavin Kerins or a star-turn from hip hop pioneer The Egyptian Lover who raps on – naturally – Egyptron.

BATS tracklist:
1. Prologue Under the Pyramids
2. Egyptron (feat. The Egyptian Lover)
3. Living Dead in Beverly Hills
4. Rusted Gold
5. Materialize
6. Mask of Anarchy
7. Don’t Get Your Hair Cut
8. Dreamstealer
9. Speed Funeral
10. Secular Saw
11. Bats in Your Hair

GAMA BOMB tour dates
Oct 7 – Rising Fest, France
Oct 20 – Milton Keynes – Craufurd Arms, UK
Oct 21 – Derby – Alt Fest, UK
Oct 22 – London – Boston Music Rooms, UK
Oct 23 – Manchester – Deaf Institute, UK
Oct 24 – Newcastle – Anarchy Brewing Co., UK
Oct 25 – Edinburgh – Bannermans, UK
Oct 26 – Carlisle – The Brickyard, UK
Oct 27 – Sheffield – Corporation, UK
Oct 28 – Swansea – The Bunkhouse, UK
Oct 29 – The Siege of Limerick, Ireland
Dec 3 – Life After Death Horrorfest, Mexico




“Body Void Unleashes Raw Power with ‘Cop Show’ Lyric Video Depicting Police Brutality” Via Prosthetic Records

Photographer credit: Skyler Williams

Willow Ryan (guitar, bass, synths, vocals)
Janys-Iren Faughn (electronics, samples, live bass)
Edward Holgerson (drums)

Emerging like a tempest from the digital depths of New England’s avant-garde soundscape, Body Void, a formidable doom trio hailing from the Bay Area, unveils its masterpiece, “Cop Show.” This captivating composition serves as the second ethereal offering from their forthcoming opus, “Atrocity Machine,” slated for release on the hallowed date of October 13th, courtesy of the venerable Prosthetic Records.

In a brilliant symphony of apocalyptic reverie, “Cop Show” draws inspiration from the sacred annals of the 1987 sci-fi opus, ‘RoboCop.’ This haunting opus artfully dissects the unsettling spectacle wherein police violence, rather than yielding to the clarion call of abolition or reform, has morphed into a grotesque form of entertainment. A confluence of Paul Verhoeven’s surreal dystopian vision and the band’s artistic prowess breathes life into this cataclysmic anthem.

The aural architecture interlaced by Body Void is nothing short of a relentless, sonic juggernaut—an unforgiving gauntlet of auditory gravitas. With each resonating note, they forge a savage tempest of unprecedented proportions. Their signature sludge-laden, droning doom finds new horizons, fueled by the eclectic influences of Killing Joke and Wolf Eyes. This metamorphosis yields a harrowing soundscape akin to a cyberpunk nightmare.

“As Atrocity Machine unfolds, it unveils a remarkable evolution and descent into the darkest abyss of musicianship, crafting oppressive symphonies that defy convention.” The transformation is undeniable. Atrocity Machine stands as the zenith of their artistic journey, a testament to their creative prowess. With each tantalizing glimpse we’ve been granted thus far, it becomes evident that this odyssey promises a roller coaster ride through the chronicles of metal brutality. A cataclysm poised to leave an indelible mark on musical history. Brace yourselves, for Body Void’s “Atrocity Machine” beckons a promising voyage into uncharted musical territory.

BODY VOID has shared a new track, titled Cop Show, alongside an accompanying music video. Cop Show is the second single to be taken from the New England, Bay Area based doom trio’s upcoming fourth album, Atrocity Machine, which is due for release via Prosthetic Records on October 13. The song sees BODY VOID pulling influence from the dystopian sci-fi film Robocop, and serves as a critique on police violence.

Stream Cop Show via Apple Music | TIDAL | Deezer | Bandcamp and Spotify
Pre-order Atrocity Machinehere.


Speaking on the single, Willow Ryan (guitar, bass, synths, vocals) comments: “Cop Show lyrically might be the most specific on the album. It focuses on the way in which police violence, in place of abolition or even just reform, we’ve turned killings and assaults into a spectacle to be consumed and entertained by. Paul Verhoven’s brand of dystopian absurdity was a big influence on Atrocity Machine as a whole, but especially on this song with Robocop.”

BODY VOID‘s morose view of the world hasn’t lightened any since the release of 2021’s critically acclaimed Bury Me Beneath This Rotting Earth, although Atrocity Machine embraces absurdity on a new level. The subject matter in hand takes stock of the oppressive systems and societal functions that continually degrade the lives of millions as they passively become a cog in the very machine that subjugates them. Police violence is the thematic centre of the unravelling horror on Atrocity Machine, highlighted specifically on the track Cop Show which details the commercialisation of fear and violence being turned into a spectacle.

The grotesque reality of living in a capitalist landscape, with the value of human life decreasing daily provides infinite fuel for anxiety and trauma. The lurid tones of modern day news media are the backdrop to an Akira-inspired encounter with divine violence, Atrocity Machine offers a cosmic view of living under such systems of oppression. Specifically that the status quo can’t last forever; a self-destructive society will indeed eventually destroy itself.

The suffocating nature of oppression seeps into the sound of Atrocity Machine too. Although still a doom band at its core, BODY VOID in 2023 has expanded to incorporate dexterous layers of synths, samples and noise that makes their industrial-sludge sonic emissions an asphyxiating listening experience. The band credit producer Ben Greenberg (Portrayal of Guilt, VR Sex, Soft Kill) with bringing their electronic elements into a cohesive sound that embraces heaviness and claustrophobic chaos in equal measure.

Artwork is thematically on point – inspired by Tetsuo: The Iron Man (a person becoming a machine) – and created by Ethan Lee McCarthy. Marking a shift from their previously black-and-white-only artwork, Atrocity Machine is both visually and sonically drawing a line in the sand, delineating the beginning of a new chapter for BODY VOID.

Atrocity Machine tracklist:
1. Microwave
2. Human Greenhouse
3. Flesh Market
4. Cop Show
5. Divine Violence
6. Atrocity Machine



Music News

CREAK premiere new music video for ‘Hare in the Woods’

Photographer credit: Joe Guppy

Newcastle, UK nu-metal / metalcore band CREAK are today premiering a new music video for Hare in the Woods via Metal Injection. Hare in the Woods is taken from the quartet’s recently released debut album, Depth Perception, which is available via Prosthetic Records.

Listen to Depth Perception here.

Speaking on the premiere, CREAKvocalist Jack Dunn comments: “We feel like Hare In The Woods is the best song to sum up CREAK as a band, and we wanted to make sure that the video matched that feeling.

“Working with Murry Deaves was an opportunity for us to try something new and see how close we could get to incorporating all of those anxious feelings that inspired the song, and give us a chance to really capitalise on the old art-house horror influence. Murry really understood what we were trying to do, and we’re all stoked on how everything has come together. We’re really excited about the fact we’ve managed to do a video that feels like those old films.

“There were a lot of new elements in the filming process that were new to us and felt like a step up. This was our first time using real post-production effects, and the way Deaves was able to put some of the shots together felt like a movie. We shot everything over a day at Antwerp Mansion and it was a really great day for us to finish off the videos for the album.”

Speaking on the recently released Depth Perception, Dunn adds: “We can’t get across how much we appreciate the response we’ve had to the album so far, and it really means the world to us that people have taken the time to check it out. When we first started putting Depth Perception together we couldn’t have imagined that we’d be in the position we’re in now and that we’d have had as much support as we have.

“We’re finalising future shows at the moment, to make sure that when we tour the album it’s as big as possible and everyone who has supported us has a chance to see these songs at their best when live.”

The four piece from Newcastle set out initially to craft a new EP to follow on from 2020’s rapturously-received Bitter Picturevignette, but once writing was underway, the ideas kept on coming. Channeling the same furious vitriol found on their earlier singles and the EP, CREAK managed to push their boundaries further still – finding room for experimentation within their chaotic vision. Citing influences such as Yüth Forever and Sworn In, their background in hardcore is rarely far from view, but eerie Lynchian interludes, clean vocals and metallic sensibilities contribute additional layers that elevate their sound.

Lyrically and thematically the tracks are saturated with pure emotion, fuelled by – amongst other things – the anguish that accompanied Dunn’s mother’s journey with cancer. Using CREAK as an outlet for processing his feelings during that time, he adds: “I was feeling guilty about my own emotions, and going over things in a circle in my own head trying to get to a point where I could try to become comfortable with them.” Finding it easier to work through his feelings through his lyrics than to verbalise in ‘real life’, Depth Perception is something of an anthology of dread, pain, mortality – and hope.

The album took shape over several months between 2021 and 2022, with Connor Sweeney (formerly of Loathe) reprising the role he took on for Bitter Picture, producing, mixing and mastering the twelve blistering tracks. The live recording achieves the near-impossible task of capturing the frenetic, unbridled vigor of their live show; their angular metalcore punctuating an eerie soundscape permeated with anxious energy. With high hopes and boundless enthusiasm, CREAK are gathering pace as an unstoppable force.

Depth Perception tracklist:
1. Crossroads
2. Hare in the Woods
3. An Endless Black
4. Doomed
5. Restless Dreams
6. Harrow
7. Left to Heaven
8. Depth Perception
9. The Early Hours Know My Secrets
10. Cold Shoulder
11. I’m Not Alone in the Dark
12. A Head Full of Rain



Music News

New Outergod Album A Kingdom Built Upon the Wreckage of Heaven Via Prosthetic Records Out This September

Sam Strachan (vocals)
Nathe Sinfield (guitar, electronics)
Alex LeGrice (guitar)
Dan Oldcorn (bass)
Jordan Spencer (drums)

Photo Credit Tom Kelly

Having inked a deal with Los Angeles based Prosthetic Records, Nottingham, UK-based OUTERGODS are preparing to release their debut album, A Kingdom Built Upon The Wreckage of Heaven, this September.

The formative months of the band were marked by separation as they wrote what would become their first full-length release throughout 2020. Finding a route towards escapism, founding members Nathe Sinfield (Lost Outrider) and Sam Strachan (Raised By Owls) realised that many of their personal struggles and anxieties were being channelled into the writing process. In the face of inner turmoil and an uncertain world, the pair found solace in their love for extreme metal – in particular ‘90s death metal – and set about creating an album that recreated the adrenaline and obnoxiousness of the albums that helped shape their own tastes.

Sam comments: “Nathe is very much the visionary of OUTERGODS. He explained to me early on that he wanted to make a feral beast of a record that would blend all our favourite sounds and push them to the limits of extremity. That is how the album title came about – I wanted something that felt traditional to the genre but also conjured up a stark, bleak image of horror.”

Lyrically the album uses dark and sinister metaphors to explore turbulence they were experiencing throughout the album’s creation. Specifically Nathe found himself in a situation where his family were staring down an immeasurable bereavement – the feelings of hopelessness, grief, and torment were poured into his writing. Finding comfort in nostalgia and seeking connections to the past, a rich seam of inspiration was found in the music that was key to his own musical development.

The resulting songs fuse together elements of death metal, black metal and grindcore – blending their abrasive early influences such as Morbid Angel and Strapping Young Lad with the intensity of more modern, expansive but intense bands like Full of Hell. A Kingdom Built Upon The Wreckage of Heaven was self produced, and stays true to their DIY ethic and underground attitude. The album was mastered by friend Kristofer Strandberg, and the album’s cover art was crafted by Nathe’s brother, Tim Sinfield.

Bringing OUTERGODS to life for the album recording and with designs on playing live meant assembling a full band – and Nottingham’s fertile scene didn’t disappoint. Having recruited Alex LeGrice (Raised By Owls), Dan Oldcorn (Antre) and Jordan Spencer (Evil Scarecrow) Outergods are now set to become an unstoppable force of sonic devastation, weaving bleak tales of misery and woe.

A Kingdom Built Upon The Wreckage Of Heaven will be released via Prosthetic Records on September 1.

1. Nocturnal Death
2. Into the Howling Void
3. Faceless Entities
4. Tangled in the Cogs of the Nightmare Machine
5. Abandoned at the Centre of a Celestial Hell
6. Nothing but a Fetid Worm
7. Catacombs of Madness
8. Flesh Prison
9. A Kingdom Built Upon the Wreckage of Heaven


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London-Based Five Piece Blackened Hardcore Outfit CALLIGRAM Has Released Position|Momentum Via Prosthetic Records

Photo Credit: Andy Ford

Matteo Rizzardo – Vocals, Ardo Cotones – Drums / Vocals, Bruno Cambiaghi – Guitar, Tim Desbos – Guitar, Smittens – bass

I find myself reviewing yet another artist from Prosthetic Records’ arsenal of extraordinary minstrels. Their roster is brimming with luminaries. The musical offerings provided are unmatched and serve as a delectable feast for fans of metal.

Introducing Calligrams Latest Opus: “Position|Momentum”

Calligram unleashed their mordacious new album, “Position|Momentum,” presenting an axiom that finds solace and joyous moments within the depths of darkness. A departure from their debut, “The Eye is The First Circle.” This new record draws inspiration from a diverse range of musical influences.

The album’s Latin-titled compositions, such as “Sur Dolore” (meaning ‘In Pain’) and “Frantumi In Itinere” (translated as ‘Fragments on The Road’) eschew oddity in favor of a relentless infernal intensity. Matteo Rizzardo’s throat-ripping vocals, delivered in his native tongue, are the driving force behind these inexorable arrangements. While atmospheric noise, D-beat punk, and grindcore find their way into the mix, courtesy of seasoned producer Russ Russell (known for his work with Napalm death and At The Gates), the true essence of the album lies in its unyielding hellfire.

As “Position|Momentum” unfolds, it reveals its multifaceted nature. “Per Jamie” offers a cursed respite, that whips the listener from swashbuckling gallops to funeral dirges and sheer black metal bludgeoning. The mournful trumpet acts as a blinding thread, weaving through the shifting soundscape. “ Ex-Sistere” seamlessly blends these elements into a furious whirlwind that threatens to tear flesh from bone, an unstoppable force capable of overpowering all in its path.

The album’s second half truly opens up, inviting listeners to immerses themselves fully in Calligram’s dark aural tapestry. “Ostranenie” spans an ambitious seven minutes, guiding the audience through a tumultuous journey that transitions from relentless speed to sorrowful solemnity, punctuated by a melancholy trumpet. The closing track “Seminario Dieci” deliberately paces itself, interweaving heavy ascendancy and offering a sense of closure, leaving you torn between adoration and bewilderment.

Calligram’s “Position|Momentum” dictate a visceral antiphon. Its caustic chalice overflow’s with a sensory concoction that defies categorization. With every sip, the listener is challenged by the raw intensity and unapologetic tenebrosity that permeates the album. This is a record that will either repel or captivate, leaving you either lost in its labyrinthine corridors or kneeling at the altar of Calligram’s twisted brilliance.

The multi-national quintet, decamped to The Parlour Studios in Kettering to record Position | Momentum with Russ Russell (NAPALM DEATH, DIMMU BORGIR, AT THE GATES) during the summer of 2022. The follow up to 2020’s The Eye Is The First Circle doesn’t ease up on intensity; if anything, giving the chaos a little more room to breathe has shaped CALLIGRAM into something even more formidable than before.

Music is often seen as medicine; a balm to soothe what ails you. With no intention to use Position | Momentum as a crutch, CALLIGRAM has crafted the opposite – a caustic celebration of pain, death and chaos.

Position | Momentum is out now via Prosthetic Records.

Position | Momentum was recorded by Russ Russell in July 2022, at The Parlour Studio, and mastered by Grant Berry. Artwork is by Deborah Sheedy

Track Listing:
Sul Dolore
Frantumi In Itinere
Per Jamie
Seminario Dieci


Music News

Sermon drops new single, “The Distance”

Photo credit: Jack Snell

On March 31st, melodic-melancholic-doom outfit Sermon will release their sophomore album, Of Golden Verse, via Prosthetic Records. For a preview of this record, the new single, “The Distance,” can be heard here:

Sermon’s Him comments: “‘The Distance’ is about the hairline moment that makes the difference between life and death in suicide ideation.

“I was worried about writing this to explain the song. Will it be seen as exploiting the issue? Do I have the authority to even talk about it? I thought of lying. But it’s quite difficult to write anything with sincerity if it’s not, y’know, sincere. Publishing these thoughts are somewhat risky and maybe it’s not my place to open another forum on it. But I think the more we all do, the more we look at the issue 360 degrees, the closer we might get to understanding, and hopefully prevention.

“If I was a betting man I’d say many of us have had ‘the thought’ in the time of emotional crisis. This song isn’t about romanticising it or glorifying it or even taking pity, but to recognise the moment between idea and action. To acknowledge that these strands of thought happen throughout life and that pain is, almost certainly, an inevitable but transient feeling. I can’t remember who the quote is from (forgive me) but that it’s important to remember that we all suffer more in our minds than in our reality.

“Why can’t we talk about it without fear? I can’t count the amount of times that once the discussion is opened, that guilt is all too often the strategy that people wield against the idea of suicide. But I say this isn’t about your loved ones and them feeling sad of the loss of you, this is about you. About you depriving your own future self of having the remarkable effect you can have on the world. This made me think of that distance. And I think, if you can see clearly, don’t go the distance. See it through.

“This feels a little bit like an open letter rather than a paragraph about a song. Is it an irresponsible thing to write? I hope not. I’m not a clinically trained psychiatrist but I will never not stand by the idea that we owe it to ourselves and our fellow human to talk this through more. No matter how wrapped in fear and shame it might be.”

The previously released single, “Golden,” can be streamed now here:– where Of Golden Verse can also be pre-ordered in various formats.

Of Golden Verse track-listing:
1. The Great Marsh
2. Royal
3. Light the Witch
4. In Black
5. The Distance
6. Senescence
7. Wake The Silent
8. Golden
9. Centre
10. Departure

A beacon of iridescent musical light amid the torpid fog of modern life, Sermon blazed brightly but briefly when they released their debut album back in 2019. Led by the shadowy figurehead known only as Him, they blurred boundaries with the aptly titled Birth Of The Marvellous – which earned widespread acclaim and the effusive support of listeners around the world. But then, after a single live show at Prog In Park in Poland, there was only silence.

In the years between then and now, the world has become a darker, nastier place. Summoned from their slumbers for a second time, Him and his collaborators are back with an album that accurately encapsulates the mood of the moment. Recorded at Grindstone Studios under the legendary supervision of producer Scott Atkins, Of Golden Verse was entirely written by Him, but the new songs reached their final, immaculate state through a team effort. Him comments: “James is the other side of this. I’ll give him the demo of a whole album and the drums will be written, and he likes me to do that, but when we get in the studio, he makes his suggestions and it often becomes this whole other thing. It wouldn’t sound remotely the same with another drummer. Meanwhile, Scott is the George Martin of the piece. So really Sermon is a trio. I give them something that’s fairly well formed, it’s almost there, and they add into it because they’re far more skilled than I am.”

The resulting 10 tracks that make up Of Golden Verse are musically intense, dynamic – and often a startlingly heavy trawl down corridors of corruption and stairways of compromise. First single “Golden” is a stunning entry point to Sermon’s reconfigured world; dense with melody and melancholy, it showcases the band’s expanded sonic vision, with lyrics that detail a slow, steady chipping away at the human spirit. There’s no question: Sermon has returned in 2023 with an imperious flourish.