As the red glow of the theatre lights opposite London’s Electric Brixton bathed the waiting metalheads in a macabre light, a storm was brewing inside the esteemed venue. One of the most crushingly heavy lineups of the year had just touched down in London Town and were collectively about to blow the place to smithereens. Cattle Decapitation were bringing their Terrasitic Reconquest tour across the pond, and they weren’t coming alone. With two bands hailing from the Northeastern USA, one from the Southwestern United States, and a fourth from South Africa, the bands on display have all taken a fairly hefty trip before getting to the Big Smoke, but the reaction provided by all in attendance shall surely have sated any desire for positivity. First up are the aforementioned South Africans, Vulvodynia. Their intro, using the opening song of The Lion King segueing into their trademark brutal slamming death metal, was a great laugh that abruptly gave way to many hundreds of necks and heads almost hypnotically nodding in time, and a healthy bundle of arms and legs flying frantically around near the front of the crowd. The combination of abominably heavy death metal with slam and beatdown elements created a monstrous live sound, and the vocalist’s demonic gutturals just added to the carnage. Their guitarists wore very contrasting onstage attire - one in a stereotypical black longsleeve, with camo trousers and long hair, whilst the other was wearing a matching watermelon patterned shirt and shorts combo. Of course, the latter was the lead guitarist and tore up his headless guitar like there was no tomorrow. Second up were Revocation, and the Boston death metal crew had a nice mix of influences, ranging from the more technical end with bands like Archspire and Cryptopsy, to the more progressive end of the genre and bands like Cynic. Gojira were a clear influence, with one or two songs in particular feeling like they could’ve been a Gojira B-side from a bit earlier on in the Grammy winners’ careers. The singer’s bright orange guitar was quite the eye-catching axe, but truly the bassist’s instrument of choice was the most fascinating up there - it had the vague outline of the head of a Beluga whale, with such a notable curved upper body as to tuck most of the way around his torso. He was also clearly having an absolute blast all set, and throughout the moshpits and fistpumping he never stopped grinning at everyone in the audience. Shadow Of Intent were the main support act on the tour, and the venue’s lighting situation reflected that almost immediately. The Connecticut symphonic deathcore crew played a blistering 55 minute set that barely gave any of the audience time to breathe, let alone the band themselves, and the lighting was just as frenetic. Bursts and flashes of purple, white, and red flew hither and thither, lighting various crowd members and band members seemingly at random, and doing their very best to look like a military demonstration of some new weapons system. The band themselves do sound quite similar to the most recent era of Lorna Shore, with plenty of crazy riffs and gutturals atop a background of violins and other string instruments creating an ominous atmosphere for all looking on. With their set never taking the time to catch a breath, it felt like the band pummelled too hard and too incessantly for everything to quite take root in our heads, but the general gist of what happened is firmly stuck there, and what happened was an incredibly heavy show full of ludicrous moments. Finally, headliners Cattle Decapitation took to the stage to a flurry of green and yellow lights, toned down a tad from the previous set. The riffs were lightning quick, the drums were reminiscent of artillery or machine gun fire, and the vocals were the same old Cattle Decapitation vocals we all know and love. With the Terrasite making an appearance (someone in a flea costume), the fun factor was also on full display. Headbanging was the order of the day, with necks being strained all set, but of course the moshers wouldn't be put to shame and they were admirable till the last. With a set that spanned multiple decades, the San Francisco crew pumped out a churning, seething hour of foam-at-the-mouth aggression and uncompromising hostility that was equally completely, wholeheartedly, and unashamedly welcoming to all who attended. With a slew of fans in the building, both new and old, Cattle Decapitation shed their anti-bovine associations and moooved us all. Words: Jake Longhurst Photos: Oliver Hayman

Pop/metal band TheCityIsOurs from London have been rising in popularity since the release of their previous album ‘Coma’, which was released in 2021 and quickly soared into the top 5 on the iTunes metal chart. Lucky for us, the band have now released their highly anticipated new album ‘Will You Still Love Me?’ which is an extremely exciting release, exploring their distinctive pop and metal sound that attracts their fans. For the first song we have ‘Shame’. It does a good job at introducing us to the different genres the band explores throughout this album, with the heavy screaming combined with the more toned down verses that have a more pop element to them. After listening to this song, we can't help but feel excited for what else is to come on this album! ‘In The Dark’ starts off with a funky beat before moving melodiously into a heavier guitar riff just as the vocals pick up and we are hit with that incredibly talented screaming we all know and love. This track bounces between those heavy riffs and vibrant beats and it is pleasing to hear, they have done this in such an unique way that you just can't help but love. Onto the extremely catchy next song ‘Hot Mess.’ The chanting of h-o-t m-e-s-s at the beginning of the track continues throughout and you can tell this is going to be a fun song to hear live. These vocals and the instruments have so much energy and they make you feel energised too, you can't help but sing or dance along to this one. ‘Sugar’ showcases the wide vocal range of the band, at first we hear clear and profound vocals before the instruments pick up and we are met with the powerful screams and growls that really bring a sense of emotion into the song while also bringing the energy up. ‘Dopamine’ starts off with a catchy riff that only intensifies throughout the song. At first we hear the metal vocals before quickly shifting into the harmonious, more softer sounding vocals. This song really stands out as there are a range of different genres to be heard here including, metal, pop and pop rock, making it an unique track. ‘Freak Like You’ has a more sweet-sounding guitar riff to start off with, it does pick up though. As we get into the chorus the passion put into this song is evident. The guitar is really pleasing to hear as well which just makes this song even more enjoyable. It is definitely a song you can't help but sing along to. ‘Work It Out (If You Let Me)’ is a beautifully written song that talks about the struggles sometimes faced within relationships. It starts off with a mellow beat but as the song goes on the instruments really pick up, creating the feeling that emotions are building. The vocals are outstanding in this one and really are something special. The rest of the album continues the same. It is impossible not to love this album and the different genres it goes through. It does an incredible job at drawing in metal fans along with the alt/pop/rock scene. Every song on this album has the same kinda vibe to it which you will enjoy if you are a fan of this music. The swift changes between the vocals was something I especially appreciated. If you are a fan of the pop/rock scene this album will not disappoint. It has everything you expect and more if you are a fan of the genre. The intense guitar riffs will shake you to your core, in a good way! 'Will You Still Love Me?' will be released on January 31st via Arising Empire. Words: Kelsey Mainwaring Photos: TheCityIsOurs

Tayne are about to serve themselves up as the absolute masters of tone and coherence, generating instantly recognisable soundscapes that blending industrial synth, thundering drums, ethereal vocals, raging guitar parts and incandescent screams. The benefit of this is that their debut album 'Love' has all the quality and production associated with a band well into the prime of their career, not one on their first official release. The downside, of course, is that it becomes impossible to listen to one song and not get lost in the music for hours or even days on end. ‘Erased’ definitely takes some cues from their previously released track ‘Niamer’, off of their 2021 EP 'Coherent', in using drums and synths to draw you into the soundscape that Tayne embodies, and setting the stage for ‘Love’ by showcasing all of the tools Tayne utilises to create a very strong opener. Easing into ‘Down’, which has a more frantic and yet soothing tone, this contrast masterfully captures the lyrics and explores the theme of lying to maintain the comfort of a relationship, as well as the internal struggles of those actions reaching the crescendo of internal conflict and musical breakdown. This is one of three tracks, at the time of writing, that has been accompanied with a music video by the wonderful Lief Johnson that details the personal story of Matt Sutton’s (Vocals/Bass) struggle with intimacy and his fathers journey to LGBTQIA+ liberation. It is a potent and powerful piece of music with stunning visuals, and we could easily spend this entire article talking solely about this one track. ‘Coherent’ expands this theme and, despite its 2021 initial release, shows the toll taken by the lyrics of ‘Down’. The addition of Rachel Aspe from Cage Fight brings another layer to the song as her vocal tone adds to the dissonance between the ethereal and the guttural. While we were already fans of the initial release, hearing this version does fill a previously imperceptible void and adds so much to this song, the duality of the screams with the lilting melodies encapsulating the toxicity of something that should be so beautiful. ‘Scars’ and ‘Cause_Worthless’ fan the spark from ‘Coherent’ into a raging symphony of Tayne's exceptional blend of noise pop and metal. Across the whole album, you notice as many musical cues and potential homages to HEALTH as you do Gary Numan, and numerous other pioneers of boundary-pushing, pop-inspired explorations into the extreme. Then slamming into ‘Fear’ we are blessed with a driving, escalating sense of power and control again - in stark contrast to the lyricism. ‘We’ fully embraces the industrial elements and generates a jarring, yet undeniably funky and infectiously groovy, bassline and melody that leads into ‘Wasted’. 'Wasted' returns us to an uneasy and enthralled state of amazement at how this trio can so effortlessly blend stadium filling riffs, videogame like synth melodies, drums heralding the apocalypse, and a voice smoother than butter. ‘In this trend’ is touted as an out of body experience of watching yourself press that self destruct button, and it definitely has the most oppressive and controlling vibe on the album. Its opening evokes an almost alarm like quality and then layers into a cathartic release of pent up rage and exasperation that I can sincerely say I have never felt such a connection to a song on a single listen in all my years. Finally ‘Nothing’ fittingly somehow feels like picking up the pieces of a shattered and spent relationship, the song evokes the same sense of guilt, of fear, of helplessness and yet sets a hard edge of hope and rejoining oneself to try again or start anew that is required after the kind of outburst from the previous track. Love is probably the most common source of inspiration for creative endeavours. Love is a staple for any genre because it's such a universal experience with such a variety of experiences. But ‘Love’ isn’t anything like what has come before. Tayne has delivered a beautiful exploration of the most human of emotions but through a lens of understanding and personal experience that could have easily turned bitter. It is a masterpiece of emotional resonance. Tayne has taken a genre that often feels like background music to an ongoing event and is pulling all the focus and attention centre stage to demand your attention way beyond the end of the album. 'Love' will be released on January 31st via MNRK Heavy and Inside Job. Words: Danny Sanders Photos: Tayne

Alt Blk Era have not been blurring, but smashing the lines between genres since the Nottingham-raised sister duo Nyrobi and Chaya Beckett-Nessam started creating music through posting covers of songs on Youtube in 2021, and with their debut album ‘Rave Immortal’, they have openly invited every fan to unleash their inner ‘nightmare upstairs neighbour’ with their press tour throughout the UK, including the iconic Pryzm in Kingston, London where many artists who have made it big in the industry start off strutting their stuff. Alt Blk Era have grabbed multiple genres, such as Metal and EDM, and have compressed them into a tameless ball, which explodes during their performances. They come equipped with a stage presence that would make even the biggest live music hater leap out of their seat, with audience engagement that exuberantly encourages every single fan to get involved in the mayhem. From the moment Nyrobi and Chaya burst onto the stage, the energy in the room shot from anticipation to roof-raising exhilaration with screams coming from every angle. Nyrobi started to bounce off the walls like a toddler on their fifth can of Monster with her high-energy attitude urging the fans to join in the excitement, whilst Chaya graced the stage with her ethereal vocals which were a blessing to eardrums everywhere. They started as they meant to go on, bursting through the crowd during their song ‘Freak Show’ and getting the adrenaline in the room pumping. They then segued sensationally into ‘Even if we're not: Solar’, one of their earliest releases, showing us that their energy has been and always will be shattering glass ceilings. The duo then introduced their debut album ‘Rave Immortal’ into the mix with a heartfelt and personal story from Nyrobi, opening up about her struggles with her disability and how the next two tracks ‘Straight To Heart’ and ‘Come On Outside’ are projects which culminate her difficult time into a piece of art. ‘Straight To Heart’ invites Chaya’s astonishing vocals to take center-stage during this track and allows the fans present to connect with the sisters on a much deeper and more vulnerable level. The band moved immediately into the opening instrumental for the second track of the album ‘Come On Outside’, which focuses on the love and support that Nyrobi received from her sister Chaya during a time when her disability was at its very worst. The two tracks gave the essence of a warm hug to anyone who has ever felt alone in their sadness, which is a part of life that the whole room could relate to judging the cheers that preceded the tracks. Through a drastic change of tone, the entire room was urged to become ‘narcissistic crazy ravers’ and match the duo’s energy for the next track ‘Upstairs Neighbours’, which is one of the highest-energy tracks to come from the debut album. With influences from genres such as EDM very apparent in these three minutes of absolute chaos, the entire room was shaking from the many feet bashing the floor. Nyrobi and Chaya related a story of how their downstairs neighbours made complaints about them creating music in their home, and this song along with the next two tracks tells that tale in a fierce and untameable way. The next two tracks ‘Come Fight Me For It’ and ‘Run Rabbit’ continue the story in a humorous way, elaborating on how the duo will continue to create and perfect their craft, regardless of anyone trying to put a stop to it. ‘Come Fight Me For It’ urges fans to unleash their inner rage with the confrontational track, with a theme of raising your fists to anyone who ever dares cross you, which humorously phases into the track ‘Run Rabbit’ which had the room wanting to sprint laps around the venue as it built the energetic force of the fans to record heights. Much to fans' elation, the next track was the iconic ‘My Drummer's Girlfriend’ which is their most popular release to date. Nyrobi and Chaya tasked the room with singing the catchy chorus alongside them, ensuring everybody knew the track word for word and all the fans could get involved in the madness, but the show, much to fans upset, came to a bittersweet end after this with the title track of the album, ‘Rave Immortal’, giving a new meaning to the phrase ‘Big finish’. This high-energy track gave fans their final chance to let loose for the evening and Alt Blk Era left the stage with the same fierce energy that they arrived with, engaging with fans surrounding them as they confidently stepped off the stage, knowing that the entire room was astonished by their performance. Alt Blk Era’s debut album ‘Rave Immortal’ was released on 24th January 2025. Words: Becca Wheeler Photos: Lizzie Jones

Since their debut album 'House Cricks' in 2016, Jaye Jayle has grown from the solo project of Young Widows guitarist Evan Patterson into a full-band force of nature, gorgeously mixing minimalist post-punk with gothic blues to create something that feels akin to sauntering through a storm cloud. As a group, they’re melancholic and raw and never afraid to experiment, and their latest release 'After Alter' (a patchwork of previous recording sessions with songs dating back to before the band’s inception) demonstrates this in full force with an album that’s simultaneously moody and utterly magnetic. We begin with ‘Father Fiction’ which starts with a sudden burst of heavy discordance and doesn’t let up from there, as Patterson explores the inherent infighting at the heart of organised religion over a cacophony of thunderous drums and dissonant guitar chords. The near-oppressive atmosphere created by this opening track continues through the next few songs, with ‘Fear Is Here’ exploring the hidden terror in everyday life and ‘A Blackout’ offering a cynical reflection of the American dream. It’s around halfway through when things start taking a turn for the experimental, with the first version of ‘Bloody Me’ (made before the band’s debut) serving as an early incarnation as Jaye Jayle’s signature style, and the following songs ‘Small Dark Voices’ and ‘HELP!’ offering us expansive, moody audioscapes that add equally atonal electronica and acoustics to the already gloomy soundscape. However, the real highlight of the album is the last track and second version of ‘Bloody Me’, which has the novelty of being cut straight into wax. This song, or more specifically this version of the song, represents not just the album as a whole - but also what Jaye Jayle stands for as an idea. On 'Exploration', the group have allowed themselves to venture into uncharted territories both as artists and in terms of the genres they play in. It’s this that helps 'After Alter' soar as an album, the embracement of creativity on all fronts. It’s not for everybody, Jaye Jayle never could be with such a melancholic tone. But then, isn’t that the joy of things? Seeing just how far that tone can stretch, especially with songs that come from across a band’s entire history? Seeing how a band can blossom from just one man’s solo project? Isn’t that what Jaye Jayle stands for? 'After Alter' will be released on January 31st via Pelagic Records. Words: Astrid Emery Photos: Jaye Jayle

From David Bowie to Sam Ryder, not forgetting a brief stop at the S Club along the way, pop music has long been obsessed with outer space. This phenomenon is perhaps unsurprising when considering the escapism from world events that it has long provided listeners with – indeed, what is more escapist than actually departing planet Earth? In many ways, HENGE are the embodiment of this cosmic ideation taken to its most extreme degree: not only do they indulge the fantasy of space travel, but they provide listeners with a pathway to it, specifically through an all-expenses paid trip to a distant planet known as Voltus B. The four-piece, who each claim to have originated in different corners of the galaxy, have spent the last 10 years regaling Earthlings with disparate stories from the known universe and beyond. 'Journey To Voltus B', their fourth album, is the most accommodating yet for its tellurian audience, providing an immersive, chronological account of the process of planet hopping, whilst simultaneously providing a cautionary tale to the people of this planet. This ambitious undertaking can only be encompassed in an equally bold musical style. Fortunately, HENGE rise to the occasion, with what they call “Cosmic Dross”: a signature sound developed and honed throughout their years of interplanetary exploration. To the human ear, it is a meeting point between indie-electronica, hyperpop, and chiptune, capturing the chaos of the cosmos with impressive precision. NOTE: In this review, I will endeavour to capture Cosmic Dross to the best of my ability. Sadly, my limitations as a human make this a nigh-on impossible task: Zpor, HENGE’s lead singer who originates from the long dead planet of Agricular, has previously explained that the genre is not definable with human language. Nevertheless, to all human readers, I hope that I can provide you with a rough understanding of the music of our intergalactic neighbours. To any off-planet beings who may come across this review, please be assured that no offence is intended in its writing, and that I approach your culture purely from a position of wonder and admiration. We join HENGE mere seconds before lift-off, as the countdown bellows over blaring synths dutifully provided by Grok, the human who initially brought his fellow bandmates to this planet. 'Ascending' is a disorienting beginning to the record, but this is absolutely necessary in order to faithfully recreate the feelings of launching into space. The barely decipherable, Daft Punk-style vocals barking out protocols evoke a feeling of powerlessness as the experienced flyers ensure that the trip goes as smoothly as possible for the first-timers onboard. Fortunately, on 'Slingshot', the rest of the crew (us, the listeners) are caught up with the proceedings. Zpor takes this opportunity to explain the mechanics of space travel, all whilst Nom’s pulsing drums leave everyone aware of the urgency with which operations must be undertaken in order to avert disaster. Fortunately for anyone experiencing travel sickness, this breakneck pace is slowed on the ambient 'Hypersleep'. Space travel is a time-consuming ordeal, and in order for the human body to withstand it, we need to be placed under a suitably deep slumber that can make a thousand light years pass by in the blink of an eye. For this reason, the reprieve is short, as we are awoken with a start on 'Descending', a predominantly bass-led instrumental soundtracking the approach to Voltus B, before 'Welcome To Voltus' familiarises listeners with their destination. In Voltus, we find a planet at a crossroads: its inhabitants have just discovered atomic power and its potential, and are engaged in vociferous debate about how to harness it. If you’ve read up to this point, it should be apparent to you that this record presents its futurism with tongue firmly in cheek. Amongst the silliness, though, is a genuinely novel use of technology. Following the conclusion of 'Welcome To Voltus', the vinyl version of 'Journey To Voltus B' utilises concentric grooves, a pressing method in which two tracks are pressed onto the same side, leaving it completely up to chance which one the needle catches. HENGE incorporate this into 'The Power of the Atom', which has two different versions concentrically pressed: the fusion version, which documents the timeline where Voltus’ people choose to use nuclear power to create clean energy; and the winter version, which explores a darker future, where nuclear power is used for war. From there, two entirely different closing tracks spawn accordingly, detailing the multiverse outcomes of the planet. 'Nuclear Fusion' is a triumphant closer, whereas 'Nuclear Winter' is a sparse, minor-key affair, accompanied by a voice detailing all of the dire environmental consequences of nuclear warfare. Call me a pessimist if you like, but I vastly prefer this iteration of the album’s end: the eeriness of the track, as Voltus’s prognosis is emotionlessly laid out so incisively, hammers home the allegory that HENGE are so obviously telling throughout this album. Clocking in at just over 27 minutes on both versions, 'Journey to Voltus B; is careful not to overstay its welcome. With a concept that is so overtly gimmicky and a sound that matches, it would be easy for both the messaging and instrumental to become overbearing and annoying if overexposed to it. HENGE seem well aware of this fact, and thus have worked to ensure that all the fat is trimmed, leaving a concise, impactful piece of work behind. Though the seemingly expansive concept belies a simplistic, well-trodden moral centre, the genuinely unique use of its medium to convey this message makes 'Journey to Voltus B' a must-listen album, especially for vinyl enthusiasts. You will struggle to find a more creative use of your turntable on any other record you buy this year. Words: Ali Glen Photos: HENGE

Great American Ghost followed up their 2020 album ‘Power From Terror’ with ‘Tragedy of The Commons’, one of the first major releases in what promises to be a huge year for music. With the single ‘Ann Arbor (Be Safe)’ from their second album ‘Hatred Stems From The Seed’ amassing nearly 1.7 million listens, you’ve likely heard at least one track from these New Hampshire heavyweights. Despite having been around for about ten years, they’re still considered an upcoming band, but with their first release on the well-known label Sharptone Records they’re finally getting the attention they deserve. ‘Kerosene’ kicks things off as the single that stands out the most from the rest, bringing a more industrial sound, most notably in the drums. The guitar in the pre-breakdown is also a standout moment, along with the almost chant-like chorus. ‘Echoes of War’ delivers the first huge chorus, much like the singles, with a strong pre-chorus line from guitarist Grayson: “You’ll never wear the crown.” In the final minute, there’s a noticeable shift in guitar tone that adds a fresh dynamic to the track. With a slower start, ‘Lost in The Outline’ might not be the strongest of the singles, but it makes more sense within the album’s context. One particularly interesting moment in this track is the second-to-last chorus, where spoken word overlays a clean guitar tone, building up to the final chorus. The next track, ‘Ghost in Flesh’, starts off at breakneck speed, with rapid-fire verses balanced by a more restrained chorus. Grayson brings a unique touch to the second chorus, and both he and Niko deliver some tasteful guitar tones throughout. A notable highlight is the lyrical reference to the album title, as well as a direct nod to ‘Lost in The Outline’ with the line: “Empty after all.” Grayson takes centre stage on ‘Writhe’, featuring the most vocals from him on the entire album. With a sound reminiscent of Miss May I, this is one of the most distinct tracks on the record, yet it still fits seamlessly within the album’s overall tone. At just under three minutes, ‘Genocide’ is the shortest track on the album and whilst a good track, unfortunately, doesn’t add much to the overall experience. The first single of the album cycle, ‘Forsaken’, features a massive, anthemic chorus tailor-made for live shows. This track is packed with nostalgia, featuring the still-relevant lyric “Chaos Reigns”, complemented by distant guitars and well-placed blast beats. The strongest of the singles, ‘Hymn Of Decay’, showcases a diverse range of vocal styles, particularly in its call-and-response dynamic between clean and screamed vocals. This balance of melody and aggression makes for an incredibly headbang-worthy chorus. Like ‘Lost in The Outline’, this track also includes a spoken-word version of the chorus, but with a rawer, more old-school feel. The strongest of the non-singles, ‘Chapel Paralysis’, is honestly surprising that it wasn’t released as a single. It puts a modern twist on the album’s sound, and it’s easy to imagine this track becoming a fan favourite and making its way onto plenty of playlists. As one of the messier tracks on the album, it stands out, particularly with the alternating vocals between Grayson and Ethan, a welcome touch. ‘Reality//Relapse’ has a similar feel to ‘Genocide’ but with a much fuller sound. However, it misses an opportunity for a massive breakdown after a significant build-up near the end. While ‘God Is A Loaded Gun’ is a solid closing track, ‘Writhe’ would have made for a more fitting finale. The final few notes of ‘God Is a Loaded Gun’ are also a bit unusual and could have been left out. With everything said and done, ‘Tragedy of the Commons’ is a strong album that could very well be an early contender for Album of the Year. Despite a few flaws, the whole experience will leave you wanting more - this is an album that won’t be forgotten anytime soon. ‘Tragedy of The Commons' will be released on January 31st via Sharptone Records. Words: Lucas Grayson Photo: Dominique D'Costa

Beneath A Steel Sky have just released their debut album 'Cleave', and with this release, the band have crafted something much more than your typical album. Rather than treating it like an album listen through, you should think of it more like a river of sound flowing through peaks and valleys, carrying you along for the ride, with a gothic atmosphere underpinning it all. ‘Cleave’ is truly unique. The subtlety of the instrumentation is quite brilliant. There are jazzy hints of Miles Davis’s ‘Birth of the Cool’ and ‘Milestones’ lingering at the outer edges of the sonic profile, creating a darker, more drawn-out feel within the music itself. For example, ‘The Sky Above The Port Was The Colour Of Television, Tuned To A Dead Channel’ and ‘Vanguard’, two excellent tracks totalling just under 10 minutes in runtime, feel more like a jam session than two separate structured songs. This intro to the album opens your ears up to the amazing creative work on display, as the free-flowing nature of the music thrives on this reckless, almost avant-garde level of spontaneity. This avant-garde approach continues in ‘Everyone You’ve Ever Known’, which carries a strong Opeth influence throughout its duration. The delicate and precise nature of the guitar playing is actually quite understated, and there’s an element of almost reluctant catharsis to it, especially in the choruses. The more melodic, Cure-like undertones build towards something harsher, darker, and more malevolent as growling vocals and powerful, theatrical guitars emerge, culminating in something truly cathartic in the shape of ‘Quetzalcoatlus’. ‘Quetzalcoatlus’ is a slow, proggy, somewhat doomy number where the band begins to flex their musical muscles. The Gojira-esque vocals hit full pelt, with the sheer ferocity of Greg Armstrong’s voice doing its utmost to melt the skin from your face. This melds well with the progressive-doom feel of this part of the record, further enhanced by the production quality. While the overall production is fantastic, special attention has obviously been paid to the direction of this stage of the album. This attention to detail bleeds into ‘The Infinite Silence That Follows The Absolute Truth’, a slow, somewhat acoustic instrumental. While it serves little purpose beyond setting up ‘Cyclical Dunt’, it still has several highlights—the guitar work, for example, is excellent. Around the five-and-a-half to six-minute mark, we’re treated to back-to-back solos, as well as what has now become Armstrong’s textbook growls. ‘The Infinite Silence That Follows The Absolute Truth’ acts as a refreshing interlude, balancing the harsher and more melodic elements showcased up to this point. This flawlessly paves the way for ‘Cyclical Dunt’, which feels like the moment the entire album has been leading up to. Intricate yet seemingly simple melodies flow like water, and the best part is that everything that has come before is now at full capacity: the soft jazzy avant-garde undertones, the proggy-doomy riffs, and the epic, emotional growls all crystallise into one awe-inspiring moment of sheer musical catharsis. It is the album’s highest point. Finally, ‘The Becoming’ is a soft, haunting, eight-minute-long Viking-esque battle song. Eerie and gothic, it has the feel of a long, winding road—a slow burn, to be sure, with a deep introspective slant. 'The Becoming' is quite clearly the band’s last hurrah, albeit in a melancholy, avant-garde, esoteric kind of way—a perfect note to end on. Words: Frankie J. Jupiter Photos: Beneath A Steel Sky

Swedish rock band The Night Flight Orchestra are whisking us away to the 80's (again) with their upcoming seventh studio album ‘Give Us The Moon’. Combining nostalgic synth rock and lively classic rock, The Night Flight Orchestra have delivered an album full of impressive sounding, infectiously danceable tracks. ‘Give Us The Moon’ opens up with the scene setting ‘Final Call’ which shouts out all eight band members and jumps straight in with a reference to The Night Flight Orchestra’s penchant for flight related tracks and references. After boarding, the listener is launched with gusto into opening track ‘Stratus’ - a wonderful example of The Night Flight Orchestra’ signature sound. Next up we have ‘Shooting Velvet’, a song which would sound equally at home on a big festival stage as it would in a classic 80's movie scene - you know the exact ones, where the forlorn lovers have parted ways before they then realise they have made a huge mistake and have a big, emotional journey to reunite - like that. ‘Like The Beating Of A Heart’ is moodier and more roomy with it’s lengthy synth intro and more introspective lyrics giving some variety to the largely boppy classic rock that surrounds it, before ‘Melbourne, May I?’ reminds us that we are in the midst of a concept album, opening with an airline safety feature and takeoff sounds that fade into a big fun rock guitar tune. ‘Miraculous’ acts as a nice transition song between the big introduction of the album to the songs, with more substance in the latter half. The emotional ‘Paloma’ kicks off the second half of the album, hitting us with tear jerking lyrics like “You can see your reflection in the stars at night” and "There’s a future worth believing in”. ‘Cosmic Tide’ brings us back to earth with a huge proper rock song, and a big rock scream from Björn Strid to close it out. Title track ‘Give Us The Moon’ highlights The Night Flight Orchestra’s ability to write really catchy songs with a simple singalong chorus, designed to be sung back at them by fans at future shows. ‘A Paris Point Of View’ emphasises and brings forward the groove that is buried through the rest of the album, giving it a funkier, more dance-along feel. ‘Runaways’ pulls us back to the album's narrative as we hop in a cab that takes us back to that same 80's movie soundtrack feel that we heard at the start on ‘Shooting Velvet’. ‘Runaways’ then fades out into the almost power metal intro of penultimate track ‘Way To Spend The Night’, an uplifting and uptempo love song that sets the scene for the monumental closing track that is ‘Stewardess, Empress, Hot Mess (And The Captain Of Pain)’. An almost eight minute anthem wraps up ‘Give Us The Moon’ with atmospheric synths and twinkly fx that lead right into to a hearty rock instrumental and punchy vocals. The familiar comfort of The Night Flight Orchestra’s 80's sound balance out the occasional cringe lyrics. Sprinkling through the trademarks of The Night Flight Orchestra: place names, beautiful backing vocals, and danceable grooves; ‘Stewardess, Empress, Hot Mess (And The Captain Of Pain)’ is an excellent closing track. Maybe The Night Flight Orchestra gave themselves such a long name to stand out from all the one-word named bands they draw inspiration from. With clear comparisons to Yes, Journey, Boston, and Kansas, The Night Flight Orchestra have worked for their place with a distinct 80's sound amongst more modern pop-rock. Words: Kayleigh Fryer Photos: The Night Flight Orchestra

American post-hardcore supergroup L.S. Dunes are back with their second full release. Post-hardcore is very much cold winter music, so having the release scheduled for the end of January is very fitting. Balancing unique vocals and the obvious talents of all members, ‘Violet’ is an album you can tell a lot of love went into making. The opening track ‘Like Magick’ eases you into ‘Violet’ with an almost spoken word intro, before the sludgy emo backing instruments come ploughing in. The lines and riffs throughout ebb and flow like a boat on a rough night with every few lines the song builds up then delightfully crashes down again. ‘Fatal Deluxe’ follows with another crash as it opens hard with a shouty post-hardcore run. These punchy elements are countered by beautifully layered warbly vocal tracks and repeated echoing phrasing. If you want a song that demonstrates the influence and background of each member of this supergroup, then ‘I Can See It Now…’ is the one. A true product of its origins, adding together elements of each of the members' bands forming a unique sounding familiarity. Title track ‘Violet’ counters this nostalgia and shows us that L.S. Dunes are very much a band in their own right, encompassing the band's growth from their 2022 debut and the direction they should continue to head in. A melancholy and highly listenable song with punchy vocals and a thrumming baseline encapsulates the L.S. Dunes experience. Hitting the middle of the album, ‘Machines’ is heavy on the My Chemical Romance influence and wouldn’t be out of place on one of their early albums. It is a modern-day emo twist on the old-school emo winning formula. ‘You Deserve To Be Haunted’ balances out the emo heartache of ‘Machines’, with its unique dark heavy intro brightened by light melodies held together with a brilliant bassline, great tones across the board and fun transitions and overlays between clean and unclean vocals. From ‘Holograms’ and “magick” to machines and ghosts, ‘Violet’ might just be a steampunk album in disguise. ‘Holograms’ is an interesting transition to the final third of ‘Violet’, it highlights the breadth of the album, leaning right into indie-rock territory away from the emo and post-hardcore sound we’re used to from L.S. Dunes ‘Paper Tigers’ follows ‘Holograms’ really nicely with a lighter touch, but still incorporating some of the grit from the earlier songs and their debut album. From a more typical L.S. Dunes sound to a more typical L.S. Dunes message… Despite the band saying this album was a move in lighter and less cynical directions, there is still a thread of sadness and misery that comes through in a few songs, and penultimate track ‘Things I Thought Would Last Forever’ is without a doubt one of those songs. The grand finale ‘Forgiveness’ is a big anthemic tune, acting as the earworm that will keep you coming back to the album. It is such a huge song that, while it stands strong as a closer, it does drown out the memory of some of the less unique songs that appear throughout the rest of the album. ‘Violet’’ is an album that feels both longer than its 40-ish minute runtime and over before it has started, which could well mean it’s the perfect length. The album is definitely an improvement on ‘Past Lives’, and seeing as each musician has clearly given a lot more effort and love to this project over the past two years, ‘Violet’ is well worth sticking on your sad emo playlist. Words: Kayleigh Fryer Photos: L.S. Dunes

RØRY’s ‘RESTORATION’ isn’t just an album; it’s an experience - raw, cathartic, and unapologetically honest. It’s the sonic equivalent of free therapy, guiding those who dare to dream through the rubble of life’s darkest times and into the light of self-determination. Goosebumps are a given. By the time the final track fades out, listeners are left with a sense of empowerment, as though they've been handed the tools to face their own challenges head-on. The opener, ‘if pain could talk, what would it say’, kicks things off with a tension-building soundscape that’s soon shattered by RØRY’s commanding voice. It’s a moment of pure conviction, carried by a surge of passion that refuses to be ignored. With the line “this is the start of your story”, she throws down a gauntlet, challenging listeners to press on. ‘In the Bible’ follows with an unsettling, chilling start, contrasting with lyrics that balance heartbreak and hope in equal measure. It’s poetic, impactful, and hard to shake. Then there’s ‘WOLVES,’ which leans into the pain with its gentle guitar and stirring reflections on loss, a track fuelled by vulnerability that lands like a quiet gut punch. On ‘hold on,’ rhythmic verses deliver a profound message to her past self, made even more poignant by the inclusion of Roxanne Emery - her former alias - adding a deeply personal layer to the acoustic-driven track. After a pivotal moment in the album and RØRY’s journey, ‘BLOSSOM’ follows, taking the concept of growth and transforms it into an invigorating and uplifting anthem. The track's gradual build mirrors the process of healing, culminating in a tender, piano-led outro that feels like a breath of fresh air. It’s a celebration of resilience and moving forward, leaving listeners with a sense of courage and renewal. Softer, more introspective tracks like ‘Sherlock Holmes’ might have witty lyrical references to an illustrious detective, but the main theme is filled with undercurrents of trauma and unresolved conflicts. With ‘One Drink Away’ also pairing a delicate acoustic melody with a poignant theme, offering a reflective yet inspirational take on breaking free from destructive cycles. In contrast, RØRY’s anger burns brightest in tracks like ‘MORALITY $UICIDE.’ This is where her distaste for the state of the world is laid bare. The rapped bridge is hard-hitting, tearing through the track like a lightning bolt in a storm. It’s not subtle, and it doesn’t need to be. As the album nears its end, RØRY delivers ‘SORRY I’M LATE,’ a burst of positivity and high-energy motivation that’s as infectious as it is inspiring. With its upbeat tempo and empowering lyrics, this track serves as a reminder that even amidst chaos, there’s always room for faith and resilience. And then there’s ‘The Atheist,’ the kind of closer that doesn’t just pull at the heartstrings—it yanks them. With its dissonant acoustic strumming and a raw intimate dialogue outro, it’s an anthemic war cry against toxic and harmful relationships, a hauntingly beautiful finale to an emotional journey. ‘RESTORATION’ is a triumphant debut that puts RØRY’s vulnerability and strength on full display. Her unapologetic authenticity, paired with clever lyrics and dynamic soundscapes, makes this a record that demands attention. If this is the start of her story, RØRY has set an impressively high bar and left us eager for whatever comes next. 'RESTORATION' will be released on January 31st via SADCØRE Records. Words: Beth Oakley Photo: Derek Bremner

Gus Englehorn’s 'The Hornbrook' is a small collection of fantasy stories put to a classic American and country rock sound. Equal parts creepy and playful, Englehorn’s lyrics are absolutely the standout quality of this intriguing project. 'The Hornbrook' opens with 'One Eyed Jack Part One' and Part Two, offering a perfect introduction into storytelling that stands out in this album while setting up a country rock soundscape reminiscent of American classic rock of old, and early-album Mother Mother of new. This evolves into a jumpy and easy-listen section that is the first part of this album, with tracks such as 'Thyme', 'The Itch', and 'Roderick of the Vale' all having a questing energy to them. 'The Itch' is the stand out song in this section of the project - utilising imagery metaphors of sinking to a riverbed on a more folk pop beat that dissociates the listener akin to being a jewel falling through the water. 'Roderick of the Vale' goes back to the storytelling lyrics that Englehorn excels in, spinning a story of love and death that would be commonplace in a tavern in any fantasy novel or detailed game of Dungeons and Dragons. The bars on this track in particular are captivating with a soundscape that gets slowly more sinister as the story moves from natural forests to supernatural valleys of the dead. The second half of this album is where the momentum is lost for a listener. 'Metal Detector' was a welcome sound change, with harder guitars and drums throughout and has a 90s/00s indie feel to it, playing nicely with a shift in tone to less narratively driven lyrics while the music becomes darker and heavier. Some of this weight is kept in 'The Whirlwind’s speaking, with Englehorn hopping back into his metaphors and giving that questing feeling that was established earlier on in the project. This said, the last three tracks on this album may be the weakest. Englehorn’s love songs are not his strongest output despite the earnest pining contained in the lyrics of 'Sweet Marie', with the edge dropped and replaced with light high hats and melancholic guitars reminiscent of The Kinks. It fades into the background of the songs that came before it, with its largest announcement being its abrupt end. 'A Song With Arms and Legs' and album closer 'One Eyed Jack Part 3' don’t do much to bounce back. The slow-beginning-to-temperate-build structure has became apparent by this point; the return of the creepiness is welcome in the latter part of 'The Song of Arms and Legs', and does contain the standout lyric "It walked up to my doom and spat in its eye", but does not save it from the loss of engagement felt by the end of this project. 'One Eyed Jack Part 3' feels disappointing in terms of narrative structure as it does not finish the story of the titular Jack nor tie the quest the listener has been on up to this point - though on one hand this concept may be fun to play with for future adventures with One Eyed Jack and adds to the fable energy of the album overall, as a stand alone closer it is anticlimactic. Overall, the standout elements of this project are Gus Englehorn’s prowess at lyricism and storytelling to music, building a fantasy world with just enough fun to draw listeners in and elements of creep that have listeners looking over their shoulder while they traverse. That creepiness is built wonderfully into the folk and vintage rock inspired sound that Englehorn works with, using haunting baselines and harmonies to add that edge to the sound. However, this is a story that feels unfinished in its narrative in places and the metaphors it uses sometimes do not go anywhere, while the commitment to that folk style sound means the project suffers from lack of impact in places where it would benefit from an all-in intro or a tone shift breakdown. The tracks in 'The Hornbook' should take pride of place in any chill day in nature or fantasy inspired tavern - beautiful stories that can fade into the background. 'The Hornbook' will be released on January 31st via Secret City Records. Words: Julia Brunton Photo: Kealan Shilling