From packed local venues to a growing presence on the Irish music scene, Lithium Lounge have been making waves with their distinctive sound, powerful performances, and commitment to original music. Hailing from Wexford, the band has developed a reputation for blending energy, creativity, and authenticity both on and off the stage.

The Interview

Ten Tons Of Tone : Lithium Lounge originally formed as teenagers over a decade ago, how do you feel the band has evolved musically and personally leading into “State of Tha!”?

Lithium Lounge : Growing up we have undergone a transition from a group who emulated other bands until we finally found a sound that was unique to us. This is seen through our diverse musical backgrounds that include punk, classic rock, heavy metal, indie and pop music. This combination of talent is what gives us our unique sound.

Ten Tons Of Tone : You mention that recent line-up changes helped shape a more heavier and more explosive sound. Did those changes naturally push the band in a new creative direction?

Lithium Lounge : Our new line up hits hard and plays even harder, we’ve really hit our strive thanks to Oisín and Lucas, who have a natural dialogue with each other to show up and shred. Through a combined experience of playing live between all members, we have been refining our stage presence to bring a bit of spice to each performance. Transitioning from a three piece to a four piece made the combination of the music flow more freely and allows each member to focus on putting on a great show. We have developed to a four vocal band as each member has a point to prove and deserves to scream it to the heavens for our audience to hear.

Ten Tons Of Tone : The EP was recorded at Hive Studios to capture the band’s raw energy. Why was it important for you to approach the recording process that way instead of going for a more polished studio sound?

Lithium Lounge : Lithium Lounge has always been a live band first and foremost, the tracks were recorded live with everyone which felt more natural to us. We also wanted to have a unique sound to the thousands of songs that are mass produced. We wanted to include all of the imperfections of playing live to add to keep it real.

Ten Tons Of Tone : Having Bill Skibbe at Third Man Records master the EP is a huge achievement.  What was it like knowing someone with that reputation was putting the final touch on your music?

Lithium Lounge : We have had previous experience with Bill Skibb that was exactly the type of sound we wanted. We wanted the warm analogue feel that he is known for. we aimed to have someone with experience with mastering live music to retain the warmth and chaos of the mixes to elevate the tracks to the next level. We have Aldo’s enjoyed the projects he has done with artist such as Jack White.

Ten Tons Of Tone : Tracks like “First World Humiliation” tackle themes around government failures, social pressure and personal struggles. How important is it for Lithium Lounge to use music as a form of protest or social commentary?

Lithium Lounge : From our lived experiences there have always been those who look down on people that don’t deserve the vitriol, whether it be social status, monetary status or just people on a power trip. We are fed up with people acting all high and mighty and want to have a voice for those who feel they’ve been hard done by.

Ten Tons Of Tone : “State of Tha!” Moves between hardcore intensity and more anthemic moments across just four tracks. Did you approach the EP as one connected statement, or did each song develop with its own identity?

Lithium Lounge : The EP manifested naturally song by song through the years we have been a band. We saw the songs on the set and it just felt natural to have them together as one. Recently it felt like these particular songs are more relevant to the times we live in more and more each day.

Ten Tons Of Tone : The music videos seem like a big part of this release too, especially working with Alfonso and involving people in the local scene. How important was it for the visuals to reflect the same energy and community spirit as the music?

Lithium Lounge : We wanted this music to have a visual aid for the chaos that the music represents. It was a learning experience for us as we allowed ourselves to step out of our comfort zone and got to include our friends and rockers of the local scene to get the product feeling lively and mad.

Ten Tons Of Tone : With the hometown release show and more gigs around Ireland planned, what are you most excited for people to experience when they hear “State of Tha!” live for the first time?

Lithium Lounge : The EP starts of aggressive and carries through to the last note, from start to finish each lyric has meaning and is in our own words. We look forward the general obli response to our music. We hope our screams are heard.

Lithium Lounge’s passion for music and dedication to their fans shines through in everything they do. As they continue to evolve and reach new audiences, their enthusiasm and ambition suggest there is plenty more to come. I would like to thank the band for sharing their story with me and I look forward to following the next chapter of their musical journey. “State of Tha!” Released today, June 13th 2026, with an array of support shows upcoming. Go listen to State of Tha! Right now through the bands Bandcamp.

Silk’s debut mini-album Auralux is an immersive shoegaze release that balances overwhelming sonic weight with moments of striking beauty. Across six tracks, the Belfast project led by Michael Smyth crafts a dense wall of sound built from cascading reverbs, shimmering guitar layers, and crushing fuzz tones that feel both expansive and intimate. The title track and “Clementine” immediately establish the record’s emotional intensity, blending dreamlike textures with a darker, more abrasive edge, while the production creates a sense of being completely enveloped by the music.

The track listing goes as follows,

• Auralux (5.50)

• Clementine (4.02)

• July (3.56)

• Slide Away (feat. Taylor Wright) (5.30)

• August (4.26)

• Pleasures (4.26)

What makes Auralux particularly compelling is its emotional range. Songs such as “July” and “Slide Away” showcase Silk’s ability to pair melodic hooks with towering guitar arrangements, while the heavier “August” explores themes of longing and disillusionment through massive, slow-burning crescendos. The closing track, “Pleasures,” offers a welcome sense of optimism, ending the mini-album on a warm and uplifting note without sacrificing its atmospheric depth.

Ten Tons Of Tone Official Rating : 7.5/10 ⭐️⭐️⭐️

Emerging from the shadows of the underground black metal scene, Sahhar is the solitary vision of a one-man project dedicated to crafting dark, atmospheric, and uncompromising music. Blending raw intensity with evocative storytelling, Sahhar channels themes of darkness, introspection, and spiritual unease into a sound that is both ferocious and immersive. Operating as a completely independent creative force, the project embodies the individualistic spirit that has long defined black metal, forging a distinctive path through a genre built on authenticity and artistic conviction.

The Interview

Ten Tons Of Tone : Migja ta Mohh Mignun feels deeply rooted in atmosphere and identity, what was the central idea or emotional thread you wanted the album to carry from beginning to end?

Sahhar : The original emotion was hubris and the inevitable downfall, but as the album developed, the more that emotion shifted to desperation. The titular character is initially desperate to find lost and forbidden knowledge, then is desperate to show off that knowledge. Still, when it all comes crumbling down, he is desperate for release.

Ten Tons Of Tone : Sahhar has always had a very personal energy. Does working alone give you complete creative freedom, or can it become creatively isolating at times?

Sahhar : I'd say it is a bit of both, but I exploit the isolating feeling and channel it into a unique form of creativity. Indeed, during songwriting phases, I deliberately detach myself from external influences entirely, no music or shows (as much as possible anyway). In a way, the isolation in itself is liberating. 

Ten Tons Of Tone : There’s often a tension in black metal between raw aggression and cinematic scope. Where did you want this record to sit sonically compared to your previous work?

Sahhar : I tend to inadvertently gravitate towards the latter while avoiding compromising too much of the former. It's a very fine line to balance, and admittedly, I wasn't always successful in the past, but this release succeeds in conveying a larger-than-life soundscape while keeping a level of sonic aggression that is instantly recognisable as intrinsic to the genre.

Ten Tons Of Tone : The album title itself carries a sense of mythology or ritual. A madman’s mind is what I believe it translates to. How important is the album title when it comes to what we will hear when it’s released?

Sahhar : Quite. A Journey of a Mad Mind. It indeed sets the stage for what to expect. I thought of writing this album for a very long time, and the biggest challenge I had was how to present it. I workshopped several titles and approaches to the album. Eventually, I resorted to condensing the legend and the fictional writings into a single short story and from there, I was able to come up with a specific title because the story involves this individual, who is clearly crazy, but the notion of travelling is present in the story.

Ten Tons Of Tone : Signing with Time To Kill Records for this release, did having a wider platform influence your mindset going into the album, or was the creative process completely untouched by outside expectations?

Sahhar : I must admit, the album was finished by the time I signed up with Time To Kill Records, so they weren't in the equation during any part of the creative process. Some edits were needed to be done to accommodate certain physical formats and so on, but they were minor bumps. That said, I have already entered pre-production for another (far) future album, so while I would welcome any feedback during the process, I can safely say I am unaffected. After all, while I do release the music for the public and the fans, the music itself is written for myself.

Ten Tons Of Tone : Black metal can sometimes become trapped in reverence for the past. With Migja ta Mohh Mignun, were you aiming to preserve certain traditions of the genre or challenge them in your own way?

Sahhar : Black metal is always in the baseline, so I do not think about preserving the genre because it will be present nonetheless. My challenge, rather than stemming from the hallmarks of the genre, is directed inwards. I want to challenge first and foremost myself. Black metal itself departed quite quickly from its roots by several bands quite early on, anyway. So, as much as I love the genre and I am a part of it, I am over three decades removed from the source. If somebody wants to hear a band that sounds like the past, then they should listen to the bands from the past. In my opinion, anyway.

As Sahhar continues to evolve, the project remains rooted in the uncompromising spirit that inspired its creation. Through solitude, dedication, and a clear artistic vision, Sahhar has carved out a distinct place within the black metal underground, proving that a single individual can create music of immense depth and intensity. With new horizons yet to be explored, the journey is far from over, and listeners can expect the darkness to grow ever deeper in the chapters ahead. Sahhar’s “Migja ta’ Mohh Mignun” is set to release June 12th, 2026.

Released in 1990, Rust in Peace stands as one of the defining albums of thrash metal and a landmark achievement for Megadeth. The album showcases an incredible blend of technical precision, speed, and aggression, with guitarist and vocalist Dave Mustaine leading the charge through razor-sharp riffs and politically charged lyrics. From the opening notes of “Holy Wars... The Punishment Due,” the album establishes itself as a relentless and ambitious work that pushes the boundaries of the genre.

The track listing goes as follows,

• Holy Wars… The Punishment Due (6.36)

• Hangar 18 (5.15)

• Take No Prisoners (3.29)

• Five Magics (5.43)

• Poison Was The Cure (2.58)

• Lucretia (3.58)

• Tornado Of Souls (5.23)

• Dawn Patrol (1.51)

• Rust in Peace… Polaris (5.37)

Musically, Rust in Peace is a masterclass in musicianship. The guitar partnership between Mustaine and Marty Friedman delivers some of the most memorable solos and intricate harmonies in metal history. Tracks such as “Hangar 18” and “Tornado of Souls” combine technical complexity with memorable songwriting, creating songs that remain fan favourites decades after their release.

Some highlighted songs off of this album as chosen by Ten Tons Of Tone,

• Holy Wars… The Punishment Due (6.36) - A blistering opener that perfectly blends speed, technicality, and powerful songwriting. Its shifting tempos and unforgettable riffs make it one of thrash metal’s greatest achievements.

• Hangar 18 (5.15) - Packed with intricate guitar work and legendary solo exchanges, this track showcases Megadeth at their most technically impressive. The relentless energy keeps the momentum soaring from start to finish.

• Poison Was The Cure (2.58) - Short, fast, and ferocious, this song delivers pure thrash aggression with razor-sharp precision. Its tight structure and frantic pace make it an underrated gem on the album.

• Tornado of Souls (5.23) - Combining emotional depth with crushing riffs, this track is a standout masterpiece. Marty Friedman’s iconic guitar solo remains one of the finest moments in metal history, and cemented him as one of the greatest metal guitarists ever.

The album balances technical excellence with infectious energy, making it accessible to both dedicated metal fans and newcomers to the genre. More than three decades later, it remains a benchmark for thrash metal and is widely regarded as one of the greatest heavy metal albums ever recorded

Ten Tons Of Tone Official Rating : 10/10⭐️⭐️⭐️⭐️⭐️

With their debut single, PeaceGates arrives with a clear sense of purpose and identity. Exploring themes of broken trust, infidelity, and the emotional strain of a relationship unraveling, the track delivers its message with striking honesty and intensity. Wrapped in a punchy alt-rock sound, it is short, direct, and impactful, offering listeners an early glimpse into the band’s raw, emotionally driven songwriting. As a first release, it serves as a powerful introduction to what PeaceGates is all about and hints at the compelling music still to come.

Here is what Peace Gates told Ten Tons Of Tone about their debut single,

“As our first single, we wanted to make a statement. The song explores the breakdown of trust, infidelity, and the tension of a relationship that’s falling apart. We aimed to keep it short and impactful, delivering those emotions with intensity and honesty through an alt rock sound.

We hope it introduces listeners to what PeaceGates is all about and gives a small taste of what’s to come—raw, emotional songwriting.”

A bold and emotionally charged debut, this single captures the raw honesty at the heart of PeaceGates’ sound. With its sharp alt-rock edge and relatable themes, it leaves a lasting impression. Most importantly, it offers an exciting first glimpse of what the band has yet to reveal.

For more than two decades, Bloodbath have stood as one of death metal’s most revered institutions, channeling the spirit of the genre’s formative years while forging a legacy all their own. With a catalogue steeped in brutality, atmosphere, and uncompromising heaviness, the Swedish outfit continue to prove that true death metal never goes out of style. I caught up with Anders Nyström, guitarist and founding member of Bloodbath, to discuss the band’s enduring appeal, creative evolution, and what keeps the fires of extremity burning.

The Interview

Ten Tons Of Tone : You’re stepping onto the bill for Sepultura’s final European performance here in Ireland, a band that helped define extreme metal globally. Does the weight of that moment register for you as performers, or does it feel like just another show once you’re on stage?

Anders Nyström (Bloodbath) : We are undoubtedly honored to be part of the evening marking their final show. Sepultura has been incredibly influential for all of us ever since they released Beneath the Remains—an album that truly defined the glory days of death/thrash metal. I also fondly remember having their follow-up, Arise, spinning in my Walkman (a portable music player for the people who don’t know) every morning for months on end! It’s another top-tier classic in the history of extreme metal. Obviously, their lineup these days is different from back then, but I saw them play last year and they sounded fucking great! Still, it would have been a cool surprise and provided considerable closure if the Cavalera brothers had made some sort of special appearance…

Ten Tons Of Tone : Both Bloodbath and Sepultura come from scenes that shaped death and extreme metal in different ways. How do you see your role today? Are you preserving something, evolving it, or actively resisting nostalgia?

Anders Nyström (Bloodbath) : I guess we’re probably more about preserving it than evolving it. Other bands might feel a greater need to evolve and expand the genre, but our interest always has been—and still is—to revel in nostalgia and keep the flag flying for a specific era of the old-school death metal scene: the late '80s and early '90s. That’s what we’re good at, that’s what drives us, and as far as purpose goes, that is enough, ha-ha! Bloodbath wasn’t formed to turn tables or pave new ways; we did it to uphold what we grew up with and felt was being left behind. There are plenty of retro bands now revisiting those specific styles and sounds, but when we decided to do this back in 1998, hardly any bands were even using a Boss HM-2 pedal—compared to now, where fucking everyone does ha-ha!

Ten Tons Of Tone : Irish crowds have a reputation for intensity and loyalty, especially in heavier genres. Is this Bloodbaths first time playing in Ireland? If so and if not regardless, how excited is the band to perform to what will be an undoubtedly very loud and energetic crowd?

Anders Nyström (Bloodbath) : Yeah, this will be our first time hitting the Emerald Isle! Due to past commitments and time constraints, we haven’t been much of a touring band; we’ve functioned almost exclusively as a festival band. As far as I know, Ireland hasn’t really had a traditional metal festival. Most countries have at least one, and some even have fifteen going at once! But with this arena show locked in, we’re excited to finally experience that legendary Irish energy firsthand!

Ten Tons Of Tone : Your sound has always balanced raw brutality with a kind of surgical precision. In 2026, where production and technicality can sometimes overshadow feeling, how do you make sure that the music still feels dangerous rather than just “perfect”?

Anders Nyström (Bloodbath) : Yeah, valid point! I mean, just look at this so-called 'TikTok generation’, obsessively chasing perfection, blinded by digital, slick, and automated methods of creating extreme metal. That approach is 100% eliminating any kind of ominous, raw vibe inherent to its origins. What happened to humans physically playing their instruments and practicing with intent? When you exchange most hardware for software and your blood, sweat, and tears are replaced by plugins and AI (🤮), you’re erasing the very core of what extreme metal was about. You end up cutting the ”danger"—not boosting it! I’m not saying you shouldn’t take advantage of tools that can benefit the creative and recording process if you know what you’re doing, but if you forget what this was about in the first place, you’ve put a divider between yourself and the fundamental values of extreme metal. Sheer feeling will always conquer production and technicality. It’s all about balance, isn't it? At least Bloodbath knows how to maintain that.

Ten Tons Of Tone : Bloodbath has always had a somewhat fluid lineup tied to key figures in Swedish metal. Do you see that as part of the band’s identity, almost like a rotating collective, or has there been a conscious effort to stabilise what Bloodbath is in recent times?

Anders Nyström (Bloodbath) : Since its inception, Bloodbath has always been a project where every member already had a primary band. Throughout the years, some members were able to invest more time than others, which is why the lineup has been in constant rotation. Currently, I’m the only original member left, but Axe (drums), who joined 22 years ago, is still with us, and Nick (vocals) has been onboard for the past 12 years—and that alone is longer than many other bands' entire careers. Our latest addition is Joakim Antman (bass), who has been playing with us for three years now. We’re currently performing without a second guitar player, but when the time is right, the long-term goal is to fill that position again.

Ten Tons Of Tone : When you’re part of a show that marks the end of something as significant as Sepultura’s European touring story, does it change your mindset artistically? Is there any sense of responsibility, not just to your own set, but the overall atmosphere of the night?

Anders Nyström (Bloodbath) : Obviously, our role is to support and pay respect to Sepultura as they say goodbye to their fans. We’re there to enjoy as much as them! Hopefully, they will enjoy the sound of Bloodbath while we’re delivering our goods.

Ten Tons Of Tone : With Bloodbath’s latest album in 2022, Survival of the Sickest, are you in a place creatively where new material is already taking shape, even if no one has heard it yet? 

Anders Nyström (Bloodbath) : That’s very much on the cards!

With the final words exchanged, Bloodbath leave the same impression they have for years: uncompromising, unapologetic, and utterly devoted to their craft. Their music continues to serve as a reminder that death metal thrives not through nostalgia, but through conviction. As long as bands like Bloodbath continue to carry the torch, the genre’s darkest flames will burn brightly.

Bloodbath’s Survival Of The Sickest is a brutal celebration of everything that makes classic death metal so addictive. The album charges forward with thick, filthy guitar tones, pounding drums, and a relentless sense of aggression that never lets up. From the opening moments, the band sounds fully committed to delivering an old-school experience without trying to modernize or soften their sound. Nick Holmes’ vocals fit perfectly with the music, bringing a disgusting and menacing presence that adds even more weight to the crushing riffs. The entire record feels dark, violent, and unapologetically heavy in the best possible way.

The track listing goes as follows,

• Zombie Inferno (4.08)

• Putrefying Corpse (Feat. Barney Greenway) (3.52)

• Dead Parade (4.39)

• Malignant Maggot Therapy (3.06)

• Carved (Feat. Luc Lemay) (3.28)

• Born Infernal (Feat. Luc Lemay) (4.01)

• To Die (Feat. Marc Grewe) (3.42)

• Affliction of Extinction (4.10)

• Tales of Melting Flesh (4.06)

• Environcide (3.58)

• No God Before Me (5.45)

One of the album’s biggest strengths is how focused it remains throughout its runtime. Bloodbath avoid unnecessary technical showmanship and instead rely on memorable songwriting, sharp riff work, and powerful grooves to keep the energy alive.

Some highlighted songs off of this album as chosen by Ten Tons Of Tone,

• Zombie Inferno (4.08) - Nick Holmes sounds absolutely monstrous here, delivering one of the album’s most aggressive vocal performances. It instantly sets the tone for the album’s filthy old-school death metal assault.

• Dead Parade (4.39) - This song leans into a darker and more crushing atmosphere, combining eerie melodies with punishing grooves that stick in your head. The track balances brutality and pacing perfectly, making it one of the album’s heaviest moments.

• No God Before me (5.45) - Prepare your ears. This final track off the album delivers pure chaos with fast, razor-sharp riffing and a violent energy that never slows down. The song’s raw intensity and blasphemous attitude make it a standout track for fans of classic death metal aggression.

Even though Survival Of The Sickest doesn’t completely reinvent Bloodbath’s formula, it succeeds because of how confidently it embraces the band’s roots. The album captures the spirit of classic Swedish death metal while still sounding fresh and energetic rather than outdated or nostalgic.

Ten Tons Of Tone Official Rating :

7.6/10 ⭐️⭐️⭐️1/5.

Released in 1971, Led Zeppelin IV stands as one of the defining albums of classic rock, blending hard rock, folk, blues, and mysticism into a record that still feels massive decades later. The album famously arrived without an official title or the band’s name on the cover, a bold response to critics after their previous release. Instead, the music speaks entirely for itself. Opening with the thunderous “Black Dog” and the crushing riffs of “Rock and Roll,” the album immediately establishes its raw power, while tracks like “Going to California” reveal a softer, more introspective side that adds depth and balance.

The track listing goes as follows,

• Black Dog (4.55)

• Rock and Roll (3.41)

• The Battle of Evermore (5.52)

• Stairway to Heaven (8.03)

• Misty Mountain Hop (4.39)

• Four Sticks (4.45)

• Going to California (3.32)

• When the Levee Breaks (7.09)

What truly elevates the album is its sense of atmosphere and experimentation. Led Zeppelin pushed beyond straightforward rock songwriting, incorporating English folk influences, acoustic arrangements, and layered production techniques that give the record an almost mythic quality. “The Battle of Evermore,” featuring haunting vocals and medieval imagery, feels worlds away from the heavy blues swagger the band was known for, yet it fits seamlessly within the album’s flow.

Some highlighted songs off of this album as chosen by Ten Tons Of Tone,

• Black Dog (4.55) - A swaggering hard rock opener built around one of Jimmy Page’s most unforgettable riffs and Robert Plant’s commanding vocals.

• Rock and Roll (3.41) - Fast, loud, and unapologetically fun, this track is a loving tribute to the roots of early rock music.
  John Bonham’s explosive drumming drives the song forward with relentless momentum from start to finish. Who remembers when the Foo’s played this live with Zep?

• Stairway to Heaven (8.03) - Beginning as a delicate folk ballad before transforming into an electrifying rock epic, the song showcases the band’s incredible range and ambition. This is a song that will be forever engraved as one of the best rock songs ever created. It’s stood the test of time, and it will never get old.

Of course, the centerpiece is “Stairway to Heaven,” arguably the most iconic rock song ever recorded. While its legendary status can overshadow the rest of the album, the track genuinely earns its reputation through its gradual build from delicate acoustic ballad to electrifying climax. Still, the brilliance of Led Zeppelin IV lies in the fact that it never depends on a single song.

Ten Tons Of Tone Official Rating : 9.0/10⭐️⭐️⭐️⭐️1/2

Released in 1987, Hysteria by Def Leppard is widely regarded as one of the defining hard rock albums of the 1980s. The record perfectly blends arena-sized rock anthems with polished production, creating a sound that feels both massive and melodic. Produced by the legendary Mutt Lange, every track is layered with rich harmonies, sharp guitar work, and unforgettable hooks. Even decades later, the album still sounds energetic and modern, proving why it became such a commercial and critical success.

The track listing goes as follows,

• Women (5.42)

• Rocket (6.37)

• Animal (4.05)

• Love Bites (5.47)

• Pour Some Sugar On Me (4.27)

• Armageddon It (5.23)

• Gods of War (6.38)

• Don’t Shoot Shotgun (4.27)

• Run Riot (4.39)

• Hysteria (5.55)

• Excitable (4.19)

• Love and Affection (4.36)

What makes Hysteria stand out is its consistency. Rather than relying on one or two hit singles, the album delivers a nonstop stream of memorable songs with huge choruses and emotional depth. Beneath the glossy production, there’s a surprising amount of heart in the lyrics, touching on love, desire, loneliness, and obsession. Joe Elliott’s vocals are confident and emotional throughout, while the band’s musicianship remains tight and powerful. The album captures the spirit of 1980s rock at its peak without ever feeling overblown or empty.

Some highlighted songs off of this album as chosen by Ten Tons Of Tone,

• Animal (4.05) - The song combines sleek guitar riffs, layered harmonies, and an irresistible chorus that instantly sticks in your head. It has a confident, energetic feel that captures the excitement and glamour of 1980s arena rock.

• Pour Some Sugar On Me (4.27) - The stomping beat, chant-like vocals, and infectious chorus make it impossible not to sing along. It’s loud, fun, and designed for packed stadiums and late-night parties.

• Hysteria (5.55) - The title track slows things down slightly and reveals the more emotional side of Def Leppard. “Hysteria” blends dreamy guitar textures with heartfelt vocals, creating a song that feels atmospheric and deeply melodic.

More than just a successful rock album, Hysteria became a cultural landmark that influenced countless bands in rock and metal. Its balance of radio-friendly melodies and hard-edged guitars helped redefine mainstream rock music for years to come.

Ten Tons Of Tone Official Rating : 9.5/10⭐️⭐️⭐️⭐️⭐️

Emerging from the underground with a sound that’s equal parts chaos, swagger, and raw punk energy, Casket Rats have quickly carved out a reputation as one of the most unpredictable bands of 2026. Their debut album, Rat City Rockers, released just last year, crashes through speakers with dirty riffs, razor-sharp attitude, and the kind of unfiltered personality that feels increasingly rare in modern rock. Ahead of their next chapter, we caught up with the band to talk about the making of the record, life inside the Rat City universe, and why sometimes the messiest music leaves the biggest mark.

The Interview

Ten Tons Of Tone : “It’s not often I ask a band their origin story, but I’m curious to know what is the origin story of Casket Rats, and where did the idea for the name come from?”

Casket Rats : “We've all known each other for a very long time, played together in other bands, worked at the same venues, got up to various illegal and rather fun activities together over the years. You know –  the age-old classic rocker tale of water finding its level.

As the Covid lockdown was ending we had decided to get something going that was based around the stuff we love but absolutely NOT anything like our previous bands.

We're the kind of folks who will listen to Anti Cimex and Rory Gallagher back-to-back, so it seemed fairly obvious that we were going to lean into a pure Rock and Roll vibe instead of staying in the old tried and true D-beat, black n’ roll and thrash of our former bands.

The name itself really doesn't have much of a thrilling backstory, it simply conjures up some proper nasty imagery and has a nice bit of rhythm to it.” - Keith Bennett

Ten Tons Of Tone : “Casket Rats is described as “booze soaked rock n roll with punk urgency and metal punch”. What exact elements of each do you try to incorporate in your songwriting ?”

Casket Rats : “That's just the natural ingredients that shaped all of us. None of us have had particularly easy lives and we all embraced raw, aggressive music when we were kids as a means of survival, catharsis and expression. 

Metal, punk, and hardcore are the foundations of our collective DNA and I think that shines through in how we play rock and roll. It’s all over our debut album, Rat City Rockers.”

Ten Tons Of Tone : “You released Rat City Rockers in 2025 via Tee Pee Records. What was the experience bringing that album together and what has the fan service been like towards the album?”

Casket Rats : “We operate very organically but with purpose, we all come in with riffs/lyrics but I'm going to say the majority of the album was written in the practice space when someone came up with a riff or a drum beat on the spot. And that spark just goes through everyone like fucking lightning. 

The recording process was an absolutely amazing experience because we were working with Alex Garcia-Rivera at his Mystic Valley Studios in Medford, Massachusetts. He's a mad professor who has such a great ear. He's our Martin Birch!

And working with Tee Pee Records is so easy and positive. True rockers who believe in what they do and what we do.

So far the response to the record has been fantastic, it seems like there are folks out there who understand what we're about and dig it. Couldn't really ask for much more.”

Ten Tons Of Tone : “What is the wildest or most chaotic live show moment you’ve had so far?”

Casket Rats : “It's never a dull moment with us. Everything from overpacked punk basements, broken bottle carpets and all …to the fire department clearing out the venue mid-set, to the decibel meter automatically cutting power due to volume at an OUTDOOR gig. We've even been the wedding band once – by request, mind you.”

Ten Tons Of Tone : “What is a venue you would love to see Casket Rats play at? Is there any festivals you would love to be apart of?”

Casket Rats : “That's an easy one… HAMMERSMITH! and as far as festivals go? ALL OF ‘EM!” 

Ten Tons Of Tone : “How do you balance groove and aggression without losing either side of your sound?”

Casket Rats : “Honestly can't say, we just do what we like and hopefully it connects with the people.”

Ten Tons Of Tone : “What is the next mission for casket rats? Are we looking at new music, more shows, or ride the wave?”

Casket Rats : “We're just going to keep doing what we do until we can't do it anymore. We’re lifers.”

Ten Tons Of Tone : “For those that have never heard of Casket Rats before, which track would you tell them to start with, and why?”

Casket Rats : “I think anywhere you plunk the needle down you're going to hear exactly what we're about. This is four greasy bastards from Boston, Massachusetts playing their asses off and worshipping at the altar of rock and roll.”

With Rat City Rockers, Casket Rats have delivered the kind of debut that doesn’t ask for attention, it demands it. Loud, unapologetic, and packed with the spirit of old-school punk and sleazy rock ’n’ roll, the album feels less like an introduction and more like a warning shot. If this is only the beginning for the band, Rat City might soon become impossible to ignore.

Released in 1991, Metallica (The Black Album) marked a turning point not only for Metallica, but for heavy metal as a whole. Moving away from the raw, thrash-heavy sound of their earlier records, the band embraced a cleaner, heavier, and more accessible production style under producer Bob Rock. The result was an album that balanced aggression with melody, delivering massive riffs and unforgettable hooks without losing the intensity that made Metallica famous. Tracks like Enter Sandman and Sad but True became instant classics and helped bring metal into the mainstream.

Although some longtime fans criticised the album for being more commercial than Metallica’s earlier work, its influence and success are impossible to deny.

The track listing goes as follows,

• Enter Sandman (5.32)

• Sad But True (5.25)

• Holier Than Thou (3.48)

• The Unforgiven (6.27)

• Wherever I May Roam (6.44)

• Don’t Tread On Me (4.00)

• Through The Never (4.05)

• Nothing Else Matters (6.29)

• Of Wolf and Man (4.17)

• The God That Failed (5.09)

• My Friend of Misery (6.50)

• The Struggle Within (3.53)

What makes the album so enduring is its consistency and emotional range. While the heavier songs hit with crushing force, quieter moments such as Nothing Else Matters reveal a more vulnerable and mature side of the band. James Hetfield delivers some of his strongest vocal performances on the record, while Kirk Hammett adds memorable solos that are both melodic and technically sharp. The album’s polished production gives every instrument room to breathe, creating a huge sound that still feels powerful decades later.

Som highlighted songs off of this album as chosen by Ten Tons Of Tone,

• Enter Sandman (5.32) - I don’t need to say much about this song. The song balances heaviness with accessibility, making it one of the greatest mainstream metal tracks ever recorded. One of the best songs ever written, one of the best songs ever performed live.

• Sad But True (5.25) - The down-tuned guitar riff sounds massive and gives the track an incredibly powerful groove. The slower tempo allows every instrument to hit harder, especially the drums and bass. It’s heavy, and it’s loud.

• The Unforgiven (6.27) - The contrast between the soft verses and explosive choruses creates strong emotional impact. The lyrics explore themes of control and regret in a way that feels personal and timeless.

• Wherever I May Roam (6.44) - The exotic-sounding intro gives the song a unique atmosphere compared to the rest of the album. Its heavy groove and strong chorus make it both reflective and powerful at the same time.

• Don’t Tread On Me (4.00) - The marching rhythm and aggressive riffing give the song a commanding presence. It has an underrated energy that makes it stand out among the album’s deeper cuts.

• Nothing Else Matters (6.29) - The acoustic intro is beautiful and immediately sets an emotional tone. The orchestral feel and soaring melody make it one of Metallica’s most timeless ballads.

Metallica (The Black Album) introduced millions of listeners to heavy metal and remains one of the best-selling albums of all time. More importantly, it proved that a metal band could evolve without completely abandoning its identity. Even today, the album stands as a landmark release, heavy, emotional, and expertly crafted from beginning to end.

Ten Tons Of Tone Official Rating : 10/10⭐️⭐️⭐️⭐️⭐️

Few bands manage to capture both raw energy and emotional depth the way Bleeding Stones do, and guess what, it is the work of one man and one man only, James. With a sound that blends grit, melody, and an unmistakable edge, James has been carving out a space that feels entirely his own. Ten Tons Of Tone recently had the opportunity to interview James to gain insight into his music and Bleeding Stones as a whole.

The Interview

Ten Tons Of Tone : Bleeding Stones is a solo alternative project that’s been gaining attention recently. What’s inspired you to start the project and pursue that sound?

James (Bleeding Stones) : I've been writing music by myself for years but never really done anything with it. After some reflection in life I decided I wanted to try my hand at it so I couldn't look back with regret on not pursuing something so personal to me. I guess the alternative sound came to me after experimenting and trying to bring songs to completion, it just kind of fit more naturally than what I'd say were my original inspirations for learning music. Which was ironically a lot of 80s music: thrash metal, hard rock and even glam metal were really the genres I immersed myself in the most. But I found when I started trying to turn my riffs and instrumentals into full songs, that was more influential than anything else. Although I still love the 80s music, I couldn't sincerely write any song in the vein of sex, drugs and rock & roll or those 80s metal themes of nuclear war, or crazy fantasy. Ironically it was only after that I discovered AIC started as a glam band and their song-writing had followed a similar kind of trajectory.

Ten Tons Of Tone : Alternative music and grunge as a genre has such a distinctive identity rooted in the early ‘90s. Which artists or bands had the biggest influence on your writing and overall style?

James (Bleeding Stones) : I think the most apparent influence everyone picks up on is Alice in Chains. I'm especially fond of those 4th/5th note vocal harmonies, there's something about Jerry Cantrell's songwriting that resonates a lot with me. The Smashing Pumpkins are also a big influence, songwriting-wise. I'm very influenced by bands that prove themselves in both aggressive and soft songwriting. It's part of what attracted me to making alternative music, it feels like a less limiting category. Musically I'm still inspired by thrash/groove metal, Pantera and Metallica are a big influence for their variety in combining aggression with downtempo sections in songs that I love. 

Ten Tons Of Tone : Your EP Too Long features six tracks that capture a very raw and emotional atmosphere. What was the creative vision behind the record?

James (Bleeding Stones) : After I put out the first three songs, spaced about a month apart, I felt inspired to put out a few new ones all at once to see how they'd land. I had a feeling Too Long would be the most popular and that seems to be the case. I really just wanted to combine some of the softer songs like that and Blind with more aggressive ones like Dust, Lies and slightly more throwback ones like Crashing Down to help with both finding my target audience and develop my own sound. Too Long had been written months before I released the EP, but Crashing Down and Lies were only completed within a month of releasing it.

Ten Tons Of Tone : As Bleeding Stones is currently a one man project, what is your creative process like when writing and recording music on your own?

James (Bleeding Stones) : It's not always like this, but basically I commit to practicing daily. I always just have fun before and after doing some drills or whatever, and that's when riff ideas appear. I'll record them on my phone first. When I want to build a song, I'll mess with the riff until I get an idea of where I want to take it song structure-wise. When I'm liking it I'll actually tab it out in Guitar Pro's tab software, and figure out my bass and drum lines from there. Sometimes these sit like half completed for ages, and sometimes I might finish it in one go, it all depends on the song, but that's the general process. Usually at the end I'll sit there and figure out vocal melodies and lyrics once the instrumental vision is there. Sometimes things change when I sit down to record it too, like a vocal melody that I thought sounded good sung over my acoustic sounds terrible in a demo, and I might have to rework the song (Lies was like this). But that's kind of the general outline of how I go about things.

Ten Tons Of Tone : Were there any particular themes or personal experiences that shaped the songs on Too Long?

James (Bleeding Stones) : Mostly feelings of alienation, isolation and despair; individually or socially. My desire to explore the themes are inspired by personal experiences, but the songs themselves aren't exactly referencing a particular experience of my own, if that makes sense.

Ten Tons Of Tone : Since releasing the EP, how has the response been from listeners and the underground grunge scene so far?

James (Bleeding Stones) : From my perspective it's been pretty positive. I'm grateful for the fans I've found so far. Just having the people who do what they can to support the project has blown me away so far. A lot of them are invested in it being successful and I'm grateful that it resonates with them and inspires that kind of feeling. Regarding the rest of the scene it's been pretty good, I've been able to network with some other artists with similar or even larger audiences and set up some good relationships. There are some complications with scene purity or whatever with certain grunge fans with more of a punk affinity, but not all. At the end of the day my stance is I'm just making music and that's what it's all about.

Ten Tons Of Tone : Do you see Bleeding Stones remaining a solo project moving forward, or are there plans to expand it into a full band for recording or live performances?

James (Bleeding Stones) : At this point in time I'm not in a position to expand it, but when I relocate in the summer time I'm going to try and recruit and see what happens. I do enjoy having creative control like I do, but at the same time it would be nice for it not just to be all in my head. I think developing it into a proper live act would definitely be good for growth, networking and probably open more opportunities I haven't even considered. I do miss playing live. 

Ten Tons Of Tone : Looking ahead, what can listeners expect next from Bleeding Stones in terms of new music or future plans?

James (Bleeding Stones) : For the foreseeable future I plan on focusing on singles again, releasing every 4-6 weeks. I would personally prefer to do EPs or albums, but I learned with Too Long that it's pretty hard to then have to figure out marketing, promo etc etc all by yourself especially after you just wrote, recorded and mixed the project. That's the downside to modern music promotion I guess. With the infrastructure of management, publicists etc it'd make a lot more sense but I don't have access to anything like that at this point. Music-wise I plan on experimenting more with future releases. I write a lot of music that varies in how it would be categorized, and some songs I've sat on because I wanted to develop a bit of a foothold sonically before letting some of my other influences bleed in. But I will be exploring those more going forward.

As James from Bleeding Stones continues to push his sound forward, it’s clear he is not content to stand still. With passion at the core of everything he creates, his path ahead looks just as compelling as the music that brought him here. Keep an eye—and an ear—on what’s next, because if this conversation is anything to go by, Bleeding Stones is only getting started.”

Bleeding Stones EP, Too Long delivers a raw, emotionally charged listening experience that feels both intimate and unfiltered. From the opening track, the EP establishes a moody, almost brooding atmosphere, driven by layered instrumentals and a vocal performance that leans heavily into vulnerability. There’s a clear sense that the project is less about polish and more about expression—textures feel deliberately rough around the edges, which ultimately adds to its authenticity rather than detracting from it.

The track listing for this EP goes as follows,

• Lies (3.55)

• Remade (3.33)

• Too Long (4.14)

• Blind (3.56)

• Crashing Down (3.46)

• Dust (4.54)

Lyrically, Too Long explores themes of stagnation, emotional fatigue, and the passage of time in a way that feels personal yet relatable. The writing doesn’t rely on overly complex metaphors; instead, it thrives on directness and repetition, reinforcing the feeling of being stuck in cycles. This approach pairs well with the EP’s sonic palette, melancholic guitar lines, restrained percussion, and occasional swells that hint at catharsis without fully delivering it. That tension between buildup and restraint becomes one of the project’s defining characteristics.

The highlighted song off of this EP

• Lies (3.55) - “Lies” is a slow-burning track that leans on restraint and atmosphere rather than big moments. Its steady rhythm and stripped-back instrumentation keep the focus on a tense, simmering vocal delivery.

While the EP may not offer dramatic shifts in tone or standout hooks that immediately grab attention, its strength lies in consistency and mood. It’s the kind of record that reveals more with repeated listens, particularly for those who appreciate understated, introspective music. Too Long doesn’t try to be grand or universally appealing; instead, it settles into its own space and lingers there, making it a compelling listen for anyone drawn to emotionally grounded, slow-burning releases.

Ten Tons Of Tone Official Rating : 8.4/10⭐️⭐️⭐️⭐️

About The Track -

Eimear Gallagher (House of Neptune) : “Sing With Me, is a song that takes on many relatable themes. We wanted to adapt the thought of missing someone and the fear of not know what the future will bring now that they've left. With our lead guitarist, Dáithí, writing the lyrics for this one, we felt that it would be suitable for him to take on the singing of Sing With Me. As young adults, We also wanted Sing With Me to tap into the fear of growing up and the unknown opportunities that lie ahead, it's about dealing with these problems through music.”

“Sing With Me is slower than our other songs, including simpler instrumentation and more mellow to encapsulate the meaning behind the lyricism. With inspirations from The Cure, a bit of Oasis and The Smashing Pumpkins, we've made Sing With Me as raw and relatable as we possibly could. We hope that when people listen to Sing With Me that it will arise an emotional response. This is a live demo recording that was sound engineered by Andrew Coles from our Voodoo performance on the 7th April 2026.”

This track is dropping on the 29th of April, 2026, that is tomorrow, in what is set to be an unreal song from the amazingly talented House Of Neptune who last month released their first single, an original, Spiral.

There’s something quietly magnetic about artists who build their world just outside the obvious. Platinum Moon sits in that space, where sound, identity, and intention blur into something both intimate and expansive. Their work doesn’t just ask to be heard; it invites you to lean in, to notice the textures between the notes, the meaning behind the mood. In a landscape crowded with noise, Platinum Moon moves differently, more deliberate, more immersive and unmistakably their own.

The Interview

Ten Tons Of Tone : You’ve reached a point where your audience is massive and still growing, but momentum can change the meaning of a band’s identity. At this stage in your career, what does Platinum Moon represent now compared to when you first started?

Platinum Moon : If anything we have become more focused. We're still the same goofy, chaotic musicians we've always been, but our sound is more defined and true to us.

Ten Tons Of Tone : With a new album on the horizon, by the time this interview is published it may very well be out already, how conscious are you of balancing evolution with familiarity? - pushing your sound forward while still honouring what listeners first connected with?

Platinum Moon : Our new album actually includes two songs that we've been playing for years and haven't released until now. We purposefully started the album with one of those songs and ended it with one of them. We thought this was a great way to balance how our music has developed over time and make it feel like a full circle moment for our listeners.

Ten Tons Of Tone : Playing festivals and even opening for bars like Foo Fighters, Offspring at this upcoming Rockville, that puts you infront of audiences that may be hearing you for the first time. How does that environment influence the way you perform or present your music compared to your own headline shows?

Platinum Moon : I wouldn't say we play those shows any differently. We may switch around the setlist a bit, but whether we're playing for an audience of 10 or 10,000, we strive to give everyone in the room the best show possible.

Ten Tons Of Tone : Your music often feels cinematic and emotionally expansive. When writing, do songs begin as personal expressions, or do you think about how they’ll translate on a large stage and resonate with thousands of people?

Platinum Moon : We all have different thoughts when writing new songs. We always feel our music on a personal level, but our singer prefers to gauge a song's stage performance while writing. She quite often "performs" the songs (jumping, dancing, spinning) during rehearsal just to imagine how they would unfold on stage. 

Ten Tons Of Tone : As the scale of everything increases - tours, releases, expectations - what has been the most challenging part of staying grounded as individuals within the band?

Platinum Moon : We are pretty comfortable with each other. We bicker like siblings, but we are all very supportive of each other's needs and pretty aware of how to help everyone stay grounded.

Ten Tons Of Tone : There’s a moment in every bands journey where success stops feeling hypothetical and starts feeling real. Was there a specific show, release or even conversation where you realised things had shifted permanently?

Platinum Moon : I don't think we've ever felt that things shifted permanently for us. In the music industry, there's always a new goal to strive for and it never stops feeling like there is more we could do to better ourselves as artists. We push ourselves so hard to keep moving forward that we forget to look back sometimes.

Ten Tons Of Tone : Looking back, is there anything you had to unlearn as your career developed - habits, expectations, or assumptions about how the music industry works?

Platinum Moon : Yes -- we had to realise that the music industry changed immensely. It's very algorithmically driven and unpredictable right now, rather than expecting one big name person in the crowd to discover you (like the bands we grew up listening to). This really motivated us to never stop adapting, making new connections, and trying new things to build our careers. 

Ten Tons Of Tone : For listeners who will discover Platinum Moon through this next album, what does you hope they understand about you beyond the music itself?

Platinum Moon : We hope listeners understand that we are trying to create a space for everyone to feel welcome and comfortable to be chaotic, silly, emotional, passionate—anything that makes them fully themselves. 

Ten Tons Of Tone spoke with Platinum Moon at a moment when that world was still unfolding, mid-creation, mid-reflection, and very much in motion. What emerged was a conversation less about neat narratives and more about process, instinct and the tension between control and surrender. It’s an artist thinking in real time, shaping not just music but the philosophy around it.

Their third album hasn’t arrived yet, but it’s already on the horizon, and if this moment is anything to go by, it won’t pass quietly.

Cowboys from Hell is a landmark album that makes Pantera’s transformation from a glam metal act into a defining force in groove metal. Released on July 24th 1990, it feels like a line drawn in the sand, both for the band and for heavy metal as a whole. The production is sharp without being sterile, giving every instrument room to hit hard while maintaining a raw, aggressive edge. From the opening moments, the album establishes a confident identity that refuses to compromise.

The track listing goes as follows,

• Cowboys from Hell (4.09)

• Primal Concrete Sledge (2.13)

• Psycho Holiday (5.20)

• Heresy (4.46)

• Cemetery Gates (7.03)

• Domination (5.03)

• Shattered (3.24)

• Clash with Reality (5.17)

• Medicine Man (5.15)

• Message In Blood (5.11)

• The Sleep (5.45)

• The Art of Shredding (4.19)

Dimebag Darrell’s guitar work is the obvious centerpiece. His riffs are tight, punchy, and instantly memorable, blending precision with a sense of swing that became the hallmark of the band’s sound. Phil Anselmo’s vocal performance also adds another layer of intensity. He strikes a balance between melodic phrasing and raw aggression, delivering lyrics with conviction and attitude.

Some highlighted songs off of this album as chosen by Ten Tons Of Tone,

• Cowboys from Hell (4.09) - An iconic opener driven by razor sharp riffs and swagger. Dimebag’s guitar work instantly grabs attention. Pure attitude distilled into one unforgettable track.

• Cemetery Gates (7.03) - A haunting, emotional ballad with powerful dynamics. This songs showcases Phil’s vocal range at its peak. Melodic yet heavy, it stands as one of their most moving songs.

• Domination (5.03) - Brutal and aggressive, packed with crushing riffs. Domination’s breakdown remains one of the heaviest if not the heaviest in a live setting. A raw display of power and control.

• The Art of Shredding (4.19) - Fast, technical, and full of energy. This songs perfectly highlights Dimebag’s speed and precision. Definitely a highlight and awesome closer for Cowboys from Hell.

What makes Cowboys from Hell endure is how cohesive it feels. There’s no sense of filler, each track contributes to the album’s identity and momentum. It’s heavy without being chaotic, technical without losing groove, and aggressive without sacrificing clarity. Even decades later, it stands as a blueprint for groove metal and a pivotal release that helped reshape the genre.

The Tons Of Tone Official Rating : 9.5/10⭐️⭐️⭐️⭐️⭐️

A four piece band from Belfast formed in early 2025, REFLECT have released singles such as For Me, Ocnus and Bulletproof. With their music deeply rooted in indie rock combined with angsty and metal influenced energy, REFLECT is catching eyes and ears throughout the underground music scene.

The Interview

Ten Tons Of Tone : For readers discovering Reflect for the first time, how did the band originally come together and what inspired the formation of the band?

REFLECT : We got started in around February 2025. Myself (Thomas) and Flann had been friends from school for several years and Flann also was good friends with Tay. After their old bands folded, we immediately came together to try and get a band going ourselves. Flann and Noah met properly through a songwriting workshop and Noah was on board with the idea of joining us. Once we started jamming and writing songs together, there was immediate chemistry between us – both musical and personal – so from then on we started to record our music and book some shows.

Ten Tons Of Tone : Belfast has a strong and passionate music scene. How has the city influenced Reflect’s sound and identity as a band?

REFLECT : Some of us have been steeped in the live scene for years, which has definitely made an impact on us. For me (Flann) I remember the first local gig I saw was in the Oh Yeah Centre with Snake Neighbourhood headlining and Neon Apathy for support. The impact their sets had on me was what really made me want to pursue music. That then led to me being a part of a few different projects before forming REFLECT. Some local bands we particularly like to listen to have also played a part in shaping the sound we chase when writing, such as Lord Jane, Esmeralda Road, The Thing Is and many more.

Ten Tons Of Tone : Every band has a moment where things begin to feel real. You’re a young band, but was there any particular show or milestone where Reflect felt genuine momentum building?

REFLECT : Getting an Artist Spotlight on Q Radio was definitely a huge moment for us. That was when we realised people care about what we were doing. We were getting messages from people hearing our first single while out in town and it was just surreal. Playing venues like the Empire Music Hall and the Mandela Hall. Some of our favourite artists have done shows at these venues, and it's just such a privilege to get to play those same stages.

Ten Tons Of Tone : What artists or bands had the biggest influence on your sound and songwriting approach?

REFLECT : There is no single band we take after, but it's generally bands like Wisp, Paramore and Beabadoobee. We take influence from all sorts of artists though, from Thin Lizzy to Bleed From Within to Casiopea. Some influences haven't shown their faces in our releases yet, but it'll all be coming sooner or later. 

Ten Tons Of Tone : When writing material, what does the creative process typically look like for Reflect? Do songs evolve collaboratively or start from individual ideas?

REFLECT : It usually begins with a wee riff, from one of us, and Tay usually just lets loose on writing lyrics while I (Flann) noodle about on an acoustic guitar. We keep fumbling about with different words or chords or rhythms until eventually we get the full skeleton of the song. We then bring it to Thomas and Noah and try to come together with the best soundscape for what the song needs. This isn't always the case however, some songs are entirely written by one member and sometimes it's only one line. The important thing is we all have contributed in some way to our upcoming EP releasing this summer!

Ten Tons Of Tone : Fans often deeply connect with music on a personal level. What does you hope listeners take away emotionally when they hear Reflect’s music?

REFLECT : I suppose what exactly we want fans to feel depends on the subject matter of the song – and our upcoming EP explores many different facets of the overwhelming world of growing up ranging from heartbreak to feeling ignored and looked down on on by others. What I can say though is the reaction we've seen from the audience is amazing. Tay's frustration and passion expressed our singles Wasting My Time and Ocnus seem to have carried over really well and that's all that really matters to us.

Ten Tons Of Tone : Reflect has released songs since forming in 2026 and in 2026, Are you currently working on new music or planning future releases that fans should keep an eye out for?

REFLECT : As we've touched on, there's an EP on the way but that's not all we've got coming. While the EP is a good representation of what we're about, since then we've really solidified our sound and have developed our songwriting. We're excited for what the rest of the year has to come!

Ten Tons Of Tone : Looking ahead, what are the long term goals and ambitions for Reflect as a band? 

REFLECT : We'd love to get playing across the water soon, and are looking to just expand outside of Belfast at the minute. We're hoping to put out an album at some point in the future as well and gave started trying to conceptualise that, but that's still far in the future.

REFLECT are a band that have been gigging around the north of Ireland in Bennigans in Derry, Toafes in Dundalk, Nan Rices in Newry, and the HMV in Dundalk so far in 2026 to tease their EP “Feeling Everything” which is on the horizon. Ten Tons Of Tone were honoured to have interviewed the young and talented band, an act clearly on the rise and one to watch in the months ahead.

Asherah released their second full length album “The Gentle Hand That Guides The Axe” on March 27th 2026. The band leans heavily into the textural weight of post-metal while maintaining the serrated edge of blackened death metal, creating a sound that is as suffocating as it is strangely meditative. Guitars drift between dissonant tremolo passages, giving the music a dynamic push and pull that keeps it from collapsing under its own intensity.

The track listing goes as follows,

• The Ghost I Became (1.56)

• Shroud (3.32)

• Ithaca (6.14)

• Emerald (5.00)

• Ascension (3.46)

• Whisper (5.13)

• Harlequin (6.04)

• Inhale (4.27)

• The Silver Key (featuring Karnstein) (4.34)

• Ally (5.13)

• Unseen (8.00)

Just over 53 minutes of pure metal glory, what stands out most about the album is the pacing. Rather than relentlessly battering the listeners eardrums, Asherah allows space for tension to bloom. Tracks unfold, often beginning in near ambient unease before erupting into blasts of violence, only to recede again into haunting melodic fragments. The vocals mirror this duality, ranging from cavernous growls to distant, almost ghostlike shrieks, adding to the sense that the album exists in a liminal space between physical aggression and emotional desolation.

Some highlighted songs off of this album as chosen by Ten Tons Of Tone,

• Emerald (5.00) - Emerald opens slow, almost like a ritual, then clean guitar cleans cut through giving you the sense of dread. As the track builds, it fractures into jagged riffs and blast beats that feel both violent and controlled.

• Whisper (5.13) - Whisper leans heavily into atmosphere, favouring tension over impact. The instrumentation feels distant and cavernous, as if echoing through an abandoned space. When it finally erupts, the payoff is less explosive and more suffocating, lingering long after it ends.

• Inhale (4.27) - Inhale acts as a bit of a turning point in the album, pulling the listener in before unleashing its weight. It begins with restrained pacing, gradually layering dissonance and distortion. It’s definitely a highlight off of this album.

Ultimately, The Gentle Hand That Guides The Axe succeeds because it feels purposeful. There’s a narrative thread running through its shifting moods, suggesting not just destruction, but transformation. It’s an album that demands patience and rewards close listening, revealing new layers of detail with each pass. In a genre often defined by excess, Asherah demonstrates restraint as a weapon, proving that sometimes the heaviest blow is the one carefully aimed.

Ten Tons Of Tone Official Rating : 8/10⭐️⭐️⭐️⭐️

The Interview

Dan Libaert-Kelly : Vocals, electric and acoustic guitar

Joe Kosma : Electric and acoustic guitar

Jonathan Hoey : Drums, Bass, Keyboard and additional guitar.

Ten Tons Of Tone : Asherah has a very distinct atmosphere and identity, how did the band first come together and what did you have for your sound and vision in the early days? 

Asherah : Joe: The band first formed as a two-piece more than 10 years ago. Dan and I became close friends after working together in a record store, bonding over our shared love of Opeth. We initially started as a bedroom studio project before we recruited Jon on drums, which enabled us to start playing live shows. 

We wanted to do something more on the extreme metal axis, as all the bands Dan and I had been in previously were more metalcore adjacent (as was the style in the late 2000s- early 2010s).  I wanted to really push the boat out and do something different. Asherah started off as something more influenced by bands like Fall of Efrafa, Earth and Amenra with a light dusting of black metal. As time has gone on the black metal part of our sound has stepped into the forefront more. 

Jon: I was the last member of the lineup to join. I had recently moved to Kent from Cambridge, where I had played drums in an independent progressive black metal band named Shoulder Of Orion. My partner Caroline was friends with Dan and introduced me to the guys. I came in when they had just finished recording the six-track Pain Seer album, so I’m actually on the cover of that record even though I didn’t play on it!

Dan: Joe and I met when we were working at what used to be Virgin Megastores in a shopping centre local to where we lived at the time. We both love Opeth, black metal, and guitars, so we bonded quite quickly over this. We decided to have a jam session, so I went to his house and we blasted out some riffs. I think after that we decided we should write some songs and see what happens. Our musical tastes are quite eclectic and I think that’s demonstrated on our demo, where there’s influence of Earth, Fall of Efrafra, doom as a genre, as well as black metal.

We’re both kind of introverted, and the idea of talking to people to get a vocalist, bassist, and drummer was quite daunting, so we did everything ourselves.

I had been singing since I was very young, but only recently started learning harsh vocals at the time and it shows compared to our new album. Same with lyrics, these skills only get better with practice and experience.

For the early days, it was more about writing songs we found interesting, we didn’t have any plans to take it live initially I think. That’s how we ended up with Recurrence being 15 mins long! We also wanted black metal influences without being black metal purely. The idea of corpse paint, although steeped in history and lore isn’t what we were about. We took the Winterfylleth approach and didn’t think it was necessary. I think also it can be quite limiting for the sounds you want as a band. Same reason we chose the band name. If we wanted to do something more prog inspired, or have a breakdown, or change our sound completely, we can. If we were called Horrific Goatspawn, there’s no way we could do some of the stuff we do.

Jon joined the band when he moved to Kent from Cambridgeshire. His partner is an old friend of mine; she introduced us and that was that. We then became a trio and we could start playing live, but also I think having Jon join gave us even more chance to develop our sound with his influences.

Ten Tons Of Tone : “The Gentle Hand That Guides The Axe” is both a striking and evocative title. What does that represent, and how does that theme carry through the album?

Asherah : Joe: When brainstorming ideas for this new release, I started with the artwork, which is a painting from 1833 called ‘The Execution of Lady Jane Grey’ by Paul Delaroche. Jane Grey was briefly the Queen of England and was executed for treason by Queen Mary I in 1554 at the age of 16, after her father and husband led a Protestant rebellion against Mary. There was a lot of political manoeuvring and upheaval at the time and Jane was used as a political pawn by her father and husband, I’m sure part of the story inspired ‘Game of Thrones’. I thought the image of this innocent girl being martyred for the crimes of the men in her life was quite evocative. It’s one of my favourite paintings because of how striking it is. If you’re ever in London, I highly recommend going to see the real thing at the National Gallery.

The title “The Gentle Hand That Guides The Axe” refers to the male figures in the painting, the executioner and the Lieutenant of the Tower of London. There’s a veneer of mercy as she is gently guided to the executioner’s block as the axe man looks on in pity. But at the end of the day, an innocent girl is being led to her death. You could say it’s a comment on how things like society, the state, traditions, etc. normalise cruelty against the innocent. Dan tends to be the main lyricist for the band, but there’s definitely a number of songs with that through-line in the lyrics. We’ve had the privilege of sharing the stage with a lot of LGBTQ+ metal musicians in other bands, and the unwarranted hate that these lovely people have aimed at them was definitely in the forefront of my mind when coming up with the title. Other than that, we always have themes of environmentalism in our songs, we also snuck in some Skyrim and Bloodborne references this time around. 

Jon: I believe Joe was the main driver for both the selection of the painting for the cover art, and also the title of the album. I’ll defer to his answers about that part of the creative process.

Dan: Joe will probably have a better answer as he came up with the title and artwork idea. For me, it’s the juxtaposition of the wording: on one side a kind, almost loving expression and on the other hand the latent violence an axe is capable of. This can be reflected in the music through some of the riffs and solos.

Ten Tons Of Tone : Your music blends intensity and a more atmospheric, almost reflective edge. How do you approach balancing aggression with emotion in your songwriting?

Asherah : Joe: That’s definitely what we aim for, so it’s very satisfying for you to describe our music that way, thank you! I’ve always been a massive fan of ‘wall of sound’ music. Bands like Deafheaven,  Alcest, Blackbraid and Batushka have this amazing ebb and flow where they ramp into this big crescendo, which leans into that emotional catharsis that is a big influence on this record. I think Dan’s big tremolo leads really add the emotion and that ‘soaring’ quality to our music, whereas my fast rhythm parts are what brings that aggressive wall of noise. Imagine a nymph screaming under a waterfall. 

I guess that inside me there are two wolves. One wants to channel that slow, enormous awe of post-metal and shoegaze. The other, wants fast caveman riffs and tremolo picking of punk and black metal. The material we write has a tug-of-war between these two different flavours of metal. I’ve always struggled to put a genre label on what Asherah is, post-black metal seems to fit best on paper, but I don’t think we really sound like other bands that fall under that label. 

Jon: I try to listen to as wide a variety of music as I possibly can because if you keep your ears and mind open, there is always something to learn. All artists are standing on the shoulders of those who have gone before - we sometimes joke about ‘ripping off’ other musicians but of course it’s more like inspiration and iteration. If you asked me to put a label on myself I would probably simply say “I’m a heavy metal guy” but the truth is I love all sorts of bands like Queen (the greatest band in the world in my opinion), Smashing Pumpkins, Therapy?, Devin Townsend and Weezer – all of whom to some extent have that juxtaposition of heaviness/aggression and softer/gentler material. I might have a specific band’s sound in mind when I’m working up a new song, or I might just as easily be inspired by a film score, a classical work or a pop single. For a drummer in a black metal band, I almost certainly listen to more Chappell Roan, Taylor Swift and Lady Gaga than people might expect. 

Dan: Sometimes, it’s a case of FAFO to see what works, or we’ll have very specific ideas. Inhale is a good example, since I had the whole thing mapped out when it was written. The only addition was the synth/keys in the outro.

The great thing about having two guitarists is that we don’t have to play the same thing. There could be an intense tremolo picked/blastbeat section and I’ll experiment with a lead, maybe something full of space to give scope to the riff. If it doesn’t work we’ll just make it an aggressive section.

Lyrically, I don’t want our songs to be purely hatred, or Satan or whatever. It’s been done to death, and is kind of tedious. For this album, I wanted people to find something they can connect with. Shroud is a war song, but I tried to write from a humanitarian perspective. Initially about the Israeli war against Palestine and murder of civilians at food check points, it still has relevance to the invasion of Iran and the bombing of a school which killed 150 children and injured 100 more.

Harlequin is a song I hope people can connect with and find meaning with, and the same for Inhale, each for different reasons. 

Inhale is particularly important to me as the music has been written since the Pain Seer days, but hasn’t been right to release it and I didn’t have lyrics until the recording of this album, and I’m very proud of the lyrics. I hope to perform it live in future, since I feel it encapsulates everything we do into 4 minutes, however, it is quite a difficult song to play!

Ultimately, we write what feels natural, and we experiment to see what works best for the song. If it’s good, it stays. If it sucks, it goes.

Ten Tons Of Tone : What was the writing and recording process like for this album, and did anything differ from your other work?

Asherah : Joe: Our writing and recording process was a bit different this time around. With previous releases, one of us would bring a riff to band practice, we’d jam it out, come up with some ideas, then take it away and develop it. Now we all live a bit further away from each other than we used to, we tend to write a skeleton of a song alone, then share what we’ve written with the other members of the band to iterate and add meat to the bones, etc. It’s still collaborative, but we tend to do a lot more writing and recording remotely.

When it came to recording, we’d all record our parts at home, send them to Jon once they’re done, and he would mix the record with our input. Being an independent DIY band, we don’t have the money or label backing to go into a professional studio, but the home recording approach has suited us well so far. There’s something satisfying about the band having ownership across the whole creative process.

Jon: All of our records so far have been completely self-produced and independently released. As Joe has mentioned, the first two records (Demo 2013 and Pain Seer) were recorded by Joe and Dan before I joined, and our live shows for the next few years consisted of the material from those records. In 2019 the full lineup re-recorded two of our favourite songs from the 2013 demo, Mojave and Recurrence, as the Another Step, Another Fall EP, before doing another EP, this one with four all-new songs, entitled Crucible in 2021.

For The Gentle Hand That Guides The Axe, we worked almost entirely remotely. We would all record our parts separately at home and then I was the ‘owner’ of the master projects so I would combine it all together in my DAW and send working mixes out to the guys. We have a private Dropbox folder and WhatsApp group where it all gradually came together.

Most of the songs started out as a one-person demo. Joe or Dan or I would each compose the starting point for a song and then show it to the others. Some of them survived almost unaltered, some of them had a lot more additions or removals. In the end I think we all had some significant amount of input into almost all the songs, so we chose to credit all the music to ‘Asherah’ collectively on this record.

Joe and Dan are quite a bit more methodical about their demoing process than I am - they transcribe everything very meticulously as they compose, so sheet music exists from a very early stage of each song, as well as an audio demo. This is very useful for the other members to learn the new material! I tend to be a bit less disciplined/more chaotic about demos – my ideas start out as audio notes hummed or sung into my iPhone, and every so often I’ll listen through them and pick out promising phrases. I usually then just grab an instrument and record an audio demo - then if it looks like it’s going to make the cut, that’s when I will transcribe the good bits for everyone to learn!

I’m primarily the drummer but I also played all the bass guitar on this album - we’ve never actually had a bassist, so when we play live, we use the studio bass on a backing track. Likewise I played almost all of the keyboards on the album, apart from some passages that were imported directly from Joe or Dan’s demos. The keys are then also played back live.

I happen to originally be a classical trumpet player, and in my younger days I spent a lot of years in orchestras. When Joe sent the demo for what would become the album closer ‘Unseen’, he left a bit of blank/unarranged space just labelled ‘Crescendo’ – probably anticipating the addition of some keyboards or something. I kind of took that single instruction and ran with it, and added the climactic orchestral section! Of course we didn’t have budget for an actual orchestra but I composed separate parts for all the instruments of the orchestra just as if they were real, layered them up in software, and then we were able to replace a few of the key instruments with real ones. I played the trumpet parts, Dan played the oboe, and I recruited my sister in Ireland on French horn! I think the acoustic instruments really sell the overall effect.

Once all the instrumental tracks were done, then Dan composed the lyrics and performed the vocals. Dan has given his comments above about his lyrical process. I would also add that as well as the songs with the themes of introspection, real-world injustice and solidarity – which are very important to all three of us – we also have love songs and even ones that are just based on sci-fi and fantasy. Because it’s rock and roll, and rock and roll should be a bit silly sometimes too!

One thing we all agree on very strongly is that we have never involved any generative AI in our process, nor will we ever. Every note on all of our records comes directly from one of us (for better or for worse!)

Dan: In the early days, Joe and I would jam out riffs and ideas, email tabs back and forth and so on. When Jon joined, we’d jam out riffs in a rehearsal room and see what happens. I can remember Blood Eagle from Crucible being done in this way. What would eventually become The Silver Key from Gentle Hand was jammed out, recorded on my phone and tabbed from there. 

This time around, we recorded all the music at our own home ‘studios’ which is something we’ve never done. Previously I either used to go to Joe’s or we’d go to Jon’s to record, so it was an extremely long process!

We’d then upload to Dropbox, Jon would drop into a DAW and either send over rough mixes (which I used to write lyrics) or we’d go to his house and tweak things there. We’ve always been DIY in this aspect. Trying to arrange paid studio time wouldn’t be feasible for us. Also, the fact we write as we go would make that very hard.

It was a bit of a learning curve for me in terms of getting used to recording, editing etc but it’s good to get out of a comfort zone!

Writing lyrics is certainly a process which can be very difficult for me.  I’ll go through my notes/lyrics I’ve written and see what feels right for a particular song. If I have nothing suitable, then I’ll consider ‘what does the music evoke in me?’ It could be emotions, ideas, rhythms, stories, or anything else. I’ll then work through wording, syllables, rhythm, and see what I can come up with.

Sometimes it’s extremely easy, at other times it’s an extremely long process. Ally, for example, went through a lot of rewrites because of where the lyrics could fit. Emerald, by contrast, had the music done and the lyrics were written separately months before. I was listening to a rough mix and matched them up.

Also we used seven-string guitars on this album for the first time (properly), so that was fun and new!

Ten Tons Of Tone : There’s a strong sense of mood and depth throughout the record, what do you hope that listeners take away from “The Gentle Hand That Guides The Axe”?

Asherah : Joe: First and foremost, I hope people enjoy it. Not to be corny, but I think this is some of the best material we’ve written. I want the audience to listen and feel like they’re standing under a waterfall: noisy, fast and uplifting!

Jon: As Joe said, I would just really like people to listen to the album and enjoy it – hopefully enough to press Play again after it ends! All three of us have put a lot of ourselves into this record, and our significant others have been very patient throughout all the late nights locked away with headphones on as we put it together. Every band always says the latest record is the best one they’ve ever done, but in our case I do actually think it’s true. I’ve heard the album hundreds of times now and I still like it. It won’t be to everyone’s taste and that’s fine, but for those that do get it, I hope they take something positive from it.

Dan: I hope they recognise lyrics that could help them feel better about themselves somehow, or realise they aren’t alone in their emotions. Maybe it could give them the courage to figure out their own identity or get help for something they’re struggling with. Maybe a song could give them the strength to call out injustice in the world or call out bigotry.

Even if they don’t read or listen to the lyrics, maybe a song could just be cathartic and get them through their day just on the music alone.

At the end of the day, if there’s a strong reaction to the album, either positive or negative then that’s fine by me. I just don’t want a mediocre response! If that’s the case, we haven’t done our job properly.

Ten Tons Of Tone : With a new album now out in the world, what is next for Asherah. Pushing the new album out there more, live performances?

Asherah : With a new album now out in the world, what is next for Asherah? Pushing the new album out there more, live performances? 

Joe: Rehearsing the fuck out of the new material and playing some more shows hopefully! We recently played a great show supporting Underdark and Karnstein, and the new material we played went down well. I’m really looking forward to playing ‘Unseen’ from the new record live.

I’ve already got some ideas for two or three new songs, so hopefully our next release won’t be too far over the horizon either. 

Jon: Promoting the new album, rehearsals, live shows, and on to the next one! 

We know we won’t get rich from independently-produced self-released extreme metal but that’s not why we do this – again it’s a bit of a cliché but the fact is that we wanted to hear this record and no one else had made it, so we had to!

I’d like to broaden our reach, get some more shows with some more great bands and hopefully introduce some more people to our music. We chose to release the new album as a temporary Bandcamp exclusive in March 2026, then very soon in April it will be going live more widely on all the major streaming platforms. Of course people can still choose to buy it from us on Bandcamp if they want a physical CD or just to support us, but the wide reach afforded by the main streamers is also very significant – the most important thing to us is that if someone is curious enough to check us out, we want them to be able to hear the music and let it speak for itself.

Dan: I’d like to perform these songs more in a live setting, and I think they’d all translate well to that. Some of our older songs I don’t think would work live, unless we do a deep dive rarities show! We’re always writing as well but we focus more on quality than quantity, so we’ll see what happens in that respect.

It was an honor to interview Asherah post release of their newest album The Gentle Hand That Guides The Axe. Ten Tons Of Tone were very fortunate to receive the album alongside an awesome pin and badge from Asherah as a gift. If you are a fan of post-black metal music, you need to divert your ears straight to Asherah. A band that understands their talent, their abilities, understands the landscape and their audience, Asherah are poised to be leading the race of best underground metal album in 2026.

Based in Enniscorthy, County Wexford, Ireland, Dead Memories brings you loud deathcore music from a very passionate lineup of longtime heavy music fans. Having gone through multiple lineup changes since forming in 2021, Dead Memories released their debut E.P Slamscorthy in 2025.

The Interview

Ten Tons Of Tone : Dead Memories operates within the death slam space, what initially brought the band together, and what vision did you share when you first formed? 

Dead Memories : We’ve had quite a few lineup changes since we’ve actually formed but this iteration of the band is at its best right now. We’ve all share different ideas to create something we enjoy. Right now we are focusing not on genre, but creating something that is unique.

Ten Tons Of Tone : Death slam is a niche yet intensely loyal subgenre. How would you define your own identity within it, and what separates Dead Memories from the wider scene?

Dead Memories : We feel that we’re not tied to just one genre but instead blending so many different things into one that it stick out to the listeners. While blending hardcore and death metal into the music it gives us something really fucking heavy.

Ten Tons Of Tone : Which artists or records shaped your early sound, and at what point did you feel you were no longer influenced by them, by standing on your own creative footing?

Dead Memories : Dead Memories actually started as a blackened death metal project influenced mostly by behemoth. Since then we were leaning towards being influenced by bands such as thy art is murder, desolated, and (earlier) malevolence. Only since the current lineup we felt we should make music based on what we actually enjoy.

Ten Tons Of Tone : Lyrically and conceptually, what themes drives Dead Memories? Is there a philosophy behind the brutality?

Dead Memories : Lyrical themes within dead memories varies so much. We have some seriously brutal lyrics while in others we just make it silly. 

Ten Tons Of Tone : How has being part of the Irish metal underground influenced your growth? Do you feel the scene here is evolving in a heavier direction?

Dead Memories : We’re really thankful to be part of such a great scene in Ireland. It’s really good to see the heavier side of things getting more reach and we’re also just blown away by our spot to compete for a wacken open air stage in Germany.

Ten Tons Of Tone : Death slam thrives in a live setting. What does a Dead Memories performance aim to leave behind is it chaos, precision, atmosphere or something else?

Dead Memories : Every show is different of course but we try to get everybody moving as much as possible. While some of our shows get violent, others are just really good fun. We usually try something different every show like throwing pool noddles in the pit or just giving out sweets during Christmas or Halloween. We feel that it is unique in the scene.

Ten Tons Of Tone : What stage does the band feel it’s currently in, building, refining, breaking outward? And what has been the biggest turning point so far?

Dead Memories : We’re currently building our new EP from the ground up. We feel this will be a release that will catch people’s attention.

Ten Tons Of Tone : Looking ahead, what does the next chapter of Dead Memories look like? More extreme, more experimental, or more focused than ever?

Dead Memories : Who knows what the future brings right? Let’s just say it’s gonna be a little bit different…

Dead Memories in 2026 have lit the stage up in the Athenaeum in Enniscorthy, and are 2026 finalists in the Wacken Metal Battle Ireland, hosted in Fibber Magees in Dublin, where they will undoubtedly be bringing heat to the stage with songs off of their heavy E.P, Slamscorthy, available for streaming on all good streaming platforms.