Let’s not beat around the bush - UNLEASH THE ARCHERS are the best damn power metal band touring the planet right now. Objectivity be damned. Anyone who’s seen them live knows this isn’t just overexaggeration. Once this band has been witnessed in the flesh, all doubts are washed – nay – tumble dried away. Much reverence should be given to the sheer commitment and hard-work by the band to achieve the positions they are in now. And work hard they did. The group started as a one-of-a-kind mix of power with melodic technical death metal on their first two albums; “Behold the Devastation (2009)” and “Demons of the AstroWaste (2011)”. They soon changed direction, sharpening their blades and unleashing a spectacular album run of “Time Stands Still (2015)”, “Apex (2017)”, “Abyss (2020)”, and now 2024’s “Phantoma” elevating the genre in both maturity and authenticity in an age where there are more gimmicky power metal bands than ever. Now, Brittany Slayes, Scott Buchanan, Grant Truesdell, Andrew Kingsley, and Nick Miller have arrived at the Big Smoke, fresh from the battle of Bloodstock, and are ready to lay waste to the hall. They are joined by fellow power metallers Seven Kingdoms and party animals Striker to remind us what glory lurks across the pond. Back at home in Canada it is the long Family Day holiday weekend, and what a glorious family reunion it would turn out to be. Yet another bitterly cold winter night in London, though the Canadians probably consider it ‘light jacket weather’. The queue outside shivers in metal tees and battle vests, conversations flitting between setlist speculations and existential debates about if Blind Guardian peaked in the 90s. Hair colours range from pastel pinks to highlighter green. Standard fare. Soon after being motioned inside, the crowd is quickly warmed up by Westerosi outfit Seven Kingdoms still riding the wave of their EP “The Square” from last year. The hall is lit up by reds and blues, and the riffs come out like a tidal wave. Between songs, vocalist Sabrina Cruz delivers motivational messages like a power metal Tony Robbins - somewhere between a high level paladin and your best friend after three shots of tequila. The crowd eats it up, fists pumping in collective protest of all things drab and miserable. With no time to waste, the next band begins. Striker are a band that are all about impressions. Shirt sleeves? Gone. Pit Vipers? Certainly. Bicep flexing? Affirmative. Breaking in with titles such as “THUNDERDOME” and “Sucks to Suck”, If you don’t yell “hell yeah” at least three times during their set, check your pulse. Half Suicidal Tendencies, half Anthrax (with a little bit of Journey thrown in), they are a hell of a good time. And that’s the bottom line. Islington Assembly Hall is a Grade II listed building, and if you forget, the staff will remind you. No smoking, no vaping, and for the love of god, please no chewing gum. This place has survived the Blitz from the Luftwaffe and a century of wear and tear, but when Unleash the Archers take the stage, it might not survive the night. They explode onto the stage in a supernova of light and sound. On the floor, we are transformed into piranhas with blood in the water. But something is amiss. The smoke machines are going full tilt, swallowing the drummer and backdrop into oblivion, to the chagrin of the group. The rest of the band are rendered into silhouettes - ghosts in the mist - unleashing blood for blood. Regardless, it makes for an eerie and almost dreamlike atmosphere as they sally forth into “Ph4/NT0mA”. “Ghosts in the Mist” is appropriately smothered in fog, the crowd screaming every word back at them. “Green & Glass” and “Gods in Decay” then rain down like a hammer on an anvil. Phantoma isn’t just a triumph on record; it has sunk its hooks deep into the fans’ consciousness in such a short time. When the tracks from the critically acclaimed Apex appear, the audience is eager to hear the saga of The Immortal and The Matriarch. "Awakening" surges like a 10,000-volt shock. "The Matriarch" haunts and thrills. The title track has every phone torch raised to the heavens, faces beaming in jubilation. There’s not a damn frown in sight. A short interlude, then the Abyss set. The real test of their mettle. "Abyss" sees Grant Truesdell and Andrew Kingsley ripping solos so fast they’ve broken speed limits in multiple countries. "Through Stars" has Nick Miller laying down a bass groove so deep it rattles the floorboards. As for “Soulbound” and “Faster than Light”, Scott Buchanan is detonating a drum assault somewhere in the fog. The man may no longer exist in physical form, only as pure percussive force. Then, the grand finale. The song that first launched them into metal’s stratosphere all the way back in 2015; “Tonight We Ride”. Vocalist Brittany Slayes has been a hurricane all night, but here, she practically tears through the fabric of reality (with a cold!) The crowd is helplessly clutching their throats before her, still sore from screaming along, while she effortlessly belts out high notes so intense they could tremble the foundations of the earth. Something to reflect on next time you reach for that lozenge. The encore song is a tribute to the late great Stan Rogers, Nova Scotian folk musician extraordinaire, with his song “Northwest Passage” about the doomed Franklin expedition. In a moment when tensions between the U.S. and Canada simmer, it feels especially poignant. By the end of the night, Islington Assembly Hall is still standing - barely. Any hints of drear and depression are long gone, and a group of five Canadians are able to do in two hours what a therapist couldn’t do in ten years. The crowd staggers back out into the cold, hoarse, ears ringing, and adrenaline still pumping. Upon reflection, everything down to the opening band choices was perfectly balanced. The setlist was comprised of three songs from each of their more recent albums, with “Tonight We Ride” and “Northwest Passage” as additional material. Three-ish songs from each of their recent albums renders the setlist balanced and enjoyable as they pull a healthy variety of songs to play. It is always a special feeling to see a band at its zenith, but with Unleash the Archers you can never be too sure if the band has even begun to peak yet. This show was truly unmissable, if there was someone who was a stranger to the genre, this might be the best option to show them the very best of what it has to offer. The message is clear: Unleash the Archers aren’t just one of the best power metal bands in the world. They are power metal incarnate, transferring the feeling onto the listener in a thoroughly enjoyable ritual. Truly revolutionary. Words: Kiarash Golshani Photos: Simon Arinzeenjoyable ritual. Truly revolutionary.

Progressive metal titans TesseracT have long been at the forefront of the djent and prog-metal scene, continuously evolving their sound while maintaining their signature blend of intricate polyrhythms, soaring melodies, and crushing heaviness. Their latest release, ‘War of Being’, has pushed their sonic boundaries even further, delivering a conceptual and immersive experience that translates powerfully into a live setting. For their ‘War of Being Part II Tour’, they have enlisted French progressive metalcore outfit ‘Novelists’ and Australian instrumental prog trio ‘The Omnific’, a lineup that promised a night of relentless musicianship and emotional intensity. Opening the night, The Omnific showcased their unique approach to progressive metal, setting themselves apart with a lineup that features two bassists and a drummer, no guitars necessary. The Australian trio’s complex interplay of melodic tapping and heavy grooves captivated the audience, creating an atmosphere that was utterly hypnotic. Tracks like “Merlin’s Id” and “Ne Plus Ultra” demonstrated their ability to weave intricate bass melodies into heavy, groove-laden passages, while the sheer dynamic range of their set ensured that even those unfamiliar with their work were left impressed. Despite being the first act, their intricate compositions and undeniable chemistry made them a standout, proving that bass can more than hold its own at the forefront of modern progressive metal. Taking the stage next, Novelists brought a heavier, more emotionally charged energy to the night. Vocalist Camille Contréras, commanded the crowd from the moment she graced the stage with a mix of soaring cleans and raw screams, while the band’s dynamic transitions kept the audience fully engaged, making full use of all platforms. Opening with ‘Lost Cause’, the band immediately ignited the pit with crushing riffs and soaring choruses. Tracks like ‘Do You Really Wanna Know?’ and “Prisoner” balanced melody with raw heaviness, proving that Novelists are a force to be reckoned with in the modern prog-metalcore scene. As the lights dimmed and the intro to ‘Natural Disaster’ rumbled through the venue, anticipation reached its peak and the venue erupted. TesseracT have built a reputation for delivering sonically and visually immersive performances, and tonight was no exception. From the first note, they commanded the stage with an effortless blend of technical precision and raw emotional power, which was magnified further by vocalist Daniel Tompkins balancing on the barrier and immersing himself in the crowd. Following with ‘Echoes,’ the band wasted no time in locking into their signature ethereal yet crushing groove. Vocalist Daniel Tompkins seamlessly transitioned between his soaring clean vocals and guttural roars, demonstrating his incredible range and control. The interplay between Acle Kahney’s and James Monteith’s intricate guitar work created a hypnotic wall of sound, perfectly complemented by Amos Williams’ thunderous basslines. Jay Postones’ complex yet groove-laden drumming provided the perfect foundation, driving the band’s dynamic intensity forward. The middle of the set saw deep cuts from across their discography, including ‘Of Mind - Nocturne’ and the hauntingly beautiful ‘Tender’, before launching into the emotionally charged ‘Sacrifice’. Each song building in intensity and drawing the crowd deeper into their sonic world, ‘King’ and ‘Smile’ further cemented the band’s ability to balance melody with crushing heaviness. As the set progressed, ‘The Arrow’, ‘Legion’, and the monumental ‘War of Being’ showcased the sheer range of TesseracT’s sound, from atmospheric passages to devastating riffs, each moment more immersive than the last. Closing out the main set with the fan-favorite ‘Juno’, the band left the stage to thunderous applause. But the night wasn’t over yet. Returning for an encore and bringing the full crew on stage in sheer appreciation, the unmistakable opening notes of ‘Concealing Fate, Part 1: Acceptance’ sent the room into a frenzy. One of their most iconic tracks, it was a fitting way to close an evening that encapsulated everything Tesseract does best - technical brilliance, raw emotion, and a performance that transcended mere live music, becoming something truly cinematic. A fitting way to end the last UK show of their tour. TesseracT’s ‘War of Being Part II Tour’ is more than just a live show - it’s an immersive experience. With a carefully curated setlist, impeccable sound, and an awe-inspiring stage presence, the band reaffirmed their status as one of the most innovative acts in progressive metal. Supported by the phenomenal performances from Novelists and The Omnific, this was a night of musicianship at its finest, one that left Leeds with a newfound appreciation for the sheer artistry of modern prog metal.# Words: Katie Edwards Photos: Ollie Hayman

The Boulder, Colorado trio The Velveteers – fronted by the captivating Demi Demitro, accompanied by the energetic dual drummers Baby Pottersmith and Jonny Figg – have already played stadium stages alongside Guns N’ Roses and Smashing Pumpkins, following the success of their debut album. Now they've returned with their sophomore album ‘A Million Knives’ – a fierce comeback which encapsulates the band’s punk-laden sound, and offers a glimpse into the unspoken tolls of being an artist and the heartbreak caused sometimes by expectations clashing with reality. ‘All These Little Things’ kicks things off with a powerful sound that immediately draws you in and peaks your interest for the rest of the album. It is followed by ‘Suck The Cherry’ – the type of song that gets stuck in your head all day, but trust us when we say you are not going to get sick of this one too soon. The signature punk attitude and raw energy are driven by the dual drums and the guitar riffs, highlighting the lyrics perfectly. ‘Bound In Leather’ was the first song to be brought to life for this album and is distinguished by a heavy disco rhythm, that had us hitting rewind to hear our favourite part again and again. It focuses on the feeling of being trapped in your own body (“I’m an open book but I’m bound in leather”) and needing people to prove their trust to you – “You gotta prove it to me, show me that you mean what you say”. The title track ‘A Million Knives’ summarizes the general idea of the album and has a more mellow sound, with the meaningful lyrics tugging at your heartstrings as the song plays on. The last section of the album consists of more melodic songs, the transition being marked by the lead single ‘Go Fly Away’. Co-written and co-produced by Dan Auerbach and Patrick Carney of The Black Keys, the track aims to embody the need for freedom. ‘Fix Me’ has an added musical box sound which immediately makes you yearn for something long gone, a version of yourself that isn’t tangible anymore (“The sparkle that once was in my eyes, it has slowly faded away. Does it come as a surprise, or did you see it from miles away?”), ending the record with a dose of raw vulnerability. This album is a must listen as it focuses on the band’s evolution through highs and lows, while keeping their distinguished rock’n’roll sound intact. Balancing heavier songs with some more melodic ones, the overall feeling of the album comes across as vulnerable and honest, leaving the listener wanting more and eager to follow the journey of the band. Words: Iulia Furnica Photo: Jason Thomas Geering

In terms of origins and inspirations to create a piece of art, ‘Conditions III’ by Chalk might be one of the best we've ever heard. Written across the eve and aftermath of a volcanic eruption in a remote part of Iceland, the three-piece from Belfast known for their post-punk, techno and industrial guitar have brought us the finale to their trilogy of 'Conditions' EPs. With a passion for Dublin’s guitar music scene and influenced by Belfast’s dance scene, Chalk have the perfect mix of Irish post-punk. For a band who only formed in 2019, and released their very first EP without ever playing a single gig, they have had great success on the scene so far - selling out their debut hometown headline in Belfast. It’s clear to see their unique perspectives and challenges are highlighted throughout the band discography, with ‘Conditions III’ being no different. ‘Leipzig 87’ envelopes us in a soundwave of industrial noise, building layers of techno and whispering recorded speech. The track starts deathly quiet, you can hear each layer of sound being stacked on top of one another until it’s almost too much - before they're drawn back all at once, leaving us craving more. Certain beats remind the listener of a heartbeat, an intimately familiar sound but pitched differently here, feeling almost alien. The rhythmic clang of metal echoing throughout the track, mixing perfectly with the already established electronic techno beats, add more industrial elements to the track The popping and clicking ending of ‘Leipzig 87’ carries onto our next track ‘Afraid’, where you can definitely feel a distinct style which then carries through the whole EP- a testament to Chalk’s confidence in their unique approach. The layering of music slowly fading in portions, before blasting forth with an added soundscape of guitars and repeating vocals throughout the track, certainly elevates the listen and fits right in with the feeling of being on a sweaty packed dance floor or sold out gig. ‘Tell Me’ explores themes of wanting to run away and never return, along with the confusion and dissociation that comes with the feeling of needing to get away from your own dark past. Linking back to themes that were lightly explored in the previous 'Conditions' EP’s, but this is a much deeper dive into this headspace, always searching for an answer that might not ever present itself to us. The music, and in turn the music video, provide an ever-growing tension with pressure growing and building with every second, like a disaster you know is about to happen but you can’t seem to take your eyes off of. It’s executed perfectly with the visuals of a small confined car, bright red lights, and rain constantly pouring - an argument awaiting to erupt at any moment. The longest track on the release is the epic conclusion to both the EP and the trilogy: ‘Pool Scene’ is almost 5 minutes long, and spends that time feeling optimistic and hopeful, a complete contrast to the previous track. The whole piece feels lighter, following the same slow build up and adding layers of sound we have come to expect from Chalk’s approach. It feels like a deep breath of fresh air after all the intensity of ‘Tell Me’, with themes of letting go and moving forwards but still with contradictory lyrics, an internal battle we all face when uncertain in life. However, ‘Pool Scene’ feels like an homage to old wounds, battles and conflicts in the past - we would never learn how to get back up again if we haven’t first been pushed down to the ground. It’s clear they have a dedicated fanbase, and who can blame them with their themes of vibrant techno, deeper dives into tension and confusion and a successfully ambitious conclusion to their 'Conditions' EP trilogy. Chalk are currently set to embark on a string of sold out headlines across the UK, Ireland and Europe at the end of February and into early March. 'Conditions III' will be released on January 21st 2025 via Nice Swan Records. Words: Tyler Whiting Photo: Aaron Cunningham

Connecticut-based melodic hardcore outfit Anxious have been steadily carving out their unique niche in the scene since their arrival in 2016. Their 2022 debut album 'Little Green House' not only demonstrated the band's ability to infuse raw introspective energy into tracks, but also showcased a unique evolution that deeply resonates with existing fans and intrigues new listeners. This sound has evolved from their phenomenal EPs 'Carved', 'Promo 2019', and 'Never Better', marking a journey that is both exciting and promising. Hot off of their critically praised debut, Anxious are back with sophomore record 'Bambi', marking a new chapter in their evolution. On 'Bambi', Anxious build on their emo and melodic hardcore roots with shimmering alt-rock textures and more intricate vocal harmonies. This unique sound, a blend of emo and melodic hardcore, is sure to excite and intrigue their fans, who will appreciate the band's commitment to their distinct style. There are hints of Title Fight’s influence on the band scattered throughout, and the little moments of shoegazey glory pay tribute to them aptly. Vocalist Grady Allen states that 'Bambi' was a potential competitor for the band's name, found buried in an old memo on his phone. This personal discovery would eventually become the title of the band's second full-length album, adding an element of looking back toward one's beginnings, apt for an album deeply rooted in exploring themes of leaving adolescence behind and the challenges of adulthood. The album kicks off with the emotionally charged 'Never Said', its soaring chorus cutting deep against a backdrop of crashing drums. Meanwhile, 'Counting Sheep' is an instant singalong, fusing bright guitars with a driving rhythm section. This could quite easily become a firm favourite at alt nights! Elsewhere, 'I’ll be Around' slows things down with introspective lyricism and reverb-soaked chords, showcasing the band's softer side to close things out. With tracks like this, Anxious prove they’re more than just rising stars—they’re future festival headliners in the making. Anxious, you have our attention! The combination of emotional highs and lows in 'Bambi' creates a roller coaster of feelings, enabling listeners to connect their own experiences with the music. Anxious does an excellent job blending these elements by smoothly transitioning from reflective verses to powerful choruses that are sure to encourage crowd participation on their upcoming tour. Anxious have crafted a beautiful fusion of emo and melodic hardcore with 'Bambi'. The album encapsulates the complexity of growing up, where heartbreak can coexist with celebration, making it a deeply relatable soundtrack for navigating the challenges and triumphs of life. It is a portrait of the growing pains and challenges of growing into adulthood while touring relentlessly for the past few years. Previous comparisons to bands like The Wonder Years and Hot Mulligan are still valid, yet Anxious' sound has always been distinctively their own and is made even more so here. With 'Bambi', Anxious solidify themselves as one of the most vital voices in modern emo and melodic hardcore. Their ability to craft deeply personal yet anthemic songs makes this an album that will stick with listeners long after the final track fades out. Whether you’ve been following them since their early EPs or are just discovering them now, 'Bambi' proves that Anxious are a band truly coming into their own. Much like the leap from 'Never Better’s textbook, raw, melodic hardcore to 'Little Green House’s master class in pop-punk craftsmanship, 'Bambi' is a welcome and distinct evolution in Anxious’ sound. Taking elements from their entire discography and refining them down into something truly unique, it shows a marked leap in ability and maturity that still keeps hold to everything that makes the band what they are. A true tour-de-force of emotional hardcore with pop-punk influence that draws from the bands that paved their way, but is ultimately utterly unique - and definitively Anxious. Anxious will be touring heavily in support of the album, with a US run kicking off this Spring with support from Ultra Q and Stateside. 'Bambi' will be released on February 21st 2025 via Run For Cover Records. Words: Andrew Nile Photos: Anxious

The “final form” of the series is officially here, Darko US take to Instagram to promote the final piece of the 'DETHMASK' trilogy. The American duo, consisting of vocalist Tom Barber and multi-instrumentalist Josh Miller, bring to life their much awaited album 'DETHMASK 3'. Since their formation in 2020, Darko US have been treating fans to a fresh spin on death- core with a melodic, groovy undertone, and this latest instalment is no different. Offering a deeper, more intimate sound, 'DETHMASK 3' brings listeners closer to the soul of Darko US. The album opens with the one minute long song 'Introduction', which lulls you into that pre gig buzz concert-goers will know all too well. The loud, indistinct chatter as you’re waiting for the lights to go down and the band to storm on rings through your ears. You hear cheers erupt as you notice movement from backstage, you hear fans start to chant and then the distinct sound of electronic beats start up, as the “fine young gentlemen” of Darko US slam their way into your ears, bringing a “very, very, special experience". 'Mallet Pulse' promptly opens with the guttural sounds of Barbers unique vocals. Barber has crafted his own charm and many will recognise his tones, as the previous vocalist of Lorna Shore, but with Darko he brings a whole new sense of style and 'Mallet Pulse' is incredible evidence of this. With this evolution of the bands sound, comes a defined new style - electronic mixed with intense, concentrated vocals that provoke the listeners heart rate to increase. Calming, dulcet tones come next, with 'The Chain Hand' convincing listeners they are on a journey of discovery. Lulled into a new space, focusing more on the synth heavy sound Darko love to exploit to bring fans an experience of musical fullness. Reassuring you that whilst they know how to crush a heavy set of vocals, they can also push that slightly aside to let their full talents shine through, whilst keeping the listener completely engaged in the storytelling. As the album progresses, you are engaged in a battle of the self; ideas of self worth, self discovery and perhaps at the end of it all self acceptance. But in order to get there, Darko forces you to ask if you’ve ever dreamt of a better version of yourself: 'HAVE YOU EVER' is punctuated with the use of gunshots in the background, which add to the feeling of uncertainty and the idea that you don’t really know where this album is taking you. It leaves you guessing what’s coming next, but simultaneously makes you screw your face up because it’s just that good! This song also features vocals from 15 year old Caleb Douthett, vocalist for a small Michigan based aliencore band, Trashcan Murder Ride, and Keilokei of Slay Squad 111. Their features on this song come from a competition and yet do still truly enhance the song, even from small snippets of their vocals. Nearing the end, 'Gizamachi' is a short but sweet instalment, reminding you that “this is the finale”. Including the name of the album in a song is old news, yet Darko keep on reworking cliches with a fresh style, and when you hear “This is DETHMASK 3” in an ethereal, futuristic voice, you are reminded why Darko has such a solid fanbase. The steady beat conjures up emotions inside, your feel a lump form in your throat as you know you are nearing the end of this melodic expedition. This feeling only continues with the final addition 'GRIM REAPER AND A UZI' as you intrude on a conversation that brings you back to reality. Ending with a beautiful, balladic song all thanks to the hauntingly good vocals of indie artist Layzi, you know Darko US have ended the DETHMASK trilogy in the most perfect way. There is no sense that anything has been left unsaid, or missed. Darko knew exactly the direction they were taking this album, and in just 27 short minutes, the listener has been given an thorough insight into deathcore as a genre, and just how expansive that can be. Anyone who listens to this album, will be left eagerly awating whatever this incredible duo will conjure up next. Words: Emily Bancroft Photos/Videos: Darko US

February 14th, 2025. For some people, today is about celebrating Valentine’s Day and spending time with your partner, but for the 200 or so individuals filling out the Pink Room at Manchester’s YES bar for Dune Rats’ headline show, tonight is about beer, weed, and the sweet, distorted sound of Australian garage punk. Starting off the show are Brighton based duo Snake Eyes, and they immediately have the crowd hooked. Having only formed in 2020, the band have an impressive number of absolute hits to their name. ‘no one is truly cool’, off their most recent EP ‘health’, was an instant crowd pleaser, and everyone who had shown up early to catch the band became instant fans. Snake Eyes will be appearing at a couple of shows on You Me At Six’s farewell tour, so be sure to catch them at these upcoming gigs! Dune Rats start their set with what is easily their most iconic song: ‘Scott Green’, not giving the crowd even a second to process them getting on stage before frontman Danny Beus begins the scratchy vocals of “At a party, who’s Scott Green?” (Get it??), sending the already hyped up crowd absolutely crazy. After finishing 'Scott Green', the band immediately rip into 'Be Like You', off their latest album. It's a fun, bouncy track that really sets the mood for the rest of the night. This is the band’s first time back in the UK since the release of their latest album; ‘If It Sucks, Turn It Up’ (which does just about anything BUT suck). Having last been here on a short run of shows supporting Don Broco, as well as playing 2000 Trees festival last summer. It’s exciting to see Dunies on their own headline tour, and the unique energy they get to bring along to that. A track notably missing from the setlist is their cover of The Angels' 1977 song, ‘Am I Ever Gonna See Your Face Again?’. Originally recorded for Triple J’s Like A Version, it’s become an essential part of their discography, and it's a shame not to get to hear the cover this time around. But the band more than make up for it with the rest of the set. Their latest single, a collaboration with FIDLAR, 'Dead, Rich or In Jail', is a exciting return to their heavier sound, and a wonderful addition to their new setlist. Finishing off with two classics, 'Dalai Lama' and ‘Bullshit’, the crowd's energy has reached it's absolute peak. We have crowd surfers making their way onstage and diving right back into the crowd, and just about everyone in the small attic can be heard screaming along to "Dalai Lama, big banana, marijuana!". It must have sounded very strange to the bar-goers downstairs. Dune Rats utterly rattled the YES Pink Room, and we can only hope to see the Aussie trio back in the UK as soon as possible. Words and Photos: Izzy Scott

Originating from the beautiful community of Catalonia, Spain, Ankor have been making enormous waves in the alternative music scene since mid 2003, with their band members being just 13-years-old at the time. Fast forward to 2025 with five incredible albums under their belt, the band are blessing ears everywhere with their ‘Shoganai’ tour spanning across major cities in the UK and Europe, including The Underworld in Camden, London, a venue famous for its world-renowned list of previous artists that have graced their stage, and Ankor are no exception. Ankor’s stage presence is second to none and the band have made one thing abundantly clear, they are here to mosh and you better be too. The band set the tone of the night stunningly with support from Conquer Divide, an American rock band formed in 2013 who certainly know how to demand a thriving circle pit, and Seven Blood, an up-and-coming Emo Metal band from Germany who started creating music in 2023, and are now stomping their way into the big leagues with their stellar performances. Seven Blood stepped out onto The Underworld’s stage with lead singer Azaria Nasiri commanding the energy of the room to unspeakable levels with a few of their top hits to date, including the tracks ‘Monsters’ and ‘Killing from the inside’, and from this striking performance, they left the stage confident that they had gained more than a few brand new fans that night. Conquer Divide followed very shortly after, bursting onto the stage and right into the action with their track ‘Atonement’, beginning with energizing screams from lead singer Kiarely Castillo and insanely intricate riffs from guitarist Isabel Johnson. The band demanded circle pits left, right and centre to complement their vigorous performance which shook the very foundations of the building itself. The band then made their way through their most recent album ‘Slow Burn’, released in 2023, showcasing their innate talent and their drive to make every fan in the audience scream along with them. After thirty minutes of tense anticipation following Conquer Divide, Ankor announced their arrival with an incredible light show and each member coming into view and showing off their insane skills one by one, and lead singer Jessie Williams boasting her talented vocals as soon as she graced the stage. The energy escalated at unfathomable speeds as smoke and lights filled the stage at the very beginning of the first track from their new album ‘Shoganai’, named ‘The World Is a Cruel Place… And It Is Also Very Beautiful’, a predominantly instrumental number that set the tone of the rest of the show phenomenally and left the audience in anticipation for which tracks their eardrums were going to be blasted with next. The band then leaped straight into the depths of their new album with the tracks ‘Venom’ and ‘Stereo’, two that are far into the album but strike with breathtaking vocals and astonishing instrumentals nonetheless. Ankor began bounding around the place, not just using the stage but rather commanding the stage as if they had been there their entire lives. The fans created enormous circle pits on the floor, as if to respect the masters of metal at work. However, the moshing was only just beginning, as Ankor demanded the fans carry on the roof-shattering energy for their next track ‘The Legend Of Charles The Giant’, which is one of their most intense tracks to date with guttural screams from lead singer Jessie Williams that cover at least 80% of the song and her voice being so versatile that she has the power to leap between singing and screaming as if she was flicking a light switch. With such high energy, comes a brief change of pace, and that is exactly what went down with the bands next track ‘Nebula’, a slower-paced love song from their previous album ‘White Dragon’, and the rare spectacle of a sea of metalheads swaying their arms through the air was really a sight to behold. As the band delved deeper into their brand new album, the fans reaction was second to none, with a packed out floor that would give a claustrophobe nightmares and circle pits emerging from each and every corner of the room, especially with their newest track ‘Prisoner’, that gives each and every metal band that came before them a run for their money. Ankor split between singing and screaming effortlessly during their remaining tracks, ending with the title track of the album ‘Shoganai’, which gifted fans with the chance to rage one last time before going back to their homes with only the memory of this spectacular performance from a band who can command a room through the power of music so effortlessly. Words: Becca Wheeler Photos: Amy Smyth

Los Campesinos took to the Troxy for the first night of their ‘Valentine’s 2-Night Stand’, with unique setlists, commemorative wristbands and an extra special performance in tow. Opening for them, there was Goat Girl, this odd three piece blessed the Troxy audience with their socio-poltical post punk style. They had such a unique way of playing these slow tunes that envelop you into an atmosphere of light synths, chime-y guitar chords and and plenty of fills that were downright impressive – they all sonically were intwined by the singers impressive vocal range, singing lows that were far from the angelic highs that singer Clottie Cream was knocking out the park. Their vibrance, demeanour and uniqueness was perfect way to calmly ready the audience for what was to come. The lights went down in Troxy as red filled the room from the backlights on stage, a short intro track played then the veteran 7-piece entered the stage to thunderous applause and cheers. Opening with the live debut of ‘The Coin-Op Guillotine’ the band wasted no time setting in stone how much these nights mean to the band their fans, exercising their prestige with an extra bass and strings section to add extra oomph to all their music played that night. Playing their newest album ‘All Hell’ in full there were plenty of other live debuts to be had making this show a proper treat for the fans, I was honestly amazed by how much music they played with a 28 song setlist, this was every die hard fans wildest dream. The energy in the vocals from singer Gareth Paisey were unmatched, he not only gave it his all in this regard he also pumped the crowd with his interaction and sheer devotion to the music; this was only elevated by the rest of the band all chiming in for the group’s folky sounding choruses; this mixed with the upbeat indie pop made for a very fun performance. Something I always appreciate as a punter is a band that devote themselves to playing the music completely live and organically, with a total of ten musicians on stage it was clear that no computer or backing track had any part of this night – every single instrument at this bands arsenal made for a performance that will forever stick. The fact it took place on valentine’s day only added to this fact – the love in the air was strong with couples singing to each-other solo fans bonding with strangers over a shared love of this band, and with them going for a good few years now Los Campesinos attract and audience of varied age but definitely a shared love, with plenty of affection being shared around to people of every walk of life, and Out Of Rage can only ever be proud of bands representing and accommodating for everyone; bringing a couple hours of peace and escapism through live music. If you have the chance to grab tickets to ever see this band I highly recommend, you may have missed a special one-off collection of shows with the ‘Valentines 2-Night Stand’ but we can comfortably assume they’ll be back for their fans in this way again sometime soon. Words and photos: Ben Blissett

Oakland outfit SPY call back to 90's punk and hardcore on their latest EP 'Seen Enough', venting their frustrations with shady politicians and fake friends alike across 10 full-on minutes. The EP wears its heart on its sleeve, discussing society's continued descent with diminishing hope for course correction, whilst taking as much influence from Bad Brains and Dead Kennedy's as they do Ceremony. Opening with lead single 'On the Brink', it is remarkable to hear the sheer volume of structure present in these very short tracks. Intentional tempo changes atop the bouncy hardcore sound that characterises this EP move quickly into the funky-sounding 'Stay in Your Lane'. Between this and second single 'Dim', these tracks are made to validate the listener in those moments when they meet someone who needs to just drop the act. 'Stay in Your Lane' is the particular highlight with its four to the floor lead and easy hook. The latter half of this EP is its prime: 'Overlord' gives a more dance-punk vibe to open the floor up for fans, whilst 'Quit the Act' is easily the standout moment of the project. It is another example of the clear structure that SPY have managed to fit into each tiny track time, and its direct callout lyrics are a satisfying scream for the angry or discontented. However, with 'Quit the Act' being the EP closer, the rampant finish does leave the listener asking for more. Overall, this EP has a bit of everything we like about 90s punk heavyweights, like Rancid and Pennywise. The six tracks are varied both between each other and within themselves, which speaks to the technical talent of the quintet, while the choice to record live and straight to tape adds to the old school feel and maintains the DIY energy of this project. However, the amount of guitar distortion to transition between tracks is an assault to the ears - every track either begins or ends with it (often both), and tarnishes otherwise high quality hardcore by leaving the listener with the wrong type of headache. As SPY gear up for a US tour and a festival run in the summer, we can’t wait to hear 'Seen Enough' in the pit, but hopefully they’ll find a few more ways to transition tracks. 'Seen Enough' will be released on 21th February 2025 via Closed Casket Activities. Words: Julia Brunton Photo: Naida Lindberg

Since their formation in 2019, Cross Bringer have carved out a space for themselves in the underground extreme music scene. Their 2020 debut album 'The Signs of Spiritual Delusion' introduced listeners to their unrelenting mix of screamo, blackened hardcore, and post-metal while diving deeper into themes of transformation, inner conflict, and spiritual unrest. With their second album 'Healismus Aeternus', Cross Bringer are pushing their sound even further into the depths of chaos and introspection. With the band spread across different corners of the world—Belgium, Russia, the USA, and Cyprus, Cross Bringer have overcome significant logistical challenges to create a new addition to their catalogue that feels both raw and meticulously crafted. Rather than sticking to a single genre, 'Healismus Aeternus' thrives on unpredictability. One moment, the band delivers breakneck drumming and frantic guitar work; the next, they plunge into eerie, slow-burning passages that feel almost meditative. Their ability to shift between blistering speed, atmospheric tension, and haunting melodies makes this album an unpredictable yet cohesive experience, and feels like a dark fairy tale being woven into the listener's own ears. ‘Desolation Hypnosis’ - the opening track and lead single - is a relentless mix between a foreboding ambient build up, speedy riffs, and screams, that immediately sets the tone for the rest of the album, balancing aggression with hypnotic melodies. ‘Metamorphosis’ is another stand out track that embodies change, moving fluidly between chaotic intensity and eerie calm - while ‘Structural Imbalance’ is a perfect representation of the album’s musical themes, fluctuating between crushing heaviness and moments of reflection. The band’s diverse lineup brings a unique dynamic to the table, making them one of the most interesting bands on the scene. The layered guitars, frantic yet precise drumming, and emotionally charged vocals create an overwhelming yet cathartic listening experience. Recorded across multiple countries, the album is a testament to the band’s dedication and ability to overcome distance in order to create something truly special. 'Healismus Aeternus' isn’t just a collection of songs, it’s an intense and immersive experience. Cross Bringer has crafted an album that feels both personal and universal - the layered guitars, frantic yet precise drumming, and emotionally charged vocals create an overwhelming but intensley gratifying listening experience. Whether you’re drawn in by the sheer intensity or the introspective moments, each track keeps you engaged and engrossed in the band's storytelling through their music. 'Healismus Aeternus' will be released on February 21st 2025 via Consouling Sounds and Silent Pendulum Records. Words: Arcadia Craven Photos: Cross Bringer

Having impressive festivals under their belt like Bloodstock Open Air and UK Tech-Fest, To Obey a Tyrant have become a force to be reckoned with in the UK deathcore scene. Sharing the familiar symphonic and devastating sounds of their debut album ‘Omnimalevolent’ back in 2022, their upcoming EP ‘Frigore Inferni’ offers a more sinister take on their signature style with darker, intensified vocals and an eerie, battlefield-ready atmosphere. ‘Frigore Inferni’ - meaning ‘Freezing Hell’ in Latin - is brutal, dark and cohesive. It tells the story of two enigmatic beings plunging the Earth into a frozen, icy apocalypse, and the cruelty that ensues. It features no shortage of creative breakdowns, unrelenting heavy beats and dramatic riffs, offering exactly what deathcore fans crave. It begins with ‘I, Apollyon’, which is an eerie introduction. Starting with grand brass melodies and a dramatic choir before being suddenly struck with Brandon’s intense squeals, it successfully sets the tone for the rest of the journey as something epic. Towards the middle of this song, the pace is slowed down, and layered vocals combining shrill shrieks and guttural growls makes this feel like a conversation between the two entities. This intensity tapers off, leading us gently into ‘Obsidian Sol’. There are large changes in tempo throughout this track, making it very expressive but a little hard to figure out where it’s going at times. To keep us on track, there is a regal melody on guitar in the back, and it culminates in a sharp final slide-up before a sudden stop. Next, ‘Dawnbreaker’ offers a pitstop, with a downtempo beat almost reminiscent of elements of other deathcore bands such as Left Behind or Barrier. However, in stark contrast to this, the screams are the most impressive and impactful, and perfectly punctuate the measured rhythm. This is then followed by ‘Frigore Inferni’, the title track. It embraces a dark and orchestral tone, and continues on from the same slow tempo as the previous track. The intensity is built slowly and gradually, creating the sense that we’re reaching the height of this EP, which is apt for the position of this song in the tracklist. With choral voices ringing out right before a dramatic breakdown, it is safe to say that this is exactly what we come to this band for. ‘Prince Ov Death’ features a repetitive melody, with satisfying trills in the background building anticipation. A powerful, mid-track breakdown combined with the unyielding shrieks keep the energy high to lead us seamlessly into the finale, and what a finale it is! ‘Winter’s Rite’, is a rapid and dramatic conclusion to the EP, holding no punches and getting straight down to business. The track is full of the fast tremolo picking that is typical of the genre, as well as shrieks layered with a choir in the back. All of this put together creates a cinematic sound and a cathartic feel to the song. The breakdowns feel the most dramatic in this song, creating an ominous sense of finality. An ascending sequence of notes, culminating in a slow and reflective piano piece, delivers a rounded and satisfying ending akin to a sonic manifestation of death. This excellent EP feels right at home amongst the rest of their discography, highlighting their talent for storytelling through music. Those of you that are fans of brutal vocals as well as an intense listening experience but haven’t delved into this band yet should not give this a miss. Admirers of their previous work are also in luck, as it provides an intensified evolution of their sound. If they keep releasing epic narratives like this, To Obey a Tyrant has an exciting future within the blackened and symphonic deathcore scene waiting for them, and we hope to catch them on tour soon. 'Frigore Inferni' will be released on February 21st via Seek and Strike Records. Words: Chloe Sodeau Photos: To Obey A Tyrant