Killswitch Engage have long stood as one of metalcore’s defining acts, carefully honing a sound that balances intensity and melody with an unmatched emotional core. With 'This Consequence', their ninth studio album, the Massachusetts heavyweights have reaffirmed their legacy while embracing fresh energy and renewed focus. On this new record, KsE don’t just remind us why they’re metalcore pioneers, they prove they still have more to say, and they’re saying it louder than ever. Unlike their previous records, which were often written remotely, 'This Consequence' was crafted with the entire band in the same room, creating a sense of immediacy and cohesion. This unified approach is reflected in every track, with the band’s vision and direction feeling more aligned than ever. The result is an album brimming with chemistry and consistency, reminiscent of the classic Killswitch Engage sound but with a fresh, modern twist that many heavyweight bands seem to miss the mark on. Few bands manage to refine their signature sound without losing their edge, but KsE have once again evolved without compromise. From the moment ‘Abandon Us’ kicks in, it’s abundantly clear that 'This Consequence' is a force to be reckoned with. A drum-driven intro gives way to a relentless attack of razor-sharp riffs and Jesse Leach’s signature mix of guttural screams and soaring cleans. It’s the perfect opener, setting the tone for an album that leaves no prisoners. ‘Discordant Nation’ follows, offering a politically charged anthem that captures the band’s ability to channel real-world frustrations into cathartic heaviness. The interplay between Adam Dutkiewicz and Joel Stroetzel’s guitars is on full display, and the two work together flawlessly, weaving tight harmonies with punishing chugs. Lead single ‘Forever Aligned’ leans into the band’s signature formula, utilising ferocious verses contrasted with a huge, emotive chorus. Although this approach can sometimes feel overused, Killswitch Engage executes it with such conviction that it still feels new and fresh. Similarly, ‘I Believe’ serves as the album’s introspective moment, with Leach reflecting on resilience and hope in the face of adversity. 'This Consequence' isn’t just a collection of songs; it’s a battle cry, a moment of reckoning, and a testament to the power of melody and aggression in perfect harmony. While these tracks showcase everything Killswitch Engage do best and explain why they are so highly regarded, it’s the album’s closing moments that truly steal the show. For all of 'This Consequence’s strengths, ‘Requiem’ is the track that lingers the longest. A slightly calmer introduction sets the stage for a perfect eruption of aggression. It encapsulates everything the band has mastered over the years, a feat that many bands struggle to replicate with such skill and finesse. A song like ‘Requiem’ doesn’t just close an album, it cements its place in the band’s legacy. ‘My Curse’ may have once set the standard, but ‘Requiem’ strikes a key balance between extreme raw vocals and polished melodies that is both darker and heavier, yet more refined. The opening passage is haunting, gradually layering in instrumentation before exploding into an unforgettable, riff-driven assault. Leach delivers one of his strongest performances on the album here, seamlessly transitioning between his most feral screams and some of the catchiest vocal lines the band has written in years. The chorus is infectious yet crushing, lingering in your mind long after the album closes. If ‘My Curse’ was the anthem that defined a generation of metalcore fans, ‘Requiem’ is the track that will define this era of Killswitch Engage. It’s a song built for both die-hard fans and newcomers alike, destined to become a modern staple in their live set. From a production standpoint, 'This Consequence' is razor-sharp. Dutkiewicz ensures every element shines without sacrificing the band’s raw edge, a challenging feat in a genre where dynamic sound is often sacrificed for compression and volume. The guitars are massive, the drums punch hard, and the vocals cut through with both clarity and grit. Where so many modern metalcore albums fall victim to lifeless overproduction, 'This Consequence' thrives on its raw, dynamic mix - proof that bigger isn’t always better. Lyrically they've also upheld themselves in fine fashion. The album feels like both a personal reckoning for the band and a wider social commentary, which is a very thin tightrope to walk but they've managed it very successfully. Themes of awakening, defiance, and perseverance run throughout, making for one of the band’s most thematically cohesive records in years. While Killswitch Engage have never truly faltered, 'This Consequence' feels like a definitive statement that not only honors their past but also pushes their sound- and the entire metalcore genre- forward. The riffs hit harder, the melodies soar higher, and the intensity is more palpable than ever. With ‘Requiem,’ they may have crafted one of the strongest songs of their career. By embracing older mixing and mastering techniques, KsE inject life and energy into their sound, delivering an album that doesn’t just sound heavy; it feels heavy. KsE's ninth effort also sparks hope that more metalcore bands will embrace older mixing and mastering techniques, and reintroduce dynamic range into their studio tracks. With 'This Consequence', Killswitch Engage prove once again why they remain at the forefront of metalcore. It’s a record brimming with energy, passion, and some of their best songwriting to date. ‘Requiem’ is the clear standout, a modern classic in the making, while the rest of the album delivers everything fans could hope for: aggression, melody, and a renewed sense of purpose. If 'Disarm the Descent' was their comeback, and 'Atonement' was their refinement, then 'This Consequence' is their reawakening, and it’s one hell of a ride that we’re excited to be a part of. 'This Consequence' will be released on February 21st 2025 via Metal Blade Records. Words: Vee Richardson Photos: Killswitch Engage

The first thing that comes to mind when you press play on Church Tongue's second EP, 'You'll Know It Was Me', is going to be something along the lines of "Jesus CHRIST that's heavy!". Caught in the caustic sweet spot that's nestled between Knocked Loose, God Complex, No Cure and Burner, Church Tongue have conjured up an unholy abomination that takes all the best bits of metallic hardcore, black metal, and death metal, before pumping them into six songs all about the most obvious topic in the world for a band like this - love? 'You'll Know It Was Me' is more than just an incredibly potent distillation of a new face in hardcore's big leagues - it's also a collection of songs that focuses on the above theme of love, in all manner of different ways. As guitarist Nicko Calderon explains; “Mike [Sugars, vocalist] wanted to write about the different kinds of love and the different ways that you can love - for example, loving yourself enough to end a toxic friendship, or loving yourself enough to become sober. And the very last song is quite literally a love song for him and his wife, about how if he dies before her, he will haunt her forever.” Opening the EP is the rather aptly named 'Heart Of Darkness'. With plenty of the modern metallic hardcore sound we know and love, Sugars has plenty of space to project howls atop the ballistics programme of instrumentals underneath his vocals. Track two flows in a similar vein, with 'One Hand Wrapped Around The Sun' taking barely a minute and a half to rend the flesh from your face and leave you looking like a certain bunch of box opening scumbags from an Indiana Jones movie. Two of the three features on the release come as a one-two punch, with tracks three and four both containing some extra help. The first of the two is 'When It Betrays' which features Colin Young, who not only drums for God's Hate but also does vocals for Twitching Tongues. Church Tongue gave Young total freedom to write all his own lyrics for his vocal parts, and what returned in the post included a line from Twitching Tongues’ 'Feed Your Disease'.“When he sent his part over,” reminisces Calderon, “and we heard and read the 'Feed Your Disease' line, we just couldn’t believe that he was gracing us with it. We’ve been fans of God’s Hate and Twitching Tongues for a long time, and actually took a lot of inspiration from Twitching Tongues with this EP, so we didn’t feel worthy. We feel like it should go to somebody more deserving. But we are very thankful for it.” Track four, 'The Fury Of Love', also has some back up in the vocal department, with Initiate's Crystal Pak lending a hand with her own abrasive screams above the pinnacle of the crescendo within the track. With black metal moments abound here, there's plenty to latch onto - whether you're here for pure brutality or for technicality. The only complaint here would be to give us more - those last seconds with Pak's vocals are all too good to last for such a short time! Lead single 'Bury Me (One Thousand Times) makes its entrance at the penultimate spot on the track list, and does its damnedest to make it impossible to forget exactly where it is. The bruising breakdown, icy riffs, acidic screaming and even the brief lulls all come together into a devastating combination of music that is as apocalyptic in its heaviness as it is enticing in its draw to headbang. The last track is, as stated by Calderon, a love song about Sugars haunting his wife if he dies first. Featuring the third and final guest of the EP, the title track brings George Clarke of Deafheaven into the fold. Sugars' repeated bellows of "You'll know it was me" ring out and burrow to the very pit of your stomach, before Clarke's unearthly voice joins the fray. Already an atmospheric and eery song that's full of weight, his coiling shrieks and vampiric screams open the gates to an onslaught of aggression and heaviness. The duo's vocals trade sonic blows across each eardrum, fighting a war for dominance where the only casualty is your hearing. As the song fades out, the pervading feeling is that of surviving an artillery attack or the passing of some eldritch being. 'You'll Know It Was Me' is a sensational effort across the board. The riffs and breakdowns hit like trucks, the EP is a lyrically potent piece throughout, every beat of the drums has been thought out in order to provide maximum power, every howl and grimace rings through your ears, and the all features are all different and all stunningly good. Are we listening to EP of the year already? The jury is out, but the odds are good - and if they show up on Out Of Rage's end of year list then 'You'll Know It Was Me' who put them there. 'You'll Know It Was Me' will be released on February 14th 2025 via Pure Noise Records. Words: Jake Longhurst Photos: Church Tongue

After a series of strong singles, Nashville based punk trio Winona Fighter are about to release their highly anticipated debut album ‘My Apologies To The Chef’ following their 2022 debut EP ‘Father Figure’, which earned them a dedicated fan base thanks to its energetic, pop-punk sound. Fronted by the electric multi-instrumentalist Coco Kinnon with Dan Fuson on lead guitar and Austin Luther on bass, the band are on a mission to create punk music that is accessible and accepting to all music lovers that are willing to listen. Recent single ‘Attention’ provides an insight into what is expected by their fans to be an impressive debut album from the Nashville punks. This is the band's most political song to date, which Kinnon has said is about issues she personally finds important. Its high energy, pop-punk sound provided an introduction for what should be expected to come from the rest of the album. Upon pressing play, it’s evident this album will be a hit amongst pop-punk fans everywhere, with the opening track ‘JUMPERCABLES’ featuring catchy guitar riffs from the get go. If you're a sucker for a catchy pop punk guitar riff, then this album provides plenty. Aside from the perfect mosh pit riffs and drums, the album tackles themes of mental health and politics providing an outlet to sing, or scream, out your anger. The interplay between the vocals and the rhythmic guitar playing feature prominently throughout the album, especially on tracks like 'Subaru' and 'I Think You Should Leave'. Each one embodies the brilliant pop-punkers sound fully, tackling the listener head on with a forceful upbeat sensibility that's full of joy and vigour. Powerful songs like ‘HAMMS IN A GLASS’ and ‘I'M IN THE MARKET TO PLEASE NO ONE’ provide excellent breakdowns and incredible vocals from lead Coco Kinnon, who possesses the most perfect pop punk voice. The strength that flows through every song on the album makes it incredibly hard to single out any songs, they all bring pure pop punk perfection to the table. If you are a fan of bands like Paramore and Neck Deep, then there is no doubt this album will be making your playlists. Finisher 'DON'T WALLOW' hits all the hallmarks of a classic pop punk album closer, with a more wistful feel that hits those autumnal vibes right in the sweet spot. With grooving bass lines, singalong choruses, wall-of-sound guitars, it's got everything you'd need out of a proper 2006 emo revival band who can and should thrive in the modern alternative era. Ultimately, the album is full of everything that makes pop punk great - excellent guitar riffs, strong vocals, drums that could have you bouncing for days and extremely catchy choruses. The band will be embarking on a US tour in March with their UK debut scheduled for Slam Dunk festival this year. If you are a fan of pop-punk, then this album is worth a listen. Who knows, maybe Winona Fighter could be your new favourite band! ‘My Apologies To The Chef’ will be released on February 14th via Rise Records. Words: Olivia Hermans Photos: Winona Fighter

Once upon a time, humans and gods talked. Their medium was a plant. This plant is mentioned in some of the oldest texts in the world, and is itself revered as a god. Soma (or Haoma, if you’re feeling Persian about it) allowed human beings to visualise themselves enthroned among these ethereal beings. It was a stargate from the real to the un-real, micro to the macro. Thought to be extinct now, the plant supposedly granted immortality and virility. The sacred text the Rig Veda raves about it like a five-star Yelp review from the dawn of consciousness: “We have drunk the Soma; we have become immortal; we have gone to the light; we have found the gods.” Human beings tripping on Soma quite literally changed the fabric of the entire world as we know it. If there was any soundtrack to that so sacred of communions, then it is 'Abur', the sophomore album by Belgian psychonauts Pothamus. Based in Mechelen, Belgium – a home to polyphonic music for at least 600 years – around 10 years ago Mattias M. Van Hulle, Michael Lombarts and Sam Coussens banded together to form this musical project. Named for the Greek word for water (which you may recognise from words such as Hippopotamus), the group has been trudging the musical desert for many a year. Their first album, 'Raya', was released during the height of lockdown, and delivered a brilliantly tact droning soundtrack to a world gone by. Now with 'Abur', Pothamus seeks to combine the worlds of “eastern philosophy and western esotericism into a unique ontology” – a lot of disciplines shoved into one sentence. Does 'Abur' deliver? Does it heck. With more pulse than a lentil soup and more drone than a no-fly zone, this album is a voyage into futurist sonic-ritualism. Time to tune in and trip out. Diving head-first into this album’s buttery pool of warm resonance is certainly an experience. The moment the album is turned on the listener is enveloped in what can only be described as an audio sandstorm. With the first track 'Zhikarta', the sleeper has awakened. Seven minutes of pulse-pounding and layered synth-struments with mantric vocals as company. They wail like the winds on Arrakis as the drums continue pounding out a ritual circle – the bass covered in fuzz, resplendent. Much credit is due here to Chiaran Verheyden who headed the production for cultivating something that's half Advaitic Songs by Om and half Hans Zimmer’s DUNE soundtrack on a raucous mescaline bender. The second track 'Ravus' bursts through with urgency. This is a war-song. The vocals are harsh, death-metal growls that penetrate the thick atmosphere. Ferocious bass once again resonates with sound and fury. Believe it or not, this song also features a classic breakdown, with the drums coming together to rouse what feels like a legion of warriors buried beneath the silts. With the whir of the Surpeti (an ancient Indian mantra-box that hums out a dull melody to be chanted to), 'De-varium' begins. This one feels similar to a Wardruna offering, wrapped in mystery. A mere three minutes, it is a temporary reprieve. Until the storm named 'Savartuum Avur' arises into a ritual circle. The circle slowly expands through conservative usage of drums. Until, like the Trinity explosion, it upsurges into madness. An impenetrable wall of sound to make Phil Spector fall to his knees. The next track 'Ykavus' acts as another breather – featuring more of the impressively utilised Surpeti. It is a low hum, a soft guiding hand to the last quarter of the album. It ultimately crescendos into the final track, 'Abur'. This is a fifteen minute odyssey into the realm of the immaculate, with soft and harsh melodies interspersing with that same musical mastery that underpins the rest of the album. It is an out-of-body album closer not produced with such majesty since Gojira’s 'The Way of All Flesh'. In a similar way, the music evaporates, and leaves you wondering what your own name was before you hit play. 'Abur' is balanced like a ritual knife, for it is sharp on both edges. Its heavy moments are heavier because of the spaces in between - those rare, vital breaths before the next plunge into the maelstrom. It doesn’t exhaust you; it raises you up. You do not feel encumbered, but more virile than before. It’s a sonic Soma, a mind-altering concoction wrapped in distortion. What Pothamus has done here is achieved something transcendental yet earthly. The perfect soundtrack to lounge around your pad and contemplate the meaning of life. But, it feels like a cop-out to describe just how much this album sounds like one giant cosmic onion that unravels into a perfect mandala. The reality is that you have to be in the correct frame of mind to experience music such as this. If you are to venture into this album, know that it is one best enjoyed mindfully. If you release yourself and tune yourself to its frequency, you will be able to view what Pothamus is trying to achieve. Like 'Raya' before it, this album is an excellent addition to the growing repertoire of not only Pothamus but also to the scene in general. Relentless and determined envelope-pushing is just what this genre needs right now - the future isn’t just bright; it’s extraordinary. 'Abur' will be released on February 14th 2025 via Pelagic Records. Words: Kiarash Golshani Photos: Céline Gladiné

Sometimes we all ask ourselves, why do we seek out new music? Finding bands like Fell Omen provides a very quick answer to that question. When an artist experiments with their methods and pushes boundaries, creating something unique in the process, it’s a feast for the ears. ‘Invaded By a Dark Spirit’ is exactly that and more as Spider of Pnyx, the creator of the project, dives into medieval themed black metal, using a variation of instruments all played by himself across every track. The guitar powered ‘Don’t Go Hollow, You Have Steel’ is certainly a great introduction to the album, as Spider of Pnyx shows us some insanely good riffs, drum work and screams, which are the only vocals on the first track of the album. The energy of this track takes you right into a moshpit and makes sure you don’t want to leave any time soon. The same goes for the second track, ‘Dungeon Metal Punks Besieging Digital Castles’, except the track starts off not-so-traditionally with hurdy-gurdy, an instrument we would love to hear more of in metal music, as it pairs very well with the genre with it’s own unique and distinctive sound, that creates a wonderful atmosphere within the song. The third song, ‘Upon The Cliff, In Castle Stormveil’, is not as energetic as the first two, but it does feel very well-written and comes across as a story as much as a song. The track gives the listener a small break before ‘Warrior Jar’ storms in and picks up the pace again in a fairly typical punk fashion, before ‘Forlorn Knights and Strange Flasks’ both get the reins off with some outstanding drum performances. Listening through, the throne for our favourite song goes to title track ‘Invaded By a Dark Spirit'. The combination of acoustics, electric guitars and drums melds together into a glorious amalgamation of uncomfortable sound, which seems to be one of Spider of Pnyx’s greatest strengths. The final track on the album, ‘In the Poison Swamp’, is also the shortest one, but will give you chills from the first second. The melodies are bounding with energy, but in some way feel like a farewell, albeit perhaps not a very long one. The album is a great showcase of Spider of Pnyx’s head-bowing talent and absolutely strengthens his well deserved reputation. It's mind-blowing to think that all the instruments and vocals were produced by a single person. Fell Omen as a whole is an outstanding project, that grabs you within the first seconds of the first track and is going to hold onto you until the dying seconds of 'Invaded By A Dark Spirit', and you're going to love it. ‘Invaded By A Dark Spirit’ will be released on 14th February via True Cult Records. Words: Katerina Stepanikova Photos: Fell Omen

Swedish post-metal project Novarupta is releasing their final album 'Astral Sands'. More of a collaborative art project than a traditional band, Novarupta has completed their four-album journey with this exceptional conceptual work. Multi-instrumentalist and creator of Novarupta, Alex Stjernfeldt, masterfully guides the musical journey with inspired collaborations including the beautiful string arrangements by Johannes Björk on 'Endless Sun' and vocals by Fireside's Kristofer Aström on 'The Bullet Shines Before Impact'. The album is introduced with the instrumental track ‘Ensamstående Enastående’ (roughly translated from Swedish as 'Single Outstanding'), which instantly sets the stage for the album. The immediate echoing guitar melody creating a haunting and emotional atmosphere that sets the stage for the album well. The rich and resonant combined with the distant, percussive drums creates an ominous and intense mood. Concluding with distorted, slashing guitar, foreshadowing the album's heavier elements, gives a glimpse into whats in store. The drums evoke a similarity to 'Clubbed to Death' by Kurayamino Variation (from The Matrix). 'Seven Collides' (featuring guitarist/vocalist Jonas Mattsson) opens with a gut-punch guitar intro, its echoing reverb reminiscent of Queens of the Stone Age. Thrash percussion builds anticipation before the drums and vocals explode into the mix. The song's 90s alternative vibe - think Nirvana meets Oasis - is undeniable. Mattsson's gritty, whiny vocals drive the track, intertwining with the echoing guitars through simple yet effective melodies. A tense bridge, featuring a low growl and relentless tom roll, builds to a brooding urgency. The grunge-inspired vocals soar, even if the crashing cymbal occasionally overwhelms. The Alice In Chains-esque vocal harmonies in the break are a standout. Featuring guest vocals from Fireside’s Kristofer Aström, 'The Bullet Shines Before Impact' is a truly captivating experience. The nuanced drumming, particularly the hi- hat, immediately grabs the listener's attention. The softer vocals and slower tempo create a sense of vulnerability. The layered echoes in the chorus are a masterclass in dynamics, adding emotional weight. The lyrics explore the depths of hopelessness, a feeling reinforced by the haunting electronic textures that precede the second chorus. In the chorus, the drums' understated power allows the layered vocals to resonate, deepening the track's foreboding and hopeless atmosphere. The outro is a powerful moment, with the distorted reverberating guitars reaching peak intensity. 'Endless Joy' (featuring Per Stålberg and Johannes Björk) begins with a captivating blend of cello, harmonica, and ethereal air sounds, creating a unique sonic landscape. A delicate violin melody emerges, intertwining with the constant trill of the guitar. The sudden, powerful entrance of the drums and vocals is striking. The vocals are delivered with a raw, angry intensity, fueled by the track's driving rhythm, and the recurring dialogue between guitar and cello adds a layer of beauty and complexity. The guitar melody, though simpler, is effective in maintaining the album's thematic thread. The extended instrumental break is a highlight, showcasing the drums' dynamic performance. The guitar panning during this section is masterful, creating a truly immersive listening experience. Close listening reveals subtle yet effective vibrato in the vocals. The ending is particularly intriguing, with the distorted guitar fading out to leave the cello and violin in the forefront. Featuring Greenleaf vocalist Arvid Hällagård, ‘Terraforming Celestial Bodies’ brings foreboding guitars and drums, establishing a powerful chord and drum beat combination. While the vocals aren't as immediately punchy as on previous tracks, they effectively contribute to the album's overall theme, delivering poignant lyrics filled with shouts of woe and desperation. Though perhaps less impactful initially, the song still conveys a clear message and ultimately satisfies. 'Breathe Breathe,' featuring Misery Loves Co. vocalist Patrik Wirén, offers a different style while remaining thematically consistent. The unexpected blend of Pet Shop Boys and Tears for Fears influences creates a surprisingly effective sound. The foreboding, grunge-infused soundscape is enhanced by intriguing vocals and electronics, with the guitar riff interplay during the break being particularly noteworthy. 'Cosmographia' features echoing guitars, Matrix-esque drums, and standout clean vocals by Fabian Brusk-Jahn. A subtle tambourine adds a cool and unique accent to this track. The fittingly titled finale ‘Now We Are Here (At The Inevitable End)’, showcases interesting vocal effects and thick, chunky distorted guitar riffs interspersed between the verses. The halfway chorus is a definite highlight featuring funky bass (Martin Wegeland) that shines through. Desperate breaths punctuate the vocal lines, subtly yet powerfully reinforcing the song's nihilistic theme. The awesome singing and shouts, filled with desperate anger and urgency, provide an excellent and powerful conclusion to an excellent album. In its entirety, this album is an inspired journey through the portal that Stjernfeldt has created. The combined creative influences, artistic collaborations and unique vision that make up 'Astral Sands' is the legacy Novarupta will leave behind. 'Astral Sands' will be released on February 14th 2025 via Suicide Records. Words: Katherine Russell Photos: Novarupta

The time has come to rise! After five long years, the Italian legends Lacuna Coil are opening the gates to their new pocket world, 'Sleepless Empire'. The concept for the release emerged during the sessions for 'Comalies XX' (2022), recorded in northern Italy between Milano, the members’ hometown, and Como, at SPVN Studios. Production was once again handled by Marco 'Maki' Coti Zelati, and the artwork was thoughtfully created by Italian artist Roberto Toderico, as with their previous albums and ensuring a sense of continuity. A descendant of 2019’s 'Black Anima', this new opus marks their 10th studio album and, according to the band, it “captures, through our eyes, the chaos of a generation trapped in a digital world that never stops, where social media consumes identity and every day pushes us one step closer to becoming soulless zombies”. We embark on this 11 track journey with 'The Siege'. There is no time to lose, we are dropped in the midst of the action with a mix of siren song and battle cry from Cristina Scabbia. This distant call to arms is but the prelude to a heavy breakdown straight off the bat, with black metal-worthy vocals from Andrea Ferro. The power of the song also lies in the mix and relay of the singers' voices. Scabbia taking over again and defying the odds, whilst Ferro’s lyrics mention him having his back against the wall. They empower each other both each other and the listener to fight, and not only that but they are setting the scene of their new universe. The high attack and projection of the drums only increases with time, making it feel like an attack itself. From the get-go, there is an impressive Dave Lombardo style to Richard Meiz’s drums that implores to either start a fight - or end it. No rest for the wicked, we jump straight into the first single off the album: 'Oxygen'. It confirms that we should always expect the unexpected with Lacuna Coil, starting with a punk like scream that would be much more expected from a band like Yonaka. The fascinating mixing of old and new elements comes through with pure power, mixing steamrolling riffs, melodic singing in the chorus, and punk aspects throughout all of it. The individual notes feel dragged and stretched, like fighting underwater to find the surface again, which all comes to life in the music video. Cristina Scabbia commented that “'Oxygen' is a powerful exploration of emotional struggle and inner conflict. The lyrics convey a sense of drowning in a toxic environment, both literally (in the video) and metaphorically, where attempts at salvation, represented by “oxygen” are somehow futile. This song encapsulates the feeling of struggling to break free from what holds us down, when the journey is filled with difficulty. It’s a raw anthem of vulnerability, resilience, and the courage to face what seems insurmountable. Having to stay in the water for so many hours during the video shoot was cathartic for me, the realisation that the pleasant sensation of floating could in an instant become dangerous and deadly if I wasn’t careful was very fitting with the song’s theme.” The band also shares that “throughout every song, the journey is an undercurrent of rebellion, a desperate cry to reclaim oneself in an era that seems to have lost its sense of time and reality.” This is especially notable in the next song, entitled 'Scarecrow'. Its goth opening still brings a twist with a very rave and new wave feel before the gut punch start. They transport us to the 90s, to a fight against cultural norms and expectations. It is noticeably darker and hypnotic, with the vocal fry towards the end brings an industrial feel, with a sense of familiarity replete. This gothic style which we know Lacuna Coil for continues in 'Gravity', through its ominous orchestration and Latin chanting. We seem to have stepped into a monastery and interrupted a ceremony, a ritual. The electronic dissonance in the piece also brings a new wave feel to the intro and the pre-chorus breakdown, connecting with the previous song and reappearing at different points throughout. Feeling like a twist on their first work, the chorus is bound to summon crowds. We reach a strained end with a strings outro that leads us calmly into the next song. The symphonic flourishes lead into 'I Wish You Were Dead'. Its lyrical singing is brought forward, putting all instruments on the back burner with an incredible mix that lets the two singers voices echo out. This track is a reminder of the band’s powerful performances, it is extremely catchy and tells you how perfectly it would translate live. It may be the the record’s shortest track, but its anthemic quality will make you want to play it again and again the moment it stops. We reach the first of the two features on the album. 'Hosting The Shadow' brings none other than Lamb of God’s frontman Randy Blythe. Forming an alliance with Scabbia’s power stance, they've created a dark but intense statement piece in the pairing between the two vocal heavyweights. The band goes to talk of it as “a trip through light and dark, where silence reveals its hidden secrets. Obscure moments can become occasions to evolve, to learn to master one’s own shadow – which is crucial in order to prevail.” The ceremonial aspect comes back swinging in 'In Nomine Patris' (In The Name Of The Father). It feels mystical, with the singing coming through as a solemn lament. Its riffs and long guitar solo building up towards the end make you believe that we are witnessing a continuation of 'Gravity'. It fades out into folkish singing, bringing us deeper into their world like we're crossing the barriers of a dream. The title track keeps us going deeper with its distorted electronic synth - it has an intensely experimental feel where instruments are not what they seem, constantly making you wonder what is really being played. It carries a Middle-Eastern chord progression but is dystopian, distant, and strong in its feel. It extends time and transcends it, making us walk through quicksand and fly at the exact same time. Marco's guitar seems to follow Ferro’s screams, as if walking in his footsteps to find safe ground. It is, perhaps unsurprisingly, the longest song on the record. 'In The Mean Time' provides us with the second feature on the record, this time coming from Ash Costello of New Years Day. The whispers at the start of the track make the screaming to come even more impactful. The combined strength of the singers, with banshee-like vocals from Costello, make it something you can only surrender to. It is a call to stop outside pressure and let individuality rise. As we reach the end, the dreamlike feel still hasn't let up and only once finale 'Never Dawn' finally lets up can we truly wake up from the experience. This final track feels like walking through the desert and seeing an oasis in the distance. The reverberation stuns us into place, like we can hear double and cannot trust what we see or hear to be real. 'Sleepless Empire' is a spiritual album, which flirts with familiarity and newness in equal measures. It balances vulnerability and ultraviolence in a way that makes this album both ethereal and entirely tangible. The production must be highlighted for its high value that manages to keep the band’s sound authentic throughout, with its pristine mix. Every element has its place and role, and everything gets time to shine. This is a collaborative opus that is clearly the result of a common effort and years of transformation and refinement. All fans of Lacuna Coil are bound to be thrilled with the release, finding what they love most about the band in this album whilst still having room for surprises. It truly is friendship season for Lacuna Coil: following their features with Ash Costello and Randy Blythe, the band will be heading out to the UK and Ireland later this year with special guests and friends Blind Channel from Finland. Find them on tour: 15.10 - Limelight, Belfast 16.10 - Academy, Dublin 18.10 - O2 Academy, Bournemouth 20.10 - Academy, Manchester 21.10 - SWG3, Glasgow 22.10 - KK’s Steel Mill, Wolverhampton 24.10 - Rock City, Nottingham 25.10 - Roundhouse, London 26.10 - O2 Academy, Bristol 'Sleepless Empire' will be released on February 14th 2025 via Century Media Records. Words: Lysandre Pons Photo: CUNENE

Manchester-based four-piece Midland Railway have finalised the charge into their self-titled debut album with their recent release 'She Loves Ted Bundy'. Following a slew of singles over the last few years, we can now see what the band are truly capable of when given the opportunity to put their musical talents together to create a fully-fledged album. With their 2022 singles 'A Song For Hannah-Beth' and 'The Mysterious Cities of Gold', they'd certainly left us with a desire to see how their sound would play out across a full album. Once the band released the album's penultimate single 'Bedroom Analysis' we were hoping to hear more of the energy they brought in 'A Song For Hannah-Beth' - not dissimilar to early Arctic Monkeys. We definitely weren’t disappointed when the song sprung to life with a harsh, fuzzy guitar tone. The lead melody drives the song throughout, and - whilst simple -it gives an excellent foundation for the rest of the band to build on, which they most certainly do. The upbeat guitar and clean, bright rhythm section contrast beautifully with the melancholic lyrics, tackling the overbearing and confusing feelings of a recent break up. The tight yet syncopated vocals give the feeling of Justin Hawkins of The Darkness fame, which, when mixed with the hazy garage pop energy of Wet Leg, accumulate into a listening experience that feels like it shouldn't entirely work - but most definitely does. The main criticism we have for the release, which can be seen in quite a few of the songs on the album, is that the mixing seems to favour the instrumental side of the band over the vocals, letting them become slightly muddied in the mix. Of course this comes down to personal preference; some may prefer this style, however we think the cleaner, more audible vocals on songs such as 'A Song For Hannah-Beth' and one of their earlier releases 'The Power Game' suit the band's energy more. Speaking of 'A Song For Hannah-Beth', this is one of the strongest tracks on the release - coming at us with a sweet, indie-inspired melody, and energetic rhythms that are likely to become an earworm, the song begs to be cranked up to 11 and danced to if it's to be truly appreciated. The only potential concern with the song is its placement in the album - immediately following “Bedroom Analysis” seems an odd choice considering the themes in each song. Discussing a rough breakup then jumping into an energetic bop and lovesong, about the titular “Hannah-Beth” is certainly one hell of a juxtaposition, although if the contrast was intended then it comes across admirably. It's clear to see that each track has been thought out, and the overall flow of the album gives you a rollercoaster of energy, peaking with tracks such as 'City of Gold' and smoothly transitioning to slower, more emotionally charged options. No matter what mood or mindset you’re in - there's something on this album for you, which is exactly what we found through our multiple listening sessions. The blend of genres will also give different listeners something to appreciate - regardless of personal taste, there is something for everyone here. We feel that the band's slower tracks hold more power, but that's absolutely no reason to disregard the higher tempo remainder of the album, which is chock full of excellence still. There's very clearly some early punk influence, most obviously can be heard on 'One Day', which when combined with the indie/garage rock vibes from many of the other tracks gives the album a very unique texture, that keeps us listening again and again. Midland Railway's debut album is definitely a worthy listen for anyone. It might not necessarily be the most finely polished album, but which punk album is? Cover to cover the album gives an eclectic mix of genres, musical styles, and influences. There are emotional highs and lows, spikes of energy - and some tracks sound downright angry (Looking at you 'One Day')! We can wholeheartedly recommend it to anyone - and most especially, fans of emotionally charged indie-pop. 'Midland Railway' will be released on February 14th 2025. Words: Chris Brown Photos: Midland Railway

An emotional night full of tension, no one wants this gig to end knowing it will truly be the end. The alternative community have come out in full force for Ithaca’s last ever headline show, queuing in the middle of a shopping centre while those passing by seem confused by the crowd. Forlorn have the difficult task of opening tonight. The crowd is tense as they know tonight will mark the end of something truly special in the heavy music scene. Forlorn bring their unique folk horror inspired metal and truly smash it. The band know it’s the small touches that make a great set best exemplified by the microphone being decorated with foliage. The issue is that the crowd is so tense waiting for Ithaca they aren’t the most active for the set. They still definitely enjoy it albeit reserved in their reaction. Forlorn have started the funeral march to Ithaca’s last headline set with true style. The tension keeps growing for the final Ithaca headline set as Knife Bride take the stage. Knife Bride manage to cut some of the tension of the room with their beautiful riffs and vocals. They achieve the perfect balance of heaviness with calmer moments which takes the set into being a true exploration of their sound. There still isn’t much movement in the crowd likely to the tension still remaining, but theres some mostly with typical horns in the air. Knife Bride’s vocalist knows how to serve vocals and stage presence. They are the perfect act to bring us that last step closer to the final time we will ever see Ithaca headline a gig. The time between Knife Bride leaving the stage and Ithaca coming on could have been slow and impossible to get through but it’s made that little bit easier via the DJ’s song choices which lead to a mini mosh to Slipknot and a sing along to Sk8er Boy. The stage is donned with flowers and an arrangement spelling out the band’s name. This truly is a funeral for the band, not dwelling on the fact it’s ending but celebrating what happened. The band take the stage, lead singer Djamila Boden Azzouz dressed in traditional funeral attire. The tension and atmosphere builds till she removes her vail and hits the stage with some of the most intense vocals ever seen from her. The crowd’s tension finally explodes, the pit becomes frantic and takes up a lot of the venue, people not knowing to cry or join in the chaos. The band are all in sync with each other knowing tonight is the chance to celebrate these songs. The Opening track being Cremation Party is perfect as tonight really has become a party in celebration of Ithaca. The band have the crowd in the palm of their hand, emotions running high for everyone including the band. Those taking a break from pit chaos taking time to have an emotional rest as there appears to be something magical in the air. Djamila Boden Azzouz takes an outfit change revealing she is in a corset. How she can perform such intense vocals in a corset is truly one of the great mysteries of music. The band are truly one with each other, every note tonight seems that extra bit more powerful. The band play old songs, they play new songs, they play everything they can to celebrate the band. The band bring out original bassist Drew Haycock to play Ashes. The crowd goes wild, moshing that extra amount harder to celebrate the origins of the band. The band even debut a new song which sees the crowd calm down to take the time to listen as a collective. Emotionally the crowd is near breaking point as they know the end is coming nearer. After playing Fluorescent, the band take some time from the stage. Dedications sent by fans of the band are played over the speakers, telling the story of why this band is so special. Message after message celebrating the band put tears into the eyes of more and more of the crowd. With each message played a few more fans embrace each other while drying their eyes. The band return to the stage for the encore for 3 final songs to bring tonight to a close. Crowd surfers keep surfing, the moshers go full out. No one wants tonight to end but it must. Tonight is drawn to a close, not a single dry eye in the room. Goodbye Ithaca tonight proved why you were truly great. Words: Will Freeman Photos: Katerina Stepanikova

It was all peace and love at the Manchester Leg of Rise Against’s EU tour, be it the expressions of love between each band or Rise Against's Tim McIlrath discovering the joys of Bovrill. The filing into Victoria Warehouse in Manchester was quick as the weekend's cold snap bit at Old Trafford. The clock hit half seven and opener Spiritual Cramp exploded onto the stage; if south arcade was a battery pack, lead singer Michael Bingham was a packet of batteries on his own, playing get-the-ball-in-the-cup with his microphone with mixed success. He had lots of love to give to his bandmates, though, as he hyped them up in their intros through the first half of their 30 minute set(?). This extended to giving the love to LS Dunes and Rise Against, saying they were overjoyed to be on tour with their best friends and sold the sincerity of the statement. The crowd work however didn’t quite land, with pseudo-sexual quips asking if we liked that and wanting some hype to take a sip of his water. The highlight of these attempts was possibly his doubling down on Manchester being his favourite city in the UK because it feels sad and so is he, met with silence (from a room of elder emos who you’d think would like that sort of thing). The set closed out with Better Off This Way, and the feeling as they left the stage was that their headline shows would be a tour date to watch out for. Anthony Green was also on the love train, as 20 minutes or so later LS Dunes would swan upon the stage. Opening with Permanent rebellion leading into Fatal Deluxe while Green two stepped his way around the stage and guitarist Frank Iero hit his poses in a neat circle on the left side. The vibes were immaculate at the front of the room while Green gave the love right back to Spiritual Cramp and reiterated the joys of being on the road with them. He was clearly pleased with his own set list too, exclaiming “god I love this one!” As the instrumental rang out for Paper Tigers; I’m sure you do, that’s why you put it on! Sonically LS Dunes were beautiful, mixing clean vocals with solid screams over hard rock Melodies to create their elevated post-hardcore sound. The set closed out with gut wrenching 2022, with those who came in the know happy and those who didn’t satisfied. Between LS Dunes and Rise Against the patrons of Victoria Warehouse seemed to swell as the crowd was hugging the pillars at the back of the room; when they emerged onto the stage for their 90 minute set it was a show worth the crowd. Their stage was set with a large red banner and a set of platforms for all of the none-drumming members to play on, with drummer Brandon Barnes set above on his own, and a V formation of lights flashing with shapes and colours throughout the show. Opening with Satellite, the pit began to heat up in the front right, and frontman Tim McIlrath grabbed his megaphone to shout call and response for the double bill opener (nice catch of that megaphone, tech guy, if you ever read this). McIlrath seemed to strike the balance in this show between the noise and working the crowd, opting for his crowdsurf early and managing to salvage losing track of days while they’ve been on the road. Next up on the setlist was Blood Red White and Blue, for which McIlrath draws some perspective on this post 9/11 track as it applies to America's current leadership, before reminding the crowd ‘saturday night is for dancing’ and turning his hand to open that pit back up. This part of the set seemed to be about the elephant in the room for a lot of US bands touring internationally at present - they have to go back. After This is For You, McIlrath muses about turning to your community in the darkest of time for solace and strength before treating Victoria Warehouse to Long Forgotten Sons then Hero of War; the crowd had joined in for this one, swaying back and forth in a way akin to a festival. This section of the show closed out with a touching dedication to the Manchester music scene, with McIlrath taking the time to appreciate the artists from the city that laid the foundations for his work now, then playing Swing Life Away to get the tears pricking at the eyes. The closing section of Rise Against’s set contained the most fun, with Prayer of the Refugee working as an electric shock for Victoria Warehouse as the pit raged and McIlrath hit a very satisfying scream. By the end of Audience of One someone’s shoe had made its way on stage while hopping off stage for the encore allowed McIlrath to brew his best bits of the night. He first shouted out the breakdancer that had been in the crowd, then set up a stand-up esque bit about going to the footy for the first time: he wrote down the chants, was captivated by fan segregation and sober seating, and most importantly discovered Bovrill. The words had barely left his lips when the crowd began to chant it at him - a testament to the country’s beloved beef drink. Though it was hard to glean what he felt about Bovrill as a product at the end of the interaction, I think he got the spirit. This was followed by the final tracks of the night Black Masks and Gasoline and Saviour where Victoria Warehouse let off the last of their steam alongside Barnes and lead guitarist Zach Blair having their closing solos; the pit doughnut had turned into a fully charged force by the third and final ‘one more time’ chorus. Saturday night in the Manchester Warehouse was a celebration of the rock and roll each band loves, and they proclaimed it so. The show was seamless (even if the mics were a little quiet) and it was clear this was a tour of friends doing what they loved together, much like the crowds of people who spent their weekend with them. Words: Julia Brunton Photos: Ely King

Just when you think you've heard it all – along comes an album opportunity described as "redneck black metal”. Jesus wept. This genre is chocked full of regular black metal as it is, but if you have perused the depths of Bandcamp in the last few years you will have seen the genre pushed its very limits. To its credit, though, when it comes to musical diversity - take your pick: There’s cosmic black metal (anything Mesarthim), atmospheric LGBTQIA+ antifascist black metal (Violet Cold – Empire of Love), Dutch schizophrenic torture black metal (Stallagh’s Gulagh). And let’s not forget Dungeon Synth, arguably the most brilliant offshoot the genre has ever produced. It has always been in the nature of black metal to push the corpse-painted envelope into bold new territories that many fear to tread. Then along comes Blood Cult. The Illinois project of one J.R. Preston, truly the P.T. Barnum of this corner of the black metal woods. Trading magic and circus whimsy with the musical equivalent of a hillbilly rocking back and forth in his creaky chair shotgun on lap and straw in mouth. To mention Blood Cult alongside the aforementioned bands would be doing it a disservice, as Blood Cult are a band with tenure. Emerging in 1994, Preston has been around far longer than some of these other yungins’, with more demos than lice that done got in the hardtack again, gosh-dummit! See, Blood Cult ain’t just another dime-a-dozen black metal act plucked from the USBM gutter. No, these lunatics are mixing black metal with punk, rock 'n' roll, bluegrass, and even a sickly twang of hillbilly surf – you ever heard of that? Of course not. It shouldn’t work. But somehow it does. Over the years the style has changed dramatically; 'We Who Walk Behind Rows' has become a cult favourite and 'We Are the Cult of the Plains' has also gotten some rave reviews. But, each time, the sound becomes a tad more refined, and now we end up here at the crossroads with the new release 'We’re Gonna Take Your Soul' - and take it they damn well might. Featuring a well-endowed agronomist holding a shrieking skull, the mind doesn’t know what to expect. The moment this thing comes on you get what it's all about. The opening of 'Demon Seed' is a dissonant strum topped with maniacal laughter, which instantly leads into a cheesy organ and King Diamond-like scream. The entire philosophy of Mr Preston laid bare in the first few seconds. The rest of the song is great too, brimming with D-Movie cheese and that sweet, sweet lo-fi black metal production. Anyone expecting DARKTHRONE should take a hike - this is more 'Sabbath Bloody Sabbath' than 'Transilvanian Hunger'. Oh yes. 'No Escape from Rock' slows things down with a crunchy guitar and steady drumbeat. Listen to those lyrics; “ROCK AN’ ROLL. DEVIL WORSHIP!” - as Shakespeare once said, “Brevity is the soul of wit”, to which Blood Cult have replied, “Hold my moonshine”. It is worth mentioning that solos are absolutely everywhere on this album, festooned into every track like an oversized, gaudy chandelier. The title track is a time warp straight to ‘70s rock excess. 'I’ll Never Go Away' is about a self-professed stalker in the night, full of camp and wonderfully realised. Tracks like 'Bully' and 'Playground Creeper' are both fantastically overt tributes to the Satanic Panic and The Misfits, peeling back the layers of religious hysteria and moralistic fear-mongering with all the subtlety of a grapeshot blast to the sternum. Meanwhile, 'The Devil’s Child' kicks open the gates in honour of the powerful women who’ve carved their names into the hallowed halls of metal history. Then there’s 'In the Full Moon,' a shot of pure, uncut surf-punk venom, resurrecting the band’s early days in a blaze of distortion. It ends with 'Love', an unrepentant jam to close out the madness, featuring some beautifully bit-crushed organs. It’s a hell of a ride - feral, unpolished, and absolutely unrepentant. Agonisingly hard to rate, 'We’re Gonna Take Your Soul' is a Frankenstein’s monster of hillbilly black metal electrocuted into the corpse of 80s proto-metal. This is more of a feeling than an LP – a vibe distilled into an entire album. It undeniably looks to the past rather than the future, and in doing so does something novel. Truly we are in the midst of the post-black metal age. As it stands? This record is a goddamn blast. Wild, unpredictable, and truly genuine in a way metal often forgets to be. Solidly good time if you are ever in the mood for something with all the energy of a Hammer Horror film and the aura of a crusty hillbilly. 'We’re Gonna Take Your Soul' is out now via Illinoisan Thunder. Words: Kiarash Golshani Photos: Blood Cult

Breakfast With Bears are an alternative rock band from London, known for their live performances and emotionally charged music. They’ve recently been growing in the UK music scene and have shared stages with notable acts such as Blvck Hippie, Buds, Brutalligators, and Really Big Really Clever. Next in the works? They've got their highly anticipated new EP 'Conversations' ready for release on Valentine's Day. This album is exactly what we imagine Hayley Williams listens to in her spare time, and is everything any of you elder emo’s need in your lives right now. Everything about this album screams of influence from 2000’s Kerrang, with music that gives you every reason to dance, while the lyrics rip at your heart due to the themes of mental health, love and diversity. This is a deeply personal EP featuring six excellent and diverse tracks, with lead single 'Duplicity' already released on all streaming platforms. First up we have 'Real Talk', which immediately kicks off with the band's signature blend of energetic instrumentals and melancholic vocals, with lyrics about overthinking past conversations and bettering ourselves. This flows smoothly into 'Fickle “Friend”', a song about exactly that. Influences from Paramore’s newest records are attached like an IV drip into this, and we mean that as the highest of compliments. Next up is 'Who’s Sarah Tonin?', which gives us our first love song - albeit not one for a person, it’s a love song all about finding our own happiness. 'Flight Risk' picks up again with lyrics like “maybe I’ll just call my boss and say I’m dead, because I want to, not because I need to” cutting deep into all of us who work crappy 9-5 jobs to just pay the bills. This is possibly the highlight of the release, and one that's so very easy to imagine will be screamed back to the band by fans at numerous concerts to come. Already released single 'Duplicity' has the music and lyrics to match it's two-faced title, feeling oh so upbeat when the tone of the single is just so low. Finishing up the EP is 'For You' which is the actual love song of the release, and ends this EP on a perfect high - yet still with that twinge of melancholia that you both want and expect every emo record to leave you with upon its finale. This album is absolutely one to look forward to for all of you nostalgic emo’s who can’t let your Kerrang phase go. We were told "we poured everything into 'Conversation’ and left nothing on the table”, and it's easy to see that that's not a word of a lie. For those who need their music to talk about mental health, fighting against the discrimination of all people and creating safe spaces in the music industry? This has been made with love to you, for you. 'Conversations' is out on February 14th via Best Life Records. Words: Laura Hughes Photos: Breakfast With Bears