At first glance, the hundreds of cloaked figures waiting to enter the vibrant Usher Hall might have you wondering if there was a Renaissance faire. Instead, experimental folk collective Heilung, literally ‘healing’, accompanied by Faroese singer-songwriter Eivør, bring their atmospheric ‘ritual’ to Edinburgh. Their music voyages into the Norse myths and the rich history of Northern Europe, so it’s no wonder many in the crowd are donning silver-tipped wolf pelts and runic inscriptions carefully painted across their bodies. From their intriguing live debut at Castlefest in 2017 to the muddy fields of Download 2024, Heilung have mastered the art of crowd immersion and visual storytelling. Their current tour, ‘Albion Eiru ok Erop’, will be the last before they take a well-deserved hiatus, and so we couldn’t pass up the opportunity to witness them while we still can. Inside, birdsong and the sounds of rustling leaves cascaded throughout the room, and the clattering of fans still bustling in from the cold night surrounded us as Eivør Pálsdóttir crept onstage amid a moody blue lighting. She unleashed a powerful tone as she began ‘Jarðartrá’, oddly accompanied by movement that radiated a contagious joy. As she got to ‘Salt’, she unveiled her signature Sámi drum; it pulsated a hypnotising beat that kept us utterly spellbound throughout. ‘Hymn 49’ from the soundtrack of ‘The Last Kingdom’ drew us back into the Viking Age, with a carousel of spotlights over an occasional flashing red, creating a sense of alertness and perfectly preparing the room for the show to come. Before playing ‘Enn’, the title track of her latest album, she explained how it means ‘yet’ in her mother tongue, “as in having hope in very very dark times”. She joyfully ended with ‘Upp Úr Øskuni’, before thanking an entranced crowd and bounding off stage with her band. A curtain with Heilung’s mascot, the Warrior Snail, was mysteriously swung across the stage. It was gently drawn back and we were greeted by an entirely new set - the branches of trees swaying, deer skulls camouflaging the microphone stands, and drums lined with goat or deer skins. Subtle green spotlights with leafy motifs meandered across the audience. As the members came onstage, they looked part of the set, with Maria Franz and Kai Uwe Faust, lead vocalists, adorning antler headdresses and decorated, earthly robes. Kai intoned a short rite as part of ‘Opening Ceremony’ before lighting a bundle of sage combined with local herbs. The smell crept into every crevice. The rite allowed us to be an active part in the ritual, with the audience repeating phrases such as “remember that we are all brothers” and “we are all one”. The drumming began, and so did ‘In Maidjan’, contrasting with the calmness of before. The intensity continued throughout ‘Norupo’, as Maria takes centre stage, mesmerising us with her high notes. Wolf howls echoed across the room, the band and crowd blurring into one pack, signalling the start of ‘Alfadhirhaiti’, and the introduction of the rest of the band as our warriors. Throughout ‘Asja’, they began to embody the Norse runes through sharp movements, in ‘Svanrand’, they honed them, and by ‘Urbani’, the symbols were glowing blue across their skin. The beat intensified with real human bones slamming against the animal skin of the drum, building up to ‘Othan’, the height of a Viking raid. Looming stone columns were projected behind them, and razor-edged beams of light cut across the stage, transforming the Georgian interior of the venue into a grand palace being ravaged. As we approach ‘Nikkal’, the pace slows down. Maria’s enchanting and eerie vocals, accompanied by omnipresent blue lighting had the crowd in a stunned silence. ‘Hamrer Hippyer’ was one final offering, a celebration of the ritual almost at completion. Some of the warriors jump down and weave through the crowd to the sound of the rhythmic drumming, making the audience a truly integral part of their victory. Kai shushed the ravenous crowd for ‘Closing Ceremony’, with the group forming a reflective circle and the smell of burning sage enveloping the room once again. Following along, the hands of the crowd raised skyward in surrender, with the remaining foliage scattered over us like a calming rain. The triumphant display concluded respectfully and in stark contrast to the civilised chaos we had just witnessed, before descending back into the ambient sounds of the forest we were initially greeted with. With Eivør gently coaxing us in and Heilung allowing us to join them on their shamanic journey, it felt as though we walked in as audience members and left having been participants of something truly healing. Words: Chloe Sodeau Cover Photo: Afra Gethöffer-Grütz

At the forefront of today’s pop-punk scene is Neck Deep, the band shaping the genre’s future with their bold creativity and unmistakable sound. Performing at Slam Dunk Festival 2025, the band is guaranteed to bring their A-game and perform songs that fans know and love. From songs that capture life’s ups and downs to songs that make you want to dance like nobody’s watching. Whether you are just discovering the band or are a longtime listener, these songs show the best of what Neck Deep has to offer. 10) Fall 'Fall' is a catchy yet deeply emotional introspective track from 'All Distortions Are Intentional', released in 2020. In contrast to Neck Deep’s usual fast-paced, high-energy style, this song adopts a more mellow and atmospheric tone. The blend of instruments and Ben Barlow’s raw, heartfelt vocals make this track an underrated gem. 9) MOTION SICKNESS 'Motion Sickness' kicks off 'The Peace and The Panic 'with high-energy intensity, featuring punchy drums, fast guitars, and anthemic vocals right from the start. The song’s fast pace serves as a metaphor for life’s unpredictability, a theme that runs throughout the track. With its explosive, infectious chorus, the song is filled with relatability, making it an easy one to sing your heart out to. 8) TAKE ME WITH YOU 'Take Me With You' is an energetic, catchy track that embraces Neck Deep’s pop-punk roots. With its unique Sci-Fi theme, punchy guitar riffs, and infectious vocal melodies, the song channels a nostalgic early 2000s pop-punk vibe. It’s a fun and lighthearted addition to their discography, offering a sense of nostalgia for long-time pop-punk fans while serving as a perfect introduction for new listeners to Neck Deep’s sound. 7) A PART OF ME 'A Part of Me' is one of Neck Deep’s most memorable tracks, immediately tugging at the heartstrings. This acoustic ballad, featuring guest vocals from Laura Whiteside, stands out for its raw simplicity, offering a contrast to the band’s typically heavier pop-punk sound. Lyrically, the song is both heartbreaking and beautiful, telling a deeply personal and relatable story of heartbreak. The blend of Whiteside’s and Barlow’s voices creates the sense of a conversation between two people with lingering, unresolved emotions. It’s a timeless song that continues to resonate, drawing listeners back again and again. 6) IT WON'T BE LIKE THIS FOREVER 'It Won’t Be Like This Forever' is an uplifting and hopeful track from Neck Deep’s 2024 self-titled album. The song delivers a reassuring message about change and resilience, striking a perfect balance between raw emotion and energetic momentum. Its lyrics are emotionally resonant without being overly sorrowful, offering a sense of comfort and optimism. 5) SONDERLAND 'Sonderland' a track from Neck Deep’s 2020 album All Distortions Are Intentional, released during a time when nothing felt real. The title blends “sonder”- the realisation that everyone lives a life as vivid and complex as your own- with “wonderland,” a dreamlike escape from reality. Staying true to themes of isolation, self-doubt, and struggle, the song captures the overwhelming nature of the world- a feeling that resonates deeply with listeners. 4) DUMBSTRUCK DUMBF**K 'Dumbstruck Dumbf**k' is a high-energy song that blends Ben Barlow’s raw emotion with powerful guitar riffs perfectly capturing the frustration and chaos of a toxic relationship. Not to mention the infectious hooks and electrifying energy that keep listeners hooked from start to finish-a track that’s bold, relentless, and unmistakably Neck Deep. 3) DECEMBER 'December' is one of Neck Deep’s most emotionally raw and heartfelt tracks, standing out as a powerful ballad that beautifully captures the complexities of human emotion. The lyrics paint a vivid picture of heartbreak in real time-the bitterness, sadness and acceptance colliding at once. It perfectly conveys the longing for a lost relationship while feeling the weight of its absence, making it an unforgettable and deeply moving experience for any listener. 2) CANDOUR 'Candour', the final track from Neck Deep’s debut album in 2014. It stands out as one of their most vulnerable and raw songs released, it has a universally relatable theme reflecting on love, loss and the passage of time. This gut-wrenching song has an emotional range that not only helps elevate the song but also leaves a lasting impact on the listener, making it another fan favourite. 1) IN BLOOM 'In Bloom' is simply an unforgettable track that stands out from the rest of the album, different from their usual faster-paced pop-punk anthems. this song pairs a melodic and mellow approach with soft verses and powerful choruses, exploring both internal and external struggles, earning this track the title of fan favourite. Catch Neck Deep at Slam Dunk Festival this may, alongside A Day To Remember Words: Morgie Ashman

Incineration festival specializes in extreme metal yet this year’s lineup has a very eclectic mix of bands to check out. From some old school goth vibes to proggy weirdness to some of the most beautiful stage shows in metal theres a lot to check out, this list aims to give you a starting point of 10 bands you should check out playing this year. NAUT Naut aren’t exactly a metal band they share more musical DNA with 80s goth bands. Their danceable gothic songs make them a perfect band to check out between the heavier sets of the festival while remaining dark and atmospheric. The perfect band to check out for a brief goth interlude at the festival. DECAPITATED One of the many legendary bands playing the festival are Decapitated. Known for their iconic brand of death metal they are beloved by many in the scene. They are sure to bring a brutal set to the festival. They have a legion of dedicated fans who will be sure to bring some craziest energy of the weekend. The perfect band to check out to see living legends still playing. BLOOD INCANTATION Blood Incantation dropped one of the greatest albums of 2024. This will be their first set in the UK after they dropped the monumental ‘Absolute Elsewhere’. The buzz about them in the scene has been nothing short of electric so that energy will definitely translate into the crowd when they play. Their unique take on progressive metal is unlike anyone else around currently. The perfect band to watch for proggy goodness. CRYPTOPSY Cryptopsy are death metal legends hailing from Canada. Their music is classic brutal death metal, perfect for head banging so hard your hair flies everywhere. They are iconic and always bring the perfect vibe to go crazy to, pure heavy catharsis. Being just over 30 years since their debut studio album this set will be a celebration of the band. The perfect band to head bang to. BEDSORE Italian prog metallers Bedsore are a fairly new band, their sound reflects this but also has elements of 70s prog. They are a blend of old-school prog with more modern metal. They aren’t the heaviest band playing but pack a punch. They are in a similar vein to Blood Incantation. This set is their UK debut, so it truly is a set not to be missed as you won’t be able to see this set anywhere else. The perfect band for people looking for more prog at the festival. TRIPTYKON Celtic Frost are one of the founding pillars of black metal. What better way to celebrate this legendary band by seeing the founding member’s new band Triptykon play a set of Celtic Frost material. The influence of Celtic Frost on the wider extreme metal is not to be underestimated, the band’s stylings will be seen reflected in many of the acts playing the festival. There hasn’t been a chance like this to celebrate Celtic Frost in the UK so it’s sure to be an emotional set. The perfect band to see where extreme metal started and celebrate what it led to. WARBRINGER Bringing some thrash into the festival American band Warbringer will bring a truly mosh filled set. Thrash fans are known for going crazy in pits, and Warbringer’s fans are no exception. The band has great riffs and great energy which will be a different kind of energy compared to black and death metal bands playing. This is sure to be a fun set to just let loose. The perfect band for getting your 10,000 steps in the pit. DEATH COLLECTOR Founded in 2021 by the original drummer of Bolt Thrower DeathCollector are very old-school death metal. Expect everything you love about the genre pure intensity, heavy riffs and brutal vocals. With only one EP and one album out the band don’t have loads of material but what they do have is great. The perfect band for those looking for new death metal that harkens back to the genre’s past. COFFIN MULCH Another one of the newer bands on the lineup with their debut album coming out in 2023, Coffin Mulch are a modern death metal band. Hailing from Scotland they will be bringing a truly brutal set of their music to the festival. Causing buzz in the scene it will be a chance to see the band play to a crowd hungry for new music in the genres they live for. The perfect band to see for a new taste of death metal. BATUSHKA Batushka are one of the most beautiful bands live in metal. Their sets are inspired by the orthodox church so feature heavy usage of candles and incense. The amount of candles they use on stage is truly like nothing else in metal, being faced with this brutal black metal while the band are encased with candle light is something special. These religious undertones also feature in the band’s music creating a very unique atmosphere when played live. If you haven’t had the chance to see them live go see them at the festival. The perfect band to see perform a beautiful stage show. Words: Will Freeman

Catch Your Breath rolled into Bristol with something to prove—and they didn’t disappoint. The Fleece, known for its no-nonsense charm and sticky floors, set the perfect stage for a night of soaring choruses, heavy riffs, and raw emotion. From the first note, the band had the crowd hooked, blurring the line between vulnerability and chaos in a way that felt both personal and powerful. This wasn’t just a gig—it was a release, a night for the fans to come together and lose themselves in the music. Of Virtue kicked the night off with explosive energy, delivering a set that immediately pulled the crowd in. Frontman Tyler Ennis didn’t just command the stage—he dove into the pit mid-set, merging with the crowd in a surge of shared intensity. Between the crushing riffs and soaring choruses, guitarist Damon Tate took a moment to share a personal milestone: 18 years sober. It was a vulnerable admission that resonated deeply with the audience, setting the tone for a night of connection and catharsis that would only intensify. Hailing from Buffalo, New York, Until I Wake stormed the stage with their track "Catacombs," instantly setting the tone with haunting melodies and razor-sharp breakdowns. Their set was a seamless mix of old and new, with tracks from their latest album, Inside My Head (2022), blending effortlessly with fan favorites from their 2021 self-titled EP. They wrapped up their set with a crushing one-two punch of “Self-Medicated,” and a final, guttural blergh that sent the crowd into wild chaos. Critics might call them another metalcore band, but live, Until I Wake proved they're carving their own unique path—with polish, passion, and just the right amount of chaos. The energy in the room surged as Catch Your Breath launched into “Ghost Inside the Shell,” immediately setting the stage for an electrifying night. Their high-octane performance never let up, keeping the crowd locked in from start to finish. Fan favorites like “21 Gun Salute” brought the house down, but it was the personal moments that truly defined the evening. Frontman Josh paused to dedicate the song "Good in Goodbye" to guitarist Teddy’s late grandmother. As the crowd’s phone lights illuminated the venue, fans joined in, singing the chorus back to the band. The room was filled with an overwhelming sense of hope and light, and for anyone who had lost someone, that moment felt like a shared breath of healing—a truly emotional release, leaving everyone feeling connected on a deeper level. As the energy returned, Catch Your Breath tore through “Savages” and “Cycles,” with Josh offering a personal shoutout to anyone who had a parent who “didn’t give a shit about them.” The crowd roared in response, with Josh demanding the biggest circle pit of the evening during “Cycles.” The reaction was explosive—the crowd was on fire, feeding off the band’s raw energy and the freedom they embodied, creating an atmosphere where everyone was part of something much bigger than just a concert. The night reached its climax with “Shame on Me,” but even that couldn’t extinguish the fire. The crowd, hungry for more, shouted “One More Song!” at the top of their lungs. Catch Your Breath didn’t disappoint. They returned to the stage to end the set with “Y.S.K.W.,” giving everything they had. By the final notes, the band had fully captured the crowd’s heart and left them with nothing but pure energy and unforgettable memories, ensuring that this night would remain with them long after the last chord was struck. Words: Mia Gailey Photos: Teala Lynas

​Face Yourself's latest EP, Martyr, is a relentless exploration of mental health struggles, blending ferocious deathcore instrumentation with emotionally charged themes. The five-track offering, released via Sumerian Records, showcases the band's ability to intertwine sheer aggression with lyrical vulnerability.​ Opening with 'Primal', the EP sets an intense tone. The track begins with a distorted phone recording of a label representative describing the band's music as "a little more primal." As the word "primal" is uttered, the song plunges into a barrage of guttural vocals and relentless drumming, immediately immersing the listener in the band's raw energy.​ What stands out immediately about Martyr is Face Yourself's ability to speak through their instruments as much as through lyrics. Every blast beat, every tremolo riff, and every unrelenting growl tells a story that words alone couldn't convey. The lead single, 'Predatory', delves into themes of trust and betrayal. According to the band, the song narrates a modern story with metaphoric imagery, depicting a dance with a stranger that quickly turns dangerous. The track's brutal instrumentation mirrors the dark undercurrents of vulnerability and self-preservation. ​ 'The Poet' continues the onslaught with intricate guitar work and dynamic tempo shifts. The track's composition reflects the tumultuous journey of confronting one's inner demons, seamlessly blending melodic interludes with crushing breakdowns.​ The song’s frantic pacing feels like a panic attack in musical form; urgent and claustrophobic. Through the chaos, there’s a strange sense of clarity, as if the music itself is helping process the pain it’s expressing. 'Saboteur' stands out with its unexpected introduction, incorporating airhorn sounds that catch the listener off guard. This creative choice transitions into a powerful display of vocal interplay between lead vocalist Yasmine Liverneaux and backing vocalists Corey Doremus and Kyle Muenzner, exemplifying the band's innovative approach to the genre. The instrumentation isn’t just a backdrop to Face Yourself, it’s confrontational. The chugging riffs and screamed refrains almost feel like an argument with oneself, a back-and-forth between hope and despair. Closing the EP, 'Sideration' encapsulates the essence of Martyr. The track features electronic elements that add a modern twist to the band's deathcore roots. The atmospheric intro builds into a heavy, layered composition, symbolizing the cyclical nature of mental health battles and the balance between empowerment and self-doubt.​ There’s something beautifully tragic about how the melodies float above the chaos—fragile yet defiant. It’s as if the band is holding a mirror up to the listener’s darkest thoughts and saying, “You’re not alone.” That emotional resonance, delivered not just by lyrics but through the music’s weight and shape, is what makes Martyr stand out. Produced by Joey Sturgis, known for his work with Asking Alexandria and Of Mice & Men, Martyr achieves a polished yet raw sound that captures the band's emotional intensity. The EP reflects the non-linear journey of healing, acknowledging that confronting one's demons often involves revisiting dark places before finding light. In summary, Martyr is a compelling addition to Face Yourself's discography, offering listeners a visceral experience that resonates both musically and emotionally. The band's fusion of aggressive deathcore elements with poignant themes sets them apart in the modern metal scene.​ Score: 7/10 Martyr will be released on April 18th 2025 via Sumerian Records. Words: Jason De Mendonca Photos: Face Yourself

Emerging from the mystical terrain of Umbria, where tremors of the earth meet the whispers of saints, Italian experimental duo Folwark return with their most immersive work to date. All Shadows Stretched is a six-track odyssey recorded in the belly of an abandoned mining site, an origin that feels as intentional as it is symbolic. Balancing tectonic weight with spiritual sensitivity, the record unfolds like a landscape you slowly realise you’ve been standing in for ages. Where 2019’s VIMĀNA sketched Folwark’s otherworldly ambitions, All Shadows Stretched paints them in vivid, haunted hues. The band—Francesco Marcolini (guitars, synths, vocals) and Tommaso Faraci (drums, theremin, vocals)—shape sound into terrain, building out a realm where doom-laden riffs, ambient mantras, and ritualistic rhythms pulse as one living, breathing entity. The opener, 'To Plough the Waves', rises from stillness into a storm, layering drones and tension before crashing into jagged rhythmic peaks. There’s a feeling of something ancient being unearthed here, less like a performance and more like an invocation. The guitars churn and spiral while drums shift between steadiness and collapse. 'The Depths' swells with dread and sacred stillness. Ghostly vocals hover above sparse, deliberate beats and grinding textures. Folwark don’t force catharsis. They shape space for it. Every note feels like it was unearthed rather than written, the emotional landscape unfolding through patient, unhurried movements. 'Amygdala', with its nervous, twitching energy and cathartic outbursts, plays like the emotional centerpiece of the album. Named after the brain’s fear- processing region, it feels like a transmission from deep within the psyche. Guitars roar and pull back. Drums erupt like panic attacks. The theremin’s eerie glissando carves holes in the air. The track becomes a sonic embodiment of emotional fragility, each instrument not merely accompanying the voice but speaking directly in its own dialect. 'Vacuum Dancer' introduces a more rhythmically direct energy. Though still heavy, there's a driving groove here that pushes forward with ceremonial intent. It's a song that carries you in its motion. Less aggressive than entrancing, it moves like a heartbeat syncing with something larger. Folwark’s looped vocal mantras and spiraling rhythms create a trance state where repetition reveals more than it repeats. 'Oval Night', the longest track at over nine minutes, sits in a space of suspended darkness. Guitars weep and pulse in waves, synths glimmer dimly beneath layers of low-end grit, and the vocals come in like distant chants. There’s a hushed reverence here. Bleak, yet strangely affirming. It’s the kind of song that feels like memory: shadowy, imperfect, but filled with meaning. Closing with 'Agartha', the duo steps into a sense of resolution. Named after the mythic underground city, the track merges glacial synths and post-rock elegance with flashes of quiet triumph. This is not a climax but a resurfacing. Something has changed, though you may not be able to name it. Folwark leave you with the residue of the journey rather than a final proclamation. With mixing and mastering by Lorenzo Stecconi (Amenra, Ufomammut, ZU), the record strikes a delicate balance between rawness and clarity. Every tone breathes. Every sound has a pulse. The production lets atmosphere and emotion lead without sacrificing force. All Shadows Stretched is an experience built from introspection and restraint. Folwark speak through their instruments with a kind of emotional precision that transcends language, channeling tension, wonder, grief, and release in equal measure. This is music that listens back—quietly powerful, patiently transformative, and rooted in the spaces between. Score: 8/10 All Shadows Stretched will be released on April 18th 2025 via Octopus Rising. Words: Jason De Mendonca Photos: Folwark

Closing in on a decade as a band, The Pale White are returning with their hotly anticipated second album, The Big Sad. The Geordie trio, made up of brothers Adam and Jack, and third member Tom, are slamming back onto the alt-rock scene with their scorching new album full of heavy riffs and labyrinthine baselines and vocals. This rhythmic triumph of a “self-produced and self-confident” album will help cement The Pale White as firm favourites in the alt-rock scene of 2025. Kicking the album off, ‘Lost In The Moment’, starts with a nostalgic sounding beat accompanied with building, almost ethereal vocals bursting into a solid drum beat as the song springs into life. Introducing who The Pale White are, ‘Lost In The Moment’ feels very reminiscent of early 2000s indie rock, and with that brings around feelings of summers spent growing up and finding yourself, then losing yourself and it is a belter of an opening track. Some of the vocals do tend to get lost in the power of the instrumental, and with vocals from frontman Adam Hope, that is not something you want to happen. Sticking with the stripped back, easy listening feel, ‘Lost In The Moment’ fades really nicely into the next track, ‘Final Exit’. Once more exhibiting Hope’s vocals in a way that feels significantly different from their 2021 album, Infinite Pleasure. His vocals feel more realised, like they fit with the music being made. The twinkly yet heavy, almost Bowie-esque feel of their sound, truly compliments Hope's vocals. The lyrics focusing heavily on personal change and how that can get lost in the repetition of everyday relationships, hit home for listeners on an album Hope described as “an album of honesty and purity.” This is particularly evident on ‘Final Exit’, that fades into an outro you can’t help but rewind to hear again and again. Fueling a genre shift, part way through the album listeners are greeted with ‘There’s An Echo’. Immediately springing into action, the song begins with an eerie beat going straight into a dirty bass groove that you can’t help but move your head along to. Moving into the chorus, the mood lifts slightly with the addition of a light guitar riff and a strong beat from the drum skills of Jack Hope, which all add to the complexity The Pale White were hoping to add to this album. As one of the longer songs on the album, ‘There’s An Echo’ allows the listener insight into where the band were when they formed this album, you can hear all the musical textures they purposefully added and you can feel the passion behind the music. Experimentation can work wonders, especially on a second album, as a band will have already made who they are known. It can allow them to take slight risks. The 53 second track, ‘Interlude’, feels like The Pale White’s experiment that hasn’t truly landed. It feels too electronic, too produced against the dreamy, melodramatic nostalgia the rest of the album evokes. The addition of the conversations in the studio are great, they allow an insight into the band as people and it brings the music to life, it just feels like it would be better added to one of the songs already on the album, rather than separating it out as a track. The album comes to its natural conclusion with the title track, ‘The Big Sad’. Focusing heavily on the 60s inspired flourishes that weave their way throughout this album, ‘The Big Sad’ flirts once again with the idea of the mundane and this idea of being down but not choosing to focus on it, all encapsulated with whimsical feeling synth notes. As a closing for an album, ‘The Big Sad’ leaves you wanting that little bit more. It doesn’t feel like the album ends where it should, and leaves you wanting more but not having that sense of satisfaction that it’s finished. With The Big Sad, The Pale White have set out to accomplish something ambitious, and while some tracks can feel slightly misplaced at times, we feel that they have achieved something that is musically invigorating. Capturing an essence of hometown music, with a feeling of big, loud alt-rock, The Pale White have created a sophomore album that lives up to the hype of their sound, and it is an album they should be boasting about. Score: 6/10 The Big Sad will be released on April 18th 2025 via End of the Wall Recordings. Words: Emily Bancroft Photos: The Pale White

Gama Bomb return with Necronomicon Automaton, a four-track whirlwind of classic thrash chaos, clocking in just under 15 minutes. Despite its conciseness, this EP packs a serious punch, offering everything fans have come to love from the Irish crew: high-speed riffs, off-the-wall lyrics, and a tongue planted so firmly in cheek it’s almost trying to burst through. While these tracks were initially written during the sessions for 2023’s BATS, they’ve been refined and repurposed into a tightly-wound, standalone release that never once feels like an afterthought. Opening track ‘Nunchuks!’ is a feral, fast-paced tribute to martial arts weaponry, kicking the door open with shredding guitars and absurdly brilliant lyrics. Lines like “I bless you in the name of the nunchaka-ka-ka-ka!” are delivered with pure conviction, as frontman Philly Byrne barrels through the track like a mad prophet in a dojo of thrash. It’s everything great about Gama Bomb distilled into two-and-a-half minutes: fun, frenetic, and gloriously unhinged. ‘Intror the Deceiver’ follows with a dramatic introduction that sets the scene like a VHS-era horror trailer. It’s short, but not throwaway; more like a chaotic invocation, inviting the listener into the bizarre world that lies ahead. Gama Bomb has always embraced theatricality, and this track adds a layer of dark camp that ties the whole release together. Third track ‘Necropanzer’ turns up the heaviness, rolling out a tale of mechanised destruction and undead warfare. It’s arguably the most aggressive moment on the EP, channeling classic thrash tropes through the band’s uniquely warped lens. There’s a slight edge of menace here, but it’s never too serious, Gama Bomb know exactly when to smirk and when to shred. Closing with the title track, ‘Necronomicon Automaton’, the band dive headfirst into Lovecraftian horror and retro sci-fi mayhem. Twisting riffs and machine-gun drums power a song full of arcane texts, cursed tech, and mechanical monsters. The name itself, ‘Necronomicon Automaton’, is an intentionally ridiculous tongue twister, perfectly summing up the band’s love for absurdity and theatrical flair. If you can say it three times fast, you’re probably possessed. Production duties fall to guitarist Domo Dixon, whose mix balances raw aggression with clarity, giving the EP a livewire energy that captures the band’s signature chaos without sounding muddy. The cover art, by horror illustrator Graham Humphreys, features the band’s skeletal mascot Snowy in a séance inspired scene that looks ripped from a Victorian fever dream, an aesthetic that fits perfectly with both the EP’s bizarre themes, and Snowy’s progression from yeti, to vampire, to ectoplasmic entity. All in all, Necronomicon Automaton is a compact but complete offering that showcases Gama Bomb’s enduring knack for fusing razor-sharp thrash with ridiculous storytelling and irreverent humour. It might be brief, but it’s loaded with character, and it only reinforces their position as one of the most entertaining and unpredictable forces in modern thrash. Score: 7/10 Necronomicon Automaton will be released on April 18th 2025 via Prosthetic Records. Words: Vee Richardson Photos: Gama Bomb

After a decade of silence, shoegaze heavyweights Superheaven are back with their new self-titled album. Recorded and produced by the band’s own Jake Clarke and Zack Robbins, alongside the iconic Will Yip, the album is a natural evolution of their signature mix of post-hardcore grit and thick, melancholic fuzz. Known for bridging the gap between ‘90s alt-rock nostalgia and modern heaviness, Superheaven’s comeback feels both timely and timeless—an album that embraces their roots while pushing their sound forward. Formed in 2008 and known then as Daylight, the band released a handful of EPs before their much-celebrated debut album Jar in 2013, quickly followed by a name change. Though they never officially disbanded, the band all but ceased to be following the release of 2015’s Ours Is Chrome. A handful of one-off shows and secret sets followed in the next few years, culminating with the release of the single ‘Long Gone’ in November 2024. The band’s first release since 2015. Superheaven’s self-titled return wastes no time, instantly reminding us what we’ve been missing—and craving—throughout their absence. The album opener ‘Humans For Toys’ checks all the boxes and sets the bar for a record stacked end to end with future classics. Shoegazey, fuzzy riffs, and Jake Clarke and Taylor Maddison’s immediately recognisable vocals hit like a long-awaited homecoming. ‘Numb To What Is Real’ continues to raise an already lofty bar with a huge anthemic chorus and soaring vocals. This is a band that is not just finding its footing again but is fully hitting its stride. There’s enough growth and experimentation here to propel Superheaven into their next chapter while still maintaining the unmistakable DNA that made them cult favourites in the first place. It’s a comeback that feels both assured and necessary. Other standouts from the album include ‘Sounds Of Goodbyes’. This track leans heavily toward the band’s roots, which longtime fans will really connect with. It's a track that wouldn’t feel out of place on either Jar or Ours Is Chrome, yet still feels fresh within the album’s more expansive palette. Meanwhile, ‘Long Gone’ —the first track fans heard following the band’s return—still hits just as hard, serving as both a bridge between past and present and a reminder of Superheaven’s ability to make heartbreak feel anthemic. Superheaven is a triumphant return for the Pennsylvania five-piece. This record feels less like a comeback and more like a seamless continuation of everything they do best. After a decade away, it’s genuinely impressive to see the band slip back into their sound with such ease and confidence - it’s truly as if they never left. There’s no trend-chasing or heavy reinvention here that you may come to expect with a band returning from such an extended hiatus as Superheaven has. Instead, they’ve simply doubled down on what made them so special in the first place. This album isn’t just a return to form—it’s an outstanding reminder of Superheaven’s enduring influence on the heavy shoegaze and grunge revival scenes. If Jar was their arrival and Ours Is Chrome their refinement, Superheaven feels like their reaffirmation. A bold, confident statement from a band who’ve always known exactly who they are. Score: 9/10 Superheaven will be released on April 8th 2025 via Blue Grape Music. Words: Andrew Nile Photos: Superheaven

With Back From Hell, Caliban are reborn. After more than two decades at the forefront of European metalcore, the German heavyweights have returned swinging with an album that doesn't so much reassert their legacy as redefine it. Musically tighter, more streamlined, yet as emotionally raw and pummelling as ever, this is Caliban at their most condensed and brutal. The album doesn't waste time knocking on the door, it barrels straight through it with no apologies. 'Resurgence' simmers like a storm on the horizon, the perfect introduction to an album of pure metalcore, before erupting into the non-stop fury of 'Guilt Trip', featuring Mental Cruelty's Lukas Nicolai, adding extra venom to the track. It's clear that Caliban are operating with laser-like precision and newfound focus. The riffs cut deeper, the drums hit harder, and every shift in intensity seems deliberate. There's a renewed accuracy to the songwriting that we haven’t seen before. Each track hits like a calculated explosion; feral in impact, but engineered with precision. A noticeable part of that renewed clarity comes from the addition of Iain Duncan on bass and clean vocals, who slots into the lineup so naturally it's hard to believe this is his first album with the band. His presence is immediately felt, not just in the low-end and rhythm, but in the emotional heft he brings to the choruses. 'I Was A Happy Kid Once' is a particular standout, not just for its emotional resonance, but for the way Duncan's melodic vocals are so seamlessly integrated into the chaos. His voice doesn't just soar, it aches, carving out space in the track's dense, punishing landscape. It's a perfect display of Caliban's dualism: haunting vulnerability colliding with devastating heaviness. What's remarkable is the fact that the band are capable of moving forward and showing intense progression without abandoning that which made them so excellent. The riffs still drop like slabs of concrete, the breakdowns still leave craters in their wake, and there's no shortage of fury in Andreas Dörner's vocals, but there's so much more depth this time around. Dörner's vocal effort is nothing short of transcendent, the work he’s put into elevating his skill is visible, and the result is a rawness that cuts straight through. His delivery is the emotional anchor of the record, and the rest of the band falls in behind him like a well-oiled machine. Songs such as 'Back From Hell' (with Jonny McBee of The Browning) and 'Dear Suffering' (with Joe Badolato of Fit For An Autopsy) increase the pace without descending into chaos, highlighting a band who are well aware of when to let go and when to rein it in. The band tread the path between brutality and restraint with comfort. 'Overdrive' bursts in like a runaway freight train; urgent, relentless, and built to get a pit going within seconds. Its groove is infectious, locking into a rhythm that all but dares you to stay still. Görtz and Schmidt play some of their most pinpoint accurate and inventive guitar work to date throughout the album, balancing razor-sharp riffing and eerie, melodic undertones that lend the bedlam real depth. Whether it's the vertiginous layering of 'Glass Cage', the nerve-jangling dissonance of 'Insomnia', or the battering hooks of 'Solace In Suffer', the chemistry between them is undeniable. No less vital is the drumming of Patrick Grün, precise, pounding, never overplaying. Every fill and blast beat is like it's been waiting for its moment and explodes like a bomb. 'Till Death Do Us Part’ hits with emotional venom, a slower burn that festers under tension before ultimately erupting. Closer ‘Echoes’ draws it all together: a perfect finale that melds melody and aggression in equal measure, and one of the finest examples of Caliban's new-found balance. What distinguishes Back From Hell is not just how heavy it is, but how realistic it sounds. These are not just songs built for pit destruction, they're built from scars, loss, trauma, and resilience. There's history on this record. There's growth. There's survival. Caliban haven’t just made a great record. They've made a statement: evolution doesn't need to equal erasure. That you can be heavier, sharper, and more ambitious without sacrificing who you are. Back From Hell is a new high point in an already storied career. Score: 8/10 Back From Hell will be released on April 25th 2025 via Century Media Records. Words: Vee Richardson Photos: Caliban

The U.K. heavy music scene has never been more back! Heriot are a band that don't fit in any single genre (they just siege!) they brought the very best of U.K. hardcore across the country with them. London’s finest False Reality opened the show and had limbs flying everywhere from the first note. Releasing their debut album a year ago has put False Reality on a path from the underground towards stardom in the U.K. hardcore scene and beyond. Their debut album 'Path of Self Destruct' released in April of 2024 to great acclaim and the crowd proved that in the year since it came out the hype has not died down in the slightest. They were a perfect choice to open the night by shaking the room with their colossal hardcore sound. Closing the set with their song Opposites Attract rounded out a fantastic set that brought the energy and left the crowd eager for the next band Grove Street. False Reality are ones to watch in the hardcore scene because they will be making big waves. Hailing from the south coast Grove Street brings the best of hardcore and thrash mixed together into a high energy sound. Having recently released the single 'Ultimate Penalty' with Josh Middleton of Sylosis, it shows that they are a band who are destined for greatness. The release of their LP 'The Path To Righteousness' in 2023 has brought in a wave of fans for the band and they've capitalised on this excitement by forging a name for themselves as one of the must see up and coming live bands in the heavy music scene. By their own words they are a band who want to make sure the crowd has fun and value that most of all. Vocalist Ben ‘Sully’ Sullivan encouraged the crowd to move in and make sure that the whole crowd had fun. With the band looking as though they're on the lead up to a new album it's definitely worth keeping an eye on them as they're onto big things. Heriot are a band that have been rapidly building a big fan base since their self proclaimed “relaunch” in 2019 when they added vocalist and guitarist Debbie Gough to the lineup. Embarking on this headline tour across the U.K. after dropping their album Devoured By The Mouth Of Hell there was huge excitement to see how they could bring the sound of the album to live shows. Heriot are a band whose sound is like a wall of destructive noise hitting you with unrelenting force at their heaviest and an ethereal dreamscape in other parts. The shared vocals of guitarist Debbie Gough and bassist Jake Packer is the perfect dynamic to suit their unique style. Bone crushing riffs are ripped through by the sound of Debbie Gough’s cacophonous high screams and Jake Packer’s discordant low growls. Opening their set with the mighty 'Sentenced To The Blade' brought riffs that could be felt to the very core from the opening seconds and a snare drum that is probably still reverberating through the bones of everyone in the room. There was no moment to let the energy die down when they moved onto playing Enter The Flesh from their 2022 EP 'Profound Morality'. Moving into the lead single 'Siege Lord' from Devoured By The Mouth Of Hell showcased the craft that went into the new album and allowed the band to prove just how perfectly in sync with each other they are on stage. The song ending on a monumental breakdown that sent the moshers flying around the room. The set was a perfect blend of letting the fans hear the gargantuan sounds of the new album while also playing old fan favourites like the wildly popular 'Demure'. The slow build up of the song gave time to split the room in half and left a moment to breathe in anticipation of the thunderous mosh pit erupting when the crushing riffs hit. Closing the set with 'At The Fortress Gate' got the crowd to bring the energy for one last audacious mosh pit that was absolutely full of bodies and limbs flying in all directions. The tour was an overwhelming success with multiple sold out shows in some of the most iconic underground venues through Scotland and England which culminated in Manchester’s exemplary venue Rebellion. Heriot are a band on an unstoppable rise through heavy music and this tour proved that there are countless reasons to keep them on your radar. Words: Alex Long Photos: Mia Gailey

The long anticipated ‘Unholy Trinity’ tour visited their one UK stop in the O2 Brixton and to say it was spectacular would be an understatement. The eternal queue was full of fans painting each other's faces and showing off their jackets, it truly seemed like a perfect place to meet new people before the unholy ceremony. Rotting Christ being the first on the bill began the trinity in the unholiest way possible: glorious head banging and celestial lighting whilst referencing the reformer statue. This angelic performance livened the crowd for a night of sin, the cheers were as electric as the guitar as each member showed off their devotion. Playing classics such as “Like father, Like son” and 666 they were a perfect stater to the much anticipated night. With a 45 minute set, Saki Tolis commanded the audiences devotion with an atmosphere steeped in shadowy mystique and relentless darkness as they responded fists in air. The crowd erupted in cheers and chants, not a single fist wasn’t pounding up high, Rotting Christ once again proved they know how to start a show. Having not played the uk since the early 2000, having played in Brixton last supporting Pantera, it was a long awaited return for the Norwegian legends that are Satyricon. Satyr joked that the last time he was in Brixton, audience members on the balcony beside him kept demanding he sit down, he encouraged the balcony to stand up and bang their heads. It was during Satyricon we saw the crowd increase as many were still queuing during Rotting Christ, they played in front of a backdrop of dark birds in a stormy sky which set the stage for this dark and majestic set. Satyricon immediately captured the crowd with their 9 song set featuring classics such as Mother North and The pentagram burns. Each song took a new life and engaged the audience, the mystic green lighting truly brought everyone to a fantasy world. The crowd banged their heads as Satyricon played K.I.N.G, the second song featured on the album ‘Now, Diabolical’, as it approaches its 20th anniversary it’s clear that it’s truly a staple album in black metal history. The lights dimmed as the audience roared, it was time for the infamous Polish band Behemoth. As usual with Behemoth tours there was yet another petition against their ‘satanic nature’, this dark and mystical band were about to bring the heat (literally) to Brixton. The stage was hidden by a white sheet which displayed visuals such as a wolf running through a forest, as soon as the sheet dropped it was time. The band black metal legends began their set with a new song ‘The Shadow Elite’, already from the vibe of just this one song alone it was clear it was going to be an audio and visual spectacle. The set list continued on into the new songs including the title track ‘The shit ov God’, with roaring flames shooting from either side, there wasn’t a single person on the barrier not sweating whilst banging their head. Behemoth is a band which has great audience interaction, with each member arising onto platforms at various parts and leaning into the audience, you truly feel alive and part of the worship. Mid-set the vibes shifted and slowed to the beautifully eerie tune that is Bartzabel, as the lights became brighter, illuminating Nergal’s painted faces, he lifted his hand, perfectly encapsulating the essence of a renaissance painting. Whilst Behemoth kept to primarily recent releases there truly was a song for everyone, Cursed of Doom notoriously being a classic, causing the audience to roar upon the first note. the crowd was vibrant, the visuals were stunning and everyone could see how iconic this band has truly become. Many audience members came with their father, it was clear to see a vibrant rise in a new era of black metal in the making. Words and photos: Lizzie Jones