Back for its sophomore edition, Noizzefest is quickly cementing itself as a staple of the UK alternative music calendar. Noizzefest is taking over Cardiff’s Fuel Rock Club and Clwb Ifor Bach on April 26th for an evening of underground heaviness, genre-defying innovation, and boundary-pushing bands. Here are ten unmissable acts lighting up this year's bill. UNPEOPLE Exploding onto the scene like a pressure valve blown wide open, Unpeople are the alt-rock newcomers with serious talent behind them. With a debut EP that's been gaining a stir through its blend of pure chaos, razor-sharp hooks and vocal gymnastics, their Noizzefest set promises a whirlwind of frantic energy and riff-based release. If you like your melodies skewed and your mosh pits sing-along, don't miss out.# KNIFE BRIDE Knife Bride's theatricality and gothic sensibility, coupled with their dramatic songwriting, make them one of the most visually and aurally arresting bands on the bill. Equal parts theatrical and thunderous, their sound is akin to stepping into a twisted fairytale, where haunting melody crashes into ravaging riffage. Their live shows are intense, immersive, and harrowing, and their Noizzefest set is guaranteed to leave jaws dropped. FORLORN If you like your metal steeped in folklore and your atmosphere so thick you can cut it with a knife, Forlorn are not to be missed. Performing their debut album Aether from start to finish, this is a one-off and special event; a vertigo-inducing brew of pagan imagery, sweeping soundscapes and neck-snapping brutality. Expect to be completely transported to their world. Bonus points if you rock a flower crown and a thousand-yard stare. ORCHARDS For those requiring a dash of light amongst the darkness, Orchards provide groove-infused math-pop overflowing with colour, humour and surprise depth. That being said, don’t be fooled by their sunny outlook. Beneath the sparkling guitar work and springing choruses beats an emotional heart that packs as much punch as the breakdowns elsewhere on this bill. A masterclass in dynamic songcraft, their set will be a breath of fresh air. HIGH REGARD Charging ahead with irresistible force, High Regard fuse alt-rock urgency with melodic clarity and a bite of post-hardcore grit. Having gained serious momentum over the last year, this trio are on the cusp of something huge. Expect a tightly honed set packed with catchy choruses, snarling riffs, and the kind of confidence that makes you want to throw your drink in the air and scream along. MASTIFF Enter the void: Mastiff are here to crush everything in their way. With the weight of sludge, the speed of grind, and the ferocity of hardcore, their sound is nothing but aural torture, and their live shows are like surviving a breakdown intact. Grim, brutal, and utterly merciless, this is the set for anyone who wants to be sonically destroyed. Just don't forget your earplugs. EL MOONO Mixing post-hardcore soul with grunge soundscapes and frenzied intensity, El Moono make chaos cathartic. Their recent record The Waking Sun found them stepping into their own as a true force, both sonically and thematically. Live, they shift seamlessly between introspective and berserk, layering riff-based aggression with sections of unnerving quiet. Expect to be drawn in from the very first note. HIDDEN MOTHERS Hidden Mothers aren’t just playing music, they’re tearing open emotional wounds and stitching them shut in real time. Their blend of screamo, post-metal, and atmospheric intensity builds like a slow-burning panic attack before crashing into breathtaking release. If you’re the kind of person who cries in the pit (respect), this is the band for you. Bring tissues and prepare to feel your feelings. COPSE There's a bleak beauty to what Copse do, a raw, sorrowful swirl of post-black metal that sounds enormous, cinematic and deeply human. They balance brutality with moments of soul-scorching clarity to create a live performance that's immersive and unsettling. If you need to gaze into the void while someone shrieks prettily beside you, Copse are a necessity. LOVE RARELY Blending math rock intricacies with alt-emo sincerity, Love Rarely make music that feels like shrieking your innermost feelings into the abyss. Their music feels complex but never calculated, emotional but never melodramatic. Guitars twist and tumble over one another as vocals hit with disarmingly honesty. Catch them now, because this is the kind of band that people start cults over. Words: Vee Richardson

When news broke of a new alternative festival in Sheffield, it was clear that Shreddler would be an unmissable event. This all-day festival, in collaboration with Festivile and expertly curated by Loz Taylor of While She Sleeps and Christian Carlise from BBC Introducing, took over Peddler Warehouse on a sunny Saturday, showcasing the vibrant live music scene of Yorkshire. Starting off at the beginning of 12 hours of incredible live music was energetic metalcore band INDEVTH, whose heavy bass and early circle pits set the tone for the day ahead. Brat metal band Eville followed, giving Arch Enemy and Scene Queen vibes, getting the crowd to warm up and get to moving around a bit. Throwing in heavy vocals alongside even heavier riffs, vocalist Eva showed us that even in a cutesy crop top and butterflies on your guitar strap, the girls were ready to take Shreddler festival by storm. By the time ‘electro gaze’ band Angel Number took to the stage, the crowd were ready and waiting. The first of the softer sounding bands of the day, the band brought in a more melodic, dreamy feel, with heavy drums and riffs from the five piece. Angel Number Still In Love brought the first hardcore sound to Shreddler, and along with it, a crowd of already dedicated fans, singing along. Vocalist Nick, who confessed that the band are not one to be labelled, let us know that he just ‘needed to get some shit out’ which led to writing their new album songs like “Sober” which they smashed out, with the crowd really feeling every word. Graywave's ethereal vocals and dream gaze sound, reminiscent of Cultdreams, captivated the crowd with a mix of distortion and gentle vocals. This, teamed with massive riffs, meant the crowd were ready and waiting for what the rest of the day had to offer. Graywave Drawing even more of a crowd was Leeds band Bodyweb. With an impressive grungy post-hardcore sound, that seemed to evolving with each song, and added live effects, making a more nu-metal echo, it was difficult to keep our eyes on just one member of the band, as they all brought a different kind of energy to the stage. Giving a shout out to the ever-growing Sheffield music scene was hardcode band Rough Justice. Personally, we love when you can really hear an accent in vocals and there was no absence of that with their set. From endless circle pits, to climbing on shoulders, to vocalist James getting up close and personal with the crowd, especially for their final song, an obvious fan favourite, Rough Justice showed those of us not from Sheff just what they had to offer. Rough Justice Three-piece band Tropic Gold blended together a nu metal and electronic sound that wouldn’t be out of place on a movie soundtrack, whilst asking ‘Are you sick of everything?’. They brought their soundscapes to the Shredder festival crowd, which was received with open arms. Blending together grungy, atmospheric, Hundreth vibes with notes of shoegaze were Oversize. With clear Deftones influence, Oversize were another key band that drew a crowd and kept it. Heavy on the guitars and joined by perfectly timed drums, this band were a perfect addition to the day. Oversize As we headed into the evening, the small in numbers but mighty in sound Sick Joy took to the stage, ready to impress the crowd with their dark, ‘heavy pop’ energy. Vocalist Mykl sings their sharp-edged lyrics with a mix of sadness and determination in his voice, drawing the crowd in with each song. The penultimate band of the day was alt-metal duo Lake Malice. Giving the crowd their all with their dark, electronic metal sound, the crowd gave it back through loudly singing the words back at lead vocalist Alice, along with impressive circle pits and a lot of jumping. They got everyone ready and in the mood for final act of the night, Delilah Bon. Lake Malice As a self-described Rage Queen, Delilah Bon was ready and willing to get the last ounce of energy from those still standing after a long day of loud, animated and dedicated bands. Hailing from just up the road in Barnsley, Delilah brought rage anthems galore, with her hip hop influenced, nu metal ‘brat punk’ style. This is not your mother’s feminism; this is feminism for the TikTok age and that is no understatement. From the 'evil hate-filled female' lyrics to the girly pop dancing, Delilah Bon’s set was rowdy and the crowd matched her energy with every song, ending the day with a reminder to all ‘Dead Men Don’t Rape’. Delilah Bon From our standpoint, the first Shreddler fest was a triumph. It showcased the diverse spectrum of alternative music and reinforced Sheffield's reputation as a hub for live music. We can’t wait for the festivals return next year. Words: Lou Viner Photos: Anna Goley

The winter is coming to an extremely welcome end and the sun is starting to shine upon us once again, and for the music fans among us this can only mean one thing, festival season is fast approaching! The UK’s biggest parks and venues will once again be tense with ticket holders' anticipation for their favorite artists to grace the stage, and what better way to ease into that summer feeling with a guide on the must-see artists on Slam Dunk Festival’s insane line up for this year. The UK’s biggest one-day rock festival is back with a bang in 2025 with a jam-packed line up with the likes of A Day To Remember, Electric Callboy, Neck Deep and many, many more. If you are sitting there questioning your itinerary for the day, then this article will give you an idea of the top ten artists to see to quench your thirst for a good old-fashioned headbang. 10) HOT MILK Taking the tenth spot on the list is Manchester-based rock band Hot Milk. Formed in 2018, the band causes complete anarchy wherever they go and blur the lines between genres with their well-spoken lyrics that often address issues that are facing the world today. If you're looking for a good scream to release those pent-up emotions, Hot Milk will be there to help with that! 9) DELILAH BON Snatching up spot number nine is the queen of causing riots in the pit. Delilah Bon. Formerly the frontwoman of South Yorkshire-born rock band Hands Off Gretel, Delilah Bon has forged her own chaotic path and is certainly a force to be reckoned with, a definite must-see for Slam Dunk 2025! 8) WARGASM Sitting steady at the eighth spot is Wargasm, an electronic rock duo originating from the UK’s capital who know how to put on an absolute rager of a performance. Sky-rocketing in popularity after the release of their second album ‘Venom’, they are no strangers to breaking glass ceilings with their energy. Wargasm eagerly describe their own music as ‘Angry songs for sad people’ so if this sounds like you, they are well worth a watch at Slam Dunk 2025! 7) LESS THAN JAKE This next band have been smashing on the ska-punk front since the mid nineties, and their light-hearted music is still just as upbeat and infectious to this day. Sliding into spot number seven is none other than Less Than Jake, and if you’re up for a good laugh, their comedic timing during their shows will have you rolling with laughter, not to mention their high-energy tracks will get your blood pumping and their ongoing fixation with Pez sweets will have you feeling pretty nostalgic. 6) NEW FOUND GLORY Snagging the well-deserved sixth spot is New Found Glory. They’re a legendary force in pop-punk, bringing a high-energy, nostalgia-packed performance that’ll make you feel like you’re back in the early 2000s. Their catchy tracks and upbeat riffs are bound to get the Slam Dunk crowd singing along, creating an electrifying atmosphere. 5) A DAY TO REMEMBER In fifth place, we have none other than A Day to Remember, a band that will throw you back to a time when band tees were overflowing your wardrobe and your bedroom was more posters than actual wall. This band surely needs no introduction, so make sure to catch them as the headliner at Slam Dunk 2025! 4) SOUTH ARCADE As we approach the top three, an honourable mention needs to be given to Oxford-born band South Arcade as they snag the fourth spot. Creating music since 2021, South Arcade have been making it big over the last two years, releasing a large number of singles and EP’s and even brought out their debut album last December. Make sure to give them your loudest cheers from the pit! 3) NECK DEEP In third place, we have everyone's favourite pop-punk group from scenic Wales, Neck Deep. This band for sure had you moshing on in your bedroom as a teen, and this is your chance to show your appreciation for their music in real time! 2) MOUTH CULTURE Deserving of their spot in second place is none other than Mouth Culture. Fresh out of their debut Download performance in 2024, they are back and more than well-equipped to handle the rager that is festival season and are ready to blast their brand new EP that they released late last year to tens of thousands of hyped-up fans. 1) ZEBRAHEAD And now, the top spot has been snatched up by a band bringing insane riffs from across the pond and have been going sensationally strong for a whole 29 years. Number one on the list of must-see artists at Slam Dunk Festival 2025 are Zebrahead. If you have not seen this band live then it is a bucket list-type venture, their stage presence and performance quality are second to none and there is no doubt that they will be shredding those strings better than ever on stage in May 2025! Well there you have it, ten artists that you need to add to your undoubtedly packed festival itinerary for the year. Slam Dunk Festivals’ line up for 2025 is looking to be one of the best yet, so we better see you there in the pit having the time of your life! WORDS: Becca Wheeler

With their appearance at Outbreak just around the corner, here’s our thoughts on every Knocked Loose album and EP - in detail, because it's hard to stop talking about the biggest band in hardcore! 5) A Tear in the Fabric of Life - EP, 2021 Something has to go to the bottom of this list, and the process of elimination has placed Tear in the Fabric of Life here this time. As the full precursor to You Won’t Go Before You’re Supposed To, the artistry present in the animated film for the EP is phenomenal; the portrayal of grief through its skeletal beings as a never ending journey of horrors and derealisation. The scene of the roots taking hold within Forced to Stay is as haunting as it is beautiful (the whole section is a highlight of the animation), and as the lead begins to morph into the chaos they were running from, the moth motif is both poignant and crawls upon the skin while the final shot of the castle is artwork we wish was on a poster. Mangnus Jonsson deserves all his flowers for Tear in the Fabric of Life as Bryan Garris deserves his for seeing this concept. As for the tracks: God Knows is a masterclass in the Knocked Loose breakdown, from the opening instrumental three act structure to “Loathing/caused by the weight of the/ terror” scratching the itch in the hardcore brain. The death wails at the end deserve a shoutout too, notwithstanding the chaos that is the final minute afterwards, and this track has also made for some of the best merch they’ve made (personal opinion). Return to Passion manages to over deliver within its minute and a bit runtime with that small low guitar/bell ride riff at its beginning before launching into the frankly dirty breakdown that makes up the rest of its bars. So why last? As mentioned, it's not for the shortcomings of A Tear in the Fabric of Life but for the success and place in the hearts of other projects that other outputs have within the fanbase. Tear in the Fabric of Life set off the spark for what was to come in their artistry rather than ignited a flame, though the importance of this EP to the Knocked Loose evolution cannot be understated. Highlight Tracks: God Knows, Return to Passion 4) Laugh Tracks - LP, 2016 It is hard to rank Laugh Tracks as the worst of the three Knocked Loose LPs because it infers it is lesser than its successors - if this ranking was based on personal opinion it would be much higher. As the album that started it all, each of its tracks will rank in top 10s and 5s in a given crowd of Knocked Loose fans, with singles such as Billy No Mates (featuring Counterparts) being a personal highlight of their commercial offerings. As for album tracks, fan favourite Oblivion’s Peak is an instant standout; its theme of enacting revenge on the fraternity that rejected a friend of the group due to his being gay is a comfort to the queer hardcore scene and contains honest reflections on the odds that a want for community can have within a hostile society, while the track itself is almost sultry in the way it swings and gradually increases its chaos. The breakdown refrain “When it’s your time to be judged, you’ll get what you f**king deserve” is a cathartic bar also and cannot be forgotten. Blood Will Have Blood is a bouncy number with a melody that manages to soothe the soul despite the genre it is contained in, then album closer Laugh Tracks is a testimony to the themes of isolation and lack of understanding that characterise this project. The use of the laugh tracks at the end of this album perfectly embody the layer of humour and attempts at charm that oft bookend the display of emotions that Laugh Tracks performs, and this track overall is a perfect closer to the project. The only issue with this album truly, is that the fade outs at the end of ‘Last Words’, ‘No Thanks’ and ‘A Fetish’ all fade out as if they’re the last track, which takes some of the steam out of the project on a cover to cover. But apart from this Laugh Tracks is the darling of the Knocked Loose fan community, but the outer ripples of other projects inch them ahead for the purposes of this ranking. Highlight tracks: Oblivion’s Peak, Blood Will Have Blood, Laugh Tracks 3) Pop Culture - EP, 2014 Knocked Loose’s first EP has a special place in the hearts of those who have been listening to the quintet for a while, and Out of Rage is no exception. Potential emanates from their debut, with the smooth transitions between tracks and its scathingly passionate lyrics about their dissatisfaction with the society presented to them. Separate and Small Victories still hold up as some of the best in the discography; Separate a tirade against the fake with its unfiltered insults perfectly complimenting the punk energy that early Knocked Loose emanated; Small Victories a bouncy yet angsty track of self depreciation that performs a comfort in feeling unlikable that will evolve later as the project concepts do. All my Friends needs not be mentioned with its rerecording in the Different Shade of Blue era and its well earned spot in every tour setlist since this EP’s release, with this fan favourite passing the lips of many when asked what the band's best song is. It is a raw and genuine testament to loneliness and how it seeps into every emotion atop an endlessly hard soundscape which has cemented this song as a pointer for getting into hardcore. This said, of course there are some teething issues that get ironed out down the line. The old gag about Garris’ scream feels fairer in hindsight, and the lack of development in his scream shows in the reliance for spoken word at spots around this project. Nevertheless, Pop Culture is a warm fire of an EP that stands the test of time in terms of its quality and the relevance of its themes. Highlight Tracks: Small Victories, Separate, All my Friends (“Don’t put it past me babygirl/ I’m a wildcard” has a wince of cringe in it that you have to forgive a band in its teens and early 20s for every time you hear it, but Small Victories is still a great song). 2) You Won’t Go Before You’re Supposed To - LP, 2024 The most recent album and movement of the Kentuckians has launched them into the stratosphere, turning them from a sometimes-debated part of the hardcore furniture to the genre's posterboy for those outside of the scene. Suffocate with fellow scene-exploder Poppy bagged them their first Grammy nomination for best metal single as well as the now infamous Jimmy Kimmel performance (we all know where we were the first time we saw the pig squeal). As for the album itself, it is seminal work. Piece by Piece explodes into the ears on the back of track opener Thirst, not breaking for a second as it hops between the punk influenced hardcore sound that embodies Knocked Loose and pull-no-punches breakdowns that make no place safe from a fan throwing a spin kick just from it playing in their headphones. Don’t Reach for Me is the personal favourite out of the singles from this album, with that looped note that rings out throughout and eerily mellow second bridge compared to the driving rest of the song. “Do you hate me yet/Do you hate me now?” Anyone who hates any of you is a fool. As for the second half of You Won’t Go Before You’re Supposed To, ‘Take Me Home’ is up there with the standout tracks. The riff that makes up the base of the track is haunting, and this offering has that passive and de-realised edge within its second verse and 20th century sample in its outro compounding it as a nod to Looses Knocked passed.’The Calm That Keeps you Awake’ deserves its flowers here too both for the drumwork at the beginning and that iconic swinging breakdown making up its last minute - there are no other words apart from immense. The music videos for this project (so far, let’s hope) also add the air of maturity and confidence of skill that has felt missing from the in-person outputs of the quinintent from a visual perspective. Suffocate is the obvious example of this: a clear increase in camera quality from the Upon Loss singles while keeping the southern gothic theming makes for the trippy energy and the pit-in-your-stomach feeling of persecution that is part of the addictive nature of Knocked Loose’s music but put to visual. The use of an abandoned church in the Don’t Reach for Me video also deserves an honorable mention, as does the cultish themes of the ‘Blinding Faith’ video. What stops this album from hitting the top spot on this list may be that somewhat midwestern-emo edge that is present within its concept and execution; the concepts and artistry around this elevate the listening and watching experience, but the entrancing nature of these elements does impact how well some of these tracks stand when listened to outside of the project they were recorded for. Despite this, You Won’t Go Before You’re Supposed To is sure to be the album of a generation, and with the grace of time even the most staunch old work supremacist may change their tune. Highlight Tracks: The Calm That Keeps You Awake, Suffocate and Blinding Faith 1) A Different Shade of Blue - LP, 2019 Putting A Different Shade of Blue feels somewhat contrarian in the wake of You Won’t Go Before You’re Supposed to, but it is everything that Knocked Loose has to offer with no breaks of speed. The artwork for a Different Shade of blue is stunning with the figure in its corner and the rips breaking through its colour scale, while the music videos from this era are the first nods of the artistry and high concept that Knocked Loose would come into. The Mistakes Like Fractures video has the trippy body double motif with the themes of consumption in its sterile environment, while …And Still I Wander South has the desolation and arthouse energy that becomes prominent in the later projects covered but here the lyrical dance played on loop is beautifully creepy. As for And Still I wander south, it is the personal favourite of the singles from this bands discography: as a song it feels the most raw out of this project, like the concepts have been stripped back to the feelings that inspired them - as Garris proclaims “I spent most of my life trying to get out/ and still I wander south” it speaks to the frustrations of breaking out of a geographical typecast that those who get it, get. It needs not be mentioned how iconic “God fell silent when I cried out” is as a bar in Mistakes Like Fractures also, but we will mention it for its sheer quality. Within this album there are many gems too. Trapped in the Grasp of a Memory is violently good; focused on its soundscape more than its lyrics the winding riffs from its first movement are complemented by the gorgeous drum rolls from its second before all out chaos ensues for the rest of its two minutes - it is an unrelenting banger. Emma Boster’s (Pounds of Flesh) feature in its follow up ‘A Serpent’s Touch’ is another standout of this project too, rounding off a personal favourite perfectly. When By the Grave hits within this project the reasoning behind why this place first becomes apparent. Its swelling intro before takeoff sets the tension wonderfully which is maintained throughout the rest of A Different Shade of Blue; the subsequent pickup in tempo in ‘In The Walls’ and it's haunting themes of someone whose left never quite leaving, with the PT radio broadcast at the end feeling chillingly real in this context that adds a terrifying layer to lyrics screamed. The standout songs from this project come in (almost) one after another: Forget your name ft Keith Buckley (Every Time I Die), Route 23, then Denied by Fate. Forget your name juggles its titanium hard soundscape with a dancey feel that is captivating for every second, while the spoken word elements of Keith Buckley’s are haunting - “Brother in arms, amputated” as a lyric sticks in the brain for weeks. Route 23 begins with the sickly sweet sample from 1990’s Misery then transforms into a thrash masterpiece within its 2:21, pausing only for a short breath before a screaming testimony of torture. …And Still I wander South follows, then slips into the most danceable of this power block in form of Denied by Fate.The groove is strong throughout this track with its treble breakdown that is just as easy to shake hips to as it is to throw glass - Kevin Kaine’s drumming has much to do with this, a listen just to focus on it is a treat. All in all, A Different Shade of Blue encompasses all of the best of Knocked Loose, from the punk-infused hardcore of their early days to the high concept artistry of their current creative output. The lyrics remain raw throughout their discography, but in A Different Shade of Blue the growing pains of a band about to break into superstardom captivate in a different way. The tracks go hard, stay hard, and stay on the brain more than any other project. Highlight Tracks: Forget Your Name, Route 23, Denied by Fate Honourable mentions) Split - EP, 2015 Split is a joint EP with Damaged Goods, with Knocked Loose covering the first three songs. These honestly aren’t so memorable, but buried in this EP is D.T.A.H; arguably one of their most underrated songs. From the first “Did you…” to the final “the Tree of Life bears no fruit, unless it’s rotten/ to the f**king core” the door-to-the-face swing of this song hits the listener in the face, breaking only to pull off a bell ride breakdown at breakneck speed. This track alone is a crown in the jewel of the Knocked Loose discography, and Damaged Goods’ half of the project is worth its runtime. Upon Loss Singles - EP, 2023 Deep in the Willow/Everything is quiet now is the proof of concept that became their most recent project, with its accompanying music video/short film being a testament to Garris’ ethos of “pushing hardcore into places it doesn’t quite fit.” This is literal within the short film - the plot of persecution and the juxtaposition of this persecution in a warmly lit affluent home - and through the integration of hardcore into an arthouse concept. This final primer for You Won’t Go Before You’re Supposed To is a great listen, and it is good to see the quintet get used to taking an on screen role. Words: Julia Brunton Catch Knocked Loose at both Outbreak Manchester and London this June.

Wednesdays are always better accompanied by a good music, so it was no surprise to see the Camden’s famous KOKO filled with fans, who were there to celebrate Divorce’s big milestone, as they finally released their debut album Drive to Goldenhammer on March 7th. The alternative four-piece from Nottingham, who is not afraid to go beyond the expectations of their audience, consists of the main vocalist and bassist Tiger Cohen-Towell, co-vocalist Felix Mackenzie-Barrow, drummer Kasper Sandstrøm and the lead guitarist Adam Peter-Smith. The London concert was the last stop of the ten days long UK tour, as the band continues their promotions in mainland Europe. They were supported by DUG on the home-country run. Before DUG started playing, they were introduced to the audience by a little clown performance by Mackenzie-Barrow’s mother, which was a funny little detail, that the audience was very happy about. Right after that the Irish-American duo came onto the stage with their banjo and bass and captivated the whole auditorium with their talent. Blending together Irish folk music with American folk music, DUG features a plethora of different songs and instruments. The members Lerkin O’Reilly and Jonny Pickett were teasing the listeners throughout the set, as they were surprised by the audience’s enthusiasm and attention to their songs. At the very end of the set, just before playing the song ‘Cumberland Gap’, Pickett went into the crowd and started explaining how to traditionally dance to the song they were about to perform, only for the audience to perform this throughout the whole song, ending the short set with a beautiful memory to keep for themselves. As the time was running, it was clear that Divorce is taking over the stage very soon. Introduced by the funny clown performance again, the band immediately won the fans attention as they started off with their song ‘Fever Pitch’. Continuing with their curated setlist, they played a lot of songs from their newest album Drive to Goldenhammer, but at the same time did not hesitate to include their older songs, which were always met with the audience’s approval. Enchanting the auditorium with Cohen-Towell’s breathtaking vocals, that sounded like from another world, especially paired with Mackenzie-Barrow in harmonies, the band was getting through their final UK set for this tour run like nothing. Sandstrøm was breaking the drums like it was nothing, producing the most insane sounds, that were worth focusing on, meanwhile Peter-Smith was showing off how multitalented he is, switching between guitar and synth, producing a mesmerising sound that was definitely tying the whole experience together. After giving the fans, the most emotionally charged performances, the band ended off their set with two encore songs, both performed with the duo DUG, that were a wonderful departure to the band. The whole concert had an amazing atmosphere that was kept throughout the night, and it was obvious that the fans enjoyed every second of it. The support act was a great choice, as they did exactly what they were supposed to and more, and it was hard to say goodbye to both bands after the phenomenal performances. Divorce keeps surprising with their music every chance they get, and it is obvious that the new album is just the beginning of their well-started journey. Words: Katerina Stepanikova Photos: Cate Neves

A sunny Saturday evening, Manchester City Centre, Academy 2, the perfect setting for 2006 Eurovision winners, Lordi, and all their comic book horror. Fresh off the release of their 19th studio album “Limited Deadition” which dropped back in March. This was to be a gig like no other. Before we were graced by Lordi owning the stage, fans were treated to a set by Sick’N’Beautiful. Led by powerful female vocalist, Herma. Unfortunately due to UK safety regulations, the band couldn’t use their usual smoke and effects, but honestly, I don’t think that was needed. The band lit up the room on their own with their confidence and effortless crowd connection. The energy all members gave off created an electrifying atmosphere, not just with their music, but with mesmerizing theatrical artistry. Seeing the band immediately head to the merch stand, waiting to meet fans after the show was such a breath of fresh air. Gave me a lot of respect for them as artists and as people. The lights faded as the feeling of anticipation filled the room, as the crowd were treated to “God of Thunder” by KISS. Eagerly awaiting the band to enter the stage, you could see from the insane set design and props, including a mysterious doorway front and centre, this was going to be one hell of a show. Band members entered, immediately greeted by rapturous cheering, this only heightened by the arrival of Mr Lordi (Tomi Petteri Putaansuu), the band's frontman and costume designer, through the previously mentioned mysterious doorway. “Legends are made of Clichés” was the first song of the night and really set the tone for what was to come. Immediately engaging with the crowd, they were under his spell as he encouraged clapping, screaming and cheering to be louder. From that point on the energy continued to grow. The band's effortless use of props including an axe during “Girls Go Chopping” and a chainsaw during “Beast of Both Worlds” made this not just a gig to be listened to, but an insane visual experience. The band had clearly thought of their whole set-list. Providing the crowd with many high-energy fan favourites, such as “Who’s Your Daddy,” “Devil Is A Loser” and “Blood Red Sandman.” A welcome contrast to this came about halfway through when the crowd were treated to “Call Off The Wedding” a ballad, dedicated to KISS fans as the song was written with former KISS guitarist, Bruce Kulick, which led to a sea of phone torches in the air. Throughout the whole show Mr Lordi’s talking and joking with the crowd went down a treat. He joked about having to learn the lyrics to certain songs and had members of the crew come on to provide lyrics as his “teleprompter.” This joke did go on, and on, and on again and maybe at times felt a little repetitive, but as he was dressed to the nines in ghoulish, hell monster gear, a small break from singing every now and then can be forgiven. A personal highlight for me was getting to see each member of the band have their own time to shine and showcase their musical talent. Each performing a solo number and small horror sketch involving a crew member entering through the mysterious door and being killed* in various ways, including one small, but effective, beheading. *No crew members were harmed during the making of this show. As the end of the show drew nearer, the song all fans, especially Eurovision Fans, had been waiting for was on the horizon, even though it was joked that it wouldn’t be played, I fear there would have been an actual riot. The famous intro, played by Hella on the keys, was enough to reassure the fans that “Hard Rock Hallelujah” was going to close the show. Just when I thought we had reached peak, punk-horror rock and roll, a confetti cannon exploded and rained down onto a very satisfied crowd. After going into this show without ever seeing them live before, and not knowing what to expect, I can safely say I will be front row at their next UK tour, eagerly awaiting what comes through the mysterious door. Words: Rachel Jones Photos: Dan Brock

As we’re sure everyone has heard by now Sleep Token have been announced as one of the Download Festival 2025 headliners, joining the likes of Green Day and Korn, but how much do you really know about this mysterious masked band? In this piece we aim to give you a brief look into the world of Sleep Tokens lore, bearing in mind that a lot of their story has been carefully pieced together by fans, as the band themselves have spoken very few times and even less so about this world they have created. We will discuss both established lore and some fan theories as well as what is possibly next for this British 4 piece. The Origin of Sleep The most important thing to start with is that their lore centres around Sleep, and no not the activity. Sleep is the deity that rules the world they have created, according to Vessel Sleep is not exactly its name, but the closest word that we have in our language. Vessel tells the story that he was sent by Sleep to spread its message and make others aware of Sleep and its power. He claims that he is a ‘Vessel’ for its message, hence the name, the other members are also Vessels commonly being referred to by their numbers (II, III and IV). Sleep Token call their concerts rituals, referring to them as their way to spread the word of Sleep and hoping that fans of the band will also follow and believe in Sleep. The band offer themselves as a token, remaining faceless and only glorifying Sleep at their shows rather than themselves, this is what brings them the name Sleep Token. They also refer to their songs as offerings, being something that they give to Sleep to show their loyalty. “I [he] encountered Sleep in a dream, with the promise of glory and magnificence if I [Vessel] followed him” is one of very few quotes from Vessel himself, this being from a 2017 interview in the bands very early days and is a key part of how fans can put together fragments of their story. It's also worth noting that Sleep is referred to with different pronouns, not really conforming to one. On the surface Sleep Token's lyrics all refer to Sleep, talking about their love and gratitude to Sleep but also Vessels inner turmoil with coming to terms of how he has given up his life and his identity to serve this god that only uses him. Take Me Back To Eden Stepping away from the lore many fans see a parallel between Vessel's feelings for Sleep and how one might feel about a lover or ex lover, making the lyrics relatable to those that have been in unfavourable relationships. Some theorise that their entire lore is a metaphor for just that and also that ‘Eden’ who is referred to in multiple songs is another lover that treated Vessel better than Sleep. Another large part of Sleep Token's lore is depicted in their Graphic novel ‘Teeth of God’. This book tells a different story but follows in the same vein - I will give a brief description here so please if you would like to avoid spoilers for it then skip the next two paragraphs! In this graphic novel the story of Sleep is told by another person - possibly Vessel in another life or a different Vessel all together - as he witnesses a lunar anomaly. This anomaly sees Sleep emerge from the moon as it is shown in their Take Me Back To Eden album cover and rains all hell on the earth spreading what is referred to as ‘Eden’. This is on the base level a word that represents all the ‘alien’ flora and fauna that Sleep brings with her as she destroys the earth and replaces it with her own. In this story it is described that the world has forgotten about the deity - references to dead gods in their lyrics also point to this - and that Sleep is angry that man has moved on without its reign and it seeks revenge by destroying all humanity. This story also sees a protagonist being chosen by Sleep and being given dreams of the destruction of humanity to make the vessel serve Sleep, much like is described in Sleep tokens lyrics and other pieces of their lore. Although not being the exact same story all roads lead in the same directions with many links lyrically between the novel and the music. Even In Arcadia In this new era of ‘Even In Arcadia’ the new album being released on May 9th we are seeing more references to what we know whilst equally revealing newer pieces of the puzzle to which we have never seen before. To give you just a taste of the chaos that is trying to decode their messages in real time, the most recent single ‘Emergence’ had fans literally travelling the country to put together the pieces just for the song's release. Early in March two instagram profiles appeared called ‘House of Veridian’ and ‘Feathered Host’ whose names have been repeatedly occurring since. These instagram profiles posted co-ordinates in the form of morse codes leading any fans near the destination to venture out of their homes. After mere hours of being posted fans found two QR codes near an observatory which lead them to two similar images. These images overlapped and created the digital cover for their new single and the image files were named ‘Blood’ and ‘Moon’ because of course the single was being released in tandem with the blood moon later that same week. Words: Amy Smyth

Maryland-based solo act Exiled Hope returns with Apocrypha, a sprawling, ambitious concept album that marks the third chapter in a dark fantasy saga built entirely by multi-instrumentalist Sofia Frasz. Fusing blackened power metal with folk, melodic death, symphonic elements, and cinematic storytelling, Apocrypha is both a showcase of Sofia’s artistic evolution and a testament to her unwavering creative vision. Opening track 'The Summoning' begins with a foreboding piano melody, soon layered with string arrangements that aim for grandeur but feel slightly underwhelming in execution. The vocal effects early on give the impression of a voice echoing through a vast, empty cathedral - atmospheric, but not fully gripping. That all changes once the guitar crashes in. Suddenly, it’s a proper metal track, with growling vocals that immediately elevate the mood. From that point forward, Frasz’s confidence behind the mic and her flair for dramatic arrangements start to shine. 'The Day Will Come' follows with an occult rock sensibility - think early Ghost - before falling back into the sweeping theatricality that defines Exiled Hope’s sound. Clean vocal melodies balance the heavier instrumentation, and the track finds a nice midpoint between intensity and melancholy. There’s a strong melodic core here, proving that even amid sonic excess, the heart of the song remains intact. Further into the album, 'Dreamwalker' (featuring Metal Matt) marks a notable shift in tone. A two-part ballad nestled among heavier offerings, the track brings a necessary breath to Apocrypha’s dramatic pacing. Matt’s guest appearance adds a warmth that plays beautifully against Sofia’s more ethereal delivery. The song unfolds gently, with soft acoustic passages and shimmering synths that evoke a dreamlike state. While it never fully abandons the darkness that permeates the record, 'Dreamwalker' offers a glimpse of hope and introspection - like a lull in the storm before the next battle. Later, 'The Silence Is Deafening' brings things back into conflict, thematically and sonically. It’s structured like a lovers’ quarrel, with two distinct perspectives clashing throughout the track. The instrumentation reflects this tension - sharp, dissonant guitar lines tangle with haunting keys and aggressive drums. The track’s emotional chaos is palpable, and its unpredictability stands out as one of the more complex and layered moments on the album. There's a very human pain buried within the theatrics here, grounding the fantastical narrative in something achingly real. Finally, 'Forbidden Majesties' brings the saga to a satisfying close. Acting as the grand finale, it weaves together the sonic palette of the entire record: orchestral swells, furious riffs, and delicate vocal harmonies coalesce into something both cinematic and heavy. There’s a sense of culmination in its arrangement, echoing themes from earlier tracks while still pushing forward. It doesn't feel like the end of the story entirely, but it’s a powerful chapter marker - an exhale after a long, tumultuous climb. Throughout Apocrypha, it’s clear how much growth Sofia Frasz has undergone as a musician. The record is the product of years of development, experimentation, and perseverance, as she balances law school with relentless artistic drive. Her work ethic and passion are embedded in every note, and while the album isn't without its flaws - some early production moments feel unrefined, and a few transitions stumble - there's a strong, clear voice behind it all. Every song feels like a world, every lyric a fragment of a much larger mythos. With Apocrypha, Exiled Hope cements itself as more than just a solo project - it’s a fully-realized universe in progress. Fans of Kamelot, Nightwish, Avantasia, or even the narrative ambition of Cradle of Filth will find much to enjoy here. It’s dark, theatrical, deeply personal, and boldly unafraid to wear its ambition on its sleeve. For those willing to immerse themselves, Apocrypha offers not just a collection of songs, but a journey. And in Exiled Hope’s world, the journey is far from over. Score: 7/10 Apocrypha will be released on April 11th 2025. Words: Jason De Mendonca Photos: Exiled Hope

If the quote “Life is like a box of chocolates, you never know what you’re gonna get” from the Forrest Gump movie was about a band, it would absolutely apply to Benthos. The rising star hailing from Milano in Italy have become a fan favourite in their home country and is quickly creeping into the hearts of other nations. Experimenting with progressive metal and blending in elements from mathcore and post-hardcore, the band creates their unique sound that is both ethereal and heavy. Consisting of the vocalist Gabriele Landillo, guitarists Gabriele Papagni and Enrico Tripodi, bassist Alberto Fiorani and drummer Alessandro Tagliani, the band is promising a 12-track journey into their universe, where everything and anything can happen any second on their new album From Nothing, which is the band’s second full-length album. At the beginning of the release, the listener is welcomed with a brief introductory track named ‘It Starts’, which transitions straight into the titular track ‘From Nothing’. The first track is just a blend of synth sounds, peaking into a chaotic mix, whilst the second one kicks off with vocals and atypically written guitar riffs that stand out from the rest of the instruments. Benthos is already showing off their mastery of using soft and heavy elements in music in a way that will impress anyone who listens to their work. The third track ‘Let Me Plunge’ and the fourth ‘As a Cordyceps’ are shifting the way the band approaches the songwriting, and are already surprising listeners with different styles and patterns. ‘Let Me Plunge’ is an energetic, yet powerful song, that is very heavy on combining drums and guitars, followed by Landillo’s raspy voice. Meanwhile ‘As a Cordyceps’, also one of the three released singles, shifts straight into heavy music and screaming. A notable feature is the use of the robot voice in a break and bridge, that allows for more control over listener’s attention to the recording, as it is a newly introduced feature. The fifth and sixth tracks on the album, ‘Fossil’ and ‘Recompose’, are taking us deeper into the universe of the band. ‘Fossil’ is a wonderful showcase of Benthos’s potential, with the music styles changing very quickly, using similar method of blending multiple music genres together to Sleep Token, only more aggressively. The decision opens up new possibilities for the songwriting, as the tracks are often more complex and interesting, leaving the audience longing for more, and that is exactly what happened with ‘Fossil’. Instrumentally similar to Knocked Loose, but with a kick in a form of screams and clear vocals, the track stays energetic the whole time. Utilising the instruments typical for prog metal and combining them with synth is met with a beautiful harmony that is sort of reminiscent of orchestral music, yet no classical instruments have been used during the recording. ‘Fossil’ surely is one of the most memorable songs on From Nothing, and the transition track ‘Recompose’, that is coming right after, is a brilliant way of giving the audience some time to process the long recording. ‘The Giant Child’ and ‘Pure’, songs number seven and eight, dial the energy right back to eleven. Unfortunately, maybe too quick, as the listeners are still full of the previous recording, that was very long and intense. Being more on the soft side, the rock style elements are complimentary to the atmosphere of the track. ‘Pure’ is on the similar note as ‘The Giant Child’, playing more with synths and heavier vocals. ‘Athletic Worms’, the ninth track on the album, is heavily experimental, throwing together a mixture of heavy guitar riffs, screams, robotic voices and synths. The shortest of the songs that are using vocals, it feels very crowded and chaotic with different sounds, leaving the listener confused by the end of it. The tenth track, ‘Perpetual Drone Monkeys’, on the other hand, is purely based on heavy elements, combined with softer music time to time, with the use of sound effects in the background, that get easily lost in the melody. The experimental prog metal is very prominent in the eleventh track ‘To Everything’ as well, as the effects used in the song are well placed with the instruments, creating a perfect canvas for the ever-changing vocals. It is an energetic and captivating piece, that is well-picked for the last song, that is featuring vocals. The 12th and closing track on the album is called ‘It Ends’, and similarly to ‘It Starts’, it is just a blend of synth sounds, that are turning into a very powerful distortion, as the track comes to the end. The work and ideas put into From Nothing are definitely noticeable, as the band gave us the best they could, blessing us with a well-crafted experimental piece. Without the track ‘The Giant Child’ being placed into a spot that definitely does not compliment it’s potential and the ‘Athletic Worms’ being full of sounds that are not blending together, but rather create a chaotic mess, the album would be a perfect example of well executed experimental album. Nonetheless, Benthos still did an outstanding job with this piece of work, and the time put into making it absolutely paid off. Score: 7/10 From Nothing will be released on April 11th 2025 via Inside Out Music. Words: Katerina Stepanikova Photos: Benthos

The time has come! The symphonic metal giants Epica are back with their ninth studio album, entitled Aspiral. An anticipated release for many, including fans who initially got an early taste by hearing four new songs during The Symphonic Synergy concert at AFAS Live, Amsterdam, last September. But let’s not be greedy - as always the band was mindful to keep their audience fed by releasing not one but three singles ahead of the album: 'Arcana', 'Cross The Divide' and 'T.I.M.E.'. Following 2021’s Omega is not an easy task but Aspiral sets a different course. Stripping it down rather than always going higher, letting out a raw energy that is the essence of the band which is bound to make anyone curious and excited for this opus. Epica is known for its meticulously crafted concepts, and this release is no exception. The album, titled Aspiral, takes its name from a bronze sculpture of the same name created in 1965 by Polish artist Stanisław Szukalski. The sculpture represents themes of renewal and inspiration, fitting symbols for where Epica stands in 2025. Szukalski’s work is renowned for its intricate detail and layered meanings, a quality the band found deeply resonant during the making of this album. Each track carries its own weight and atmosphere, yet together they form a cohesive and powerful whole. This reflects the group’s own creative dynamic: a constant exchange of motivation, ideas, and artistic challenges. Much like the sculpture, the album’s lyrics trace a path from disorder and hardship to beauty and rebirth. To bring this vision into the visual realm, Epica collaborated with contemporary sculptor Hedi Xandt, who transformed their concept into a striking artwork. The result is both a bold artistic statement and a heartfelt tribute. This builds an exciting way into the songs themselves. The album kicks off with 'Cross the Divide', a high-energy track that sets the tone with a touch of dissonance in the intro. An edge that subtly lingers throughout the song. It opens with melodic guitar work that quickly draws the listener in, before transitioning into punchier riffs and delicate keyboard layers during the verse. The chorus ramps up the tempo, delivering a burst of fun, catchy symphonic power metal. While it is unexpectedly different from the album intros we know from the band, it delivers a straightforward punch, an upbeat energy and lyrical momentum that builds as the track progresses. Its infectious hooks and vibrant arrangement make it an unmistakable single choice. 'Arcana' shifts the mood entirely with a smooth, delicate opening that gradually unfolds into a grand, theatrical soundscape. Slower in pace and deeply atmospheric, the track is driven by a darker orchestral arrangement evoking a gothic elegance throughout. The layers of its back choirs add a remarkable depth. From an eerie children's choir just before the chorus to haunting adult voices that open the song and return later, it reinforces the track’s dramatic flair. The vocals take centre-stage, amplified by an echoing effect that expands their emotional range and spatial presence while the instrumentation remains mostly in the background, subtly supporting the melody. Ariën Van Weesenbeek’s drums follow a slow, doom-inspired rhythm, dragging the tempo just enough to add weight and tension. As the song nears its finale it takes a darker turn with punchy guitar chords and fierce growls by Mark Jansen, culminating in an explosive, unexpected ending that leaves you stunned. No time to catch your breath, next up is 'Darkness Dies in Light - A New Age Dawns Part VII', which brings in the 'A New Age Dawns' song series to this album. It begins with a bold, trombone-like intro that feels taken straight out of an epic adventure film, immediately setting a heroic tone. The track carries a strong fantasy flair, blending orchestral grandeur with a sense of narrative-driven urgency. Mark Jansen’s growls make a prominent return here, not just as accents but woven into the fabric of the song, shadowing the guitar lines and then rising to equal prominence alongside the Simone Simons’ clean vocals in the pre-chorus. A Latin-sung choir adds gravitas and ritualistic intensity, hinting at something ancient and powerful. Marked as part VII of the 'A New Age Dawns' saga, the track continues a storyline that began two decades ago with 'The Last Crusade (Part I)', as well as parts II and III, on the 2005 opus Consign to Oblivion. Since then we’ve encountered parts IV–VI in Design Your Universe (2009). With parts VII to IX appearing on this album, fans will finally get to embark on the new chapters of this musical odyssey. The instrumentation itself seems to span eras: what evokes an electronic harpsichord conveys baroque textures, while more subtle electronic elements also creep in toward the end, like echoes of the future meeting the past. As the longest song on the album, 'Darkness Dies in Light' stands as both a sonic journey and a narrative cornerstone - majestic, immersive, and steeped in Epica’s lore. Next up, 'Obsidian Heart' takes a bold step deeper, showcasing a heavier, rawer sound than usual for Epica. The guitars are more prominent here, with djent-inspired riffs cutting sharply through the mix and giving the track a grinding, almost industrial edge. The rhythm is slow and deliberate, echoing the weight and melancholy of doom metal, while the instrumental remains dense and distorted throughout. This raw heaviness creates a striking contrast with Simone Simons’ clear and lyrical vocals that floats above the grit almost like light piercing through darkness. It’s this tension between aggression and elegance that defines the track, making it feel both unsettling and captivating. Just as the weight seems overwhelming, the song closes on a surprisingly delicate, bright note. A single, clear tone that leaves a lingering sense of resolution and contrast, like a glimmer of hope emerging from the shadows. That leads us to 'Fight to Survive' which bursts in with an electronic intro full of static and distortion, channeling a gritty, cyberpunk aesthetic that immediately sets it apart. A megaphone-filtered voice and countdown “3, 2, 1, go!” feels tailor-made to ignite a live crowd. The track launches into a high-octane ride, blending aggressive riffs with industrial rhythms and video game-like energy. It’s chaotic in the best way, like the soundtrack to a futuristic rebellion, with a heavy breakdown that hits hard and challenges the listener. A blistering heavy metal guitar solo slices through the track, adding another layer of intensity. Stylistically, it’s a genre mashup that works melding electronic, metal, and cinematic elements into a thrilling anthem of resistance. And as the song reaches its climax, the shouted word “Fight!” rings out like a rallying cry, leaving no doubt about the track’s message or impact. We take a breath into 'Metanoia' (Greek for 'Repentance') which feels like a spiritual centrepiece of the album, both musically and thematically. It opens with a plaintive violin line, delicate and emotive, accompanied by ethereal, soaring choir vocals that evoke a sense of celestial grace. The atmosphere is light, almost sacred, before the music descends into a powerful drop, unveiling the full scope of Epica’s signature sound. This track feels deeply connected to the band’s legacy, echoing the grandeur of the 'A New Age Dawns' series - not just in style but in substance. As one of the longest songs on the album, 'Metanoia' unfolds like a journey, with shifting moods, layered storytelling, and a cinematic arc creating a red thread that fans will recognize and appreciate. The song concludes with a soft landing like lightly picked chords and a final whisper of violin, leaving the listener with a feeling of closure, reflection, and emotional resonance. You may know it but it will still surprise you, 'T.I.M.E' then stands out as one of the album’s most experimental and theatrical offerings. It opens with an unsettling moment, a child singing softly then suddenly screaming, setting an eerie and almost surreal tone. The guitars pick up the melody the child was murmuring, repeating it with a twisted, carnival-like flair that gives the intro a chaotic, circus-esque atmosphere. From there, the track explodes into a whirlwind of styles, pushing boundaries with dramatic shifts, blast beats, and unexpected rhythmic turns. It's progressive, intense, and unapologetically grand in scope. Mark Jansen’s extreme vocals make a commanding return here, roaring through the mix with raw power, making it his most prominent appearance on the album. This song feels like a descent into madness and revelation all at once, a theatrical spectacle that refuses to be boxed in, proving Epica’s relentless drive to evolve and explore new sonic dimensions. reach 'Apparition' which delivers a tightly woven blend of atmosphere and heaviness, anchored by a Devin Townsend-like groove. The track flows with a hypnotic rhythm, balancing intricate instrumentation with an underlying pulse that keeps it grounded and compelling. There’s a sense of rising tension throughout, building toward an empowering finish where Mark Jansen’s growl tears through with the defiant line: “We will rise.” It’s a powerful closer to a track that feels both introspective and rebellious, embodying resilience through sound and spirit. As we get closer to the end, 'Eye of the Storm' opens with a familiar vibe, reminiscent of classic Epica tracks like the beginning of 'Sancta Terra', but with an electrifying twist. The song starts with a fierce scream leading the charge, rather than the typical clear vocals we’re used to and this raw intensity remains present throughout the track. The song boldly ventures into melodic death metal territory, but keeps a perfect balance between ferocity and melody. The heaviness is unexpected and powerful, unfiltered and unedited. Being the song before last, 'The Grand Saga of Existence' opens with a fairytale-like introduction, complete with twinkling sounds that evoke a sense of magic and wonder. The track feels like a journey through a fantastical realm, with its ballad-like structure and enchanting atmosphere drawing you into a world of imagination and timeless tales. It carries the air of a grand fantasy with the music’s delicate flow creating a sense of awe and reflection, making it one of the most dreamlike and otherworldly tracks on the album. We come to a close with the title track, 'Aspiral'. It begins with a delicate and fluid intro, the soft tinkling of a light piano evoking a sense of calm and introspection. The vocals are ethereal and fragile, as if floating in a dream, with the voice serving as the central instrument, stripped down to its most raw form. As the track unfolds, a distant, spoken monologue from an older man echoes through, adding an air of nostalgia and memory like a moment frozen in time, playing out across layers of sound. The song slowly warps towards the end, with the sound distorting and bending, creating an otherworldly effect that mirrors the song’s themes of change, reflection, and transformation. It's a hauntingly beautiful closing track that feels like an elegy for a moment lost in the passage of time. Aspiral is a versatile, accessible, modern and excellently produced album, on which Epica moves with the times without losing itself. For example, characteristic riffs, vocal melodies and orchestrations pass by that remind us of the early discography, but the epic company also applies elements from modern metal, such as breakdowns, in its compositions. Unlike any of their past albums, it has a sort of outro track, as opposed to ending with a longer track, and it also doesn’t have an intro, instead immediately throwing fans into the thick of things with an intense opening track. Aspiral is a versatile, accessible, and modern album that showcases Epica’s growth while staying true to the essence of what has made them iconic. It’s a stunningly produced work that perfectly blends the band’s signature elements such as characteristic riffs, memorable vocal melodies, and lush orchestrations with fresh influences from contemporary metal. The album navigates through different styles proving the band’s ability to evolve without losing their identity. This approach makes Aspiral one of their most accessible records, yet it never compromises the depth, complexity, and epic storytelling that Epica is known for. In many ways, it feels like a culmination of their journey, a modern masterpiece that both reflects the past and embraces the future. Score: 9/10 Aspiral will be released on April 11th 2025 via Nuclear Blast Records. Words: Lysandre Pons Photo: Tim Tronckoe

Everybody rejoice! Your favourite band's favourite band, the wondrous Scowl, are back and better than ever. The Santa Cruz hardcore punk rockers have returned with their latest full length offering in Are We All Angels, and have drawn on a serious range of influences to create a piece that's sonically distinct from their past, whilst still being inimitably themselves throughout. 'Special' sets things into motion with a drum fill, guitar scrape, and angular riff that instantly slaps a smile onto the face of any listener, before almost tumbling into a melodic chorus that's fit to bursting with confidence and swagger. Verse two is prime time for vocalist Kat Moss, as she yells over the top of her softer vocals in a brilliantly paired set of lyrics and melodies. The song opens everything brilliantly, and superbly shows off the dynamic mastery of Scowl. Second to the plate is previously released single 'B.A.B.E.', which rips and roils through its verses before again opening up into more melodic vocals on the chorus that could all too easily be shouted back by a baying crowd. 'Fantasy' takes the mantle next and starts off a little less direct, although still retains a solidly punked-up groove and rhythm section. Another of the singles comes next, 'Not Hell, Not Heaven', before 'Tonight (I'm Afraid)' starts things off. There isn't much to say for this whole section other than that it's nigh impossible to stop bobbing your head in time, and of course breaking into a two step at all manner of moments. Before continuing our way through this cracking release, it's worth mentioning the beautiful album cover. It appears to depict a moth, and the shadow it's casting, all within a selection of iridescent colours that aptly display the mix of melodic elements shown off within. The droplets of condensation and slight blur serve to make everything feel a little surreal, and all in all it's a surprisingly artistic representation of everything found within its cardboard confines. 'Fleshed Out' gets into a real groove and stays there for most of the duration, making for easy pit and stagediving material in a similar vein to all that's come before. This changes briefly upon the intro to 'Let You Down', which floats away into dreamy territory for a couple of seconds before coming back down to Earth in a deft and upbeat break up track that feels like it could be the best pop punk track you've ever heard. It sticks to the Turnstile instruction book, being just heavy enough to know it's a punk song but incorporating vast swathes of melody, and atypically punk lyrics, to make it stick out within the album, and within the years releases so far. Track eight 'Cellophane' is full of riffs and a little bit of a nasty edge, that's let up on 'Suffer The Fool (How High Are You?)'. The latter feels like it could be one of the slightly less dialled in moments on the album, as whilst it's still a very enjoyable listen it does get repetitive by the end of its 3:16 runtime. 'Haunted' mixes things up a little though, with a slower tempo and a more melancholic feel that refreshes the ears a little for this first of the last two tracks. Finally, the title track arrives and it's right back to the piercing riffs and driving drums of side A in a frenetic finale to cap off an excellent return to form. Scowl may have slightly eased off on their titular facial expression, but by no means have they eased off the gas pedal. Santa Cruz's finest are still right at the top of the punk pyramid, and Are We All Angels is a fine example of why they'll be staying there for plenty of time yet. Score: 8/10 Are We All Angels will be released on April 4th 2025 via Dead Oceans. Words: Jake Longhurst Photo: Silken Weinberg

Throughout their back catalogue, Cytotoxin have - varyingly - pulled on many of the greats, invoking elements of Benighted and Stillbirth, whilst incorporating their own unique narrative ability into their music. The German metal band isn’t afraid of exploring long-abandoned ruins that no one else dares to enter. Serving as a haunting reminder of one of the many failures of humanity, on Biographyte the band delves into the tragic tale of Chernobyl. Taking a biographical approach, each track lingers on the lives of those involved, retelling the story of the thousands whose lives were irreversibly changed in one moment. ‘Hope Terminator’ is a strong lead for the album. Eccentric riffs serve as the backbone of the song from the start; they are the core of the RMBK reactor, spiking up at intervals, jumping and fluctuating. These guitars wrack through your body and soul. The vocals (performed by the immensely talented Sebastian 'Grimo' Grihm) function as the graphite of the reactor, the stabilising moderator, calm and continuous. Where some bands falter in the vocal department, Grimo does not, having this sustained ability to perform gravelly, harsh, emotive vocals without any auditory strain, with his great work preserved throughout the rest of this experience. It evokes the boom of Chernobyl, the rush of firefighters swarming to the reactor, ready to unknowingly sign away the rights of their lives to the radiation. The second track, ‘Condemnisia’, is equally as powerful. The track builds up this tension through the skilled use of the drums, constantly beating away in the backdrop, until it is palpable in the air. There is a real sense of despair that is thick in this track. At the halfway mark, heavy vocals and bass morph into this dejected suffering of pained cries, possibly a grieving father or one of those youthful firefighters succumbing to the radiation, forcing the listener to come to terms with the despondent nature of the album as a whole. It oozes this nuclear style, culminating in this ticking, reminiscent of a Geiger counter, proving the immense amount of creativity poured into this project. ‘Deadzone Desert’ is an atmospheric track that breaks away from the typicality of the album. With wind ripping through barren buildings and the clanging of chains, it exemplifies the sheer sense of abandonment that occurred in the forced removal of the citizens of Pripyat. Through a building riff, it transfigures into the intensity rejuvenated by ‘The Everslave’. Potent and powerful, it carries along the narrative expressed in the first track. An angelic instrumental breaks its way in, though, a similar occurrence happening in 'Eventless Horizon', with the listener poised between the afterlife of heaven and the hell of the world below, stuck in this suffering purgatory as Cytotoxin leaves you privy to both experiences. Where this album falters, though, is with how jarring and disjointed the music feels at times. The lyrical narrative hesitates at points, becoming fragmented as the vocals are severed from the rest of the track, appearing to sit there stagnantly. Individually, the elements are masterfully crafted. The riffs on this album are skillfully produced by the deft hands of Jason ‘Mathias’ Melidonie and Fabrice 'Fonzo' Töpfer, the bass serving as a booming backbone for the piece, the drumming creating this edge with every hit, and the vocals remain melodic despite their gravelly nature, being strong and sustained throughout. They just don’t merge well. It is like Biographyte is a sandwich; each ingredient is good quality, with cheese sourced from far-off regions of France, Iberico ham from the finest regions of Spain, topped with a variety of home-grown produce. But, when put all together, they simply don’t work that well as a whole, leaving a sour taste. Ultimately, this disconnect is the downfall of this album. It lacks the cohesion that is needed to turn a good release into a great one. Still, Cytotoxin’s ability to weave in this intense aggression present in metal into this exploration of the travesty of Chernobyl - whilst still being immensely respectful of the lives lost and the lives still affected by the disaster - is one to be in awe of. They are unparalleled in their unique storytelling dynamic and resounding lyricism. Touring throughout Europe in the upcoming months, this booming federation of nuclear fanatics isn’t one to miss. Score: 7/10 Biographyte will be released on April 11th 2025 via Unique Leader Records. Words: Dylan Milton Photos: Cytotoxin