Sylosis do not normally do surprises. The Reading four-piece have spent a quarter of a century building exactly the kind of career that runs on advance notice, with pre-orders, lead singles and Kerrang cover features all booked in well before any record actually arrives. On the morning of Thursday 3 October 2024, that pattern broke. Nuclear Blast pushed a five-track EP called The Path to streaming services with no warning, then queued a music video for the title track for 6pm UK time and got on with the day. By that evening Sylosis had a guest vocal from Heriot vocalist Debbie Gough on the lead single, an unsigned UK tour announcement to follow it up and an EP that the band own frontman was already pitching as some of their best songs to date.
That last claim is the awkward part. The Path is not, technically, a new record. Every note of it was tracked during the sessions for the 2023 album A Sign of Things to Come, the songs left on the cutting room floor because the album was already running long and there was no obvious sequencing slot. Plenty of bands have tried to make leftovers sound like a deliberate statement. The trick to this one is that for Sylosis, the cutting room floor was never empty in the first place.
The Cutting Room Floor Was Never Empty
Josh Middleton has been writing Sylosis songs since 2000 and producing the band records, in whole or in part, since the hiatus that ended in 2019. He is also the lead guitarist of Architects, the Brighton metalcore band he joined in late 2016 after the death of their guitarist Tom Searle. The day job in Architects keeps him on arena stages around the world for nine months of the year. The way Sylosis has kept functioning around that workload is by stockpiling material whenever the calendar opens up, which means by the time a Sylosis album is ready to track, there is usually a queue of songs that have been waiting their turn.
The brief that the band gave Nuclear Blast for A Sign of Things to Come in 2022 was simple. They wanted to push the album back to the longer, more progressive shape of Edge of the Earth in 2011 and Monolith in 2012, without losing the directness that Cycle of Suffering had clawed back in 2020. What no one quite anticipated was how much of it would fit. By the time engineer Scott Atkins called the sessions complete in spring 2023, Middleton was looking at fifteen finished songs and an album that already ran to forty-three minutes across ten tracks. The maths did not work for a single CD.
Album Facts
| Field | Detail |
|---|---|
| Artist | Sylosis |
| EP | The Path |
| Release date | 3 October 2024 (surprise release) |
| Label | Nuclear Blast Records |
| Producers | Josh Middleton and Scott Atkins |
| Mixer | Josh Middleton |
| Mastering | Ermin Hamidovic |
| Recording sessions | 2022 to early 2023, during the A Sign of Things to Come block |
| Genre | Thrash metal, melodic death metal, progressive metal, metalcore |
| Track count | 5 |
| Format | Digital streaming, with a 12-inch vinyl edition following in 2025 |
| Guest vocalist | Debbie Gough (Heriot) on The Path |
| Lead single and video | The Path (3 October 2024) |
| Second video | Soured Ground (5 June 2025) |
| Riffology Score | 87 out of 100 |
A Surprise Drop on a Thursday
The mechanics of the release were as unfussy as everything else about it. Nuclear Blast lined up the digital distribution privately, the title-track video was edited and delivered the week before, and Sylosis themselves only confirmed it would be happening at all in a social post on the morning of the drop. Metal Hammer Matt Mills had the first feature story up by lunchtime, MetalSucks ran their headline at 3.53pm UK time, and by Friday morning every metal site that mattered had a review in the pipeline.
Middleton framing in the press release was honest in a way that surprise EPs from major-label metal bands often are not. He did not claim the songs had been written fresh for a standalone project. He said the band had amassed too much material during the previous album cycle and wanted to put the best of the rest out before the next campaign began. That kind of admission is rare because it invites the obvious question: if these songs are this good, why were they not on the album in the first place? The answer, as it turns out, is mostly to do with sequencing and runtime rather than quality.
From Reading Thrash to Nuclear Blast Stalwart
Sylosis formed in Reading, Berkshire in 2000, the same Thames Valley scene that produced bands like Sikth and Sworn Amongst. Middleton and original bassist Carl Parnell met at school and built the band around old-school Bay Area thrash, before slowly adding the melodic death metal and progressive moves that would define their sound from Conclusion of an Age in 2008 onwards. By the time of Monolith in 2012 they were touring the world with Lamb of God, Trivium and Killswitch Engage. Then it almost ended in late 2013, when the band RV crashed on a US tour, knocking them off the road for months and contributing to the eventual hiatus from late 2016.
The break, as it turned out, was the making of them. Middleton was hired to fill in for Architects after Tom Searle death from cancer in August 2016, and that fill-in role became permanent. He has been a full Architects member ever since, and the discipline of writing for a band that is bigger than Sylosis but more constrained stylistically pushed him to treat Sylosis as the place where the heavier, weirder, more thrash-rooted ideas could finally come out unfiltered. When the band returned in 2019, that was exactly what Cycle of Suffering, A Sign of Things to Come and now The Path would deliver.
The A Sign Of Things To Come Sessions
The sessions that produced both records ran in two distinct blocks. The first, in 2022, was a writing and pre-production push at Middleton home studio in Brighton, where he tracks Architects demos when that band is between cycles. The second was a tracking block with Scott Atkins at his Grindstone Studios in Norfolk, the room that has produced records for Cradle of Filth, Akercocke, Onslaught and Voices. Atkins co-produced, engineered and mixed the original drum, bass and rhythm-guitar takes; Middleton then took the multitracks back to Brighton to overdub leads and vocals and to mix.
The decision to push the extra material onto a separate EP was made midway through the mixing stage. Middleton has said in interviews that A Sign of Things to Come sequenced itself naturally into a ten-song arc; the songs that became The Path did not fit that arc, but they did not feel like outtakes either. Holding them back as B-sides for a single would have wasted them. Releasing them as a deluxe-edition bonus disc would have buried them. The third option was to give them a year to breathe, then put them out under their own banner.
Why the Songs Did Not Make the Album
Listen back to A Sign of Things to Come and the logic becomes clearer. That album opens with the half-time menace of Deadwood, runs through the title track and Pariahs at full thrash velocity, then settles into a long mid-section anchored by the slower, more melodic Descent and Absent. Adding any one of the five songs that ended up on The Path would have skewed that balance. Soured Ground would have been a third uptempo opener; As Above So Below would have piled another long groove track onto a sequence that already had Judas. Disavowed, with its anthemic chorus and clean-toned outro, would have stolen the closing role from A Godless Throne.
The EP, in other words, is what you get when you let the discarded songs hang together on their own terms. As a standalone five-track release it has a shape that simply could not have existed inside the parent album. It opens at maximum velocity, settles into one of the heaviest grooves the band has ever recorded, and ends on something close to a stadium-rock chorus. That is a perfectly viable arc for an EP. It would have been an awkward digression on a 43-minute LP.
Inside the Studio
The production approach is identical to the parent album, which is a deliberate choice. Atkins favours a relatively dry, modern metal drum sound with the snare sitting forward in the mix and the kick tuned for definition rather than weight. Ali Richardson plays a hybrid kit that leans on tighter, smaller cymbals than is conventional for a band this heavy; the result is a top end that stays crisp even when he is laying down blast beats over the verses of Soured Ground. The bass is Conor Marshall on a five-string, tracked DI through Atkins rack and re-amped through a SansAmp simulation rather than a live cab.
Middleton guitar tone is the signature element. The rhythm parts are double-tracked with what sounds like Mesa Boogie Rectifier and Peavey 5150 cabinets combined in the mix, with a noticeable low-mid scoop that lets the bass occupy the low frequencies on its own. The leads are recognisably his, all sweep-picked arpeggios and outside-the-scale chromatic runs, voiced bright enough to cut through the rhythm section even on the busiest sections. Ermin Hamidovic master at Systematic Productions in Sydney ties it together with the same light-touch loudness setting he applied to the album: loud enough for streaming, quiet enough that the dynamics actually move.
Personnel and Credits
| Role | Player | Notes |
|---|---|---|
| Sylosis | ||
| Lead guitar, lead vocals | Josh Middleton | Sole consistent member since 2000; also produced and mixed the EP |
| Rhythm guitar | Alex Bailey | Final Sylosis recording before his October 2024 departure |
| Bass | Conor Marshall | Joined 2019; moved to rhythm guitar after Bailey left |
| Drums | Ali Richardson | Also drummer in Bleed from Within |
| Guest | ||
| Co-lead vocals on The Path | Debbie Gough | Heriot vocalist and guitarist; the only guest on the EP |
| Production | ||
| Production | Josh Middleton and Scott Atkins | Same team as A Sign of Things to Come |
| Engineering | Scott Atkins | Tracked at Grindstone Studios, Norfolk |
| Mixing | Josh Middleton | Mixed at his home studio in Brighton |
| Mastering | Ermin Hamidovic | Systematic Productions, Sydney |
| Artwork | ||
| Cover concept | Sylosis | Continues the dark, sigil-heavy visual world of the parent album sleeve |
Tracklist
| # | Title | Writer | Single | Notes |
|---|---|---|---|---|
| 1 | The Path (feat. Debbie Gough) | Josh Middleton | Yes (3 October 2024) | Heriot vocalist Debbie Gough on co-lead vocals |
| 2 | Soured Ground | Josh Middleton | Yes (5 June 2025) | Blast-beat-driven thrash; received its own video eight months after the EP |
| 3 | As Above So Below | Josh Middleton | No | Mid-tempo groove track with the heaviest breakdown on the EP |
| 4 | No Saviours | Josh Middleton | No | Twin-lead-guitar centrepiece, the most overtly melodic-death-metal song here |
| 5 | Disavowed | Josh Middleton | No | Anthemic closer with clean vocal harmonies in the outro |
The Path with Debbie Gough
The opening track makes the case for the whole release. The intro is a half-bar of toms before Middleton drops a galloping riff in drop-C that sounds like prime Slayer recast for 2024 production values. Debbie Gough enters on the second verse, her vocal a harsher mid-range bark than Middleton signature scream, and the two trade lines through the chorus before locking into a unison shout on the second half. The song lyric is the most uncharacteristically direct thing Middleton has ever written. Speaking to MetalSucks, he was unusually candid about why.
"The Path is about my love and obsession for heavy music. It is all I need. It has never been a phase or something I will grow out of. I am immersed in this culture and more than anything, I am still a rabid fan. I think previously writing a song about this kind of thing would have been a no-go for me. Maybe it could be perceived as corny or out of character compared to some of the band previous lyrics but this feels like a very important song to me."
Josh Middleton, MetalSucks, 3 October 2024
Soured Ground
Track two is the song that anyone hoping for full-throttle Sylosis came for. Soured Ground opens on a blast beat from Ali Richardson and never really comes off the boil, with Middleton layering a melodic death metal lead over a tremolo-picked rhythm in the verses before the chorus snaps into a half-time thrash gallop. It is the most concise thing on the EP at just over three and a half minutes, and the one most obviously built to be a live set staple. Nuclear Blast clearly came around to that view themselves: when the EP got its vinyl pressing in 2025, Soured Ground got the second official music video to mark the moment.
As Above So Below
If the first two tracks are the velocity statement, As Above So Below is the weight one. It opens on a near-doom-tempo riff that drags for thirty seconds before the band locks into a groove that owes more to Lamb of God than to anything in the Sylosis back catalogue. The breakdown two-thirds in is the heaviest thing on the EP, with Marshall bass slipping a sixteenth note behind the kick to create a deliberate stagger that knocks the listener off the pulse. The title is from the Hermetic axiom that has been borrowed by everyone from Aleister Crowley to a thousand black-metal lyricists, but the lyric itself is about the futility of personal repetition rather than occult symbolism. It is the song most clearly written by a man who has spent his adult life on tour buses.
No Saviours
The penultimate track is where Sylosis remember they have always been, at heart, a melodic death metal band. No Saviours opens on a harmonised twin-lead that could have come straight off an early In Flames or Soilwork record, before the verses pivot into the groove-metal territory the band has occupied since Cycle of Suffering. Middleton lead playing here is the most overtly Gothenburg-influenced thing he has put on a Sylosis record in a decade, with a long instrumental break in the middle that gives both Bailey and Middleton room to harmonise over a half-time double-kick pattern. The lyric is one of the few political moments on the record, a flat refusal to wait for outside rescue from any of the institutions that the song decides have already failed.
Disavowed
The closer is the surprise. Disavowed opens on the kind of clean-toned arpeggiated chord pattern that British metal bands traditionally use to set up a heavy payoff, and it does deliver the payoff, but it also keeps coming back to the clean motif. The final ninety seconds drop the distortion entirely and let Middleton sing in his rarely-heard clean register over Bailey acoustic-toned rhythm. It is the most Architects-influenced moment of his Sylosis tenure, and the most obvious answer to anyone who has wondered what nine years of writing with Sam Carter has done to his ear. As an EP closer it is unusually patient. As a signpost for where Sylosis might head next, it is the most interesting song on the record.
Josh Middleton Three Day Jobs
One of the underrated stories of the modern UK metal scene is how much of it Middleton is quietly running. By the time The Path came out he was juggling lead-guitar duties in Architects, full creative leadership of Sylosis, and a third role as a producer-for-hire that had begun with mid-tier UK bands and was suddenly producing breakout records. Two weeks before The Path dropped, Century Media released Heriot debut album Devoured By The Mouth Of Hell, which Middleton co-produced. Metal Hammer Dannii Leivers gave it 8 out of 10 and called Heriot future "very bright indeed."
The Heriot production credit explains a lot about the timing of the Debbie Gough guest spot. The two bands had been working in the same orbit for two years; Middleton had been in the studio with Gough on and off through the back half of 2023 and the start of 2024; and by the time the EP needed a guest feature on its lead track, asking her to walk in and put a vocal down was a five-minute conversation rather than a label-brokered negotiation. That is the kind of efficiency that comes from a producer who is also a peer.
Heriot and the Modern UK Underground
Heriot presence on the lead single is also a flag-planting exercise. The Northampton four-piece had spent 2023 and 2024 graduating from circuit-clearing support slots into one of the most-hyped new UK metal bands in a decade, and their reputation for the kind of industrial-leaning, fuzz-heavy noise that has more in common with Godflesh than with anything on the Sylosis discography made the pairing genuinely surprising. Gough vocal on the title track is not a guest spot as decoration. It is an active rebuttal of the idea that Sylosis only collaborate inside their own subgenre.
The tour announcement that followed the EP made the alliance even more explicit. Sylosis and Fit For An Autopsy co-headlined the November and December 2024 European leg, with Heriot opening every night and Darkest Hour in main support. It was the kind of bill that does not happen by accident, and it pointed at a coordinated mid-cycle push by Nuclear Blast and Century Media to position both bands as the next wave of British heavy music. The EP, in that context, becomes both a release in its own right and the launch flare for a year of joint touring.
Singles and Music Videos
| Release | Date | Format | Notes |
|---|---|---|---|
| The Path (feat. Debbie Gough) | 3 October 2024 | Digital single and music video | Released simultaneously with the EP; video premiered at 6pm UK time |
| The Path EP | 3 October 2024 | Digital and streaming | Surprise release, no pre-order window |
| Soured Ground | 5 June 2025 | Music video | Released to coincide with the vinyl pressing of the EP |
| The Path EP vinyl | June 2025 | 12-inch vinyl, multiple coloured variants | Sylosis Bandcamp and Nuclear Blast Mailorder exclusives |
The title-track video intercuts performance footage of Sylosis and Gough with stylised flame and chain imagery, and it has become the most-viewed video on the band Nuclear Blast channel since the original 2011 clip for Empyreal. The Soured Ground video, when it arrived eight months later, was a more performance-focused affair shot to mark the vinyl edition and seed the run-up to what would become the 2026 album The New Flesh.
Artwork and Format
The cover continues the visual world of A Sign of Things to Come: a high-contrast monochrome composition with a single sigil-like symbol at the centre, the Sylosis logo in the band familiar serif treatment at the top and the EP title set quietly underneath. It is not the kind of cover designed to leap out of a record-shop browser bin, but it is unmistakably part of the same artistic statement as the parent album, which is the point. The 12-inch vinyl pressing that followed in June 2025 offered black, red splatter and clear variants, all of which sold out their initial Bandcamp allocation inside a week.
There has been no CD pressing of the EP at the time of writing, which is consistent with the way Nuclear Blast has been handling short-form releases in 2024 and 2025. Digital streaming, a digital store sale and a vinyl edition for the collectors is the modern shape of an EP release on a major metal label. Whether that will be the case when The Path eventually gets included in a deluxe edition of A Sign of Things to Come, or appears as a bonus disc on a future box set, is anyone guess.
Critical Reception
The reviews that followed the EP were uniformly positive without ever quite breaking into rapture. Distorted Sound, Metal Hammer and the longer-form blogs all picked up on the same key point: that The Path manages to stand independently of the album it came from rather than reading like a bonus disc. Several reviewers flagged the title track and Disavowed as the standout songs, with a handful arguing that Soured Ground would end up the long-term live favourite. The one minor critical note, repeated across more than one review, was the slightly synthetic snare sound, which is a hangover from Atkins tracking approach on the parent album and a fair criticism if you are listening on headphones rather than through a club PA.
Loudwire grouped the EP into its end-of-year roundup of best short-form releases of 2024, and Metal Hammer Stephen Hill, who had given A Sign of Things to Come 8 out of 10 the previous year, wrote that the EP underlines why Sylosis remain the most undervalued band in modern British metal. That phrase, or some variant of it, has followed Sylosis around since at least Monolith in 2012. The Path is the latest piece of evidence that the undervaluation continues.
The Touring Cycle
The EP was deliberately scheduled to land at the front of a heavy touring window. Sylosis spent October and November 2024 supporting Fit For An Autopsy across North America, then flipped into the November and December European co-headline run with the same band, with Heriot opening and Darkest Hour in main support. That tour took in twenty-one dates between London Electric Brixton on 22 November and Cologne Essigfabrik on 21 December, including UK shows in Leeds, Glasgow, Manchester, Birmingham and Bristol. February 2025 saw the band in Australia with AngelMaker, and the spring of 2025 put them on the North American leg of Trivium and Bullet for My Valentine Poisoned Ascendancy tour, the biggest support slot Sylosis had taken since the Killswitch Engage tour of 2013.
The EP material slotted into the live show without any apparent friction. The title track, with Gough joining onstage at the UK and European dates whenever Heriot was on the same bill, became an early-set highlight. Soured Ground migrated to the midpoint of the set as the obvious thrash workout. Disavowed was used as a pre-encore palate cleanser. As Above So Below, perhaps surprisingly, did not appear in the live set at all on the 2024 dates, though it has since shown up on the 2025 European festival run.
The Cost of an Honest EP in 2024
There is a small but persistent argument inside the metal press that surprise EPs from established bands are a way of gaming the streaming algorithm without committing to a full album cycle. The argument is not entirely unfair. A five-track EP released cold, with no pre-order, has a different streaming-numbers signature than a single drip-fed over six months, and labels have noticed. Where Sylosis differ is in the framing. They have not pretended the EP is a brand-new statement. They have not staged it as a teaser for an album that does not exist yet. They have said, openly, that these are songs from the previous cycle that deserved a release rather than a hard drive.
That honesty is also reflected in the price. The digital download on the band Bandcamp was set at five pounds at launch, with the vinyl edition the following year coming in at twenty-five. Neither price suggests a release that is being marketed as a major event. They suggest a band putting out an EP because the music exists and they would like it to be heard, which is, in 2024, a refreshingly old-fashioned position.
Where The Path Sits in the Discography
Catalogue-wise, this is the third Sylosis EP, after Casting Shadows in 2006 and The Supreme Oppressor in 2007, both released on the indie label In at the Deep End before the band signed to Nuclear Blast. It is the first Sylosis EP since they joined Nuclear Blast in late 2007, which makes the surprise-release format all the more pointed: an EP from a major-label heritage act, with no advance singles, is essentially unheard of at this level of the metal industry. The Path sits, in chronology, between A Sign of Things to Come in September 2023 and the seventh studio album The New Flesh, which arrived on 20 February 2026.
From this vantage, the EP also reads as a hinge in the band story. Alex Bailey would announce his departure exactly one week after The Path was released, ending the longest stable Sylosis lineup since the original 2008 quartet. Conor Marshall would move from bass to rhythm guitar, with former live guitarist Ben Thomas taking over on bass. The band that recorded The New Flesh in 2025 is materially different from the one that played on this EP. The Path, in other words, is also the last document of a specific Sylosis lineup that no longer exists.
After the EP: Bailey Leaves, The New Flesh Arrives
The Bailey departure announcement on 10 October 2024 was handled quietly. The band thanked him for sixteen years of service via Instagram, named Ben Thomas as his replacement and got on with the tour. Bailey himself has not publicly elaborated on the reasons. The internal effect on the band was significant, however; with Marshall on guitar instead of bass, Sylosis effectively reset to a four-piece with a different harmonic identity. The first single from The New Flesh, the title track, which arrived in summer 2025, made it clear that the band had used the lineup change as an opportunity to push the sound back towards the thrashier end of their catalogue rather than the progressive end.
The New Flesh, released on 20 February 2026, would go on to be the most commercially successful Sylosis album to date, charting on the UK Rock and Metal Albums chart and triggering a North American headline tour for the first time in the band history. The post-EP momentum was real, in other words, and a significant chunk of it can be traced back to the surprise release of The Path seventeen months earlier. The EP did not just clear the decks for the next album. It built the audience that bought it.
Things You Might Not Know
| Fact | Detail |
|---|---|
| Three jobs at once | Josh Middleton recorded The Path while touring as the lead guitarist of Architects and co-producing Heriot debut album for Century Media, all in the same eighteen-month window. |
| Bailey last record | Alex Bailey announced his departure from Sylosis exactly one week after The Path was released, making the EP his final recording with the band after sixteen years on rhythm guitar. |
| The Bleed from Within connection | Drummer Ali Richardson plays in Bleed from Within full time, which is why Sylosis and Bleed from Within have shared support slots on the 2025 Trivium and Bullet for My Valentine tour without scheduling clashes. |
| The RV crash | Sylosis nearly ended in September 2013 when their tour RV crashed on the way to a Trivium and DevilDriver support slot. The band were off the road for months, which contributed to the 2016 hiatus. |
| The Heriot crossover | Debbie Gough is not the first Heriot member Middleton has worked with: he co-produced their debut Devoured By The Mouth Of Hell, released by Century Media two weeks before The Path arrived. |
| Surprise on a major | The Path is one of very few surprise-released EPs put out by a Nuclear Blast act in the modern era. The label normally insists on a pre-order window of at least eight weeks. |
| Recorded in Norfolk | Tracking was done at Scott Atkins Grindstone Studios in Norfolk, the same room used for Cradle of Filth Hammer of the Witches and Akercocke Renaissance in Extremis. |
| Mastered in Sydney | The master was cut by Ermin Hamidovic at Systematic Productions in Sydney, more than ten thousand miles from where the EP was tracked and mixed. |
| The third EP | It is the third Sylosis EP overall but the first since they signed to Nuclear Blast in 2007: the previous two were Casting Shadows in 2006 and The Supreme Oppressor in 2007, both on In at the Deep End. |
| The five-pound price tag | The launch-day Bandcamp price was set at five pounds for the five-track download, well below the going rate for a Nuclear Blast release in 2024. |
| The vinyl arrived later | A 12-inch vinyl edition with three coloured variants followed in June 2025, eight months after the digital release, and sold out its initial Bandcamp allocation inside a week. |
| The Architects parallel | Middleton recorded his Architects parts for the 2024 album The Sky, The Earth and All Between in the same calendar year as he tracked, mixed and released The Path. He has rarely had a busier twelve months. |
Legacy and Verdict
The honest assessment of The Path a year and a half after its release is that it is exactly what Middleton claimed it would be. It is not a transitional record, it is not a victory lap, and it is not a placeholder. It is five well-written songs that were not quite right for the album they were tracked for, polished to the same standard as that album, and released without the marketing machinery that usually surrounds new music from a Nuclear Blast act. The fact that it is also one of the most listenable Sylosis releases of the post-hiatus era is, if anything, a happy accident of sequencing rather than a deliberate masterstroke.
What it does do is set out, in compressed form, every direction the band could plausibly go next. The title track is the collaborative, cross-scene Sylosis. Soured Ground is the meat-and-potatoes thrash band. As Above So Below is the groove-metal Sylosis that Cycle of Suffering hinted at. No Saviours is the melodic death metal heritage. Disavowed is the cleaner, more melodic future that The New Flesh would partially deliver in 2026. Five songs, five plausible futures, and a band confident enough in the parent album to release the offcuts on their own merits.
It earns a Riffology Score of 87 out of 100. That is not a perfect mark, and the EP does not pretend to be a perfect record. But it is the work of a band that has been good for twenty-five years quietly proving, again, that they are still better than most of the bands they came up alongside. If you have ever wondered why the British metal press keeps calling Sylosis underrated, this EP is the shortest possible explanation.
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