The name, The Medea Project, was first heard on the east coast of South Africa when a group of talented young musicians made a briefly brilliant impact on a staid and unready music scene, dazzling and intriguing before quietly imploding. However the essential seed of the band’s sound was carefully carried by guitarist/front man Brett Minnie, to be planted once more, once fertile soil was found.
Several years and many more miles later, Brett Minnie found himself in southern England, where creative people and opportunities abounded. The time for The Medea Project to grow once more had come. Having recruited Pauline Silver on drums and Bradley Reimann on bass the reborn band began to play shows around London and the south east during 2017 – and they set about recording their first EP. The self titled, three track affair captured the unique magic of The Medea Project’s sound; the diverse, brooding intertwining of gothic and metal that had captured hearts on two continents. Soulful, melancholic, raw and heavy, these songs conjured shadows and taught the dead to dance.
FFO: Darkthrone, My Dying Bride, Fields of the Nephilim
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Returning after a 3 decade hiatus earlier this year, Maltese-borne Sceptocrypt, have been leeking new material off an upcoming full-length through 2026.
Consistenly inconsistent, their extreme music sound researches ways how to secretly & seamlessly infuse latin jazz, avant-garde classic, horror soundscapes, flamenco, reggae and more into one conundrum of experimental extreme metal that one can headbang to even if no fucks are given of the non-metal influences.
FFO: Sceptocrypt, Sceptocrypt and Sceptocrypt
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