Row of Ashes – Tide into Ruin Review

By Owlswald

Bristol post-hardcore group, Row of Ashes, likes to make noise—and they’re good at it. Known for their untamed live energy and drawing heavily from revered acts like Unsane, Will Haven, and Kowloon Walled City, Row of Ashes crafts an unyielding and suffocating wall of sound; one that fuses post-hardcore and sludge together with the experimental, dissonant fringes of noise rock. After releasing two EPs, their raw, physical force exploded onto the scene with 2022’s Bleaching Heat, a ruthless debut that earned them a tour with Will Haven. Now standing on the brink of broader recognition, Row of Ashes is ready to unleash Tide into Ruin, their second post-hardcore punch designed to be as overpowering and instinctual as their live performances.

Row of Ashes delivers raw, suffocating intensity through guitarist Will Duffin’s low, harsh distortion, Dan Arrowsmith’s bruising rhythms and bassist/vocalist Chris Wilson’s striking shouts. The threesome excels at crafting intense crowd-movers with stomping, crushing finales like “Immortalist” and “Icon,” while also evidencing their aptitude for tension and release with ominous, somber post-hardcore interludes such as “Coda” and “Wake.” Wilson’s and Duffin’s guitar and bass seamlessly meld into a thick, impervious wall of hard-hitting riffs, often creating an oppressive, gnarly buzz that rattles in unison, driving Tide into Ruin’s grim atmosphere. Wilson’s delivery is fierce and confrontational—his versatile range jumping effortlessly between British punk (“Fracture”), Mike Patton-like shrieks (“Leveller”) and blood-curdling hardcore screams (“Icon,” “Tide”), tearing through Row of Ashes’ heavy instrumental underbelly. Despite some mixed songwriting, Row of Ashes lets loose a surprisingly immense and pulverizing sound that defies their lean lineup.

Centered around Wilson and Duffin’s deep, sludgy distortion, Row of Ashes skillfully imbues Tide into Ruin with dynamic contrast, shifting between pummeling riffs and dissonant bursts, punctuated by softer, mournful interludes. The peaks and valleys of “Immortalist” and “Tide” demonstrate this with tender, forlorn passages squeezed between mammoth, plodding breakdowns. “Leveller’s” and “Icon’s” swarming guitar lines, sprayed with shoegaze-tinged high dissonance ebb and flow effortlessly, opposing crushing heaviness with momentary breaths that fuel the album’s brooding mood. Showcasing Row of Ashes’ more experimental side, “Imber’s” quirky beginning—featuring frantic guitar rises and feedback squeals—aptly conveys its anxiety through chaos before an eventual bone-crushingly heavy close. While the payoff takes a bit too long to arrive—even though Tide into Ruin’s stronger tracks feel too brief at times—this experimental flavor helps prevent the album from becoming a repetitive sludge-fest, pushing Row of Ashes’ sound beyond Bleaching Heat’s more straightforward style.

At the same time, this more experimental side also leads Row of Ashes astray. Interlude “Lille’s” ambient serenity and French spoken word is just short enough to work after the record’s strong first half, but “Wake” fares less successfully. Its length, repetition and close to forty-five seconds of nothing but feedback thwart its attempt to build pressure—alternating between quiet, eerie arpeggiated sections and heavier, distorted parts (including “Lille’s” spoken word). This same issue reappears later with “Coda.” The track’s somber, clean guitar notes and harmonics, coupled with Arrowsmith’s delicate cymbal work, create a foreboding and somber atmosphere that would have made for a much better closer if not for three minutes of cavernous ambient noises and static, rendering that portion of the song skippable. While interludes like these can be beneficial in a live setting, their inclusion here detracts from Tide into Ruin’s strength and cohesion, leading to more frustration than anything else.

Though the songwriting occasionally detracts from an otherwise solid effort, Tide into Ruin still contains some of Row of Ashes’ most potent material to date. And its relentless intensity—fueled by crushing riffs, fierce vocals, and raw energy—is amplified by a lively, organic mix that conveys the band’s vision. Row of Ashes’ affinity for crafting dynamic, atmospheric post-hardcore is sure to appeal to a wide range of fans, and the stage is set for them to realize their considerable potential. With continued refinement, Row of Ashes is poised to fully break through—building on their momentum and paving the way for a future brimming with possibility.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Road to Masochist
Websites: rowofashes.bandcamp.com | facebook.com/RowofAshesband | instagram.com/rowofashesband
Releases Worldwide: June 13th, 2025

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Warrior Pope – A Morbid Parody of Justice Review

By Killjoy

There have been many recent headlines about a brand new pope, but Warrior Pope from Bristol, UK are here to tell the story of a much older one. The Cadaver Synod refers to the ecclesiastical trial in the year 897 of Pope Formosus, who was already deceased beforehand. Pope Stephen VI, one of Formosus’ successors, ordered the exhumation and public trial of the corpse, after which the dead pope’s papacy was retroactively pronounced null. Stephen cut three fingers off of Formosus’ right hand, arranged for the body to be reburied in a foreigner’s grave, and later decided it should be dumped in the Tiber River instead. Now, the aptly titled A Morbid Parody of Justice seeks to do the proper justice to this macabre historical event that Formosus was denied long ago.

Whereas Warrior Pope’s earlier material was a quirky mixture of post-metal and stoner doom, A Morbid Parody of Justice is even more of a hodgepodge. There is still a prominent doom metal backbone wherein founder Oli Foxen continues to lay down hefty bass lines alongside longtime drummer Katya’s hypnotic rhythms. However, the framework within which they operate is more volatile now that the steady stoner grooves are diminished. The arrival of guitarist Jack Andrews and vocalist David Burke appears to have helped steer Warrior Pope into a less predictable post-hardcore direction, with muddy riffs and frenzied screams and growls. In addition, Burke’s trombone and Katya’s bowed cymbal scrapes and screeches open up new experimental avenues to enrich the overall atmosphere.

But experimentation left unchecked can become detrimental. A Morbid Parody of Justice begins innocuously enough in “Pornocratia,” with soft bass notes increasing in complexity and tastefully enhanced by a somber trombone. Afterward, however, things unravel into a slurry of haphazard ideas. “Despoiling a Cloisters” dips its toes into slow, sludgy waters; “Twenty-Four Popes Later” is a one-minute hardcore punk whirlwind; and closing track “The Method” suddenly launches into belligerent post-hardcore. By far the most puzzling songwriting decision is the dedication of three minutes in “Experience Severing” to aimless guitar amp feedback and bowed cymbal screeches. This is possibly intended to symbolize the three fingers taken from Formosus but no matter the reason, these three cacophonous minutes last far too long. The transitions between tracks are well thought out, which eases the overall flow, but can’t overcome the fact that few individual songs sound like they belong on the same record.

That said, once one becomes accustomed to the stylistic whiplash, it’s evident that all members of Warrior Pope perform their roles well. Oli Foxen’s bass and Jack Andrews’ guitar have satisfying synergy, like the deft bass fills between viscous guitar chords (“Condemnations of Formosus”) or when they join forces to form imposing sound walls (“Rotten Sun”). Katya showcases her prowess with an extended drum solo at the beginning of “Experience Severing,” and her bowed cymbal technique works well as a subtle accompaniment to guest Mike Bishop’s (Gwar, Kepone) lively narration in “Bishop’s Take.” I’m most impressed by David Burke’s vocal versatility as he emits unhinged screams (“Despoiling a Cloisters,” “The Method”), fragile croons (“Strangled Legacy,” “Rotten Sun”), and everything in between. The album mix, however, plays no favorites and gives everyone equal space to shine, particularly in the doomier moments where Warrior Pope sound the most comfortable.

It’s undeniable that Warrior Pope are a creative bunch. This new lineup has loads of potential to reshape traditional metal conventions, but what A Morbid Parody of Justice needed was some of the focus and consistency from Warrior Pope’s prior work. This is a case where the individual components are stronger individually than as a unified whole. I imagine that mileage may vary widely, so anyone looking for something outside the box should give A Morbid Parody of Justice at least a curious spin. It endeared itself to me the more time I spent with it, warts and all. I’ll be rooting for Warrior Pope, and I look forward to whatever musical or historical concepts they decide to tackle next time.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: warriorpope.bandcamp.com | facebook.com/warriorpope
Releases Worldwide: May 30th, 2025

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Svarta Havet – Månen Ska Lysa Din Väg Review

By Kenstrosity

Hailing from Turku, Finland, post-hardcore/blackened post-punk activists Svarta Havet boast a passionate mission statement focused on denouncing fascism; raising connected communities; advocating queer, feminist, and transgender rights and justice; rejecting late-stage capitalist values and recognizing their wide reaching damages to society and the planet; and supporting animal rights. Oftentimes, material dealing with these ideals in the heavy music space trend towards the cynical, hopeless, and bitter perspectives. Those are all valid emotional responses of course, but for Svarta Havet, the primary message is one of hope. These Finns truly believe humanity can turn it around, and make the right choices together to one day repair our connection to ourselves as human beings, to the Earth as stewards of its land and inseparable members of the greater ecosystem, and to our communities as social creatures who thrive together and not apart.

It’s this message that drew me to Svarta Havet, at Steel’s recommendation, having never heard a note of their music before. What I beheld in their sophomore record, Månen Ska Lysa Din Väg, is exactly what my promo says on the tin. Post-punk and post-hardcore, with a blackened char. Comparisons to Oathbreaker, Unfurl, and early Downfall of Gaia fit right at home within Svarta Havet’s, albeit more stripped-down interpretation of the style. Building bridges between airy atmosphere and driven, punky attitudes, Månen Ska Lysa Din Väg boasts a variety of moods, textures, and tempos to help enliven each of its tight 37 minutes. At the same time, it sports a bleak, monochromatic tone that grounds its lively performances inside the reality of our world. With this intriguing formula, Svarta Havet achieve a sound rooted in the trials and tribulations of society in the current era while the fire of change, of hope, and of a deep yearning for a better tomorrow roils just underfoot.

Because Svarta Havet designed Månen Ska Lysa Din Väg to deliver hopeful, motivating messaging to its audience, I understood why many of these songs aren’t as aggressive, depressive, or explosive as my aforementioned reference points. When “Härlig Är Jorden” implements a slower, more deliberate motif as its primary structure right after opener “Göm Dig” lays across the landscape its blackened post-punk blade, the intent is clear. Månen Ska Lysa Din Väg is a record for those who wish to listen with an active, open mind, separated from the primal need for relentless riffs and uncompromising violence. As “Avgrunden” and later MENA-influenced cut “Djur” raise themselves above the horizon with looming, overcast moods and textured leads, the grim reality of the world is placed firmly in the foreground. However, interspersed within those themes, a counterpoint of inspirational, almost exuberant tremolos and ascendant atmospheric blooms belie that spirit which is unwilling to yield to the shadows. “Göm Dig” and “Alla Stover” stoke that fire with the most riff-centric material Svarta Havet have to offer in this installment, brimming with a lively swagger and a punky attitude. In this back-and-forth, Månen Ska Lysa Din Väg succeeds in its mission of finding the light in a world that’s lost its way.

The main roadblock to making this record stand out more is one of balance in its compositions. Too often, passages which establish their purpose and achieve their desired effect within the first minute or two extend far past that point, which compromises their impact (“Härlig Är Jorden,” “Ditt Rike”). Sometimes this detrimental quality comes about in the form of a heavy reliance on baseline repetition. Other times, it manifests in a meandering passage whose resolution doesn’t always justify the wait. In other areas, Svarta Havet’s heavier passages can seem overly busy when placed as they are next to more thoughtful pieces (particularly the chorus to “Alla Stover”). Another byproduct of the imbalance Månen Ska Lysa Din Väg carries, the most memorable material leaves very little room for the in-betweens to make a lasting impression. I easily recall “Djur” for its doom-laden riffs and hypnotic depiction of those scenes of war that devastate the same animal ecosystems to which we all intrinsically belong, but I can’t remember a note of its sequel “Under Staden.” This is especially conflicting as “Under Staden” is arguably the more important of the two to Svarta Havet’s mission, spotlighting the remarkable resilience we see in nature, particularly in animals and insects, within sprawling artificial developments.

When the dust settles, and Månen Ska Lysa Din Väg heaves its last blackened breath, I find myself torn. I love the intent and passion Svarta Havet instilled within their sophomore album, and I think this style of music beautifully fits the prompt. However, I yearn to feel an unbridled enthusiasm for Månen Ska Lysa Din Väg that keeps me coming back for more without a second thought. Instead, I feel a respectable excitement for what Svarta Havet might do to develop their material further going forward. So I wait, on the edge of my seat, to hear what they do next.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prosthetic Records
Website: facebook.com/svartahafvet
Releases Worldwide: May 9th, 2025

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