Italy’s Spoiled has been through the wringer, but instead of letting setbacks slow them down, they’ve come back swinging with 'Collapse', their first full-length album. This isn’t just a continuation of what they’ve done before - it’s a statement. Fifteen tracks of pure crossover thrash chaos, played at blistering speeds and packed with enough aggression to start a riot. The album is dropping as a jewel case CD, complete with an 8-page booklet, thanks to Portuguese labels Gruesome Records and Selvajaria Records - and with recording handled at the legendary 16th Cellar Studio (known for some of extreme metal’s heaviest hitters), you already know it’s going to sound absolutely lethal. If you like your thrash served at 250 BPM with a sneer, Spoiled’s got you covered. The album’s lead single 'Zombie Hunters' came out swinging, setting the tone for 'Collapse' in just over a minute of unfiltered carnage. The band describes it as a critique of substance abuse, and it hits with all the subtlety of a bottle smashing over your head. It doesn’t waste a second - machine-gun drumming and frantic riffing drive everything forward, with the guitars mimicking the restless, unpredictable energy of a high. Danny Boy’s vocals are packed with venom, spitting out lines that make it clear he wants nothing to do with the chaos of addiction. It’s a short, sharp burst of frustration - fast, brutal, and completely uncompromising. Then there’s the title track, which feels like the album’s mission statement distilled into two minutes of pure destruction. There’s no build-up, no easing in - just an immediate onslaught of speed-picked riffs that slice through the mix like a rusted blade. The drums are a full-force battering ram, relentless in their assault, while the guitars rip through thrash-fueled patterns that wouldn’t feel out of place on an early D.R.I. record. Danny Boy is at his most feral here, spitting out lyrics with a frantic urgency that matches the song’s breakneck pace. It’s the kind of track that makes you want to break something - or at least throw yourself headfirst into the nearest pit. 'Rotting Sun' is pure chaos from the first note, refusing to slow down for even a second. This track doubles down on the mayhem with some of the most unhinged riffing on the album. The guitars twist and turn at breakneck speed, riding on top of a percussive assault that barely lets up for a second. There’s a real sense of urgency here, with everything feeling like it’s constantly on the verge of total collapse - but that’s where Spoiled thrives. It’s an all-out crossover thrash assault, tailor-made for violent, beer-soaked mosh pits. As a whole, Collapse doesn’t just keep the energy high - it barely lets you catch your breath. Spoiled knows exactly what they’re about, and they’re not here to reinvent the wheel. But honestly? They don’t need to. The riffs are razor-sharp, the drumming is relentless, and every song feels like it’s sprinting towards total obliteration. Given the band’s turbulent journey, this album isn’t just a collection of thrash anthems - it’s a battle cry. Crossover thrash has been making a serious resurgence lately, and Spoiled has just staked their claim as a band worth paying attention to. If you’re in the market for a record that hits fast, hard, and without an ounce of mercy, 'Collapse' is exactly what you need. Score: 7/10 'Collapse' will be released on February 27th 2025 via Gruesome Records and Selvajaria Recordings. Words: Jason De Mendonca Photos: Spoiled

Walking towards the iconic Electric Ballroom, the queue outside is already filled with metal fans waiting for the doors to open. When I finally come inside, there are few people claiming their spots by the barricade, but most are just picking their merchandise or deciding what drink they should get at the bar. After half an hour the lights dim down and the crowd cheers a bit, welcoming the first opener DESERT STORM onto the stage for their short, but punchy set. Putting on a show definitely isn’t an issue for them, as they have some good guitar work and the vocalist Matt Ryan can sing and scream without a single issue, however the crowd is tough to break easily tonight, and apart from few cheers here and there, sadly there wasn’t a lot going on below the stage. The atmosphere on the floor stays relaxed, as URNE are swiftly taking over the stage. This London-based three piece comes in with heavy-themed lyrics and greatly executed solos. Vocalist Joe Nally nails down the screams with perfection, while also using his amazing clear vocals in some of the tracks. The band showed their gratitude for the opportunity to tour with KVELERTAK and talked about the struggles to get where they are now, and also hinted on their upcoming album. They absolutely smashed their set and definitely got the fans ready for what was about to come. As the floor was getting busier and it was harder to move around, the fans were getting more impatient and happy to finally see their favourites. The lights suddenly go down and the intro track starts playing, leaving everyone speechless for a second. Then a massive cheer bursts through the crowd as the members of KVELERTAK began coming on the stage. As the intro drifts into the first track, ‘Krøterveg Te Helvete’, a big moshpit opens up close to the stage, welcoming the band back in London with a pompous style. After the grand start of what’s about to become one of the most memorable concerts, the band continues to play their hits, with the frontman Ivar Nikolaisen diving into the crowd multiple times with no hesitation. Continuing with their set, the crowd saw a meticulously picked setlist of their favourites, showcasing the band’s craftsmanship. In between the well executed crowd interactions and amazing riffs, the band gives few thankful speeches. When they mention their last concert in London was ‘seven prime ministers ago’, the crowd bursts in laughter. KVELERTAK jumped through their set like nothing and by the time they played their hit and second to last song ‘Mjød’, it was obvious the night is getting close to the end. With the last song ‘Bråtebrann’ playing, everyone in the crowd and the band put all the energy they had left to make the moment as precious as possible, with the crowd singing the lyrics more than before, knowing it is the last time for a while. Basking in the spotlight and cheered up with a massive applause, the band finally left the stage, leaving behind only the memories of the night and their instruments. The concert truly was a one-of-a-kind experience, with a great choice of support bands. Seeing a well known band interacting with their fans throughout the whole evening feels more intimate, even in a bigger venue like the Electric Ballroom, and truly makes the fans long for more. The staging was very simple, with a big banner in the background listing the band’s name, yet complimented by the lightning, that was very mesmerising, especially from the back of the venue. KVELERTAK definitely know how to put on a good performance and are breath-taking to see live. Words: Katerina Stepanikova Photos: Libby Percival

Frank Turner is making his way onto the stage for the 3000th time in his career, on an Alexandra Palace stage which has started to feel like home turf. It is the fifth time he has headlined the iconic North London venue, on top of the countless shows in surrounding bars across his 20-year career. There remains a faint ridiculousness, to both him and his audience, that he ever made it out of those bars in the first place. The irony of his opening two songs, The Ballad of Me and My Friends and I Knew Prufrock Before He Got Famous – both odes to not quite making it – being sung back at him by 10,000 people is not lost on anyone, least of all Turner himself, who permanently exudes a level of bewilderment at his status. How then, did this perennial journeyman find himself to be a reliable arena filler two decades in? The answer to this question can be found on the uniform for the evening. On the back of the limited edition Show 3000 shirt is a fill-in-the-blank prompt which says “my first show was ____”. More than a fun gimmick, it is an ingenious piece of marketing that, deliberately or otherwise, demonstrates his story to a tee. Frank Turner is an export of quite a fruitful mid-2000s London scene, responsible for names such as Jamie T, Florence + The Machine, and Justin Hayward-Young of The Vaccines. Whilst these contemporaries exploded, he toiled, playing show after show to comparatively modest fanfare. Though the fruits of this labour were not as immediately recognisable, it is at an event such as Show 3000 where they can be seen most starkly, because, if the t-shirts are to be believed, virtually no one in attendance is at their first Frank Turner show. As the limelight evaded him, Turner had to build his stock through alternative methods, and, following the punk instruction manual, he chose to do it through relentless gigging. His fiercely loyal fanbase largely spawned from accruing a handful of believers at each of the 2999 previous shows, admiring not only his perseverance, but also the genuine skill he possesses in front of a live audience. When you’re 3000 not out, you learn a thing or two about crowd control, and Frank has got it down to a fine art. All of this is to say that Ally Pally’s patrons very much know what they’re in for, and they want more of it. So much so, that when Frank introduces the two rules of his shows, the crowd recite them back to him. “Rule 1. Don’t be a dick!”, gets perhaps the loudest cheer of the night, whilst “Rule 2. Sing along if you know the words!” is adhered to by nearly everybody. Single digit t-shirt wearers and newcomers alike join in with the monosyllabic singalong to new favourite Do One, whilst 2009’s Try This At Home still manages to generate crowd-surfers and circle-pits. This is one of the advantages to Frank’s slower route to the top: because so many of the crowd have been there for the journey, each song, regardless of age or streaming numbers, is greeted with the same warmth. It is helpful, with this in mind, that the songs from Turner’s latest effort, Undefeated, are enthusiastic punk rock cuts, perfect for an audience who were clearly gagging for opportunities to participate. No Thank You For The Music’s intuitive clap-alongs and Girl From The Record Shop’s infectious, Ramones-like energy came across strongly, and allowed The Sleeping Souls, Frank’s band, to flex their muscles. Having been a full time ensemble since 2009’s Poetry of the Deed, the Souls are a well-oiled machine. New drummer Callum Green is the only replacement in the band’s history, and fits in seamlessly, adding a newfound strength and urgency to the older tracks in particular. Anti-fascist anthem 1933 benefits from his power, as does the shouty break-up lament Plain Sailing Weather. Though Turner’s show is enhanced by the Souls’ presence, he does not wilt when faced with the chance to go solo for a short spell. Songs like The Road and Long Live The Queen doubtlessly found their final form at acoustic nights, so it feels fitting that they get wheeled out in this state on the big occasion. Of course, The Sleeping Souls aren’t benched for long, returning midway through The Way I Tend To Be to complete a closing run to the main set of staples. If Ever I Stray, Recovery, and Photosynthesis are punctuated only by the raucous, minute-long Never Mind The Back Problems, to send the unlucky few who had to catch an early train home happy. Never one to short change an audience, Frank and The Souls returns for the encore with the title track to his latest album. Undefeated is an oddly intimate reflection on Turner’s unlikely rise, and undoubtedly a risky pick, but one which is seen to pay off when phone torches illuminate the palace. The energy isn’t dampened for long, as Polaroid Picture and Get Better spark the pits up once more, before Four Simple Words caps off the night. Frank has no hesitation in jumping straight into the crowd for this final number, before leading everybody in ballerina spins in the tune’s brief slower sequence. Seeing 10,000 people all clumsily shuffling in circles seems like a fittingly bizarre way to conclude a night celebrating one of the UK’s unlikeliest success stories. Throughout the course of his career, Frank Turner has had to compensate for his slow start, and his modus operandi to achieve this was always going above and beyond in his live show. He could be forgiven for taking it easy now that his place is secure, so it is all the more commendable that, even on a victory lap, he is still coming up with new and inventive ways to keep the audience involved. Turner once proudly proclaimed himself not just to be an artist, but an entertainer – inverting the perceived hierarchy of musical merit – and this is clearly a mantra which he lives by to this day. The live show is evidently Frank’s primary focus, and on a night so important to both him and his fans, it was impressive (if unsurprising, given his experience) the level to which he delivered. Words: Ali Glen Photos: Dan Brock

Originally from Reading, this 3 three-piece math-punk band is sure to heighten your senses with their exquisite use of electronics and noise. Masquerader features bass, drums, electronics and vocals, utilizing each instrument in unique ways, focussing on creative noise and electronic build-ups. Their upcoming release ‘Closer to Death’ coincides with their first ever tour of back-to-back dates, kicking off on the 26th of February. The band will be making noise in Brighton, Portsmouth, Bristol and Exeter. The band’s Spotify description states “spinning heads and keeping crowds guessing”, which is definitely the perfect way to describe this EP! 'Closer to Death' drops you into a world of abstract synths and intricate structures. Starting with ‘Vertical Video’ we are immediately immersed with little introduction, with a short rave-style build-up and hit with an explosion of vocals and noise. Powerful riffs continue throughout with strategic drops in pace followed by clever breakouts of electronics. The bass riffs paired with the vocal melodies compliment for a balanced sonic spike, a heavy take in comparison to their previous records. We then come to track two, aptly titled ‘Pyre’. This track is such an interesting listen, the constant tricky drum rhythms compliment the pace and context of the lyrics “To wake you up to break the structure up”. Arpeggiated melodies and high end tones engulf this, and those along with with Danny’s powerful vocals make for such a strong track! The build up throughout this track brings immense anticipation with a sudden end with an airy, isolated synth. This synth is placed perfectly and leads us onto the final track; ‘Worse than the Wolf’. A long introduction leads us into a wall of noise, layers of noise allow listeners the chance to really listen and really fall into the sounds, especially those listening through headphones. It almost encapsulates the feeling of overwhelm, when listening to the lyrics we get a feel for confusion and emotion from a possible past event, which pair with the twisting drones and eclectic soundscapes of this track. Unlike the previous two tracks, in 'Worse than the Wolf’ we are met with a heavier, meaty guitar riff that adds a contrasting texture which fits the mood of the overall sound. The order of the three tracks works well, with the build-ups becoming more and more heavier and lyrics dispersing, it is a great listen for those exploring the sound of synths paired with heavier guitars. Although there were parts were the noise overpowers the vocals slightly, the structures and use of sound is cleverly put together. This EP is a great representation for the band’s sound, their use of noise and unpredictable buildups as the tracks develop definitely makes this a must listen! We cannot wait for the future of Masquerader and the future of their sound! Score: 8/10 'Closer To Death' will be released on February 25th 2025. Words: Emily Perry Photos: Masquerader

The Devil Wears Prada stop off at Club Academy in Manchester for one of the last shows on their sixteen stop Europe and UK tour. Bringing SENNA, Ocean Grove and Kingdom of Giants along for the ride, It’s a real cultural melting pot of bands, with artists coming from Germany, Australia, and the United States. SENNA get us started nice and early, beginning their set with ‘Lavender’, off their first EP ‘A Moment Of Quiet’. ‘High Note’ is another incredible live track, bringing a bit more of a heavy grunge vibe to the basement venue. Despite being the first bang to play on a pretty full bill, SENNA bring total headliner energy to the stage, and it’s a real treat for the people who chose to show up early for these guys. The second band on the bill tonight is Melbourne based nu metal group Ocean Grove. Having released their fifth studio album, ‘ODDWORLD’, in November of last year, the majority of the setlist is their new material. Bassist Twiggy Hunter takes the microphone to perform ‘RAINDROP’, one of their standout new tracks. Despite their short setlist, we’re still treated to a few Ocean Grove classics, including ‘Stratosphere Love’ off their second album, and ‘Junkie$’, an OG all timer. The band are long due some UK headline shows, and we can only hope they’ll be back over the pond soon enough. Kingdom of Giants are up next. Hailing from Northern Carolina, this post-hardcore six piece aren’t playing around. Recently releasing their latest EP, ‘Bleeding Star’, we’re treated to a setlist mostly of new hits. ‘Wasted Space’ is a clear standout track, and it’s clear how much the band’s sound has changed and evolved over the years after hearing them play some of their older tracks. The future of metalcore is looking bright. It’s time for the main event, and the room is packed at this point. The Devil Wears Prada jump right in with ‘Mammoth’, slamming the crowd with a fat hit of nostalgia. We’re already off to an amazing start. It’s really worth noting how gorgeous their harmonies sound in this venue, it’s a testament to how well seasoned they are as a band, but also to their incredible live sound tech. They follow Mammoth with ‘Watchtower’, taking us from 2011 all the way to 2022. Like with the previous band, their evolution as a band is so apparent when hearing these old and newer songs together. They have to restart ‘Noise’ three times, frontman Jeremy DePoyster saying “One of these six people fucked up the song!”, before eventually admitting it was him forgetting the lyrics, much to the amusement of the audience. The band finish up with ‘Sacrifice’ and ‘Hey John, What’s Your Name Again?’. The pits have already been pretty brutal up to this point, but Jeremy shouts out “Manchester, I wanna see someone fucking die!”, and I’m sure you can imagine the energy in the room got turned up way past eleven for these last couple songs. The Devil Wears Prada haven’t had a headline tour in the UK in over twelve years, and its amazing to see their Manchester show fully sold out, and it looks like the band are more than welcome back over here soon. Words: Izzy Scott Photos: Kieran Atkinson

Satan’s Satyrs kicked the night off with a unique, high-energy set, wasting no time in showing people what they were about. The Virginia-based quartet are a blend of doom, punk, and classic rock with a touch of glam sleaze, creating a sound that’s equal parts chaotic and captivating. Some songs carried the ominous groove of early Sabbath, while others leaned into a more swaggering, upbeat rock ‘n’ roll vibe, showing off their wide-ranging influences. One of the most refreshing things about their set was their DIY attitude. After their set, the band were found running their own merch table, a rare sight at a venue as big as the O2 Ritz. It’s this hands-on approach that makes them feel so authentic, reinforcing the connection between artist and audience. The mix on the night was solid, with a particularly punchy bass tone that cut through the wall of guitar fuzz beautifully. However, the vocals did sit a little too low, which made them hard to pick out at times. Despite that, they powered through any sound issues like pros, delivering a killer set packed with energy, groove, and grit. This was their fifth time playing Manchester as an independent band, and it’s clear they’ve built something special. If tonight was anything to go by, they won’t be staying underground much longer. If Satan’s Satyrs were all fire and fury, Unto Others brought a brooding intensity that turned the atmosphere on its head instantly. Their blend of gothic rock and heavy metal wrapped the room in a dark haze, with deep, resonant vocals shining through melodic yet crushing instrumentals. Unto Others proved that energy isn’t just about speed or aggression, it’s about mood, and they nailed it perfectly. From the moment they stepped on stage, their presence was undeniable. Gabriel Franco’s vocals had that perfect mix of melancholy and power, shifting effortlessly between haunting croons and full-throated intensity. There was a sense of theatre to their performance in the best way, amplified by the moody lighting and their carefully crafted soundscapes. What really stood out was their ability to balance stark emotional passages with heavier, more driving sections. The set had a natural ebb and flow, keeping things engaging without ever feeling repetitive. The audience was fully drawn in, swaying through the more atmospheric moments before erupting into headbanging when the riffs kicked in. Unto Others proved once again that they’re a band with a unique ability to bridge gothic rock and heavy metal. Their performance was polished yet deeply emotive, and left a lasting impression on every person in the room. Closing the night, Green Lung saw the level of performance that we’ve come to expect from them as fans, and surpassed it tenfold. Their mix of classic heavy metal, folk horror storytelling, and progressive rock flourishes created an immersive experience that had the crowd hooked from start to finish. The energy in the room was undeniable. While their doom and classic rock influences were front and centre, they had a vibrancy that set them apart from more traditional doom bands. The moment they launched into their set, the crowd was right there with them, completely captivated by their eerie yet exhilarating sound. A standout addition to the night was The Oosettes, whose backing vocals gave an extra layer of richness to songs like ‘May Queen’ and ‘Songs of the Stones’. Their harmonies added an almost ceremonial feel, elevating the band’s already grand, atmospheric sound. Tom Templar commanded the stage with ease, blending occult-inspired theatrics with genuine charisma. His vocals soared over the band’s dynamic instrumentals, while the chemistry between band members was seamless. Every transition in their set felt effortless and purposeful. The crowd’s response said it all. Fans across the rock and metal spectrum were united in appreciation, hanging onto every riff and chorus. Green Lung’s ability to pull in such a broad audience speaks to the strength of their songwriting and the power of their live show. This was more than a mere gig, it was an experience from start to finish. Green Lung’s ability to translate their unique sound and aesthetic into such a compelling live show proves that they’re ready for even bigger stages. The night was a perfect showcase of just how diverse and exciting heavy music can be. Satan’s Satyrs brought raw, untamed energy, Unto Others delivered gothic intensity, and Green Lung wrapped it all up with their spellbinding, doom-infused storytelling. What made it truly special, though, was the connection between the bands and the audience. From start to finish, there was a shared energy that made the whole night feel bigger than just three sets, it was a celebration of heavy music in all its forms. For those who missed it, this gig was a testament to how the underground scene is thriving, and these bands are leading the charge. If you haven’t seen them live yet, now’s the time. Words: Vee Richardson Photos: Simon Arinze

Tightly packed into The Garage, Magnolia Park is headlining London after completing their support on tour with Bowling For Soup. Magnolia Park are currently preparing for their newest upcoming album ‘VAMP’. There’s nothing better than screaming at the top of your lungs in a sold out room, and Magnolia Park captivates this feeling like no other. In 2018 by Tristan Torres and Freddie Criales in a staples parking lot where Tristan used to work, Magnolia Park was born. The name ‘Magnolia Park’ being inspired by the location of where Freddie broke his leg whilst riding his razor scooter. It’s clear to see Magnolia Park love to develop rich world-building music, with personal experiences and pushing against the industry that wants to impose. Magnolia Park rise above the barriers and continue to pass the ladder down to future generations. Supporting the headliner act is Defences, a 4 piece metal band from Hertfordshire in the UK, with a unique metalcore style that is a must listen to. Cherry Duesbury’s vocals are something to behold, mixed with high energy and headbanging that send her braids flying around the stage. With a scream that packs a punch and only evaluates the performance and sends the crowd into even more of an excitable flurry. Defences have a brand new album ‘Shadowlight’ which is out now. With a mix of heavier rock vs a pop-punk style, Magnolia Park have a song for every type of fan. Joshua Roberts is a vocal delight, with the energy and confidence every frontman needs. His ability to switch effortlessly between song and screaming leaves the audience in awe and the palm of his hand. Tristan Torres and Freddie Criales, both on guitar flank either side of the stage with their own confidence and adrenaline, heading towards the front of the stage intermittently to encourage the crowd further. Interaction is a highlight with this band, they understand the need to connect with fans and give back to their very loyal fanbase. A personal highlight being when guitar player Freddie Criales stepped forwards throughout the set to have his own vocal moments, long wire of microphone wrapped around his figure and guitar in turn. Flashing lights throughout and a thick layer of haze continuously pumping out helped to silhouette each member of the band. All of them command the stage and allow each other to bathe in the spotlight, no part of the stage isn’t explored. ‘Addison Rae’ was a crowd favourite, with everyone singing along to this pop-punk number. No corner of the room is not enthralled by the performance, the flashing lights drawing everyone's eyes to the stage. Cherry Duesbury from Defences joining the stage to sing ‘Animal’ with Joshua Roberts at the encore highlights Magnolia Park’s desire to uplift others. The band’s message being all about making sure next generations don’t have racial backlash in the industry is one we should all aspire to. The two only highlight and amplify each other, genuine joy and excitement feeding from the stage to and to the crowd who in turn jump, dance and rave with everyone on stage. Closing the set with fan-favourite cover of ‘I2I’, originally from Disney’s A Goofy Movie, perfectly sums up Magnolia Park’s message and signature ability to adapt to different genres. The song is a huge part of black history and inspired all of the members when they were kids to make music, it's the perfect homage to their past and still celebrating their future. Magnolia Park continues to push boundaries and break barriers with their message and music. With their awaited upcoming album ‘VAMP’ coming out April 11th, we can’t wait to see what they will bring to the table next. Words and Photos: Tyler Whiting

After having released their latest album Death & Love, pt.1, indie rock legends Circa Waves hit Nottingham with pure energy and excitement with their sold-out show at Rock City. The first support band Corella an indie quartet from Manchester, really brought the crowd to life with their classic indie sound. They walked out onto the stage with confidence and the crowd LOVED them. Even though their set was only half an hour long, they really set the mood right for the rest of the night. By their third song “Head Under Water” the crowd were clapping along and jumping to their set. They even got the crowd to sing along to their song “Lady Messiah” - A great way to warm up all of our vocals. As the excitement from Corella's set calmed down, the second support band Peace, two Brothers from Worcester truly brought peace to the venue. Despite having a technical issue with their bassist, they had to rely on a digital bass. However this didn’t stop them putting on a great show. They opened with “Lovesick” and from this moment the crowd was swaying along to the relaxing sound of guitars. They really showed us that their return was worth the wait. Circa Waves took to the stage and a flash of lights hit the stage which a roar of enthusiasm from the crowd. They went right into playing “Do You Wanna Talk” resulting in a mosh pit dominating the middle of the crowd throughout the rest of the night, and very much so encouraged by the band. The first big sing-along of the night was when the band played “Movies” as the crowd sung back the lyrics loudly and a huge mosh pit formed with lots of jumping around. I am subject to a mosh pit so was one of those audience members getting their weekly workout in those pits. The band played “Lemonade” which was nice little breather during their set and it really slowed down the crowd with them swaying, singing along and having their arms around each other. It was truly a lovely moment. However, this mini moshing break did not last long at all… Frontman Kieran Shudall said, “Shall we do a rock song for Rock City?” and within seconds a massive pit was formed in the middle of the crowd as the band started playing “Goodbye” creating chaos fuelled by excitement and energy among the crowd. After playing “Carry You Home” the band walked off the stage. The crowd shouting “one more song” filled the room with noise and anticipation waiting for the band to do their encore. Red strobe lights hit the stage as the band walked back out and a burst of energy hit the crowd as they started playing “Be Your Drug.” It wouldn’t be a Circa Waves gig if they hadn’t finished off the night with their absolute classic of a song “T-Shirt Weather” this brought so much energy to the venue with people crowd surfing, moshing and climbing onto their mates shoulders. Overall, Circa Waves delivered a memorable performance that not only highlighted their musical talent but also their ability to connect with fans on a personal level. It was a night filled with great music, lively interactions, and an unforgettable atmosphere. If you get the chance to see them live, it's definitely worth it! Words: Sita Gee Photos: Tyler Whiting

Tribulation are a Swedish death metal band that have been releasing whiplash-worthy tracks since they first released their debut album ‘The Horror’ in 2009. Since the band came to be, they have blessed their fans with seven bewildering albums filled to the brim with insane riffs and throat-scratching growls. Upon the release of their new album ‘Sub Rosa in Æternum’, the band have been introducing the masterpiece with shows all over the UK, including at The Underworld in Camden, London, with support from the phenomenal NAUT and Livgone. The venue was packed tight with biker jackets everywhere and hair long enough to pose the issue of being stepped on as the Tribulation fans eagerly awaited the band's performance. First up to build the energy of the room was NAUT, a four piece drum machine rock band from Bristol who started creating music back in 2016. It’s always a nerve-wracking ordeal to be the first support band to rock the stage, but NAUT took it in their stride and had the room roaring with applause by the not just the end, but the middle of their set. Lead vocalist Gavin Laubscher showcased his vocal talent center stage while the rest of the band certainly gave Tribulation themselves a run for their money. Next up to boss the stage was Livgone, a doom metal band from France formed in 2005, who take emotion and feeling and display it in an entirely new and eardrum-shattering light. Lead vocalist and bassist Johannes Anderson worked the guitar as if it was an extra limb and blessed fans with the exact energy that they entered the venue to feel with help from Adam Zaars and Joseph Tholl shredding their guitars and Oscar Leander slamming sticks on his drum kit. After Livgone, the agonising thirty-minute wait for Tribulation began, but the wait was made all the more worth it when the stage was changed into this eye-catching colour changing church set and Tribulation finally graced us with their presence, with all the force and fire that fans have come to know and love from this four-piece. The band started off strong with the first track from their new album ‘The Unrelenting Choir’, with stunning instrumentals which set the tone of the rest of the performance perfectly and eased fans into the madness with the way in which the track builds from gentle bass into the powerful death metal sound that Tribulation are best known amongst their fans for. Tribulation then really began the venture through their brand new album with the intense track ‘Tainted Skies’ and as the guttural growls began, so did the formation of circle pits in all four corners of the venue. Tribulation gave the fans exactly what they travelled far and wide for during this track with powerful riffs, striking vocals, and pure talent that was impossible to ignore. The band then treated us with two insanely popular tracks from their 2018 album ‘Down Below’ and the crowd went wild with pure excitement as the introduction to the track ‘Nightbound’ was played pristinely and the second blast-from-the-past track ‘The Lament’ evoked the same reaction, if not bigger judging by the roaring crowd. The finger-breaking riffs from guitarist Adam Zaars made these two tracks invigorating to hear live with the passion and dedication emitted from those strings. The new album ‘Sub Rosa in Æternum’ was dipped back into following these two tracks and fans warmed up to the new music from the band at record pace, the raucous noise and feet slamming the floor shaking the very foundations of the building, and this energy was kept throughout the entire show. A couple of tracks later and much to fans' sadness, the performance was on its last few songs, but Tribulation would never let fans go home without giving them one last performance to remember them by. The final two tracks ‘Murder in Red’ and ‘Lacrimosa’ redefined the term ‘going out with a bang’. These two powerful tracks guaranteed a parting gift of whiplash for every single fan in the room, if it didn’t already happen during this extraordinary show. Tribulation have a talent for their performances speaking to every fan present, and this one was no exception. Words: Becca Wheeler Photos: Amy Smyth

Hailing from London, Wren’s much-awaited third full-length instalment does not disappoint. Avid fans and casual listeners alike will recognise the cathartic feel of Wren from their appearances in festivals such as Damnation, Desertfest and Raw Power, spreading their emphatic sound. ‘Black Rain Falls’ encapsulates all aspects of humanity into one neatly tied package of resounding potential. The opening track ‘Flowers Of Earth’ hits the mark right off the bat. With an ambient, rhythmic build-up that crescendos into some dominant lyricism, the deep, pounding grief that underlines the album is present from the start. The drumming carries a sense of wallowing to it, exhaling emotion with every punch and hammer. Written from a place of immense anguish after the tragic suicide of the band's close friend during COVID times, the trauma expressed throughout this track (and the album as a whole) resonates with all of us in a deeply personal and profound way. The subsequent tracks persevere with this dynamic tone. The overlapping vocals in ‘Toil in The Undergrowth’ create this great cacophony of sound, audibly conversing the multifaceted layers of grief the album explores. ‘Betrayal Of The Self’ holds so much power within it due to the intensity it carries, which only brings disappointment as the vocals feel quite strangled on this track, obscuring the poignant vocals at times. ‘Cerebral Drift’, the fourth title on this album, is notably different from the others - and not just in length. The instrumental track displays the more tortuous side of grief, delving into the internal, the cerebral, the intimate. By diverging from the rest and being a distinctive break from the emphatic vocals, it becomes a meditative moment of reflection, one that we all seek and need after the hard-hitting, all-consuming grief present. 'Black Rain Falls' is truly one of the best musical explorations of grief I have ever had the privilege to listen to. Drifting from denial, to depression to acceptance, it becomes a cry for every generation having to live in this desolate world we are all born into, solidifying and conceptualising all the desperation and anguish felt into seven striking songs. ‘Black Rain Falls’ will be released on February 21st 2025 via Church Road Records. Words: Dylan Milton Photos: Wren

In the realm of experimental music, few artists blend the eerie, ethereal, and haunting as seamlessly as Maud The Moth. With her upcoming album 'The Distaff', she has crafted a spine-chilling universe where ghostly vocals float over powerful yet swirling organ melodies, pulling listeners into a darkly mesmerizing landscape. 'The Distaff' marks a striking evolution in Maud's already captivating discography. Her previous releases often found her exploring the fringes of ambient, folk, and experimental music, creating worlds that are as beautiful as they are unsettling. In 'The Distaff', she steps further into the shadows, crafting a collection of songs that delve deeper into the eerie and the emotional, but with a more refined sense of control and intensity. This album pulls listeners into a world of mystery, melancholy, and beauty, inviting us to dive into the soundscape she's woven. The opening track, 'Canto de Enramada' (translated as 'Song of a Thicket'), immediately sets the tone, enveloping the listener in the dense, earthy atmosphere of a forest or secluded garden. Maud’s voice remains the central guide, fragile yet unwavering, leading us deeper into this mysterious realm. The track lingers, like the faint memory of a dream - a moment suspended between reality and myth. As the journey continues, 'A Temple by the River' leans toward peaceful reflection, blending nature and spirituality in a harmonious way, whereas 'Burial of the Patriarchs' carries a heavier, more solemn tone, punctuated by the repeating sounds of birds. This track embodies both the physical and emotional journey through different narratives. While these two songs flow seamlessly in their production style, the placement of 'Exuvie' disrupts the otherwise fluid motion of the album, shifting the mood unexpectedly. Known for her exceptional piano skills, Maud truly shines in the nine-minute epic 'DESPEÑAPERROS'. The track blends her masterful piano work with eerie string arrangements, creating a haunting atmosphere that evokes a deep sense of fear and rage. Throughout the piece, Maud's vocals take on an almost conversational quality, vocalizing an internal conflict that resonates with the struggles many women face. The tension in her voice mirrors emotional turmoil, adding an extra layer of raw vulnerability and power to the composition. 'DESPEÑAPERROS' becomes a journey through complex emotions, where both the instrumentation and her voice work in harmony to express unspoken battles. The concluding track, 'KWISATZ HADERACH', delivers a powerful meditation on the trauma experienced by the narrators. The song evokes a sense of acceptance, grappling with the feeling of an unknown, darker identity - one that emerges in the face of what is lost in the search for true self. 'The Distaff' by Maud The Moth is a captivating exploration of identity, trauma, and emotional complexity. Through its eerie vocals, intricate piano, and atmospheric arrangements, the album creates an immersive and haunting experience. Maud’s voice, delicate yet powerful, carries the weight of the album’s themes, navigating the struggles of loss, generational conflict, and the search for self. The lush instrumentation strikes a balance between beauty and darkness, drawing listeners into a world of vulnerability and raw emotion. However, while the album excels in atmospheric and emotional depth, some tracks can feel slow-paced, lingering in their introspective moods without adding enough forward momentum. The dense layers of sound occasionally obscure the clarity of the lyrics, making it harder to connect with the narrative on a more direct level. These moments, though, are few and do not detract from the overall power of the record. 'The Distaff' solidifies Maud The Moth as a unique and compelling voice in contemporary music, offering an album that will resonate deeply with those willing to embrace its darker, introspective journey. While not always easy to digest, it is a hauntingly beautiful and thought-provoking experience that lingers long after the music fades. 'The Distaff' will be released on February 21st 2025 via The Larvarum. Words: Mia Gailey Photos: Maud The Moth

God Complex are finally making a return to the scene after their last album was released way back in 2021. Their new EP 'He Watches In Silence' is their first music back, and the band are very keen for people to hear these five songs - they've said themselves that, when recording this EP, they "deliberately avoided lengthy pre-production and allowed small variations in the recordings, to embrace the mess and chaos that sit at the heart of our sound." The EP opens with the track ‘Salt and Ash’, which was originally released at the tail end of 2024 to truly welcome everyone to their new era and establish the sound they're bringing. The song starts with a minute of haunting instrumental, creating an eerie atmospheric sound. After this minute the listener is suddenly struck with thunderous drums and screeching guitars, before getting into the real grittiness of the EP - accompanied by the impressive screams of lead vocalist Harry Rule. The next song ‘Depraved Idol’ is the title track for this EP, the band describe it as a song that explores the imagery of rebirth in the idol of the Green Man which is a folklore story, many times depicted in art and architecture as a man reborn from foliage. The song opens heavily as the two vocalists go back and forth, and no two moments of the track are the same with each new section introducing new riffs and drums. A particular highlight of ours is the breakdown around a minute in that introduces apocalyptic bass riffs, with drums that pair together with the desolate bass for a perfect headbanging beat. ‘Ba’als Trick’ follows the themes of gods and deities and how they can manipulate the mind. The songs make up reflects these exact themes, with anguished shrieks and howls perfectly encapsulating the feelings one might have after having been fooled by a divine entity, and knowing there's nothing that can be done about it. The last two songs ‘The Judge’ and ‘Flooded Lungs’ carry on with these cataclysmic themes. ‘The Judge’, although short, at only one minute in length - leaves a lasting impact, as it comes in full throttle and features intense and vigorous drum beats that we can only imagine are a full body workout for drummer James Lyon to play. The EP closes out on ‘Flooded Lungs’, which has some of the most impressive vocal moments of the collection and repetitive guitar riffs that are sure to energise and channel the pure rage of the listener, closing out with a long instrumental section perfect for any keen mosher. Any caustic blackened hardcore fan need look no further than this EP, as it combines chaos and feral animal instinct to give the listener an experience full of heavy breakdowns, fast paced fearless vocals and addictive ear pricking guitar riffs. God Complex will be touring next month, so if you'd like to catch this abrasive release in person they'll be heading out shortly! 'He Watches In Silence' will be released on February 21st 2025 via SharpTone Records. Words: Amy Smyth Photos: God Complex