Parisian trio Storm Orchestra serve gilded age in their most recent project Get Better, combining alt-rock riffs and bouncy beats with commentary on failing expectations and life in the newfound limelight. Though many of the songs feel like safe plays, this aspect adds to the listening experience in its way; is this what you wanted? Get Better opens with ‘Bright Soul', a drum heavy electro rock track which sets an angsty tone for this project that will evolve as the concepts are explored. It is followed by single ‘Drummer’ - a tongue and cheek pop rock number about idolising the stereotypical lifestyle of a percussionist. The nature of this beast means that Loïc Fouquet has some showing off to do and he delivers with a swing beat throughout the track before hitting a china-led breakdown as the track comes to its final chorus. However, the first true standout song is their collaboration with Chunk! No, Captain Chunk! on ‘Crush the Mirrors’. It captivates on intro then in its first chorus hits with killer hook “Breaking my backbone”, which hits immediately then becomes an earworm after one listen. ‘Crush the Mirrors’ is a perfect example of the balance that Storm Orchestra have struck between lighter electro rock sounds and a heavy alternative rock, building the track ready for Chunk! No Captain Chunk!’s Burtrand Poncet to hit a screaming interlude. The lyrics on this offering are also some of the strongest, with verse one’s “I miss those tiny whispers singing for me/I’m always fighting reality” striking right in the teenage angst to scratch an itch not found for years. The meat of this album includes another tongue and cheek rock single in the form of ‘Superplayer’: a certified head bopper playing on football fandom culture to explore being in a relationship where you never quite feel good enough. The stadium-rock style in the chorus and pre-breakdown work really well for this track; as a Makem, finding out that Maxime Gourdard is drawing on his experiences as a Magpie for this track was a shame, but credit where credit is due - it sounds superb. Easier to like is the duo of album tracks that fall at the midpoint: ‘Cut Loose, Somehow’ is exemplary of the angst of this album with it's easy-to-dance-to heavy soundscape (and the adding of three claps, iykyk), while its follow up ‘Désolé’ with JJ Wilde is a tearjerker with ‘If It Means a Lot to You’ energy in its plain and raw lyrics about feeling a love you want slipping between your fingers because of the life you live. JJ Wilde’s feature works beautifully on this track as the other perspective, her lower register and reminiscent lyrics taking the listener back to the last time they held someone they knew they needed to let go. The other side of this delicate balance is brought back in its follow up - ‘We Will Be the Last.’ Coming back in with an angsty alt-rock soundscape it speaks of a party at the end of the world while it proclaims it will be the last, with a broken up breakdown by a switch on and off that sends whatever is in the listener’s hands to the other side of the room. The energy is maintained in follow up ‘Tear Myself Down’, which hops between light building instrumental and full frontal heavy features to give a welcome metalcore feel while still serving party rock. As the crescendo hits, they take that full frontal into half time to produce another standout track on this project. The last third of this album ties Get Better up in a lovely bow. ‘This Game’, a cheeky rock track, has a playful energy to it that would make it a good fit for a singles night in a rock bar through the way it gets the hips swinging, while ‘Our Victory’ feels like the albums official closer with the angst dialled up to max in its rallying cry against the elites and calls to action for those not apart of them. The piano even gets a rocking spin on it within the all-out soundscape, while Fouquet’s drum work is exemplary in driving the track and maintaining its tension. Get Better’s actual final track comes in the form of ‘Trash the Room’, a punk instrumental that asks its listener to do exactly that. It’s punchy yet sticks in the brain despite barely hitting 1:20 in runtime, and leaves the listener with a smile at the end of this project. All in all, Get Better is an easy listen so long as you like rock music. It uses heavy angst without falling into cringe, and matched with the heavy soundscape and electro-rock influences it's just as easy to dance to. Conceptually it gives a party at the end of the world, with its fatalism being disguised under how easy it is to bop along to each track. It is so easy that many of the tracks feel like Storm Orchestra play each song too safe - it would be interesting to hear them explore heavier or less common sounds within their music. That said, it being safe adds to the gilded nature of this project; perfectly polished alternative rock hiding the fatalism that Storm Orchestra explore in the lyrics of Get Better. Score: 7/10 Get Better will be released on April 11th 2025 via Mascot Records. Words: Julia Brunton Photos: Storm Orchestra

Since their inception, Gallus have felt like a band on a leash. As far back as their early singles, it was obvious that a riotous punk band was within them, but neutered by a hesitation to move away from their somewhat bland indie sensibilities. On Cool To Drive, that handbrake is released: gone are the milquetoast melodies spattered across their previous album We Don’t Like The People We’ve Become, replaced with concise, high-velocity punk bangers. Gallus’ newfound vitality is immediately evident on the opening title track. Right from the outset, Paul Ewins’ bone-shaking drumming comes to the forefront, whilst his brother Eamon and Gianluca Bernacci provide wonderfully noisy guitar riffs. These elements combine with Barry Dolan’s shouted tale of self-destruction to create one of the band's strongest songs to date, and the highlight of this EP. Cool To Drive appears to mark a conscious decision from the Glaswegian five-piece to lean into the strongest components of their previous records. As with the opener, ‘Depressed Beyond Tablets’ brings an undeniable frantic energy, and although its lyrics cover mental health issues in a somewhat unnuanced and derivative manner, this doesn’t overshadow the extremely moshable instrumentation. As a now fully-fledged punk outfit, it was only a matter of time until Gallus waded explicitly into social commentary, and they do so proficiently on ‘Perfect Health’. Underpinned by Matthew McGoldrick’s moody bassline, Dolan covers the dystopian modern state of healthcare, from online quack remedies to privatisation, all whilst drawing from his own experiences with body image issues. It is impressive to see someone who has predominantly been an introspective songwriter relate his experiences to a wider societal issue so seamlessly. Unfortunately, this rich vein of lyrical form is not maintained on ‘Just Desserts’. An attempted takedown of pretentious post-punk bands, Dolan’s rapped lyrics are cliched and clunkily delivered, which is a shame, especially given the fantastic groove that accompanies him. Bands such as Sports Team and Yard Act have produced similar, far more cutting attacks on this specific subgenre, and Gallus’ jabs at “high-rolled jeans and pedophile ‘taches” seem petty by comparison. The relentlessly angry closer ‘It Bit’ ensures that the EP recovers from this blip and finishes strong. With a fuzzy bassline to be proud of, Dolan combines an unflinching self-love (“I am Barry and that’s how I like it”) with an aggressive attack on anyone who attempts to stand in his way. Closing with the EP’s heaviest song feels like a statement of intent for Gallus, an affirmation that they are fully committed to the louder direction they've pivoted to on Cool To Drive, and want you to remember it. Though not reinventing the wheel, it is a welcome injection of impetus into their sound, and puts them in a strong position to become one of the UK’s most exciting bands of the late 2020s Score: 7/10 Cool To Drive will be released on April 11th 2025 via Marshall Records. Words: Ali Glen Photos: Gallus

Within Destruction is an innovative three piece metal group from Slovenia consisting of Rok Rupnik on vocals, Howard Fang on guitars and Luka Vezzosi on drums. They've been disrupting the deathcore and metalcore scenes since their formation in 2010, and have gone between the genres across their previous work. Known for their intense sound, the band uniquely incorporates electronic elements and anime samples into their music, adding layers of unpredictability that have captivated fans worldwide. They gained international recognition with their 2016 album VOID which, alongside their irreverent approach to metal, has built them a dedicated global following. Packed with relentless riffs, soaring melodies, and their signature anime-inspired electronic elements, the band’s new album epitomises Within Destruction’s ability to innovate and push boundaries whilst staying rooted in the chaos of modern metal. The album kicks off with the heavy riffs of ‘Animetal’ and Rok goes straight into brutal vocals for the first verse. Heading into the chorus, the track takes more of a techno turn and we hear the band's typical anime character sounds and voices in the background, setting the tone for the album from the get-go. As the song progresses, the singing and screams combine into the metalcore-esque style they've honed. The song finishes up with a squealing solo and a great riff, to tee up the rest of the album in style. Next up comes ‘Demon Child’. This track starts and instantly draws comparisons to bands like I Prevail, using whispered growls to add tension, and as the song develops we hear more melodic singing which then is paired with screaming. This track has more of a techno undertone throughout, and, when paired with the band's heavy guitar riffs, makes for a great listen. Following on from this, we have what we would consider the track with the heaviest screams of the album thus far, ‘Kanashibari’. This track gives a full 3:30 of brutal vocals and breakdowns, but still includes a noticeable techno flare. Think Electric Callboy meets modern deathcore - and there are absolutely no complaints here about that combo! The next track ‘Bitter Embrace’ then takes a more melodic, upbeat turn while still capturing that hard-rocking feel. The clean vocals work towards a very catchy chorus, then as the song develops and begins to break down, more screamed vocals kick in alongside Fang's staple heavy guitar riffs - which are growing to become a key part of Within Destruction’s signature sound across this album. Track five is called ‘Fate/Separate’, and it contains one of the strongest guitar solos on the album. Not to be outdone of course though, the vocal performance is captivating and will draw you in for the duration. The contrast of the screams and clean vocals layer and blend perfectly, leading us nicely into the halfway mark of the album. Next up is ‘Cybergirl’, and this is where the album takes a slight turn vocally. Instrumentally, it remains consistent with the rest of the album thus far, however the singing is in a distinctly higher octave than the previous tracks - these cleans then go into fast-paced screams in the centre of a very catchy chorus. ‘Incomplete’ is next on the album and this is a distinctly softer song than what's come before. While some screams still accompany the clean vocals, they are more in the background, blended behind the main melodic vocals until the second chorus. The track then breaks down in typical metalcore fashion, eventually sounding as if it's been taken from the Bad Omens playbook. Unlike the previous two tracks, ‘Stay 4Eva’ kicks off aggressively, rolling back to the earlier style on the album. It then drifts into a very harmonious chorus, with an unbelievably catchy drum beat from Vezzosi. The verses are noticeably heavier than the choruses, and as the song breaks down at the end it features a techno beat layered with screams. It then drifts into a guitar solo which - despite being notably heavy - has a distinctly animated sound to it, which helps put the bands' own stamp on the music. Another heavy start comes courtesy of the next track, ‘Automation’. The song opens with whispered growls on top on a techno beat and heavy bassline, then as the chorus kicks, in the screams become much more brutal before they're accompanied by the melodic singing midway through the track, and this continues until the end. We're predicting this one to be a fan favourite, due to the distinct sound of the band stamped all over this track! As we approach the end of the album, the next track ‘Torment’ opens with CORPSE type vocals then are accompanied by electronic sounding vocals on top of a high guitar riff and catchy drum beat which leads us into a very catchy chorus. The song then gets heavier towards the end, with some brutal long screams. The final track of the album is ‘A Love That Slowly Died’. This track has arguably the most techno sound on the entire album. The song consists of a very light drum beat and electronic/autotuned vocals until halfway through the song, when the heavy guitar riffs kick in and the metalcore sound is reintroduced. Then, as we go into the last minute of the song, we hear some heavier vocals, which draws the album to a close perfectly. Animetal is filled with catchy memorable choruses, brutal screams which hit on their own yet also blend with the melodic clean vocals, hefty riffs, and massive drums. This album had a target and absolutely hits what it intended - all throughout there is a fun, anime feel and bags of energy. It's undeniable that Within Destruction have hit their stride, and might have cemented themselves into the international metalcore mainstay community with this release. Score: 8/10 Animetal will be released on April 11th 2025 via Sumerian Records. Words: Amy Watson Photos: Within Destruction

Nottingham's very own answer to Killswitch Engage, the five-piece Those Once Loyal have returned from a few years of lineup uncertainty with a new bassist, a new song, and plenty more. The band mix modern metal and hardcore with 2000's metalcore to make a sound that's not only nostalgic and powerful, but also invigorating and intensely enjoyable - yet still keeping a fresh edge that rides the wave of 2020's metal. The band's previous efforts have all sat a little more within the realms of 2000's worship than upcoming single 'Glass Hands', which will be released on streaming services tomorrow. The track is a two and a half minute rampage that's much further into the realms of groovy hardcore than most of their previous output, and certainly takes a lot of influence from the current batch of American hardcore acts doing the rounds, as well as inspiration aplenty from the mighty Northern hardcore scene. As much Malevolence and Knocked Loose can be heard as bands like Desolated and Cauldron. Chatting to the band about the single, they've also revealed that there may well be more to come in the future, with another song somewhere over the horizon that could be with us within the year - alongside a number of great live shows on the way! With a support slot underneath Xentrix and Raised By Owls in Norwich, a hometown show with Hacktivist and InRetrospect, and an appearance at Derby's Nu-Blood Festival too, they're going to keep themselves busy for the future. In conversation with four of the five members of the band, we also discussed a few fun bits such as their favourite shows they'd ever played - which, despite having all of Oscar Gutkowski (guitars), Matt Smith (vocals), Harry Blanchard (guitars) and newly official (as well as previously stand-in) bassist Chayce Swain, three of them mentioned Bloodstock as their first thought. Chayce's slight lack of being there did mildly detract from the fun, as four of them thinking the same one could've been just that much more enjoyable, but another big highlight that was mentioned was the band's support slot opening at Rock City for metalcore staples Atreyu, on the revered Nottingham venue's main stage. Since this track also veers genres a tad for the band, it only felt natural to discuss which other genre they might all choose to mix their staple sound with for a fun exercise in musical creativity. Pretty much off the bat, Harry said that "a bit of mathcore, some sort of chaotic thing, a bit like The Dillinger Escape Plan" would be his direction to swerve in - which was quite the change from Chayce's slightly comedic choice of funk, utilising Oscar's trumpet skills! Matt chucked in a suggestion that drummer Tom might be a fan of adding an nu-metal tinge, before he himself said to chuck some thrash into the blender. Finally, Oscar took a moment to consider how possible it would be to add in some of the indie rock of Bloc Party into their sound, which could be quite the interesting genre fusion. Meandering between chatting about different venues and their pros or cons, a new Muse song with a fight riff, more trumpets and some ska punk, we had a lovely chat about all things Those Once Loyal that could be detailed over many paragraphs, but ultimately boils down to the fact that this band loves heavy music. They're listeners of all sorts, and lovers of live, with plenty of energy and bags of passion. For any fans of such things, and of course any fans of melodic groovy hardcore, then the below video is a little treat before 'Glass Hands' is officially released into the world tomorrow. Those Once Loyal have also released a new hoodie design based on the single, and are prepping for more shows to come. Keep an eye out on them playing near you! Glass Hands will be released on April 11th 2025. Words: Jake Longhurst Photos: Those Once Loyal

Do you remember 2002? You probably don’t. Conflict raged across the globe, the Euro was introduced, the recession carried on, and the film The Scorpion King released in theatres. “What does that have to do with anything?” you scream. Because, my dear reader, EVERYTHING matters. Especially when the first three tracks of The Scorpion King’s soundtrack were the zeitgeist’s soundtrack to a civilization unravelling; GODSMACK, P.O.D., and DROWNING POOL. If you were a moody adolescent in the early aughts, these bands were your gospel, therapy, and a war cry rolled into one. And no matter how much derision this nü-metal burrito generated, it is still undeniably iconic to its age. But now it’s 2025, and somehow the wheels of hell still grind on. Conflict continues to choke the world, late-stage capitalism eats itself, and Dwayne “The Eternal Franchise” Johnson seems to be in every film that comes out now. And yet, at the Hammersmith Apollo, it is time to witness the second coming of The Scorpion King alum. Drowning Pool, whom you might know best from their tenure as the music for early YouTube top 10 lists, dealt with the tragic loss of original vocalist Dave Williams soon after their first album, Sinner. After a rotating lineup of vocalists, they seem to have finally settled on Ryan McCombs of Soil fame. P.O.D. have the honour of being the first overtly Christian band Out Of Rage has ever covered. Their latest offering, Veritas, was released to both acclaim and derision, with the main criticism being a lack of diversity in sound. But through it all, they still deliver some of the hardest rap-metal in the game. As for Godsmack, they have had quite a strange time of late. Just as the band marks their 30th year of existence, longtime guitarist Tony Rombola and drummer Shannon Larkin have exited stage left, handing the reins temporarily to Will Hunt and Sam Bam Koltun as drummer and guitarist respectively. It may not be 2002 anymore, and they may have only two permanent members as of writing, but Godsmack still powers through it all. One look at the crowd at the Apollo and you’re struck by the realization that nü-metal peaked 23 years ago now. There may be similar recession conditions in the world right now, but it seems that the passage of time has left certain nü-metal aesthetics in the dust. They don’t care. The vibe tonight is aggressively pre-2005. No irony. No shame. Just faded JNCO denim and backward baseball caps. Even the Zoomer contingent showed up in their full Fred Durst best. It’s moving in the way a derelict Blockbuster is moving: haunted, dilapidated, and strangely sincere, making you yearn for those years gone by. Drowning Pool The lights dim, and Drowning Pool bursts onto the stage in a pulse-pounding rendition of ‘Sinner’ and it quickly becomes apparent why Ryan McCombs is their frontman as he is doing an absolutely phenomenal job. Tenured and ready to kill, he approaches the songs like a bear to a small animal, with his raspy voice giving the songs all the energy and aggression of a Waffle House after hours. And yet, the crowd hardly moves. Maybe it’s the grim spectre of Monday night, it could also be that their joints don’t move like they did back in the early 2000s. Either way, there’s a hope that their newly announced headliner show in November with Spineshank does not have the same effect. They delve into songs like solipsist anthem for the lonely lunch-table gang ‘Tear Away’ and their solid cover of Billy Idol’s ‘Rebel Yell.’ But what it takes to finally wake the sleeping crowd is that one sentence that hyped-up teenagers everywhere; “let the bodies hit the floor.” And just like that, Pandora's box is kicked open. With a single utterance, a mosh-pit, nay, a maelstrom forms in the crowd so great and so terrible that it makes Moses’ wave look like a paddling pool. ‘Bodies’ are lost in the mighty vortex. And it feels like before you can count to four (nothing wrong with me), it’s all over. Their work here is done, and the crowd who were once asleep are now fearlessly awakened. Coming on with Morricone’s Fistful Of Dollars theme, P.O.D. practically leap onto their instruments. Their backdrop is horrifying, the cover for Veritas, it looks like a jump-scare from an indie game some let’s player overreacts to, and creates an unholy pall over the set. Fittingly opening with ‘Boom,’ the crowd continues to jolt around in electric bliss, pogoing and moshing to the proselytising pandemonium. Ever the humble group, they claim they are just “here to warm you guys up.” The crowd disagrees loudly, die-hards scream along to numbers like ‘Southtown’ and mega-hit ‘Youth of the Nation’ as if their lives depend on it. P.O.D. And when they leave the stage, the dust doesn’t settle. It hangs there, thick and shimmering, like the residue of something momentary. Two acts down, both leaving the stage scorched, while the crowd, now fully resurrected, is left frothing for more. With a loud AC/DC anthem to start things off, Mix Master Mike of Beastie Boys fame appears in a canned music video where he disc-jockeys various rock classics. The first in a long line of “what the actual hell” moments. But this isn’t your dad’s Godsmack show (actually it is and he’s probably in the pit somewhere), for a camera crew shadows their every move - the whole affair being gloriously projected onto a giant TV behind the band. Like watching a rock show while also watching the behind-the-scenes documentary about the rock show. Meta. They galavant into ‘Surrender’ and frontman Sully Erna bounds onstage with the wide-eyed joy of a man who’s had his Weetabix. He is all smiles. ‘You And I’ kicks in with a backdrop of a slowed-down strip show, not so much erotic as it is deeply unsettling, about as sexy as going to the strip club with your dad, it falls pretty flat. The band continues to go backwards chronologically through 30 years of their catalogue for their set, a clever idea, following up with some sincerely goofy jalopy compilation footage for ‘1000hp’ and Sully breaking out the tough-guy voice for angst anthem ‘Cryin’ like a Bitch.’ Yet he ultimately comes across as intimidating as a teddy bear for the whole affair. Somehow, this only makes the performance more endearing. Both Will and Sam show off their skills, and bring enough energy to get the crowd pogoing the night away whilst longtime bassist Robbie Merrill rumbles low like an underground train. Before breaking out the special reserve, Sully engages in a heartfelt speech with the crowd. “No matter how good the footage is,” he says, “you will never be able to recreate the experience with a computer screen!” The conviction in his voice is genuine as he holds his Frankenstein guitar in his hands, he makes sure to mention it’s the same guitar he’s had practically his whole life that composed his first Godsmack song. The audience is moved. It’s an act of genuine emotion rare to see these days. The crowd exhales as one. The connection between fan and band is potent here. They’re survivors of a shared cultural trauma known as the early 2000s. Touching. ‘Awake’ is their greatest performance of the night, with pulsing lights rendering the Apollo into a planetarium. ‘Keep Away’ features the girl from the self-titled album cover robotically oscillating to the music thanks to the distractingly creepy power of AI. It is a misstep for the band and audience members are heard post-show deriding it as “weird” and “stupid that they’re using AI in the first place” which is hard to disagree with. ‘Voodoo’ then galvanises everyone into one giant tribal post-grunge snake cult, as it has the tendency to do. There’s a drum battle between Will and Sully that goes on for far too long but features some very impressive chops from both. Then they leave the stage in the most egregious act of heavy metal peek-a-boo yet before sallying out for three more songs. ‘Under your Scars’ is a heartfelt tribute to the fallen, with Sully breaking out the piano for the occasion, proving he can play literally everything. By the time ‘I Stand Alone’ comes in all of its Prince Of Persia: Warrior Within glory, the mosh-pit has gone large human-whirlpool mode once again. And as if summoned by some arcane spell from the bowels of 2002, Dwayne "The Rock" Johnson, The Scorpion King himself, appears on screen, throwing Sully a sword. And then it’s over. The band takes a picture. The house lights rise. The people shuffle out, sweat-slicken and pulverized. Godsmack have staged a show that is part rock concert, part seminar, and part wake for an era that refuses to stay dead which leaves you wondering; “what the hell just happened?” There is much to be said about the bands performing tonight. They feel like bands out of time. There’s a peculiar dignity in watching bands claw their way through the quicksand of cultural obsolescence. Godsmack have embraced this with a gallows-theatre bravado that permeates their performance; tasteless AI backdrops, uncanny projections of cultural bric-a-brac, and Sully dressed like a sleazy Italian director in some macabre Lynchian fever-dream of a video backdrop. In a world where everything's ironic and not caring is the new cool, sincerity feels like a unicorn’s horn. Just drop the AI crap first. They’ve spent decades being dismissed as Alice In Chains knockoffs, but this reputation is dishonest and wholly inaccurate. The truth is simpler and far less insulting; Godsmack wear their influences on their wrist, is all. Yet in the end, they shockingly don’t seem to reach the heights of their opening acts, .P.O.D. and Drowning Pool are grinding it out in their own ring corner of the metal ecosystem, lifers at this point, dealing out the bangers with those for ears to hear them. And that, perhaps, is the whole damn thesis: it’s not about reinvention. It’s about survival. Reinvention is for sellouts and influencers. These bands aren’t trying to stay relevant, they’re just trying to stay alive. It is precisely that kind of stubbornness that’s practically revolutionary in this day and age. But pedantry be damned, these guys can and still put on a hell of a live show. Crowds eat it up and sometimes it’s sweet to remember those times, when everything seemed to make sense. For now, they stand alone. Words: Kiarash Golshani Photos: Ben Blisset

By the time South of Salem brought their Death of the Party Tour to Manchester on April 2nd, Club Academy had been transformed into a gothic carnival of eyeliner, riffs, and dark theatrics. With a lineup featuring alt-prog veterans In Search of Sun and industrial upstarts High Parasite, this was less a gig and more a full-speed showcase of bands rejecting genre boundaries in favour of individuality. High Parasite exploded onto the stage with intensity. Their industrial metal sound, filthy, sharp-edged, and aggressive, cut through the gloom like a warning siren. Their frontman stalked the stage with intent, drawing in even the early crowd with pulsing, distorted energy. Abrasive in all the right places, they’re an exciting new force on the UK circuit and the perfect band to set the night’s dystopian tone. In Search of Sun followed with a set rich in melody and musicianship, offering a balance of soaring choruses and groove-laden hooks. Their versatility set them apart: one moment leaning into syncopated riffs and textured vocal harmonies, the next shifting effortlessly into a heavier, near-metalcore edge. Their chemistry was undeniable, elevating the energy without oversaturating the stage, a well-judged build-up for what was to follow. And then came South of Salem. The mood shifted the moment they took to the stage to ‘Let Us Prey’. Drenched in ominous red and purple lights, the five-piece emerged like they’d stepped straight from a Hammer horror film into a sleaze rock fever dream. They didn’t just perform; they infiltrated. South of Salem have built their reputation on a delicate balancing act: horror rock that nods to goth and glam without slipping into parody. And in Manchester, they proved they’re more than just theatrics. ‘Pretty Little Nightmare’ and ‘Jet Black Eyes’ detonated live with pinpoint precision, anchored by a rhythm section that refused to let up. ‘Stitch the Wound’ was equal parts cathartic and catchy, while ‘Vultures’ hissed with menace. One of the night’s most surprising highlights came from their unexpected cover of Savage Garden’s ‘To the Moon & Back.’ On paper, it shouldn’t work, but twisted through Salem’s gothic filter, it became a haunting, brooding curveball that had even the cynics headbanging. Frontman Joey Draper was in full control, growling and prowling the stage like a man who knows his band is standing on the threshold of something much bigger. Vocally, he moved fluidly between melody and grit, never missing a beat. As for rhythm? The full band were perfectly in sync, particularly on ‘Hellbound Heart’ and ‘A Life Worth Dying For’. The 17-song set, complete with a drum solo and an encore of ‘Demons Are Forever’ and closer ‘Cold Day in Hell’ never once lost momentum. Even at the end of their set, it felt like they still had hours of performing left in them, and the crowd would’ve gladly stuck around. More than anything, Manchester proved that South of Salem are fully in their element. The stagecraft is slick. The fanbase is growing. And the sound, equal parts heart, horror, and hellfire, is evolving without losing its bite. Words: Vee Richardson Photos: Izzy Sheldon

The UK hardcore scene is thriving like never before. The energy, creativity, and passion pouring out of the scene right now is truly electrifying. A new wave of bands is tearing through venues, blending ferocious energy with raw emotion and pushing the genre into bold new territory. Whether metallic riffs, stomping two-step beats, or cathartic singalongs, the UK is delivering some of the most exciting and urgent hardcore in years. From sweaty basement shows to packed-out festival stages, this new generation is building on the legacy of the scene’s greats while carving out their identity. Hardcore in the UK has always thrived on passion, DIY ethics, and a fierce sense of community, and right now, that spirit is stronger than ever. If you want to experience it for yourself, you won’t have to wait long—several of the bands on this list are set to bring absolute chaos to festival stages this year, including Outbreak Festival, Northern Unrest, and Burn It Down. Whether you’re a longtime fan or just diving into the scene, these are 10 names you need to know. CAULDRON Birmingham’s Cauldron are at the forefront of the UK’s ’90s metalcore revival, blending the raw intensity of early Converge and Integrity with modern hardcore aggression. Their sound is all crushing breakdowns, chaotic riffs, and feral vocals—pure, unfiltered violence. Over the past few years, they’ve built a strong reputation for blistering live shows. With a relentless work ethic and a growing cult following, Cauldron proves that metalcore’s roots still hit just as hard. Catch them wrecking festival stages this year—you won’t walk away unscathed. CANNONBALL Northern England’s Cannonball are injecting fresh energy into the UK straight edge scene. This ferocious four-piece dropped their debut EP last summer, hitting the ground running with blistering shows that immediately turned heads. Fast forward to 2025, and their latest EP has only solidified their reputation as one of the country’s most promising hardcore bands. Hard-hitting, no-frills, and packed with conviction, Cannonball are bringing pure energy to every stage they hit. UK straight edge is alive and well, and Cannonball are ensuring its in safe hands—catch them this year before they inevitably blow up. HIGH VIS Blending hardcore grit with soaring post-punk melodies, High Vis are carving out their own lane in the UK scene. Their sound is urgent, anthemic, and emotionally charged, channeling the raw energy of classic hardcore while infusing it with introspective lyricism and shimmering guitar work. With a reputation for powerful, cathartic live performances, High Vis have been winning over both hardcore crowds and beyond. Their rise has been nothing short of meteoric, and with more eyes on them than ever, now is the time to get on board. PEST CONTROL Leeds’ Pest Control are leading the charge for crossover thrash in the UK, ripping through every stage they touch with high-speed riffs and blistering intensity. If you like hardcore with a side of whiplash-inducing thrash metal, this is your band. Their furious, high-energy live shows have put them on the map, and with yet another Outbreak Festival slot lined up, 2025 is looking huge for them. PERP WALK Perp Walk are fast, vicious, and unapologetically raw, delivering a stripped-back brand of hardcore that hits straight to the gut. Their sound is pure energy—short, sharp, and packed with venom, proudly flying the flag for South West Chain Punk. Their incredible set at Outbreak last year turned plenty of heads, and they’ve kept that momentum rolling, recently providing UK support for SPY. With a reputation for feral, no-nonsense live shows, Perp Walk are only getting stronger. If you like your hardcore ugly, fast, and unfiltered, this is a band you need to know. PINTGLASS Brash, belligerent, and built for the mosh, Pintglass deliver pure, street-level beatdown hardcore with a tongue-in-cheek edge. Mixing bludgeoning riffs, guttural vocals, and rowdy gang chants, their sound is tailor-made for violent, no-holds-barred live shows. Whether they’re starting fights or soundtracking them, Pintglass have built a reputation as one of the UK’s most chaotic and divisive hardcore bands. Love them or hate them, they’re impossible to ignore. DYNAMITE London’s Dynamite are bringing back the art of groove-heavy, knuckle-dragging hardcore. Their sound is fast, stompy, and packed with attitude, drawing from both hardcore’s metallic edge and its raw, punk roots. With feral live energy and a reputation for unhinged shows, Dynamite are proving themselves to be one of the UK’s most exciting young bands. Expect absolute chaos when they hit Northern Unrest this year. T.S. WARSPITE If D-beat hardcore with a metallic bite is your thing, T.S. Warspite are an essential listen. Their sound is relentless, unpolished, and built for total warfare, fusing hardcore punk aggression with crushing riffs and anthemic rage. Their live sets are pure, high-speed devastation, making them one of the most ferocious bands in the UK right now. Prepare for mayhem when they hit Northern Unrest—this is war. CRUELTY Bringing a dark, suffocating intensity to the UK scene, Cruelty fuse metallic hardcore with haunting atmospherics, creating a sound that’s both brooding and brutal. Their influences range from 90s metallic hardcore to modern sludge and doom, resulting in a uniquely oppressive heaviness. Known for their crushing, immersive live performances, they’re set to bring devastation to Burn It Down this year. If you like your hardcore bleak, suffocating, and utterly punishing, Cruelty are the band for you. XAPOTHECARYX One of the UK’s most vital new vegan straight edge bands, XAPOTHACARYX have been making serious waves since their arrival just a couple of years ago. Their sound is fast, metallic, and utterly relentless, fusing classic straight edge fury with a modern, sharpened edge. With their no-compromise ethos and blistering live energy, they’ve quickly built a reputation as one of the most exciting names in UK hardcore. Vegan straight edge has never sounded heavier—XAPOTHACARYX are here to crush. Words: Andy Nile

“If you find yourself having to stick out for people and support them, it's not about politics, it’s about basic, decent human empathy.” Skunk Anansie’s Skin preaches to the crowd before playing their hit song, ‘God Only Loves You’. The vocalist, clad in an oversized shirt and a thick black line of paint rolling towards her forehead in an S-shape, continues her monologue, determined to uplift the crowd at Manchester’s O2 Arena. She speaks quickly and concisely, making sure every word matters. ‘It’s not left or right. It’s just right or wrong.’ Supporting Skunk Anansie were London-based So Good, a ‘brat-pop’ band that blends hip-hop and pop, but uses punk vocals to make the issues that matter to them heard. A Delilah Bon for the Glastonbury dads, the musicians in the band sport pink balaclavas and matching boiler suits, whilst the vocalist tears the stage apart with her two back-up dancers. Hilarious and oozing sexuality, the band runs through their hits with ease. It is clear why Skunk have picked them for this monumental task. As they also support Queens of the Stone Age summer tour, they are a breakthrough force to be reckoned with heading to the mainstream. Within half an hour of So Good’s final song, Skunk Anansie made their Manchester debut on this tour. A giant spider pushes its way up the back of the stage. Originally, a reminder of their namesake, ’Anansi’, a trickster figure originating from Ghanaian folklore, which has now taken on a life of its own. There is a captivating unpredictability during the band's performance, which makes them electrifying to watch. Vocalist Skin takes these wild moments to unnerve the crowd, between hollow whispers and loud exclamations of ‘Is there something wrong, officer?’ Amongst the inflatable spikes, which have also become a part of the Skunk Anansie experience, they make a grand entrance with ‘This Means War’. The band take the opportunity to push their sound to the limits, making sure that Skin’s impressive soprano vocals take centre stage of the evening's proceedings. The enthusiasm and energy felt by the whole band shine as they pick up the pace with ‘Charlie Big Potato’. The rich guitar tones, reminiscent of the bassy undertones Royal Blood championed during their debut album, make their performance rich and current, despite the song's release in 1999. The tour polishes their signature punk sound -if punk can be polished in any way- to sound refreshingly current. Great care has been taken in the arrangement and sound design, as the sound fills the domed ceiling of the Apollo. ‘Because of You’ was the moment that Skin could sustain some strikingly beautiful final notes, before switching gear into the new track ‘An Artist Is An Artist. Skunk Anansie have always taken a stand against hardship, for championing LGBTQIA+ rights and representing the outsider. Their upcoming album ‘The Painful Truth’ is the band at their most powerful- if their singles are anything to go by. Whilst the set takes a turn to push their fan-favourite classics ‘God Only Loves You’, ‘Secretly’ and ‘Weak’, the crowd revel in nostalgia. This is Skunk Anansie at their best, rebellious and unapologetic. The riff-heavy ‘I Can Dream’ leaves the audience swaying in unison. There is more of a stillness to this part of the set. Perhaps to keep the energy of the audience up right until the end of their 21-song set, but there was a need for movement at that point. ‘Animal’, another new track, is the latest push of the Skunk Anansie sound- and they had breakdowns! Whilst the crowd may not have taken to it as much as the band would have liked, we certainly did. Splicing electronica with loud textured riffs, this daring song made the most of the bands' impressive light rig. Rather than a call to action, it was a change in the tide, bringing the energy to the second part of the set. ‘Yes It’s Fucking Political’ started the first pit of the evening. The band matched the energy greatly as Skin pushed her way around the stage with ease. She joined the anarchy dads that resided in the center of the pit (and us) for a mosh with ‘Tear The Place Up’, before getting loud with ‘Little Baby Swastikkka’. After a brief encore, the band played their victory lap, starting with the first single from this new era ‘Cheers’, before playing ‘Hedonism’. A moment of euphoria for the band, they made themselves known with ‘Lost and Found’ before trying out a cover of Led Zeppelin’s ‘Whole Lotta Love’. Stripped back, but with incredible room to let Skin’s vocals be heard, it was an elatory moment for both band and audience, before finishing with ‘The Skank Heads’. Skunk Anansie prove that they’ve still got it. They are one of the most enigmatic voices in British rock. As a captivating Glastonbury headliner, to their fiery latest tour, the band have always been pushing the provocative, even twenty years on. Sounding great, there is very little stopping this band. We just hope the youth of today are listening to their impressive back catalogue and taking a stand for the issues that do matter. Words: Amber Brooks Photos: Kieran Atkinson

Hotgirl’s Blast Off EP lives up to its name - raw, propulsive, and emotionally volatile, it’s a thrilling statement from a band quickly establishing themselves as one of the most exciting forces in Ireland’s emerging scene. Across four tracks, the Dublin quartet tear through themes of self-doubt, frustration, identity, and release, all while threading needle-sharp hooks through walls of distortion. It’s messy in the best way - intentional and urgent. Kicking off with 'In Your Head', the EP wastes no time in setting the tone. There’s an immediate punch to it: jagged riffs, nervy pacing, and a sense of anxious momentum that never quite resolves. Ashley Abbedeen’s vocals oscillate between sardonic restraint and full-bodied release, mirroring the lyrical push-pull of self-awareness and spiralling thoughts. It’s a track that bristles with tension, and you can see why it was picked as the lead single; it's confrontational, catchy, and deeply personal. There's a livewire energy baked into every note, as though the song might combust at any second. 'On The Brink' follows, upping the tempo and leaning harder into chaos. There’s a sneering quality to it, underscored by laughter woven into the track that feels pointed - almost mocking. The interplay between Sophie Boxwell’s wiry lead guitar and Jake Hurley’s pounding basslines adds a sense of barely-contained volatility, while Nick Stanley’s drumming keeps everything locked in and menacingly forward. It’s danceable in a manic, twitchy kind of way - post-punk if it got blackout drunk and decided to scream into a mic. Then comes 'Sisyphus', which brings a more introspective edge to the chaos without sacrificing energy. Lyrically, it's one of the most vulnerable tracks on the record, with Abbedeen using the Greek myth as a metaphor for personal trauma and the exhausting cycle of carrying it. “As I slowly make peace with all my traumas, I start to forget why I couldn’t let them go in the first place,” she explained - and that reflection is palpable in the song. The verses are pulled back, almost meditative, before the choruses burst open like a cracked dam. It's a high point in terms of dynamic range, offering a moment of emotional clarity amidst the EP's otherwise relentless momentum. It’s the sound of a band letting themselves breathe, then screaming into the void. Closing with 'The Stink', the band let loose completely. The track is sweaty, bratty, and made for the live setting - short, sharp, and explosive. There’s an almost playful edge to it as Abbedeen dances around the beat, vocals dripping with a theatrical sneer. It’s easy to imagine her stepping off the stage and into the crowd mid-song, mic cord dragging behind her. It’s the kind of song that thrives in basements, festival tents, and dive bars - anywhere packed and loud. Looking back over the release, Blast Off feels like exactly the kind of EP a band like Hotgirl should be making right now - brash, emotionally honest, and ready to blow up at any moment. It doesn’t just showcase what they’re capable of; it dares you to look away. With bigger stages and louder crowds on the horizon, this feels like the ignition point. Score: 7/10 Blast Off will be released on April 10th 2025 via Cartoon Records. Words: Jason De Mendonca Photo: Niamh Barry

Tómarúm’s second offering Beyond Obsidian Euphoria is an exploratory album in its concept, focused on coming out of the other side of depression and navigation of life after this experience. It is sonically average for its genre, that being black metal with some progressive elements, and in its lyrics - though in some places poignant - often come across more as pretentious. This album opens with ‘In Search of the Triumph Beyond…(Obsidian Overture)’, which clocks in at 9:59 and works well as the opener to this album. The lyrics are a little wordy which is difficult to make work with such guttural vocals, but elements of this track, such as the section from 3:20 to the end of Longerbeam’s guitar solo have a spaced out energy to them which feels akin to waking up with the weight of a dark period feeling light for the first time. The track following is 'Introspection III', which is a pretty instrumental number that pulls the good of the prog influence to give what feels like a walk to the tavern at the beginning of a D&D campaign. Lazy guitar harmonies mix well with an easy open-hat based drumline that show off the capabilities of each member of Tómarúm as musicians. 'Shallow Ecstasy' contrasts well with these laid back vibes, pumping the drums back to a double bass and with a more sinister feel as the screaming vocals return. However, it is from about here where all of the comments on each track are the same: “that sounds cool.” The drum breakdown from around 2:25 sounds cool, as does the ambience in the background of the track that gives it its sinister energy. The lyrics to this track call to the feelings of what getting better means and being able to look forward to better days ahead - but the feeling that seven minutes is not needed for this nags, and only nags more in the second half of the project. Jumping ahead a little, the main perpetrator of this crime is 'The Final Pursuit of Light', coming in at 14:09 and with its penultimate place on the tracklist indicates a crescendo. To give the credit where it is due, it just about avoids feeling like two or three songs mashed together and there’s no element that can be pointed to to take out entirely. It generally plays with tempo well, having a thrashier feel throughout its first act which is mellowed into something more akin to prog to show off each guitar player’s skills in turn. The section that they’ve written from about 8:30 to 11:10 is also…really cool, with a satisfying drum solo from Chris Stropoli at its midpoint and a groovy sounding bassline from Micheal Sanders being a welcome change of vibe. The real crime that 'The Final Pursuit of Light', and Beyond Obsidian Euphoria in general, commits is boredom. Nothing in this almost 15 minute ballad - lyrically or sonically - is new or different to what has been heard in the six tracks that precede it. The concept is realised, absolutely, but for a concept that is supposed to be similar to that of a fantasy novel there is never the feeling that the character gets anywhere on their journey. The protagonist is met in track one speaking of “A new journey begins…/In search of the triumph beyond/a new euphoria” and by the end they claim to have found “obsidian euphoria”, but the lack of evolution in the sound makes this resolution of the story accessible only to those who have the lyrics. Even with the lyrics, spending time googling what the crucial concepts are for an album is an acquired taste; one easier to acquire if said lyrics are atop a soundscape that already tells you the story. Overall, Beyond Obsidian Euphoria is a passable black/prog metal offering which would likely be enjoyable for those who mainly listen to those genres, but there is little to say about it as a piece of music or as a concept. There is every chance that, as Tómarúm write their story, this album may be recognised for a richness that is currently lost, but hopefully with that more time may be spent diversifying and tuning their sound rather than finding obscure words to litter into their lyrics. Score: 5/10 Beyond Obsidian Euphoria was released on April 4th 2025. Words: Julia Brunton Photos: Tómarúm

This Summit Fever demands your attention from the very first note. Pulling you in with every riff and word, it’s a debut that digs deep into the complexities of human experience and does so with deservingly raw authenticity. An album that resonates with perhaps more of us than some may realise, it’s clear that This Summit Fever are more than just another fuzz-heavy duo - they’re the industry’s best kept secret. Opening track ‘Breathe You In’ is tangibly coated with the sweat-slickened, peeling wall paint of a dearly beloved venue: it’s made to be experienced live. A crowd favourite in the making, this idea of pure, unfiltered frenzy is remarkably harnessed within Andy Blackburn’s guitar strings with a dynamic groove. ‘Currents’ beats the well-trodden path of blending effective intensity and nuance - and that’s before we talk about Jim McSorley’s drumming technique - to guarantee your devotion. A slightly heavier, atmospheric build of chord progressions culminates into this swooping switch of riff- energy. Like a jolt of clarity amid the haze, it’s a real emotional high for only our second soundscape of this terraneous album adventure. As cliché as it may be, we’re going to reinforce the fact that every track is a standout. ‘Hooks’ being another contender. Blending these motifs of stoner rock, doom, and desert vibes effortlessly, the song’s pace is relentless; the rhythm section almost taunts you with its cohesivity, a strong vocal performance and pounding drums. Tight and punchy, it’s a song demonstrating just how much creativity this duo can pack into a compact track. The heavy fuzz feels physically intoxicating, and if that fantastic guitar solo didn't kick in, we’d have called that a placebo effect. As the album progresses, the track listing only continues to captivate: ‘Superfluous’ scratches that itch for something a little off-kilter, a bit weird, and yet still groove-heavy. A perfect example of how This Summit Fever play with musical textures to keep listeners on their toes, introducing a more psychedelic flavour to their technical terrain. Its fuzzy riff is a slow burn, yet it segues seamlessly into ‘Voices’. Tinged with a hint of Cobain’s anguish, Blackburn is urgently mellow in his heavier eruptions throughout the album. This track is no different, although with its heaviness matched by a vulnerability that gives it real emotional punch. We’re driving forward with a relieving rush that is impossible to ignore. The combination of McSorley’s frantic yet tight drumming (which never overwhelms the guitar, a harmonious footnote in our musings) and that signature raw vein of intensity makes ‘Party To Blame’ another instant classic. It’s a moment of pure musical synergy, one that you’ll want to hit repeat on, and it’s stunningly followed by the equally potent ‘Only Quietness’. It just oozes that classic stoner rock fuzz – slow, thick riffs that make your teeth ache and leave your mind feeling loose and carefree. Subtle and pervasive, it captures the essence of that era without sounding grunge in its nostalgia; rather, creeping under your skin and staying with you long after the song ends. One of the most impressive things about This Summit Fever is how lean it is. With the exception of the closing track, most of the songs come in under four minutes. There’s no fat here – each song is concise, punchy, and to the point. The tracks get in, make their mark, and then leave you wanting more. Saying that, ‘It Haunts Us’ arguably offers this overarching, pinnacle piece of poignancy we’ve been pushing towards. Offering a departure from the high-energy rock that precedes it, it feels like a natural end to an album: the softer vocals, lighter drums, and haunting melody are naturally introspective, and it’s a beautiful listen through. In the end, This Summit Fever is a record that feels real. No fluff, no filler. A collection of songs that speak to the complexity of life – be it the riff-drenched, head-banging bonanzas, or the moments of surprising depth – reflected in all its messiness and contradictions. It’s an album you’ll want to come back to, again and again, because of the digestible promises of honesty (including bigger things for the band in the future!). This Summit Fever is the sound of a band finding their voice and embracing it fully, and if this debut is any indication, we’re in for a crackin’ ride ahead. Score: 7/10 This Summit Fever was released on April 4th 2025 via Majestic Mountain Records. Words: Talia Robinson Photos: This Summit Fever

Caliban aren’t interested in nostalgia. With Back From Hell, the German metalcore veterans have taken a hard look at who they are and what still drives them. The result is their most focused and uncompromising record in years. Built on self-reflection, frustration and a desire to cut through the noise, this album doesn’t reinvent the band. It recentres them. For lead guitarist Marc Görtz, the creative fire behind this album wasn’t sparked by momentum, but rather by discontent. “I wasn’t happy with the previous album,” he admits. “It felt lost in the details. At first, I thought it was good, but that faded quickly. It just didn’t feel worthy of the Caliban name.” That lingering dissatisfaction became the driving force behind Back From Hell, pushing the band to create what Marc calls a “milestone” record; one that distills the essence of Caliban while introducing new life. “We wanted something honest, something straightforward. It still sounds like us, but with new spices. It’s pure Caliban.” The band approached writing with fresh intent, treating every track like it could stand alone as a single. Early demos like ‘Till Death Do Us Part’ and ‘Back From Hell’ quickly set the tone - direct, heavy, and emotionally grounded. “They’ve got hardcore energy, old-school metalcore roots, and something new too,” Marc says. “But more than anything, they just get to the point.” Part of that sharpness came from focusing on frontman Andy Dörner’s vocal delivery, building songs around his renewed intensity. “Andy’s voice is in pristine condition right now,” says bassist Iain Duncan. “There’s so much emotion in the way he performs. This album gave him room to really show that.” To help tap into that energy, the band brought in a new vocal coaching team who pushed Andy to dig deeper and reconnect with the fire of earlier records. “We didn’t want him to fall into a routine,” Marc explains. “They encouraged him to blend the old aggression with the strength he has now.” The result is an album that feels both familiar and fresh, steeped in history, but not beholden to it. And while its themes are rooted in emotional truth, Back From Hell avoids the overwrought or overly polished. “We didn’t really scrap anything,” Iain says. “This wasn’t about tearing things down, it was about refining. It was like, ‘This part works, but what if we do this instead?’ We just kept pushing ideas until everything felt exactly right.” That push-and-pull between bandmates created a kind of creative think-tank; an environment where ideas evolved instead of being erased. “Marc and I would bring stuff to the table and shape it together,” Iain adds. “Everyone had input. There was a real consensus, but also room to experiment.” That mindset extended to the album’s production. Rather than following the clean, ultra-compressed trend dominating modern metalcore, Caliban went the other way, embracing a raw, dirtier tone that echoes their early 2000's sound, while still sounding massive. “We were testing it out with the first singles,” Marc explains. “One was super rough, the next more polished, and then ‘Guilt Trip’ landed in the middle. That became the blueprint. We wanted to keep the aggression - make sure the energy didn’t get lost.” Even once tracks were mixed, they weren’t afraid to walk things back. “At one point I told Iain a version of a track had lost its drive,” Marc recalls. “So we went back and made it rougher. It’s a fine line, but I think we landed on the sound that best represents this record.” The final version, now remastered and unified across streaming platforms ahead of its April 25th release, captures that perfect middle ground: sharp, immediate, and alive. That same sense of revival stretches into the live sphere, too. After nearly seven years away, Caliban are finally returning to the UK. It’s a long-awaited reunion; one the band is eager to embrace. “It’s been way too long,” Marc says. “Even though it’s only three shows right now, we’re already talking about coming back for a longer UK run. Scotland, Ireland, we want to do the whole thing if we can.” Fans have already begun sharing memories online, with some recalling shows from as far back as 2008. For the band, the reaction has been emotional. “It feels like a high school reunion in the best way,” Iain laughs. “To reconnect with people who’ve been with the band all these years, that means everything.” The live show promises a mix of eras; songs from ‘Back From Hell’, deep cuts, crowd favourites, and a few surprises along the way. “The set is really diverse,” Marc promises. “We’ve got some blasts from the past, some evergreens, and obviously a lot of the new stuff. It’s going to be heavy, and it’s going to be fun.” But, perhaps the most surprising moment of the Back From Hell era came from a song that wasn’t even supposed to exist. ‘Echoes’ was born out of a late-night demo Marc sent the band while they were already deep into vocal sessions in Cologne. “I’d just finished ‘I Was A Happy Kid Once’ and sent them this thing I’d been working on,” Marc recalls. “It came together in minutes; one of those moments where you don’t stop until it’s done. I was really hyped.” The rest of the band were instantly sold. “We were in the studio, working on something else,” says Iain, “and the demo just dropped into the group chat. Everyone stopped. We were like, ‘Okay, we’re doing this now.’” The timing was uncanny. The word echoes had already been floating around the lyric sheets for weeks, tied to long conversations between Iain and Andy about personal trauma and emotional release. The new demo gave those words a place to live. “It just clicked,” Iain says. “We pulled the lyrics together, wrote the track in two days, and decided on the spot that it would be the next single.” It’s a perfect example of what makes Back From Hell so compelling: nothing is wasted, everything is intentional - somehow, even the unplanned moments fell in line. That creative energy was amplified by the people surrounding the band during recording. The team wasn’t just in-house; it was a rotating circle of vocalists, producers and old friends who helped shape the album without diluting the band’s core vision. “We switched studios and built a completely different team around us,” Iain explains. “There were so many people involved who aren’t in Caliban, but who brought something to the process.” From Dave of Vitja, who ran the studio and Matty from Nasty, to Buster from Thrown, Nahuel from Mental Cruelty, Benny Richter, and Callan from Dream on Dreamer, the sessions felt more like a creative collective than a traditional band setup. “It wasn’t about co-writing or anything like that,” Iain says. “It was about being surrounded by people who get it. Sometimes someone would hear a riff and just say, ‘That’s cool.’ And that spark was enough.” Back From Hell marks a clear shift for Caliban. It’s not about returning to form, It’s about reshaping it. After years of refining, rebuilding and rethinking what their band should sound like, they’ve landed on something that feels more honest and more deliberate. It’s a reinvention, but one that makes complete sense. Back From Hell will be released on April 25th 2025 via Century Media Records. Words: Vee Richardson Photos: Caliban