Review: In Search of Sun’s The World is Yours


In Search of Sun is a 5 piece heavy metal band from London making the sort of music that would make Panic Cell, Five Finger Death Punch and Avenged Sevenfold proud. Previously known as Driven, the band have gone through a stylistic change that sees them moving away from their earlier metalcore roots (hence the change in band name) and The World is Yours mark’s the band’s debut album.
The World is Yours is an album built around big vocal melodies and bass-heavy grooves. The songs are structured in a pretty traditional manner that favours verses and choruses so don’t expect anything too progressive from the band.

What really makes the music on The World is Yours shine is the wonderful vocal work by frontman Adam Leader (surely the most appropriate name for a lead singer ever). Leader has a beautifully flexible voice that moves between abrasive yell and soaring croon with ease and you can really visualise the vocalist commanding a massive crowd. It helps that Leader’s melodies and superbly strong and the choruses on the album will stick with you long after the album has finished.

The band are also pretty comfortable dropping in some thrash influences into their music with the lovely galloping shred at the start of 51 56 being a great highlight as well as the opening riff to Idle Crown. These moments of guitar prowess put In Search of Sun in a league of their own and its riffs like these that the band need to focus on bringing to the forefront more often.

Bizarrely the instrumentation often feels quite sparse. Despite having two guitarists in their midst, In Search of Sun often let the lead guitars jangle gently over a thunderous bass-line like at the beginning of In Search of Sun (yes, there’s songs confusingly named after the band as well as the album title). This wouldn’t be such an issue if the song was actually doing something a little more gripping. In Search of Sun are very keen to fix their tempos into a rather unimaginative mid-pace that never really allows the music the freedom to grab you by the balls and let loose with a really rocking riff. This really damages songs like In Search of Sun because the track is drawn out for over 6 minutes and despite an impressive guitar solo it rarely moves away from its quite traditional structure.

The major problem with The World is Yours is just how similar they sound to many other modern metal bands bothering the charts right now. This is a real shame because it’s clear the band have a knack for writing a decent riff and a great chorus but they need to be more daring to drop into different tempos and get more adventurous with their guitar work because bassist Faz Couri often has to carry the songs. In fact, Couri is so prominent in the mix that I wouldn’t be surprised if he was one of the band’s main songwriters.

The World is Yours is a strong modern metal offering from a promising new band. It often succeeds thanks to the massive choruses courtesy of vocalist Adam Leader but the music is too unimaginative to hold your attention for the full 48 minutes. In Search of Sun could really do with stepping up the pace a bit because as To the Axe manages to prove in its fifth minute, the band is vastly more exciting to listen to when they get nice and thrashy. It’s moments like this that justify the band having 5 members because it’s too often the case that the music is very minimalist like in the album’s ballad Skin. In Search of Sun have all the potential to be an incredibly exciting band but at the moment they haven’t quite figured out how to do this.


In Search of Sun’s The World is Yours is released through Raging Demon Entertainment and Plastic Head Distribution on September 1st.

Review: Megalodoom’s Tectonic Oblivion


When I discovered that Megalodoom were an instrumental doom band I simply couldn’t fathom how the band were going to catch my attention for an entire record without any vocals. Doom metal is traditionally slow-paced and a single riff can be drawn out for an entire song so without anything going on in the vocal department I was instantly sceptical of how the band were going to keep things interesting. Thankfully my preconceptions have been knocked for six because Megalodoom have a lot more to their music than what you’d normally expect from a doom band.

At only four songs long, Megalodoom’s second EP Tectonic Oblivion manages to total a healthy 26 minutes of punishing heaviness and it never gets boring for the entire duration. Tectonic Oblivion never rests on one riff for too long and manages to cram every song with as many intertwining melodies as possible. What Megalodoom achieve so well is making all these melodies fit flawlessly together and every song on the EP progresses in a natural fashion that’s extremely satisfying to listen to.

Megalodoom are also rather brilliant at texturing their music with a clever use of various guitar effects like in the lovely, atmospheric introduction to Polar Vortex. Even when the song kicks into gear the whole piece is given a wonderful, spacey quality thanks to the incessant use of phaser. It all sounds very other-worldly, like the soundtrack to a secret, underground civilisation of mosh greebos.

The band also manage to draw influences from desert rock which is instantly apparent from the opening riff to Amp Woe which is a song that the mighty Kyuss would be proud of. Once again it’s not too long before another beast of a riff follows and the band even manage to step things up a little with a subtle but effective tempo change. This is wonderfully progressive stuff with the slower pace allowing you to appreciate it all at a palatable speed.

Rounding the EP out is the beautiful production that smothers everything in a lovely dose of bass whilst also sounding like the band are playing the music in the middle of the outback. Tectonic Oblivion is certainly a very big sounding EP title and it does a perfect job of describing how utterly enormous it all sounds. What’s even more impressive is the band have recorded, mixed and mastered this EP themselves making this a truly DIY effort. If you’re playing doom metal and looking to record then I think you better be giving the Megalodoom boys and gal a ring.

Megalodoom’s Tectonic Oblivion is a thunderous beast of an EP that manages to escape the potential boredom that their lack of vocals could have caused. The band have put together a hugely satisfying selection of riffs and melodies that tie together beautifully and create a behemoth of an EP that doom fans should be clawing over themselves to own.


Megalodoom’s Tectonic Oblivion EP is available to download from Witch Hunter Records right now.

Review: Grand Collapse’s Far From the Callous Crowd


I like records that don’t mess around and Grand Collapse’s début album Far From The Callous Crowd is the very definition of not messing around. The thrash-punkers stuff 25 minutes of Gnarwolves-meets-Send More Paramedics styled joy into their album’s 11 songs and not a single second of it could be described as lazy.

The four men of Grand Collapse do an amazing job of sounding like they’re putting all the blood, sweat and tears that their bodies can muster into these performances. Vocalist Calvin Sewell has a brilliantly snotty grunt to his voice that sounds like the classic punk of yesteryear. Guitarist Jon Powell delivers all the melody and manages to cram a hundred riffs into every song and every one of them has a fantastic galloping bounce to it. This is the sound of a legion of kids throwing shapes in the pit. This is then bolstered by the thunderous twang of bassist David Thomas and the blind fury of drummer Glenn Tew who punctuates every growling chord with a massive helping of crash cymbal. You simply cannot fault the abilities of these four men.

When it all comes together Grand Collapse deliver inarguable hardcore punk anthems. There is not a moment on Far From The Callous Crowd that could even be remotely described as boring. The band even manage to find variety in their madness by changing tempos and even dropping the distortion in favour of some seriously catchy leads like the ones at the beginning of Touch Paper and Memoirs of Heath Park.

Even when Grand Collapse are at their slowest like the aforementioned Memoirs of Heath Park they still sound utterly ferocious thanks to the wonderful pairing of huge chords and crash cymbal. If you can’t feel yourself leaning into a relentless session of headbanging then it’s time to see a doctor.

Tying the record together is the meticulous production. It’s no surprise to see that Lewis Johns was responsible for the production on Far From The Callous Crowd as the man is clearly becoming the UK’s punk producer of choice. The man manages to keep all the raw aggression of Grand Collapse’s performance despite presenting it in a way that highlights every element of the band’s music in perfect clarity. If Johns doesn’t have a list of bands as long as his arm lining up for production work by now then there isn’t any justice in the world.

Grand Collapse have put together a début album that I simply cannot listen to without the words ‘FUTURE CLASSIC’ coming into view. Far From The Callous Crowd is a no-nonsense shot of adrenaline and there isn’t a single moment that doesn’t sound like a cacophony of punk’s best riffs. I want more and I need it now.


Grand Collapse’s Far From the Callous Crowd is out now on limited edition CD. Buy one direct from the band.

Touring: Employed to Serve, Svalbard, Pariso and More


If you like heavy music from the UK’s wealth of noisey talent then you are absolutely spoilt for choice right now. Below we have compiled a list of tours and shows that are worthy of your attention because they feature some of our favourite bands currently doing the rounds.

Pariso & Svalbard Split Tour
11/7 – Katie Fitzgerald’s, Stourbridge
12/7 – The Roxy 171, Glasgow
18/7 – Unicorn, London
19/7 – Edge of the Wedge, Portsmouth
2/8 – Summerfest at Frog&Fiddle 2 Pigs, Cheltenham
3/8 – Sick Sick Six Fest, Leicester

Employed to Serve & Svalbard European Tour
5/8 – DNA, Brussels
6/8 – AJZ Talshock, Chemnitz
7/8 – TBA
8/8 – Capsloc, Capelle Aan Den Ijssel
9/8 – Waldmeister, Solingen
10/8 – TBA

Other Great Shows
9/7 – Unicorn, Camden (ACxDC, Implore, Oblivionized, Razoreater & TEEF)
18/7 – Rigger, Newcastle (Empires of Light, Burden of the Noose & Black Heath Coven)
19/7 – Stuck on a Name Studios, Nottingham (Oblivionized/Razoreater split recording)
15-17/8 – Chimpyfest at T Chances, Tottenham Court Road (feat. The Atrocity Exhibit, Razoreater & Confine)
23/9 – Old Blue Last, Shoreditch (Hexis, Rainmaker, Let It Die, Employed to Serve & Oblivionized)

Review: Sunwølf’s Beholden to Nothing and No One


Okay Sunwølf, this is getting a bit silly now. You can’t go releasing an album every year and get dramatically better results every time. You’re making everyone else look a bit naff.

Sunwølf’s third album Beholden to Nothing and No One is a double-disc release and expands the band’s ambient doom from being fully instrumental to now including a disc supported by a range of vocal styles which include female singing and male screaming. The vocals add some beautiful texture to the band’s oppressive and claustrophobic music with the female vocals being used for the more delicate side of the band’s sound and the screaming being used for the more aggressive, metallic side of the music. It’s wonderful to see how well Sunwølf’s music works with the simple addition of vocals.

The first disc also manages to pull off that fantastic Sunwølf staple of taking you on a journey. Sunwølf have an uncanny ability to soundtrack Terry Gilliam films that don’t exist yet and Beholden… is no exception. The disc begins fairly slow and emphasises minimalistic instrumentation to create a foreboding atmosphere that builds over the course of the album before guitarist Matt Carrington stomps on the overdrive pedal and unleashes hell.

Sunwølf experiment further on the second disc of the album by returning to their instrumental roots but only to get even more psychedelic. The second disc of Beholden… messes with texture and builds enormous walls of noise that could summon demon’s from the depths below. There’s a heavier exploration of drone and electronic elements are also employed to add another mysterious layer or intrigue to the band’s music.

Rounding out this monstrous package is a spectacular production job that’s sharp and clean during the band’s more ambient moments to help emphasise the delicate instrumentation, but raw and unkempt during the more aggressive movements. Despite the varied styles the production actually manages to hold all the music together and make a cohesive package.

Sunwølf’s Beholden to Nothing and No One is a gargantuan epic that traverses many genres but always feels focussed. A double album clocking in at an hour and 23 minutes might strike you as an impenetrable time investment but Beholden… never outstays its welcome. There’s a reason why this album is so long and it’s because it’s stuffed to the brim with interesting, thought-provoking music that’s always changing and always engaging. Sunwølf have written their masterpiece and it’s one of the most essential listening experiences of the year.


Sunwølf’s Beholden to Nothing and No One is out today and available to order on double CD direct from the band.

Review: Gurt’s Horrendosaurus


4 years into Gurt’s existence and after the release of a string of EPs and splits, the band are finally ready to deliver their début album Horrendosaurus and like the repulsive dinosaur that features on the album’s cover this is a monolithic slab of sludge metal that doesn’t disappoint.

Gurt’s strengths have always lied with their uncanny ability to write a massive groove and Horrendosaurus is stuffed to the brim with them. Highlights include Sludge Puppies which bursts through the doors with a fast-paced riff that soon progresses into a massive doom-laden melody that will soundtrack any upcoming apocalypse you’d like to attend.

Special mention also has to be given to the album’s title track Horrendosaurus which earns its place as the title track simply by being an unnaturally enormous song that isn’t short on riffs. Switching between doom and a desert-rock groove throughout the entirety of the track makes for a brilliant dynamic that is hugely satisfying to bang your head to.

Also returning is Gareth Kelly’s wonderfully daft lyrics which have resulted in song titles like Gardening with Cthulu and Eves Droppings. Kelly is always a joy to listen to because his throaty belch is as metal as they come and he always sounds like he’s enjoying every second of his band’s music.

The only thing working against Gurt is that their song-writing is a bit formulaic. Every song is built around a lurching yet catchy groove that never really lets up to allow for something else to happen. Winston begins with a thunderous bass-line that marks one of the very few moments of variety on Horrendosaurus but it doesn’t take long before the riffs drop and we’re back into sludge territory. Regardless, this is a minor complaint because even though Gurt never really explore any sounds outside their comfort zone they always pull another smashing riff from their sleeve. If anything you can always rely on the band for consistency.

Horrendosaurus can only be described as a huge record. It’s massive. It really is very big. Gurt have filled this album with as many riffs as they can muster and it makes for a hugely enjoyable listening experience. Fans of sludge and doom metal are in for one of the most reliably fun albums of the year and Gurt have delivered a full-length that highlights everything that has made them worthy of your attention for these past 4 years.


Gurt’s Horrendosaurus is out now and can be purchased via this link.

Music Video: Bad For Lazarus’ Caught in the Twist


Psychobilly loonies Bad For Lazarus return with a new single prior to the release of their debut album Life’s a Carnival, Bang! Bang! Bang!

The track in question is a little ditty called Caught in the Twist and features a pretty lurid video containing Satan, Simon Cowell and some rather graphic scenes involving nudity (slightly blurred) and an anal eruption. It’s a pretty safe bet that this will be something you probably don’t want to watch in the workplace.

Caught in the Twist is released through 1234 Records on June 16th. The single features on Life’s a Carnival, Bang! Bang! Bang! which is released on July 28th.

Touring: Oblivionized and Old Skin UK Weekender


Here at UK Scumscene we have made no qualms about our love for both Oblivionized and Old Skin and now the 2 bands are heading out on a short tour that sees the band hit London, Brighton and Bristol for an intimate weekender that is bound to be one of the most crushing tours of the summer. Check out the dates below:

6/6 – London – Power Lunches
7/6 – Brighton – The Lectern
8/6 – Bristol – The Red Lion

You can grab a free track from both bands from the recently released Church of Fuck compilation False Metal Eternal. Get that via the widget below:

News: Grab Old Skin’s :consume: EP Before It’s Gone Forever


Old Skin are currently supporting the release of :consume:; a two track EP that is available directly from the band for one week only and then it’s gone forever.

The limited edition CD version is unfortunately sold out but you can still download the release for any amount of money (yes, even no money if you’re that much of a cheapskate). Make sure you grab it via the widget below because at midnight on the 1st of June the band will be taking it down and you’ll have to source it by “other” means (which the band are openly encouraging by the way).

Check it out because you won’t regret it. You’ll have a hard time finding a more interesting/punishing slab of metallic hardcore today:


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