After spending time selling out shows at venues such as the legendary Leadmill, and touring alongside Lake Malice, Dream State and AVIVIA, electro-emo trio Air Drawn Dagger are about to release their debut album A Guide for Apparitions, and their fast-growing cult-like fanbase will not be disappointed. Produced by Neil Kennedy (Creeper, Boston Manor) this record is everything we know and love about Air Drawn Dagger, but with some fun additions. With their ability to weave together different genres together, 2025 is set to be the year of the Dagger. The acoustic intro riff that is “inspired by Lamb of God” features backing vocals, church bells, and the sound of rain to give an eery and unsettling feeling before it bursts into their single ‘Sanctifound’, throwing us straight into the mosh pit and introducing us to the album’s protagonists “The Martyrs”. Next up is ‘Sweatin’, which takes us musically on a journey through a more ethereal fantasy, while the lyrics keep the melancholy tone. Getting us headbanging mid song, it keeps listeners on their toes, never knowing which direction the record is going to take them. Echoing out, we are taken to ‘Teeth’ which changes the vibe completely, bringing ghostly beats and an introductory rap before vocalist Maisie jumps in with a voice that could take down a ceiling. This is now back in darker territory, reminding us that this record is filled with macabre mysticism at its core. With a hard breakdown in the chorus, there’s going to be ample opportunity to not only mosh, but also jump and crowd surf when this is inevitably performed live. Finishing with those backing beats to remind you once again - this record isn’t just simple rock. Straight into a dance/mosh pit we go when ‘Skinwalkers’ blasts into your ears, giving us their highest energy song yet. Alongside a heavy drumbeat, we are once again treated to a mid-song switch up to tease us with some backing screams, leaving the listener desperate for more. Need a breather after the first half of this record? You certainly think that you might have the opportunity when ‘Cadavers’ comes in and brings us into the emo section of the album. A slow, vocal start leads you to think this is the slow song all emo lovers know tends to happen mid-album, but instead it changes its energy almost instantly to something that is oh so incredibly fun to hear. With “what does it matter?” being repeated throughout this song, this gives the listeners that concert-leading chant. Now back in the lore of witches and ghosts, we have a spooky beat, in line with its equally spooky title ‘MaidenMotherCrone’. This kicks things off and takes us down the witches’ road to treat us to a heavy goth anthem almost comparable to Evanescence. Already released, ‘Castle’ starts with an Electric Callboy-esque chant going into a deep rock chorus, which once again shows us this bands ability to mix genres with ease. ‘Necromancer’ is the first song on the album you really feel Neil Kennedy’s influence, which gives us probably the weakest song as you can feel the change up from something ethereal and witch-like, to something a bit more boisterous, almost like it was written for another band and just handed over as a filler track. We then jump back into what Air Drawn Dagger do best with ‘Coma’, which gives us an almost rock opera-based track that is both heavy and cosmic, with Maisie’s vocals once again shining through as the highlight of every song. Finishing this album, we have their recent singles ‘Apparitions’ and ‘Bellyaches’, sneaking in some more screams and heavy breakdowns - and even an excellent feature from Trash Boat's very own Tobi Duncan during the former! - to give us an ending that makes you wish there were another ten songs to go. Air Drawn Dagger have really brought their all to A Guide For Apparitions ,with each song telling its own story and together creating a record full of multi-genre-infused rock that gives the listener the experience of a haunted tale mixed with the chaos of a more ethereal sound. Celebrating this release, you can catch Air Drawn Dagger at their biggest show to date on Saturday 5th April at Corporation, in their hometown of Sheffield. Score: 7/10 A Guide For Apparitions will be released on April 4th 2025 via Long Branch Records. Words: Laura Hughes Photo: Riccardo Cenci Media

Originating from Nottingham, England, Panchiko is a British indie rock band formed between 1997 and 1998. Originally the band consisted of Owain Davies as the lead vocalist and guitarist, Andy Wright as guitarist and keyboardist, bassist Shaun Ferreday and drummer John Schofield. For a while, they set aside their dreams of becoming musicians and instead pursued other careers until 2020, when the band reunited and also gained two new members. As their music grew, they played sold out shows to massive crowds and then went on to release their first album in over 20 years. Panchiko’s music has sky-rocketed since the 2000's, with their shoegaze/indie rock sound catching a foothold into pleny of younger fans' taste, and since 2021 they have hit over 10 million streams on Spotify and are currently at 1.45 million monthly listeners, which is incredibly impressive. With the release of Gingko, Panchiko is virtually guaranteed to gain thousands more fans worldwide because of their incredibly unique sound. ‘Florida’ is a beautiful start to the album. The vocals are angelic and pleasing to the ears, feeling like something you can sit back and relax to after a long day and really enjoy, which is something about Panchiko you learn to love. There really is something special about this kind of music. The way the melodic guitar and riffs flow and compliment the vocals of each song let everything melt over you in a glorious fashion. The piano in the title track is wonderfully ethereal and introduces the song in a very delicate way. It also continues throughout in between the verses and is such a great addition to the song. There is something about this song that feels poetically sad. The bass comes in with a slow and sweet riff, which really adds to the melancholic feeling that this song envelopes the listener in. ‘Shady In The Graveyard’ evokes a completely different feeling to the previous song, where the chorus feels more uplifting although still capturing the sound they are known for. This song features rap verses which fit in perfectly - the flow took us back to old-school 90's rap - and while it definitely took us by surprise, we can't deny that it fits perfectly into the song and the overall feel of Panchiko's music. ‘Honeycomb’ will instantly lift your mood. This is an insanely catchy track, with beautifully written lyrics, and a delightful drum beat that'll have you bopping your head along. This song features a lot of lyrics that really stand out, but the ones that stood out the most to us are “Dry cured or love sick, it's hard to depict, you'd have to cross the universe to find something you're happy with” as well as “I'm a nectarine on an orange tree, but you tend to me, I was up all night.” To us, this song talks about love in a way that is delightfully pure, and gorgeously poetic. The next song is much the same in its poetry, but with a different feeling - ‘Shelled And Cooked’ tells a story about a girl named Lucy. The song spoke about loneliness and feeling trapped. There is a guitar solo in this song that breaks it up and when the riffs hit you, it feels like magic. These two songs are absolutely out of this world. ‘Chapel Of Salt’ has a really nostalgic feeling to it. The beginning starts off slow but gradually builds up, and the more the song goes on, the more new sounds keep being introduced. The keyboard, guitar and drumming in this song really come together, and specifically during the chorus become much louder to drive it home. We think that if you’re a fan of shoegaze, you will really enjoy this track. ‘Lifestyle Trainers’ has the same vibe. The unique sounds stand out in this song, at the beginning it reminded the writer of a video game and the high pitched guitar riffs sound mystical. ‘Vinegar’ leans more into the indie rock side of the band, with the slightly distorted vocals and the heavier guitar. The riff that we hear first instantly sets the mood for this genre of music, and as the song progresses the vocals become more loud and straightforward. The passion in Owain's voice is palpable and outstanding! ‘Formula’ contains similar guitar riffs too, although overall the song is a little more mellow. ‘Mac’s Omelette’,‘Subtitles’ and ‘Rise And Fall’ are all deeply emotional songs with hard hitting lyrics and melodious riffs, that make these songs perfect for when you've got time to sit back and reminisce. This whole album is perfect for a long car journey or bus ride, when you've got all the time in the world to listen to music on full blast in your headphones, feeling every word. Panchiko mixed things up a little on the last track ‘Innocent’, but let's just say it ends the album with a bang. You can instantly tell that this song is different from the start, with its groovy beat and funky guitar. The vocals also follow a different rhythm, and it feels clear by now that Panchiko have just about perfected the genre. This whole album is perfect for a long car journey or bus ride, when you've got all the time in the world to listen to music on full blast in your headphones, feeling every word. We truly have no words after listening to this album, is there anything Panchiko can't do? They are incredibly talented, and we are incredibly glad to have seen them growing on and through this amazing journey. Score: 10/10 Ginkgo will be released on April 4th 2025 via Nettwerk. Words: Kelsey Mainwaring Photo: Adam Alonzo

Shoegaze band Glare formed in 2017 in Rio Grande Valley, Texas, and have already amassed a sizeable following with their viral hazy tunes. Now, they are on the cusp of releasing their debut LP, Sunset Funeral, on April 4th - a record that promises to bring all the feels, with its main themes focusing on the process of grief, whether it's caused by love or loss. What makes this album special and sets it apart from others in the same genre is the bands’ effort to make it sound as DIY as possible, to the point where it seems like they didn't use any man-made instruments. The lead single introduces the listener to the atmosphere of the album. 'Mourning Haze’, to quote singer and guitarist Toni Ordaz, "is about grief and how dreams play a role in processing it” (“When my eyes shut I see you smiling / Once in a while I hear you call out for me / So stay and dream with me”). The softer vocals contrast nicely with the more energetic instrumentation, creating that repetitive shoegazey feel. 'Saudade’ and '2 Soon 2 Tell’ take the listener even further into the emotionally charged ambience of the record. The former encapsulates the meaning of the Portuguese word perfectly, denoting an emotional state of nostalgic longing for a beloved yet absent someone, while the latter has the type of gut-punching instrumental that makes it stand out and compels the listener to come back to it. Set in the middle of the album, 'Felt’ is an interlude that starts dreamy but slowly becomes somewhat dissonant and eerie, marking the transition to some of the heavier tracks on the record. ‘Nü Burn’ comes right after, with a grittier sound that almost drowns the somewhat indecipherable vocals, still managing however to create an enthralling experience. While touching on the feeling of grief and the way it can paralyze you, the band describes this track as “a big, explosive song and probably our heaviest”. ‘Guts’ was the second single released and is supposed to evoke the feeling of anxiety caused by an all-consuming love. That exact emotion is reproduced through ethereal vocals juxtaposed with the guitar riffs and atmospheric elements (“Lay with me / It consumes your body / Does it feel real?”). ‘Sungrave’ and ‘Different Hue’ bring the album title to life, ending the record with the perfect late-night drive vibe and bringing the listener back to a more dreamy, hazy state of mind. To sum it all up, this album may seem overwhelming at first, but as the songs flow, it becomes an adventure for the senses and offers a variety of instrumental textures - the band's hardcore roots blending harmoniously with softer elements, which provide a distinctive sound. The general vibe of the record is almost trance-like with its gripping tone, feeling overall cohesive. Thus, the 11 songs provide a favourable environment for exploring the kind of feelings that can sometimes be difficult to express accurately in words. Score: 6/10 Sunset Funeral will be released on April 4th 2025 via Deathwish Inc. and Sunday Drive Records. Words: Iulia Furnica Photo: Sam Tellez

LUNA KILLS are making waves in the modern metal scene with their debut album, DEATHMATCH. Blending nu-metal, alternative rock, and electronic elements inspired by game soundtracks, the Finnish band delivers an explosive and genre-defying record that’s impossible to ignore. With a fiery live presence and an instantly captivating sound, LUNA KILLS have already set themselves apart in the scene, bringing something fresh and dynamic to the landscape. The album kicks off with 'Love U', a track that immediately grabs attention with its confident mix of bouncy vocals and ferocious screams. Vocalist Lotta’s versatility shines here, effortlessly switching between smooth melodies and intense fry vocals. The electronic elements give the song an added edge, melding perfectly with the distorted guitars and punchy rhythms to create a sound that feels both fresh and familiar. It’s a bold opening statement, setting the tone for the rest of the album. The track effortlessly captures the band’s essence, making it clear that they’re not here to follow trends, but to redefine them. Next up, 'LEECH' keeps the momentum going with its heavy, driving beats and infectious chorus. The electronic effects in the background add an atmospheric quality, while the aggressive guitar riffs and thumping bassline give it that signature nu-metal feel. Lotta’s vocals are once again a highlight, shifting from sharp and commanding to almost hypnotic as the track builds. It’s a perfect example of the band’s ability to blend heavy riffs with modern electronic textures, creating something that feels both polished and raw. The balance between aggression and melody is spot-on, making it one of the album's standout tracks. As we move through the album, 'Hallucinate' stands out as one of the most dynamic tracks here. The high-energy vibe is perfect for live shows, and Lotta’s vocal delivery here is exceptional, fluctuating between sultry verses and intense choruses. The rhythm section is tight, with Samuli Paasineva’s guitar and Lassi Peltonen’s bass driving the track forward in unison. Jimi Kinnunen’s drumming here really takes center stage, with intricate patterns that elevate the track to a whole new level. It’s a song that builds momentum and intensity with every passing second, making it clear that LUNA KILLS knows how to create hooks that stick and riffs that hit hard. The album closes with 'Fever Dream', a track that takes a slightly more atmospheric approach. Beginning with haunting, ethereal vocals and minimal instrumentation, the song slowly builds into a darker, more intense soundscape. The synth elements take centre stage here, with Lotta’s voice layering in beautiful harmonies that create an almost otherworldly feel. It’s a striking way to end the album, showcasing the band’s ability to move beyond just pure aggression and dive into something more nuanced and haunting. Overall, DEATHMATCH is a dynamic and thrilling debut from LUNA KILLS. The band brings together electronic and metal influences in a way that feels exciting and unique. Each track offers a different facet of the band’s sound, from heavy riffs to atmospheric moments, proving that Luna Kills isn’t afraid to take risks. With DEATHMATCH, they’ve certainly made a statement, and it’s clear that this is just the beginning of something big. This album isn't just a debut; it's a promise of what LUNA KILLS is capable of as they continue to carve their own path in the scene. Score: 8/10 DEATHMATCH will be released on April 4th 2025 via SharpTone Records. Words: Jason De Mendonca Photo: Guilty Visuals & Lucy Alienne Visuals

After three years, the Scottish metal powerhouse Bleed From Within are back with quite possibly their strongest outing to date. After 20 years, evolving from deathcore to melodic metal to metalcore, this band have reached their Zenith, the self-proclaimed peak of their career. This album is grand, its bold and it’s a real statement to show off the talent of these Glasgow natives. Off the back of tours with genre giants such as Slipknot and The Ghost Inside, Bleed From Within are absolutely on a warpath for metal domination and this album absolutely reflects that – Zenith opens on ‘Violent Nature’, and right off the bat the album tears into you. Crafted with heavy synths, disgustingly heavy riffs, impressive screams and drums that make you feel sorry for kit being played; this song is an absolute slap to the face. It sucks you in, dominates your attention and drags everything you've got into focus on this band. We here at Rage think there’s a real fine art to making an opening track, and Bleed From Within have absolutely nailed it here – it's epic, it's fierce and is the perfect foreshadowing for the absolute joyride of an album you’re about to endure. It doesn’t stop there though, as immediately afterwards is the incredibly well received hit single ‘In The Place Of Your Halo’. With one of the catchiest choruses the band have ever curated, it makes for some incredible chanting material while moshing, and it definitely felt like that when they debuted the song on tour with Slipknot back in December; fans, first time listeners all, smashed bodies together for this grandiose track that also incorporates bagpipes for some added heritage and atmosphere to incredible effect. Not holding back, the band then throw us into the title track with ‘Zenith’ which to us sounded like a beautiful and brutal rallying call to their fans: it beckons, it demands and takes you into the dark world of Bleed From Within, with guitarist Steven Jones blessing our ears with his majestic and angelic vocals to juxtapose vocalist Scott Kennedy’s rough and punchy unclean vocals; not only those two, but the song features many choral voices to add to its presence. Bleed From Within set the themes up for the album in these songs with more rallying cries on ‘God Complex’ with more catchy and chanty choruses, before bringing it down with the extremely melodic but just as heavy ‘A Hope in Hell’. Continuing on to the impressive ‘Dying Sun’, they tide the album over excellently before arriving at the entirely genius ‘Immortal Desire’, featuring one of the bands heroes in Brann Dailor of Mastodon. This song is so utterly technically impressive, from the use of a choir as an instrument to intro the song, to the simply sublime vocals all round, this is definitely one to keep an eye on. The band then dive into their roots, with the heaviest songs of the album following this, all the while still incorporating plenty of synth and angelic vocals. This carries on all the way up to the epic final track ‘Edge Of Infinity’, as they deiver their most emotionally charged song to complete this saga of an album; bringing in slow piano, acoustic, more atmospheric synth and the two vocalists giving every last modicum of energy to making this track as passionate as possible. Zenith finishes in a magnificently beautiful way, with the screams of Scott Kennedy slowly fading away as we are left with a slow and beautiful piano melody, giving a bittersweet end to one of the best metalcore albums we’ve heard in a long time… Score: 9/10 Zenith will be released on April 4th 2025 via Nuclear Blast Records. Words: Ben Blissett Photo: Tom Armstrong

Black Country, New Road have been one of the most consistently exciting bands in the UK over the last few years. Their new album Forever Howlong is truly great, like all of their past work, yet takes them into a different direction - a dazzling mixture of baroque pop and prog that has them feeling like an unearthed band from the 70s. The album boldly opens on an harpsichord solo, with the song ‘Besties’ showing where the band currently aims to go, somewhere very vintage yet still looking forward. The track itself was one of the singles released before the album dropped and did split some of the fanbase, as the track isn’t as dark as their last two studio albums. The track itself - and much of the album - feels almost like incidental tracks on 70's Genesis albums. The band shares many parallels with Genesis at this point in their story, with this being the first album the band have created after their famous frontman left the band. The weight of expectation to create a brilliant album surrounds them, but the end project more than lives up to expectations of greatness, albeit with a slightly altered sound. The band are such a solidified unit within the album, working together as a team with every instrument breathing life into each of the tracks on display. The almost-vaudeville moments on the album, such as the track ‘Socks’, showcase the band’s ability to create these beautiful songs from the most unusual structures and influences. The album is very accessible for how unusual it is within the modern alternative music scene. There’s a plethora of sounds to be found that haven’t been heard in anything this mainstream for a while in music, and frankly the sheer prog-iness of the album is impressive. The only non-progressive thing about the album is the lack of long tracks, with every song being six minutes or less. The album is not only progressive in sound, but also in the fact that it clearly is pushing music forward. Black Country, New Road know what they want to create and nothing is holding them back. The production is luxurious and organic, the album feels almost as it’s breathing, despite having such layered instrumentation. There’s an unusual energy from the production which also grounds every song, and you can tell this is an album made by humans expressing themselves as a group through art - this humanity takes away any sense of pretentiousness the album may have. This is music to be experienced, letting it wash over your ears as you feel out where the album is taking you. The band now having feminine lead vocals - that are less aggressive in nature than their previous lead singer - definitely helps the songs on this album keep that element of grounding, that may have been taken away with other vocals. The band are using the opportunity presented to them to explore something different in glorious fashion. There’s so many elements of a multitude of 70's prog bands, with some of the vocal layering of a band like Gentle Giant, the slightly darker acoustic passages of a band like Comus, the beautiful medieval balladry of a band like Renaissance. This isn’t to say that the album is derivative of these influences, but instead builds upon them in many ways. BC,NR stands out throughout all their work for pushing originality in their sound and this album demonstrates why, taking all these influences and channelling them through the band as a unit. This may be one of the most truly beautiful albums to come out in recent memory, everything about it makes you need a break after to process the journey. Although not a concept album, it’s paced perfectly to be listened to in one go where songs compliment each other. There’s nothing really like Black Country, New Road this big currently. The album will introduce so many people to all the good reasons as to why music pushing genres is one of the best parts of music. Everything the band sets out to achieve in songs is met and exceeded. Tracks like ‘For The Cold Country’ are transportive, the grounded production just seems to elevate the song writing’s power. The song writing for an album this prog is tight. There's no self-indulgence on the album; everything serves its purpose - quite notably, the title track itself expands some of these ideas and compounds on the beauty and subtlety of the release, letting the album flow over it into the final song on the LP. As an album, it truly is a one-of-a-kind experience of true musical excellence. After the album ends, and you’re surrounded in silence, emotions will be running high all over the place, and the hairs will be up on the back of your neck. Emotionally complete in its delivery yet confusing to process, like all good art, this is not an album to be ignored - it is an album to be truly loved. Score: 10/10 Forever Howlong will be released on April 4th 2025 via Ninja Tune. Words: William Freeman Photos: Black Country, New Road

Hairpin’s debut EP, Modern Day Living, is a raw and introspective introduction to the UK-based indie punk/post-hardcore outfit. What started as a handful of scrappy demos written by Adam Edwards has evolved into a six-track release that captures the mundanities, anxieties, and frustrations of everyday life with a mix of grit and melody. Produced in-house at Community Noise recording studio, the EP keeps things organic, favouring unpolished authenticity over studio gloss. With friends Jack Kenny (Jaguar Throne, Milk Teeth, Gold Key, Nervus) on drums and Roberto Cappellina (Lakes, Jaguar Throne) providing guest vocals on 'Okay Thru There', Modern Day Living feels very much like a product of the DIY ethos that shapes so much of the genre. Opening track 'Okay Thru There' immediately sets the tone with its sharp guitar work and melancholic energy. The song leans into its post-hardcore influences while maintaining an undeniable sense of melody, striking a balance between tension and catharsis. The vocal delivery is both pained and anthemic, carrying a sense of frustration that resonates through the track. Lyrically, it paints a picture of disillusionment, making it an effective starting point for an EP rooted in navigating modern existence. Hairpin’s ability to channel raw emotion into their music is evident here, making even the more familiar elements feel fresh and engaging. Following up, 'Curtain Call' continues in a similar vein, built around driving bass lines and gritty, overdriven guitars. There’s a natural flow between the verses and chorus, and the track’s structure plays well with its themes of uncertainty and self-reflection. However, while it’s well-executed and fits comfortably within the genre, it doesn’t necessarily push any boundaries. That said, the passion behind it is undeniable, and the song carries an energy that feels tailor-made for live shows. A standout moment comes with 'Wiped', a track that carries an almost inexplicable, beach-like atmosphere. There’s something about the way the guitars flow that evokes the feeling of sitting on pebbles, lost in the music. It’s not exactly a departure from the EP’s tone, but there’s a looseness here that makes it distinct. The interplay between the instrumentation and the vocals feels effortless, adding another layer of depth to the record. Modern Day Living is a solid debut that establishes Hairpin’s foundation within the indie punk and post-hardcore space. While the EP doesn’t necessarily break new ground, it shows a band that understands its influences and is beginning to carve out its own voice. Fans of bands like Crywank, The Front Bottoms, and Sparkbird will likely find something to enjoy here. What sets Hairpin apart is their knack for creating moments that linger—whether through their biting lyrics, driving instrumentals, or unexpected melodic turns. If this release is any indication, Hairpin has the potential to develop into something distinct—it’s just a matter of time and refinement. As a first outing, Modern Day Living feels like a testing ground, and it will be interesting to see where the band takes their sound next. Score: 6/10 Modern Day Living will be released on April 3rd 2025. Words: Jason De Mendonca Photos: Hairpin

NevBorn are a progressive metal band from Switzerland who've combined a love of storytelling and complex tracks, and they've just released their second album called Alkaios • Part II • The Peacock. This latest release is a continuation of their first album Alkaios • Part I • The Eagle, and the album continues to tell the story of Herakles in four expansive tracks, each featuring four more of the labours that were given to him to be performed. Starting off with a track called ‘Elis’, the almost fifteen minute long track tells the story of the fifth labour Herakles was told to do, the cleaning of the stables of King Augeas of Elis. Beginning with the sound of water, implying the cleansing of the stables with the River Alpheios, and featuring haunting vocals of the band’s frontman Matthieu Hinderer, the band dives into the story, told from the perspective of Herakles himself through the enchanting melodies that fit the narrative perfectly. The second track on the album is called ‘Stymfalia’. Portraying the sixth labour, where the hero had to face the man-eating Stymphalian birds with bronze beaks and metallic feathers near Lake Stymphalia in Arcadia, the band decided to go for a slower tempo, complimented by heavy guitar riffs performed by Hinderer, Julien Ehrensperger and Alan Gualandris. Turning more aggressive as the story was coming to the peak, the song showed off the emotions of Herakles precisely. One of the most famous stories from the Greek mythology, the capturing of the Cretan Minotaur, is Herakles’ seventh labour and the subject of 'Knossos', the third song on the album. The slower transition between this and previous song gives the listener enough space to get prepared for the piercing screams that are about to come, highlighting the brutality of the fight, before changing back into a peaceful melody featuring a synths and a saxophone solo. The clear vocals are highlighting the urgency of the matter right before Xavier Almeida’s mesmerising drum work, that evolves into beautiful and heavy melody. The track, longest of the four, is surely the highlight of the album, featuring many changes in the pace, vocals, and use of instruments, reflecting the way the infamous story goes. Last, but not least, is ‘Tirida’. The song is portraying the eighth labour, capturing the man-eating mares of the Thracian king Diomedes. The track starts off with a melody resembling the sound of running horses, that is present throughout the song until the end, before turning into a magnificent blending of guitars, synth and drums, supported by the great bass player Brice Geiser. The band decided to include piano as well, which is an interesting addition, but with the heavy motifs of this particular track sometimes feels like too much, as the harmonies supported by synth get too overwhelming. There is, however, still a striking balance between the heavy and light melodies, even when the song is inclining more towards the heavy side, and the track is very pleasant to listen to. NevBorn’s newest album surely is a well executed work, including lovely riffs and bone-chilling vocals. It continues with the theme of the first album flawlessly and will sound even better when the whole trilogy is out. The band’s usage of synths with classic instruments is well done, does not sound too crowded and compliments the vocals. Although the addition of a piano was a good idea, the placement was not a perfect choice, as it was drowning in the other sounds, but all together the album is a lovely experience for anyone who enjoys the Greek mythology and welcomes a new telling of the well-known stories. Score: 8/10 NevBorn’s new album Alkaios • Part II • The Peacock was released on March 30th 2025 via Luminol Records. Words: Katerina Stepanikova Photos: NevBorn

Takedown returns to Portsmouth this April after being postponed and subsequently cancelled last year, due to ongoing work being done on The Guildhall. This makes it Takedown’s second year running since its eight-year hiatus from 2015 until 2023. The festival has roots starting in Southampton back in 2012 being held on the university campus and also Salisbury City Hall and has since been revived by Divergent Promotions and The Guildhall Trust, bringing it to Portsmouth. With previous line ups consisting of bands like Sleep Token, Bury Tomorrow, Skindred and Funeral for a Friend, Takedown has long established itself as a standout weekend to start off festival season. With a brilliant variety of bands, big and small, it’s a great place to broaden your music collection and get that gig calendar filled up. In this article we’re going to look at the 10 bands to mosh, jump and two-step to! URNE With hints of Alice In Chains, Metallica and Mastadon, URNE is hardcore’s answer to the classic metal we all know and love. Get ready to have a sore neck after hearing their irresistible drum beats. Off the back of a UK show run back in February, they’re ready to get you’re festival season started off right with them performing on Friday. They currently have 2 albums, ‘SERPENT & SPIRIT’ , ‘A Feast On Sorrow’, and with two new singles, ‘I’ and ‘Throes Of Grief’, there are plenty of tasty tunes to sink your teeth into. THE RAVEN AGE For fans of more classic British metal The Raven Age are a great watch for fans of Iron Maiden, Disturbed and Trivium. With clear influences from the aforementioned bands their sweet guitar riffs and vocals resembling those of the classic metal powerhouses they’re for sure to be enjoyed by headbangers and air guitarists alike. Performing as a stop on their European tour catch them at Takedown and if you love what you see, we’re sure you will, you can catch them again at the latter end of June as they start their UK leg of tour. DESERT STORM Melodic guitar riffs, gravely vocals and cymbals are what Desert Storm are bringing to Takedown. With a new album due this year look forward to the good stuff with each album release topping their last. Since forming in Oxford in 2007 they have released six full length albums developing their sound more and more into the stoner metal-rock mashup they are today. With their sheer dedication to touring they have completed a sheer astounding number of shows all across the UK and Europe so are sure not to disappoint. SCARLET REBELS Embodying the popular sounds of 80’s rock this band is the one to see if you’re a Guns ‘n’ Roses fan. Formed in 2018, Scarlet Rebels have already achieved a UK Top 40 Album for their 2022 album ‘See Through Blue’ making them the first ever band from Llanelli, Wales, to do so. Since then they’ve released ‘Where the Colours Meet’ in 2024 jumping headfirst into a new era for the band. Constantly developing their sounds makes them an exciting follow where you’ll always be waiting for what they do next. PINTGLASS One word, “Geezercore”. With growls, chants and a Stella in hand, Pintglass sing about going out with the lads and there’s nothing as quintessentially British about it. For those who love a pit, and there WILL be pits, the bands leneancy towards the deathcore side of the metalcore genre is perfect. Originating from London and Guildford the band released their first album, ‘Way of the Geezer’, back in 2019 this relatively new band have already made their imprint on the scene with their unique take of metal/death core and are certainly not to miss. SEETHING AKIRA This local band are perfect for fans of Electric Callboy and The Prodigy with their perfect mesh of electronic and nu-metal sounds. A band on the up and sure to go far as they gain popularity in the underground scene, broadening what it means to be part of said scene. Since forming, they have released a total of 4 studio albums with the latest, ‘Cancel Estate’ being released in 2024. Another one for moshers for sure. THE NIGHTMARES Currently on tour supporting Save Face, The Nightmares are a solid choice for fans of The Cure and Placebo. With a headline tour under their belt and various tours supporting the likes of Holding Abscence and Creeper this Post-Punk, Gothic band are quickly developing a loyal fan base which despite their more “relaxed” tones, should not be underestimated as they will bring the lively to live. The Newport based band have just released their new album ‘Fire In Heaven’ so look forward to hearing ‘Something In The Dark’, ‘Letting It All Go’ an, from their previous album, ‘From Above’. HARBINGER A staple to the UK underground metal scene, Harbinger will be the ones to look out for those always running to the pit. With aggressive riffs, heavy drums and growling vocals they’ll be a great offering for those who love Knocked Loose and Parkway Drive. After merging onto the scene back in 2015 this London based band have released 3 EPs along with their debut album ‘Compelled to Suffer’ back in 2019. Their latest single ‘No Vermin’ is a great look at what this band has in store in the, hopefully, near future. DREAM STATE Dream State are not ones to miss, with the crunchy vocals of lead singer Jessie Powell, the influences like A Day To Remeber and Linkin Park shine through with this female-fronted post-hardcore band. Formed in South Wales back in 2014. Catch them before they head to France on tour with TEN56 at the end of April. Prepare to scream along and mosh to the drops of their latest single ‘Bloom’ as well as the tunes from their debut album ‘Primrose Path’. SAVE FACE Stopping at Takedown on their debut UK headline tour this New Jersey band are definitely a must see. For fans of My Chemical Romance, AFI and Creeper, get ready to mosh, crowd surf and have an all round great time. This is their penultimate show of the tour and the last time they’ll be playing the majority of their latest album ‘Another Kill for the Highlight Reel’ so look forward to songs like ‘Sharpen Your Teeth’ and ‘GLITTER’. Their stage presence is iconic with the band (and fans) donning red jumpsuits where the band coined the nickname Gay Slipknot. Words: Chloe

On the last leg of their farewell tour, You Me At Six delivered a night that was nothing short of unforgettable. It wasn’t just a gig; It was a send-off packed with emotion, nostalgia, and an overwhelming sense of community. The night kicked off with Mouth Culture, one of the UK’s fastest-rising grunge rock bands, and they couldn’t have been a better choice to open the show. Their raw, anthemic sound hit hard from the first chord, and despite being the newcomers on the bill, they held the crowd’s attention with ease. The introduction of unreleased song Ratbag into the set was a great addition, and the mix of gritty guitars, soaring hooks, and emotionally charged vocals resonated, proving exactly why they’re making waves in the scene. By the time their set wrapped up, the energy in the room was already buzzing. That energy exploded when You Me At Six took the stage, diving straight into Room to Breathe and Loverboy. The roar from the crowd was deafening, at times even overpowering the PA system. This was a room full of people who had grown up with this band, and they weren’t holding anything back. Every lyric was shouted back with a passion that made it feel more like a conversation than a performance. Josh Franceschi was a force of nature, barely standing still as he bounced across the stage, feeding off the crowd’s energy and giving it right back. The lighting was dramatic; bright white strobes and sharp laser effects cutting through the air. It was the atmosphere that really set the night apart though. This was an intimate farewell between the band and their fans that no one seemed quite ready to say. The setlist was a perfect blend of their career-spanning hits, packed with songs that defined an era for so many fans. "Reckless" had the crowd moving in waves, while "Stay With Me" carried a powerful weight, voices blending into an almost spiritual moment of unity. "Bite My Tongue" sent the room into absolute chaos, with fans screaming every word with an almost cathartic intensity. But it was "Take on the World" that truly brought the night’s emotions to the surface. As thousands swayed together, arms raised, voices merging into a powerful chorus, it felt like the entire venue was holding onto something bigger than just the music, it was holding onto years of memories and a band that had been the soundtrack to so many lives. The band’s ability to balance high-energy anthems with softer, more reflective moments was on full display. They stripped things back at points, allowing for those intimate, raw moments where it felt like Franceschi was speaking directly to every person in the room, particularly during Liquid Confidence, where Josh shared the story of how their band came to be. It’s rare to find a band that can ignite a crowd into a frenzy one minute and have them silent and reflective the next, but You Me At Six mastered that dynamic effortlessly. Beyond the music, what stood out most was the overwhelming sense of community in the room. It wasn’t just about the band; it was about the fans, about the friendships formed through their music, about the shared experiences that tied everyone together. You could see it in the way people clung to each other during the emotional moments, in the way strangers became allies in mosh pits, in the unspoken understanding that this was something truly special. As the final notes of the encore faded, there was a reluctance to let go. The band stood together, taking in the moment, as the crowd erupted in a final, heartfelt cheer. It was a send-off, but it wasn’t a goodbye. You Me At Six may be stepping away from music, but their sound, their impact, and the memories created on nights like this will live on long after the final show. Manchester gave them the farewell they deserved, loud, passionate, and full of love. And if this really is the end, they went out at the very top of their game. Words: Vee Richardson Photos: Kieran Atkinson

From New Delhi, showcasing their Indian Folk Metal, Bloodywood, arrive at the Manchester O2 Ritz as part of one of their stops for their ‘Return of the Singh’ EU/UK Tour, promoting their new album ‘Nu Delhi’. Opening with Demonic Resurrection, a symphonic death metal with hints of black metal, they are a band from Mumbai India. Providing us a sweet taste of the Indian metal genre before we get to the main headliners. The 4 piece have a sinister intro playing before they blast into their opener “Matsya – The Fish”. Taking inspiration from Cradle of Filth, Emperor and Dimmu Borgir, from their deep vocal screams to their longer songs for the list, they filled up nicely and the crowd were onboard as soon as it began it was a strong start to open. The second support act was Calva Louise, a three-piece British multicultural band formed in Manchester, which has a mix of alternative rock and electronic music, giving the crowd a burst of energy. The vocals from Jess Allanic were so powerful, and the variance of changing from scream to singing while playing two instruments is very impressive. This is where the pits started to form, and the crowd surfers started amping up the atmosphere. They were great overall; however, they personally would have fit better at the start, putting the two Indian metal bands one after another to connect the two together, allowing the crowd to warm up for what was to come. As the anticipation peaked, the night's main event, Bloodywood, took the stage, instantly captivating the audience with their electrifying presence. Their distinctive sound is a powerful fusion of traditional Indian folk music seamlessly intertwined with the intense, hard-hitting elements of Metal and Rap, resulting in a dynamic and invigorating Nu-Metal experience. Right from the start, they commanded attention, launching into a gripping instrumental intro that seamlessly transitioned into the explosive track ‘Dana Dan.’ The moment the first notes hit, the entire crowd erupted into a frenzy, immersing themselves in the pulsating rhythm, headbanging, moshing, and fully embracing the raw energy radiating from the stage. It was an exhilarating start that set the tone for an unforgettable performance, as fans lost themselves in the music, moving as one to the thunderous beats and powerful lyrical delivery. Between each song, Raoul Kerr, who is the rap vocalist, gave the crowd some wise words of wisdom and also told stories, uniting everyone as one and linking each song together so each one flowed together seamlessly. The very talented percussionist, Sarthak Pahwa on the Dhol, came into the crowd when they played the song ‘Machi Bhasad’ where the crowd formed a circle around him, so he was able to play within them, showing that in the metal community, we keep each other safe and entertained, making everyone want more! The band works well together, bouncing off each other's vibes. Even when they played their song ‘Bekhauf feat BABYMETAL’ playing their vocals over a backing track, the pits formed from the front and the middle and gave an ultimate performance as if BABYMETAL were really there on stage with them: we can imagine this would be epic to see in full force! Closing their electrifying set with the hard-hitting anthem ‘Gaddarr,’ Bloodywood gave the crowd exactly what they had been screaming for. As the opening riffs tore through the speakers, a surge of excitement rippled through the audience, igniting a sea of movement. Flames erupted from the stage, casting an intense glow over the relentless waves of jumping fans, while the band delivered a performance that was nothing short of spectacular. The mosh pits were an absolute spectacle, a chaotic yet mesmerizing whirlwind of bodies colliding in perfect sync with the pounding drums and searing guitar riffs. For those standing on the outskirts, the pits were just as thrilling to watch as the band itself, adding another layer of raw, unfiltered energy to an already unforgettable finale. Bloodywood is one of those rare bands that sound just as powerful and precise live as they do on their studio recordings, delivering every note, beat, and lyric with raw intensity and unwavering passion. From the very first moment they step onto the stage, it’s clear that they are driven by a deep love for their craft, and that energy radiates through every performance. Their connection with the audience goes beyond just playing music, with every drumbeat and roaring riff, they pull the crowd deeper into their world, ensuring that no one is simply watching but rather fully engaged in the moment. They don’t just perform; they interact. Through their music and stage presence, they invite fans to not only hear but feel the culture and spirit behind their sound, making every show an unforgettable, high-energy celebration. Words: Ciara Hicks Evans Photos: Simon Arinze

The cosy venue of the O2 Institute Birmingham witnessed a night of raw energy and captivating performances as Canadian rock duo CLEOPATRICK delivered a memorably stellar set, supported by Brighton's PROJECTOR, on a Friday night brimming with infectious vitality and rebellious spirit. Brighton-based PROJECTOR, formed in 2018, have carved a niche for themselves with their post-punk attitude, blending humility with chaotic stage presence. Their brief but impactful opening set, a testament to their "no f***s given" attitude, served as the perfect appetizer for the headlining act and effectively warming up the crowd. It was a smart move for CLEOPATRICK to bring PROJECTOR on the UK leg of their tour as they set the tone well for a night of unbridled rebellious energy. PROJECTOR's performance was a whirlwind of punchy angst and punk attitude. They delivered a strong intro, instantly grabbing the audience's attention. ‘Sucking on my own dick’ served as the memorable arc of their set, eliciting both laughter and a surge of rebellious energy from the audience. Additionally, a highlight was their new single ‘The Sham! The Sham! The Sham’ and ‘Tastes Like Sarah’ which effectively showcased the sonic chemistry between lead vocalist Edward Ensbury and bassist Lucy Sheehan, electrifying the venue with pure post-punk electricity. The band firmly put their stamp on the night with the crowd smitten by their short and sweet kick-ass set. The anticipation reached fever pitch as CLEOPATRICK, featuring Luke Gruntz (vocals, guitar) and Ian Fraser (drums, backing vocals), graced the stage. An excited uproar from the crowd signalled the start of a memorable set. With the backdrop of a blown-up image of their new album ‘FAKE MOON’ featuring a photo of the moon with a circle and arrow provided subtle cosmic energy as the band setup with intense focus whilst the crowd screamed in anticipation. Opening with the powerful ‘GOOD GRIEF’, CLEOPATRICK immediately ignited the crowd and setting the audience’s energy alight. Following this, a highlight of their set was the crowd favourite ‘HAMMER’, which firmly established a mosh pit that persisted throughout their entire set and raised the united rebellious vibe to the roof. They then smashed out songs from their new album ‘HEAT DEATH’, ‘PLEASE’ and ‘SARAH’ which maintained the electrified buzz that pulsed through the venue. These were moments when the lighting crew showed off their fantastic syncopation with the music, layering upon the fantastic energy that floated around. At the sets peak, the crowd sung (or screamed?) ‘BAD GUY’ in unison with Luke without missing a beat, a testament to the band's strong connection with their fans and our personal favourite song of the night. CLEOPATRICK's set was a masterclass in engaging with the audience, with frontman Luke's relaxed and humorous banter adding a personal touch. His anecdote about being told that Birmingham apparently has more canals than Venice was particularly well-received with an uproar of laughter and comments from the audience about the state of the city, which Luke responded with unbelted laughter. A surprising twist midway through the set saw Luke and Ian switch instruments, with Ian taking on guitar and Luke on drums. This unexpected move led to a hilarious exchange as Luke, feigning incompetence, commented "don't start a drum solo if you don't know how to finish a drum solo", drawing laughter and cheers from the audience. For their finale, ‘LOVE YOU’, Luke utilized auto-tune effects on his vocals adding a dreamy air to the song whilst showcasing a unique and unexpected vocal range from the singer. The song's slowed-down vibe provided a warm and personal goodbye from the Canadian duo to end their set. Despite the crowd chanting “one more song!”, we knew the band were finished but the energy they left for the audience failed to dissipate – a sign of a fantastic and memorable set. CLEOPATRICK and PROJECTOR delivered a night of visceral, unadulterated rock energy, leaving the O2 Institute Birmingham buzzing. From PROJECTOR's chaotic post-punk to CLEOPATRICK's powerful performance and engaging stage presence, the night was a testament to the enduring appeal of live rock music. Both bands proved their ability to connect with the audience, creating a sensationally memorable experience in a cosy venue that will not be forgotten anytime soon. Words: Katherine Russel Photos: Lizzie Jones