Spectral Wound & Final Dose - Gorilla, Manchester (6/8/26)

A variation of this review can be found on rockflesh.com.

Bloodstock may be in full flow eighty miles away but there is still a really good turnout tonight showing that metal still exists and is catered for elsewhere for those who aren't able to or don't wish to attend. Spectral Wound's profile has been boosted in recent years by appearances at Incineration and Damnation festivals which may have helped to draw in some people.

The stage is bathed in red light for the emergence of London's Final Dose. They play raw and primitive black metal which is pretty simplistic. There's a punk edge to them, particularly in the drumming which doesn't seem to use double kick pedals. However, it feels rudimentary and messy, especially when they play too slow or too fast. Mid-paced. galloping hellfire is where they're at their best, and the driving Motorhead feel of some of the tracks is pretty cool. Bruno Fusco's vocals are raw throated and full of anguish. However, it lacks intensity and for the first half of the set, it feels like they are going through the motions. The second half of the set is better but, at forty minutes long, it feels like they overstay their welcome by a good ten minutes. They get a good reaction from the crowd though.

There is an eerie intro before Quebec's Spectral Wound open with the feral 'Fevers & Suffering'. There's lots of tremolo picking played at a ferocious pace, and classic Darkthrone is brought to mind. However, it isn't just relentless second wave black metal worship as they add a number of elements which add variety. Illusory's drumming is great, providing a driving beat with a number of neat fills thrown in whilst the guitars add some melody.

Amusingly, a number of their song titles could be apt descriptors for their sound: 'Aristocratic Suicidal Black Metal' and 'Black Satanic Glamour' both convey the mixture of nihilistic darkness and sophistication which is present in their sound. The former has a fist pumping, galloping groove which is almost anthemic and there are a number of classic metal touches too. 'A Coin Upon The Tongue' is a relentless frostbitten blast, breathless in its intensity, which is only broken by the brief Maiden-esque mid-section, whilst 'Less And Less Human, O Savage Spirit' starts off with a drumbeat and riff that could be classic Priest before the bass and double kick make it a thunderous rumble.

The guitarists are basic foot on the monitor merchants but the pizzazz comes from their fingertips as the melodic leads add Dissection or Windir qualities to their sound. Frontman Jonah is a magnetic presence who stalks the stage, headbangs and looks both menacing and cool as hell. His screams seem to come from beyond the grave and they help to add a rawness which acts as a counterbalance to any melody.

A savage and dramatic 'Twelve Moons In Hell' brings the show to a close. An expectant crowd lingers for a few minutes, hoping for an encore but alas, it isn't to be, An excellent showing nonetheless though.

Spectral Wound ****

Final Dose ***

Opeth, Paradise Lost & Katatonia - Piece Hall, Halifax (1/8/26)

Opeth have been playing some impressive places on this short European Summer tour. They played Pompeii earlier in the run and tonight they are at the historic and impressive Piece Hall which is the only UK date this year. They have brought a stacked line up with them too, with Swedish titans Katatonia and local heroes Paradise Lost completing a stellar line up.

There are big queues to get in at all four entrances so I miss the first couple of songs of Katatonia's set. They seem well suited to a venue like this, their sound filling the space with ease. Jonas Renkse sounds in good voice, his sonorous vocals travelling and translating well in the open air setting. The dense, complex riffs of 'Dead Letters' are satisfyingly heavy and hypnotic whilst 'Forsaker' is a headbangers dream. 'Old Heart Falls' is epic and the keys give it a near orchestral quality. These are complex, progressive songs with multiple twists and turns but the heft of the riffs still make them accessible to a metal crowd.

If ever a band was made to play this show on Yorkshire Day of all days, it is local doomsters Paradise Lost for a rare hometown show. A stadium doom intro leads straight into the bombastic heavy metal of 'Serpent On The Cross'. Nick Holmes looks every inch the rock star in his shades whilst his deathly growls sound authoritative. The hook laden goth metal of 'One Second' is good but it is the more uptempo numbers which work much better. An excellent 'The Last Time' is dispensed with surprisingly early. The stately, classic doom of 'Faith Divides Us- Death Unites Us' shines whilst 'The Enemy' picks the pace back up in a glorious fashion, and the mid-section is crushing.

The underrated Gregor Mackintosh's fretwork is dazzling throughout but his solo on 'Hallowed Land' is especially good and the track's balance of heaviness and accessibility is a grand reminder of how great 'Draconian Times' was. 'Tyrants Serenade' slows it down but the elegant riff gets thousands of fists punching the air, and the grinding verse is particularly good. The buoyant gothic cover of 'Smalltown Boy' is great fun. By contrast, the epic 'Embers Fire' brings the gloom in the best possible way. Opeth's drummer Waltteri joins the band on the uptempo goth rock of 'Ghosts'. The tight, solid riffing of 'Silence Like The Grave' closes the set in a fine fashion. The set is a masterclass in pacing and perfectly showcases the evolution of the band.

'Paragraph 1' is a bold opener for Opeth, as it is wildly progressive and heavy as hell yet it perfectly encapsulates them. The dynamic 'Hjartat Vet Vad Handen Gor' follows and both Mikael and Fredrik's guitar work is spectacular especially during the cleaner parts. Both sound to be in excellent voice and when the vocals come together, it is tremendous. Mikael's deathly vocals are still fearsome as demonstrated on the progressive death metal of 'Godhead's Lament'. The guitar playing during the mid-section takes it into Gary Moore territory.

It goes without saying that the musicianship is top notch. The complex 'Paragraph 7' is expansive and challenging yet engages throughout. Walttteri's drumming is intuitive on the pure prog of 'The Devil's Orchard'. The classy 'Windowpane' is mesmerising whilst the dramatic 'The Grand Conjuration' which follows provides a spectacular contrast. The choppy guitars and savage vocals of the encore 'Deliverance' bring the show to a close in an excellent fashion. The staccato ending is utterly fantastic, a masterclass in dynamics which causes the crowd to explode in appreciation at the finale. A brilliant and unique spectacle.

Opeth *****

Paradise Lost ****

Katatonia ****