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A small, secluded bar in a side street of the busy Camden atmosphere, with the unpredictable potential for a night of treasured memories and people from all walks of life. The New Roses created that very atmosphere in The Black Heart bar. A soulful, captivating, hard- rock band from Wiesbaden, Germany, consisting of 6 members. The band creates a modern day rock sound, blended with 80s twists. On the 4th October 2024, the band released their new album Attracted to Danger, which is the focus of their current tour, their first night kicking off in The Black Heart, London. Their sound consists of heavier, hooking melodies and riffs, you can really tell that they take influence from the likes of Guns n Roses, AC/DC, and Metallica. The support for the tour was the wonderful Leonie Jakobi who brought a 1970s classic rock style to start us off. She is typically accompanied by a band as reflected in her already released music, however this time we were treated to a stripped back performance. Leonie stood on the center of the misty stage, lights beaming down with just her, a bottle of water and a white stratocaster. Leonie not only brought a warm stage presence, but connected with her audience almost straight away by giving us a backstory of where shes from and how she got to where she is today. Her opening number was a one titled “Bedroom Eyes” and with just a tap on the distortion pedal, her voice and guitar bring the stage to life. Her versatility throughout her set is what made this performance so special, with rollercoasters of emotions and sing along classics such as a cover of Here I go again. Leonie also brought some comedy to the set with the backstory for her song 'Car Crash with Fireworks' detailing that the inspiration for this arose from an Instagram Reel. This song was a great hit as it had a real hook that was bound to linger in many people’s minds for days. Between songs you could hear a pin drop, the anticipation as to what wonders Leonie would bring to the stage next. After playing some new music, she ended the set on a final sing along classic. The crowd roared when the first line of 'Any Way You Want It' began, it really brought a special moment to the end of Leonie's set, with everyone singing along from start to finish. And just like that, with a smile, a word of thanks and a wave, Leonie left the stage and manned the merch table. The level of anticipation rose, along with some fill music, slight rustles amongst the crowd as we await the main act. The lights stayed glistening, bouncing off of the magnificent yellow 'The New Roses' backdrop. With three more mics mounted and a setlist placed by the drum kit, the lights dimmed and darkness swallowed the room. The excitement felt electric as the five members braced the cramped stage, explosions of applause and hollers brought instant smiles to the musicians’ faces. Timmy took center, with lead guitarist Norman Bites, Bassist Hardy W-Heart to the left. Dizzy Prezley took the right, with a peripheral of drummer Urban Bez who was placed directly under a spotlight. As this was the first night of the tour, the band started by playing thanks, and getting a feel for the energy in the room. This followed with the opener, 'When you Fall in Love' , a hair raising track that felt animatingly exciting the second that first strum of the electric is heard. Timmy’s voice personified the rock atmosphere, the rasp and passion across the stage connected us all. In touching moments further into the set, fans passed round glow-sticks for everyone to wave around, creating smiles near and far. In a dedication to Leonie and her leopard print jumpsuit, the band played The Lion in You with meaty guitar riffs and a thrilling chorus. Following this number, power ballads such as 'Glory Road' and 'Thirsty', which brought The Black Heart to life for an incredible sing along. As fate would have it, they band came back for an encore, starting with an emotional number from Timmy with 'Hold Me Up' on the acoustic, followed by an electrifying end with Down by The River. The experience and atmosphere that this band created for the first night of the Attracted to Danger tour was definitely not one to forget. The Black Heart was an incredibly fitting choice of venue, with ominous, mysterious lighting leading you to the bar with a staircase to the left which led you up to the stage, a perfect start to a gig with this rock group. Words: Emily Perry

Blasting forth with romantic harmonies that suit perfectly for the rapidly darkening autumn days, Pale Waves is here to remind us to believe again in falling in love with people that we really should not fall in love with.   Tuesday night- under the cover of darkness in the center of Birmingham at the O2 Institute- we were invited to go and see Pale Waves for their ‘Smitten’ 2024 UK tour. From our balcony view, there was whole crowd packed into all areas of the venue, of various styles and ages, all excited and ready to see the nights live music. The stage adorned with a red velvet backdrop, two chandeliers which match that of the album covers side line the drum stand, Greek inspired statues and ivy crawling between the metal stands of the setup is a gothic dream come to life.   Our opening act in support is swim school, a Scottish band three-piece with an alternative indie sound. Make no mistake, they might have a smaller fanbase but that does not mean they don’t give their all for a performance. With two guitars and a drummer they are able to command a room full of excited fans while having the perfect balance of songs to get the crowd ready for the main act. The shifting of riffs and taking the time (and courage) to drop to just lead vocals before once again bursting forth with their choruses, they are surely a band to have on your radar. We can’t wait to see where they will go next!   The audience is enraptured by the whimsy of it all, notably a large following of alternatives and queerness is celebrated- in line with Pale Waves’ members itself. The whole gig and album ‘Smitten’ remind us of the confusion of falling in love with the right person at the wrong time, mixed in with heartbreak and still being enthralled with young lovers. Which in turn reminds us of many experiences we are sure we can all relate to.   Pale Waves is a band that celebrates all of its members and takes joy in bouncing off of one another, this is highlighted by the wide use of the stage and taking time to connect with each band member throughout every song. While some bands might struggle with this, Pale Waves embraces it- most notably when all three guitarists, Heather Baron-Gracie, Hugo Silvani and Charlie Wood, play to our drummer, Ciara Doran, with backs turned to the crowd but we can see the elation on our drummers face.   To note a crowd favourite moment, we were able to pick between two Pale Waves songs: Unwanted or Red. We would like to say it felt like a close call to us,  but the hearts of Birmingham were set on Red! With lighting to suit this was certainly a crowd favourite and we would urge if you are thinking about delving into Pale Waves to give this one a listen as it gives a great overview of their style and artistic aesthetic.   Getting to hear most if not all of the songs from the new album is extremely exciting, and seeing fans who already know every single lyric from every song can’t stop us from getting fully immersed in the gig. One of the biggest cheers from our captive audience when our lead singer and guitarist, Heather Baron-Gracie, introduces one of the next songs with “this one’s for the lesbians!” We would definitely recommend giving Pale Waves a listen if you are into pop-punk, rock and queer life stories. If there is one thing Pale Waves isn’t against its celebrating queerness in all of its forms and complexities. Words: Tyler Whiting Photos: Kelsi Luck

The brains behind Soccer Mommy, Sophie Allison, has always written about her life in a particularly candid way that’s helped make her one of the most interesting and beloved artists in the indie rock scene over the last decade. Using her music as a way to explore her feelings and understand the challenges faced with growing up, she has worked to develop her sound from the demos she wrote in her bedroom to become an artist who’s confident using new production styles to grow her sound and break the stereotypes around singer-songwriters. Never wanting to fit the mould, she has always tried new things on each album she’s done to date, making every single Soccer Mommy record unique. Her upcoming fourth album ‘Evergreen’, set for release on the 25th of October, marks a significant return to her roots while showcasing her evolution as an artist. Since her previous album ‘Sometimes, Forever’ released in 2022, Allison has experienced a profound and personal loss in her life. The songs on the new album have been written in a way that takes you on a journey of change and reflections during this period in a way that is both emotionally raw and endearingly funny. Keeping true to herself, the songwriting leads the songs over the whole course of the record. The first track on the album, ‘Lost’, features a delicate, dreamy soundscape, characterised by lush instrumentation and a soothing melody that contrasts with its introspective lyrics. The song creates a sense of vulnerability, with Allison’s vocals conveying feelings of uncertainty and longing. The lines “Lost in a way that don’t make sense” and “Lost like the things I never said” capture the deeper emotions faced through the internal struggle of dealing with loss in her life. The mixture of acoustic guitars and subtle synths help create the aforementioned dreamlike atmosphere when listening, complimenting the theme of doubt and uncertainty. Despite the feelings of disconnection being produced throughout the song, there’s also the feeling of hope and potential for rediscovery. This is focused on during ‘Driver’ a couple of tracks later, which goes into finding someone who accepts you and is there to help you through your struggles. Even if you’re struggling to keep focus or keep going, there’s someone there who can keep you on track, be patient with you and the benefits of having someone there in your life. There is a tonal shift in the middle of the album, when Sophie sings an upbeat song called ‘Abigail’ about her in-game wife in Stardew Valley. Placed where it is in the middle of the album, it helps create an air of light-heartedness amongst numerous less happy emotions. It helps with the listening experience of the album to have a break from so much isolation with a fun, easy-going song. ‘Dreaming Of Falling’ shows a real insight into how Allison was feeling during the time of writing. The song starts with strong vocals with minimal instrumentation, creating a strong sense of detachment in the stark intro. Allison sings about how she feels like she’s just existing, not fully living despite being there. It’s like she feels stuck in the middle, continuously falling, but never hitting anything, as well as losing her grasp on her memories and watching from an outside perspective as she changes. The lyrics are very powerful, especially when it starts to build up with sentences like “Slipping through my fingers ‘till they’re empty once again” and “Seeing the light is an awful trick when I keep going down”, that hold such heavy emotional implications for someone whose life feels like perpetual freefall. The songs on ‘Evergreen’ highlight Soccer Mommy’s continued evolution as an artist. She masterfully combines catchy melodies with introspective lyrics, creating a compelling listening experience. Each song offers a unique perspective on personal experiences, showcasing her growth while honouring the roots that first drew listeners to her music. As anticipation builds for the full album release, it’s clear that ‘Evergreen’ promises to be a significant addition to Soccer Mommy’s discography. The blend of personal storytelling, catchy hooks, and rich production will likely resonate with both long-time fans and newcomers alike. With its exploration of complex emotions and relatable themes, ‘Evergreen’ is poised to solidify Soccer Mommy’s place in the indie music landscape even further, and create a lasting impression on the listener. 'Evergreen' will be released on October 25th via Loma Vista Records/ Words: Con Macadam Photo: Zhamak Fullad

Saturday night at the New Cross Inn was one for the storybooks - a legendary hardcore band making a one-off return, a band who’ve been a staple of the British scene for a decade calling it quits, and a band who only played their first live show together in January staking a claim to be one of Britain’s best live hardcore bands. Still In Love opened proceedings as young upstarts in comparison to the other two names on the bill, but were anything but out of their depth. The group found their feet after all of half a second, and set the tone with a cacophonous set that worked its way through nigh on their whole discography, making every stomach-churning breakdown and brain-bruising riff a moment to behold. Could there have been a better band for the opening slot of this specific show? I really don’t know if there could have been. GEIST, meanwhile, were playing a set at an entirely different part of their career. After ten years of the North-East boys decimating stages and venues up and down the UK, they’ve sadly decided to throw in the towel. However, of all dates to wrap up their time with us they couldn’t have chosen any better, with a sensational performance that even included a song they’d written and never previously performed; christening it ‘The New Song’ on their final performance. The atmosphere was muted, with the whole crowd far quieter than in either of the other two sets, but with an enormous round of applause after they finished which was absolutely deserved. We can only hope that each member carries on creating music in some way, so as to carry on their amazing creative outlet. Finally came time for the headline act - 14 years since their last UK show, and 18 since their last-but-one album (their most recent being this year), The Hope Conspiracy provided a portal in time to some of the best hardcore shows of the 2000’s. The audience was utterly bonkers, crashing upon the stage like a wave and flowing round the room, stepping up to the microphone all night, and bringing all the energy of an enormous explosion. Opening with ‘Those Who Gave Us Yesterday’, an air raid siren started blaring to signal the beginning of what might be the bands last show (which is just another reason that this show was a lot for even the most hardened hardcore veteran), and playing through hit after hit till they finished up with ‘They Know Not’, as the crowd gave every last iota of energy they had left. Some people will ask you if you saw Slipknot’s Download headline set in 2009, some will ask if you saw the My Chemical Romance reunion shows, and some will ask if you got lucky enough to buy an Oasis ticket - but for those in the know, being able to say you saw this lineup at the New Cross Inn one cold October night will trump any and all comers. Words: Jake Longhurst Photos: Gabby Adler

In their debut album, LA rock duo Dead Posey take on self-empowerment in a nightmare world. Dead Posey formed in 2014, with singer Danyell Souza on lyrics and creative production, and Tony Nova on instruments and music production. Their bold sound has flavours of goth, alt rock and punk, blending together to create an angsty, tough vibe. Dead Posey's influences include Depeche Mode, Hole and Nine Inch Nails, but also true crime, Edgar Allen Poe and Salvador Dali. ‘Are You in a Cult?’ is a loud, fearless album that combines all of these with a bite. ‘Zombies’ opens the album with screamy, punky energy. It sets the spooky tone for the album, inviting “the damned and the dead”. Souza’s husky growl is akin to Taylor Momsen, with a sincere power to it. When she sings “If you wanna stop me, you'll have to kill me,” it's impossible not to believe her. ‘Are You in a Cult?’ revels in darkness, woven with anti-conformist anthems. ‘She Went Bad’, a track about rejecting societal expectations and truly being yourself, celebrates unmasking no matter what anyone thinks. This confidence echoes through the whole album, with upbeat songs like ‘Can't Take Me Down’ and ‘Russian Roulette’ that could motivate anyone to kick down doors. ‘Darkside’ stands out as a slightly softer, more romantic track, but still has that thread of rebellion. Gloomy yet seductive, the instruments are reigned in as Souza calls for an intense, unconventional relationship - “like Bonnie and Clyde.” ‘Darkside’ is a song that could appeal even to people scared off by the punch of the rest of the album, without losing those already under the band’s spell. Dead Posey's gothic world provides a backdrop for real-world critique. ‘Welcome to the Nightmare’ tells the story of an unwell America, turning melodies and symbols associated with American Pride on their heads. While ‘C.U.L.T’ was written in 2020, its relevance has only grown. Criticising the divided culture that blindly follows idols and influencers online and in politics, the track speaks directly to the everyday people who have been sucked in. The warning track leans towards hypnotic tones, an interesting way of echoing the cults in question. There are undeniable feminist tones, particularly in ‘sorry i'm not dead’, which spits in the face of misogyny and refuses to bow down to the standards of the patriarchy. It begins with stuttering bass lines reminiscent of 80s pop, but builds into a rage-filled reminder that women are free-thinking people with as much a right to the world as anyone. While Dead Posey have a distinctive style, this album is anything but predictable. Their cover of New Order’s ‘Blue Monday’ is a real highlight, taking the iconic layers of the original hit and roughing them up. Where the original song is cool, Dead Posey turns up the heat. The result feels much rawer, much angrier, and is a masterclass in taking on an iconic song. This gritty album is an intimidating debut which makes it clear that Dead Posey don't back down. Well worth a listen for misfits, rebels and lovers of all things spooky, ‘Are You in a Cult?’ is driven by pure emotion and disillusionment. ‘Are You in a Cult?’ will be released on October 18th via Position Records. Words: Gabriella Bosticco Photos: Dead Posey

Halloween is looming large, the temperature is dwindling ever closer to single digits, and we have our latest preview - coming a bit later than it otherwise should, we're also covering a bit of November! Having just released our first magazine as a publication, it's already been a very busy month and there's plenty more to come, so here's a look at some of things we'll be covering, and all the shows you should be at! First up is a show tonight in London that is one of the biggest nights in hardcore this year - fabled band The Hope Conspiracy are playing a sold-out New Cross Inn - it's been 14 years since they last played, and 18 since they were releasing music before they got back together this year! Playing with Geist and Still In Love, their only UK show is bound to be utterly crazy and will surely go down in UK hardcore history, not to mention causing plenty of ears to be ringing for a couple of days. Shortly afterwards, one of our absolute favourite up-and-coming bands will be playing their first ever headline show in London - Unpeople are going to be storming The Grace in Islington for their debut headliner on October 15th! Alyx Holcombe is in charge of the evening, and not only is she doing a bit of management, she's also doing some DJing, so it's set to be a phenomenal evening of music with a BBC Radio host and some of the best riffs in the British underground, all under one roof. Frank Carter and the Rattlesnakes sadly announced they're going on a hiatus soon of unknown length, and so have two shows that, for the moment, are their last on British soil. On October 1th and 16th, Brighton and London are the lucky cities who will be able to pay homage to the Rattlesnakes, who've provided so very many of us with the very greatest of punk rock shows, right from the first songs released off Blossom to the final notes of Dark Rainbow. They will be missed immeasurably, so if you can find a resale ticket for either of the shows you'd best do your damnedest to get a hold of it. Next up, with slightly less of a sad twinge to the tour is Bicurious. Playing in Glasgow, Sheffield, Manchester, London and Brighton to promote their latest album (which we did review and thoroughly enjoyed!), the Irish duo are on the road once more and will make for five wonderful evenings of live music. Taking place between the 15th and 19th of the month, there is a lot happening this week but it's all worth getting to! HEALTH are also hanging around the UK later this month, and will take on the masses at Birmingham, Manchester, Glasgow, Dublin, Liverpool and London from the 15th to the 20th. Alongside the masters of 'cum-metal' are the bands Gost and Zetra, who will each craft two glorious atmospheres in heavy music before the headline act arrive to bring the house down. Chelsea Wolfe will be bringing her latest album to the UK late in the month, and will be going between Dublin, Belfast, Glasgow, Manchester, London, Leeds, Brighton and Bristol. Her latest album 'She Reaches Out To She Reaches Out To She' is a tour de force and will be phenomenal in a live setting, so from October 25th to November 2nd there will be a Chelsea Wolfe show to get to. Finally, at the beginning of November is the behemoth of extreme metal, the one and only Damnation Festival. Manchester's BEC will play host to two nights of unbelievable sets - from the mighty NAILS and Cradle Of Filth, to Decapitated and Ne Obliviscaris. There are an absolute sea of sensational sets lined up across both nights, and to anyone who's spent much time in extreme metal the weekend will likely ruin you from running between stages to catch even a glimpse of every act. However, that is entirely the point, so get your running shoes on and may your path be speedy! Words: Jake Longhurst Photo: Bicurious

Saturday, at the legendary Dome in Tufnell park in London, saw the staging of the very first Imperial Age Festival, an event that was devised by the members of the band Imperial Age alongside some of their dedicated fans (who would ultimately turn private investors for the event; a couple of whom I got chatting to over the course of the evening as they dedicatedly held their ground right at the front of the stage). Ultimately the brainchild of Aor and Jane (singers from Imperial Age), an event that could bring the local metal community together as a sort of thanks for welcoming the pair to the place that they now call home following their move from Russia (via Turkey) at the start of the conflict in Ukraine. Putting on an event like this for the first time cannot be a small feat; and with some last minute changes (original headliner Orden Ogan having to unfortunately pull out due to illness and a venue change from the originally planned O2 Academy in Islington), what everyone involved was able to put on can only be described as a success.  That being said, however, if you are a fan of good old fashioned sword waving, first bumping, head banging, armour wearing, swashbuckling, power metal, then this was definitely the event for you. First out onto the, shall we say atmospheric, stage (if there is one criticism that I could have of the night it was the venues very…very…liberal use of the fog machine on stage) were Spanish symphonic pirate metal seven piece, Crusade of Bards; who, for the first act of six, were greeted by a surprising large crowd for so early in the day. The combined male and female vocals of Eduardo and Eleanor (with the occasional addition of keytarist Paulo) harmonised well off of each other. As a whole delivering a rounded symphonic sound, the set, including ‘The Northwest Passage’ and ‘The Rise of the Kraken’, was, despite some audio issues within the venue that were quickly rectified, a nautical romp of an opening act. Second act on the bill, featuring the second keytar of the night and clad in an array of armaments, were local London based symphonic outfit, Pythia. Acknowledging that it has been some years since their last release, they promised the crowd that new material is in the works. Their music revolves around themes of life, love, passion and the supernatural; they brought their set to a close with probably their most popular track ‘Sarah (Bury Her)’. If you prefer your power metal to have more of an 80’s NWOBHM flavour with just a sprinkling of Elder Scrolls lore added on top, then the next band, Southampton's own, Battle Born, are most certainly up your street. Starting their set off with an intense drum line from Charlie (who was sadly relegated to the gloomiest corner of the stage), the crowd were assaulted with a high tempo wall of sound as the remaining members of the band burst onto stage for the opening self-titled number ‘Battle Born’. Lead singer Jack is a blur of motion on the stage bringing a level of energy that is unmatched by any other band on the night, working the crowd both during and in between songs. Twin riffs provided by Will and Tom on guitar (Will winning the prize for most complete musician on the night, running double duties on lead guitar and keyboard with backing vocals added to his resume as well), the group are rounded out by bassist Matt (who some say is still spinning around in circles somewhere with the biggest smile on his face).  Their sword waving, drinking horn raising, head banging set is a blast of energy from start to finish; including fan favourites ‘Power Force’ and ‘Meridia’ alongside the first live play of their new single ‘Magic and Steel’. I have to admit that I have a particular soft spot for this band, tonight was the 9th time that I’ve been lucky enough to see them perform over recent years and their development over that time is clear to see, judging from the reaction from the crowd, the praise levied on them by the headliners later in the evening and conversations I was privy to on the tube on the way home, many others agreed; surely securing a host of new fans willing to ‘Bring The Metal Back’. One thing that you can guarantee at a Battle Born gig is that you will have a fun time. For those who missed out tonight, or those who cannot wait to get their next Battle Born fix; the lads let the crowd know that they are heading out on a mini tour of the UK next week supporting fellow NWOBHM revivalists, and one of the most talked about bands in British metal at the moment, Tailgunner. Starting off the second half of the evening and with a bit of a gearshift to all those who have come before (and who we will see after) are Suffolk based Ghosts of Atlantis. Although distinctly symphonic, their sound is much heavier and to the extreme end of dark symphonic metal, emerging onto the stage in ragged coats with their faces streaked in blue and white paint, for the first time tonight the staging perfectly matched the atmosphere of the music on show. Their music embodies themes of fantasy and Greek mythology with unsurprising references to Atlantis. Although maybe not everyone in attendance’s cup of tea, there was a noticeable section of the crowd who were there specifically to see the four piece perform. Ghosts of Atlantis were musically polished and delivered a technically accomplished and engaging set, including songs ‘The Lycaon King’, ‘March of the Titans’ and ‘Lands of Snow’; with the atmosphere created I personally felt transported into the content of their songs. Towards the end of the set we got a play of new single ‘Behind the Wall’ a track which seeks to tackle mental health and loss, specifically looking to break down the barriers to men discussing their mental health issues. The fifth band of the evening, and making their debut appearance on a UK stage, Italians, Alterium. Having only formed in 2022, the fact that this quintet have made it to second on the billing is a testament to both their polished sound but also their super catchy brand of symphonic power metal. The duelling guitars of the super talented Alessandro and Paolo provide the backing for Nicoletta’s powerful vocals. Highlights from their set included a punchy cover of Sabaton’s ‘Bismark’ that had the entire crowd fist pumping in unison; “as every good power metal album needs a ballad” (queue a waltz between the guitarists on stage) ‘Crystalline’; and the pirate friendly, yet drum fierce, ‘Heroine of the Sea’. Last up, chief architects of the evening, and recently promoted headliners, Imperial Age. Headed by Aor and Jane, the band is now rounded by a predominantly British cast of instrumentalists; from what I can gather tonight was the first outing for this particular line up on stage together, but with the show that they put on you would never know that they had not been performing these songs together for years.  Listening to Aor explain the journey that both Jane and himself had been on and how the band has had to evolve over recent years, before giving thanks to the other bands on the line up alongside the fans, promoters and venue staff who helped to make this first edition of the festival a reality, it is clear to see the drive and passion that he has not only for his music, but also the metal scene within the nation's capital. Onto the music, and what Imperial age delivers is good old fashioned symphonic power metal in its purest form. The set begins with ‘Windborn’ and gets progressively heavier as it continues; seeing Aor’s tenor vocals play off of Jane’s mezzo-soprano (the later also providing a contrasting set of heavy vocals on occasion) as the crowd are treated to the likes of ‘The Way is The Aim’ and ‘And I Shall Find My Home’. At one point the crowd were instructed, and duly obliged, to split and form the first meaningful mosh pit of the evening. The main set comes to an end with the heaviest song so far, newest single ‘Gnosis’, most of the band leave the stage for the briefest of moments whilst drummer Manuele gets up on his drum riser and chugs his way through a bottle of wine to the cheers of the crowd. The rest of the band return for their encore, a song that Aor has dubbed the “drummer killer” (hopefully the bottle of wine hadn’t kicked in too hard for Manuele at this point) ‘Call of the Towers’; Aor relishing the fact that the rest of the band don’t know yet that the rest of the upcoming album will be of a similar tempo. On the whole the festival, despite experiencing a few teething problems, was largely a success, although you have to wonder what scale the event could have reached if it were able to have staged that big ticket headliner and remained at its original higher capacity venue. Words: Simon Arinze Photos: Simon Arinze

Finland has given the world many things; The Moomins, Nokia, Angry Birds and of course the kings of symphonic metal Apocalyptica. Since their beginning in 1993 the band have brought together the grace and complexity of classical music with some of the era's more memorable metal riffs, a combination which has resulted in them becoming legends of their genre with each release more bold and unique as the last in an attempt to continue to push the boundaries of music. Twenty Eight years since their initial release of ‘Apocalyptica Plays Metallica’ they find themselves on the road again touring alongside UK groove metal band The Raven Age on their aptly named ‘Apocalyptica Plays Metallica Vol Two’ tour to promote their latest album of the same name.  The stream of fluorescent red lights flooded the venue as the evening began with London's own The Raven Age taking to the stage. The crowd eager and already full of anticipation for the show ahead greeted them with a warm applause as the bass traveled through the wide and open walls of the venue, the ideal space for the five piece to showcase their talents and catchy catalog of tracks and for Matt James to show off his impressive vocal range; fan or not you soon found yourself head banging along and being caught up in the infectious energy each member showed the entire time they were on stage. As their set continued the crowd only became more enthralled by the performance and answering their call to get involved and bring the energy. After a brief interval it was time for the main event, hidden behind a white curtain Apocalyptica made their entrance in style to an uproar of applause and cheering opening with one of what would be many of Metallica's iconic tracks Ride the Lightning which immediately commands the crowd's attention. After their grand entrance they seamlessly transitioned into Enter Sandman and the trio began to encourage the crowd to sing along and be their voices as the entire setlist was instrumental this brought a unique experience unlike any other concert bringing the fans and the band together as one to deliver a memorable show for everyone involved.  As they reached the midway point of the set the band took a moment to explain why they had decided to make their latest album after so many years citing that they wanted to wait until it felt right for them. After a moment of rest they started the second half of their set with The Call of Kthulu and a touching and sensational tribute to the late, great Cliff Burton which left the feeling amongst the crowd somber and emotional as the cellos gave a whole new lease of life and meaning to the track. After their touching and respectful tribute they brought back the energy, louder, faster and harder than before with back to back hits including of course arguably Metallicas most well known hit Master of Puppets which had the whole crowd in an excited frenzy as they effortlessly blended the metal icon with their classical talents. After a show stopping display they brought the evening to a close with One a poignant track to end this trip down Metallica's history and perfectly wind down the crowd as they left. It’s safe to say Apocalyptica are masters of their craft honing their talents into something truly one of a kind and after spending an evening in their company it truly felt like a gift that kept on giving and that you never wanted to end.  Words: Arcadia Craven Photos: Kieran Atkinson

Cannibal Corpse stormed the Roundhouse on the 29th September 2024, delivering a mind crushing performance that reaffirmed their legendary status in death metal. The night featured three sensational openers, Schizophrenia, Immolation, and Municipal Waste, each bringing their own brand of extreme music to warm up the crowd. Schizophrenia opened the night with an explosive performance that set the tone for the chaos to follow. The Belgian death-thrash band brought raw energy and a ferocious sound, immediately grabbing the crowd's attention with their intense riffs and blistering speed. Their blend of old-school thrash and death metal influences was on full display! With razor-sharp guitar work and punishing drums driving their set they really did win over the crowd. Despite being the first band on stage, Schizophrenia quickly got the crowd moshing, earning enthusiastic applause as they tore through their songs.. Their performance was a very powerful start to an unforgettable night at the Roundhouse Immolation brought a crushing intensity to their support slot that's for certain, delivering a powerful set filled with dark, atmospheric riffs and technical precision. Their beautiful blend of brooding death metal had the crowd fully engaged, with heads banging and pits forming to every heavy breakdown. Balancing classic tracks with newer material, Immolation’s performance was a masterclass in stellar musicianship, setting the stage perfectly for Municipal Waste who followed shortly after. Municipal Waste delivered an electrifying performance that easily had the MOST energy of all the openers. From the moment they hit the stage, the crowd erupted with excitement, chanting "Municipal Waste Is Gonna’ Fuck You Up" in unison, setting the tone for what was to come. Their mind blowingly high-octane mix of thrash and punk immediately ignited the first wave of crowd surfers… or a ‘wave of death’ as the band shouted. As fans fed off the band’s relentless energy only more chaos was to follow... The band’s infectious enthusiasm, coupled with fast, thrashing riffs and adrenaline-fueled stage presence, made their set a wild, chaotic spectacle that perfectly primed the audience for the brutality of Cannibal Corpse. The band kicked off their set with the iconic “Blood Blind,” exciting the crowd in an instant. With a setlist that spanned both fan-favourites and fresh material from their newest album, Chaos Horrific , Cannibal Corpse showcased their enduring brutality. Songs like “Hammer Smashed Face” and “Fracture and Refract” demonstrated the darker, heavier direction of their recent work, while classics such as "Fucked With A Knife" saw the crowd erupt into chaos and pure death metal joy. Vocalist George “Corpsegrinder” Fisher was in top form,wearing a T-shirt with his very own face on which read “Respect The Neck”. His guttural growls hitting hard throughout the entire performance. In a memorable moment that blended humour with the chaos previously mentioned… Someone in the crowd handed him a Build-A-Bear, which he proudly held above his head like Simba from The Lion King , earning a huge reaction from the audience. The crowd surfing was relentless, My personal favourite being a bin making its way over the heads of fans at one point and even ending up safely over the barrier just like any other surfer that night. By the end of the night, a staggering 593 crowd surfers (and 1 bin) had been caught by security, a testament to the wild energy inside the venue that was spilling out of the bands pours. Though Erik Rutan was unable to perform due to a family emergency, Cannibal Corpse didn't miss a beat. Guitarist Rob Barrett took up much of the weight, delivering intense riffs and solos with his usual precision. The band’s cohesion was impressive despite the absence of their lead guitarist, with Paul Mazurkiewicz’s drumming delivering a barrage of blast beats that kept the intensity high. Bassist Alex Webster, as always, provided a thunderous low end, driving the band’s unmistakable sound. The Roundhouse proved to be an ideal venue for the evening, with its acoustics capturing every crushing note and guttural growl. The lighting was perfectly in sync with the music’s dark themes, often bathing the crowd in blood-red hues as the band delivered their heaviest moments. The energy in the room was electric, with the crowd fully engaged from the first riff to the final note. The mosh pits were relentless, but the atmosphere remained inclusive, with a sense of camaraderie among fans, typical of Cannibal Corpse's die-hard followers. Cannibal Corpse’s performance at the Roundhouse was nothing short of extraordinary, despite the last-minute lineup change. With support from Schizophrenia, Immolation, and Municipal Waste, the night was a triumphant celebration of extreme metal. Fans were treated to both brutal intensity and moments of unexpected levity, making this a night to remember. From crowd-surfing bins to the now-famous Build-A-Bear moment, the show will be talked about for years to come. Words and Photos: Leah Cox

Faced with a two-hour set of intense music, you find yourself lost inside your own mind, entering a meditative state to reflect on everything you have ever known. Emerging on the other side, you ask yourself: Was that the most spiritual gig you've ever attended? Opening tonight is Bhutanese guitarist Tashi Dorji, armed with an acoustic guitar and an array of pedals. His roughly 35-minute set is built around three distinct pieces of music. The first two focus on his guitar, using it along with effects to build intense soundscapes. The guitar sounds like nothing you’ve ever heard before, resembling more of a distorted idea of an acoustic guitar under tension. These sounds layer on top of each other, creating dizzying pieces to get lost in. The vast space of the venue is filled with this off-kilter sound. The final piece is created entirely with pedals, taking the initial sound and distorting it to the extreme. Tashi Dorji abandons any traditional image of a live gig, putting aside the guitar and crouching on the floor, manipulating pedals. The sounds grow stranger and more unfamiliar until, lost in the sound, the short set comes to an end. Your mind is clear, and you are ready for Godspeed You! Black Emperor. Godspeed You! Black Emperor having no vocals works in their favour massively for tonight. Two band members appear on stage and start their instruments. This gradual start to the headline set eases you in letting you know what each part of the band will be offering while you can still tell them apart. Each member walks on stage directly to their instruments and starts playing gradually building the sound. They are hypnotic, drawing you in with everything they do. The visuals behind the band are almost as iconic as their live sound, being a mixture of archival footage and with some level of effects added to them. Being based on actual film rather than digital media it creates this organic compliment to the music. The film grounds you somewhere in a distorted reality and the music lets you explore that further. The band keeps on playing their music, most songs taking a similar approach of a calmer start. You can always tell at the start of songs the instruments being played. Yet as the song builds and builds everything blends into this giant tsunami of sound. Nothing stands out, it’s a singular beautiful sound. The music when it builds hits like nothing else. Everything else in your mind leaves. The music pushes itself onto you, uncompromising in everything it does. You are forced into submission the band has control over you. Each song comes at you gradually due to the calmer starts. No talking in between songs the next just eases you in until again you're trapped inside it. The band guides you to every emotion, the crowd reflecting this with people doing everything from head banging to crying. Having 8 members on stage could feel bloated but every instrument earns their place in the sound. Moments with two bass players make sense when you hear just how powerful they are. The band works as one for the music. The band say nothing when on stage they aren’t given microphones for vocals. The only level of communication given by the band till the end of the set is political messages on their amps. These speak louder than any passing comment ever could. When you aren’t lost in the music or get a quick break from being hypnotised you are faced with the band’s politics. Every choice they make is powerful. When the band leaves the stage, they leave one at a time. Each member gives a little nod or thumbs up to the audience. At any other concert this would be seen as nothing but after the 2 hours of being lost in the music everyone in the crowd thanks them for their contribution. Each member of the band is given love by the audience for guiding them tonight. Godspeed You! Black Emperor are in a very rare group of bands that you need to see live. Not because they have a giant impressive stage show or insane moshing, but they take you places that nothing but music can. They stir something in your soul. Go and see them if you have the chance, you’ll leave the gig feeling you have just had a detox of the soul. Beautiful, hypnotic and transformative. Words: Will Freeman Cover: Heather Patterson

Swiss-German melodic metal outfit Ad Infinitum chooses to elevate their sound on fourth album 'Abyss', with dreamy instrumentals that conjure images of floating the heavens and defeating Kid Icarus-style demons. Bonny’s vocals are versatile and full of passion, and each member of the quartet gets their time in the sun over the course of 10 tracks. Highlights of this album included second single 'Outer Space', which acts as an ethereal proof of concept for 'Abyss'. Combining transitional melodies with metal riffs and lyrics of embracing your own downfall, 'Outer Space' finishes with a final reprise that sends the listener freefalling towards dark healing. Another highlight include 'Aftermath', which follows 'Outer Space' on the track list and makes an explosive entrance with hardcore hooks and a good taste of Melissa Bonny’s scream - give us more! - as well as percussion by Müller that was crafted with love and perfected in its execution. The change of pace was welcome and acted to transition from act 1's repentant songs into the vengeful music of act 2; this section of the album was 'Abyss' warming up its listeners for the descent into hell that is to come. It needs to be noted that 'Abyss' has fallen into some of the common metal pitfalls: some of the lyricism is a little on the nose, the slow starts in middle-album tracks do make the album lethargic on a cover-to-cover listen. Bonny’s screaming feels underutilised throughout the project - short bridges before breakdowns left us wanting for full verses. However, the final half of this album is where it comes into its own, with ballad 'Anthem for the Broken' (though falling victim to some on the nose lyrics) successfully sending the listener spinning to the bottom of the whirlpool where they find the final highlight 'Dead End', the closing track of this project. Starting with a floor lead the listener is welcomed to hell with arms wide open, with the instrumentals bouncing and Adrian Thessenvitz’s guitar prowess getting its final hurrah. The ethereal feel from the beginning of this project is successfully transformed into dark fantasy by its closing. Overall, this album had a beautiful concept: the heavenly sound design and imagery within the lyrics paints a picture of an angel whom the listener is watching the descent of. Instant bangers such as 'Anthem for the Broken' and 'Aftermath' show off the skill of the band and are complemented by Bonny’s vocal range. Though this album does have some lag in the middle and loses a little of its nuance in its lyrics, Ad Infinitum has still created a dreamlike world ready to twist into your favourite nightmare. 'Abyss' will be released on October 11th via Napalm Records. Words: Julia Brunton Photo: Stefan Heileman

Originating from Florida, CRUCIFICTION is a new deathcore band featuring Bloodbather’s guitarist Salem Vex showing off his incredible vocals. They made their debut in May of this year with the single 'Caged For Extermination', which was co-written with Hunter Young, and they've now released their debut album of 9 songs. Starting off with an interlude called ‘The Object’  that really sets the tone for the rest of the album, it keeps things slow whilst giving us a brief feel of what the album is going to be about. The first words you hear being “It's a process that doesn't happen overnight, when you depersonalise another person and view them as just an object” and “I've done things I shouldn't have done”. Hearing this introduction really sets the mood for the upcoming tracks, making the listener expect a set of dark, heavy songs all about topics that aren't usually discussed in the music industry.  ‘Will to Power’ is the first song on the album and makes a strong start. Almost immediately we're hit with heavy riffs and powerful vocals, and a litany of emotions are evident in Vex’s voice, which continues throughout the entirety of the album. Salem Vex has talked about this album, saying that it's about revenge and how good it can feel - almost immediately we can see how true these words are, on the second track ‘Endless Torture’ which is filled with all sorts of powerful, dark vocals atop melodic riffs and powerful drums. ‘The Gift’ is another amazing track and is one where the guitar really stands out, the catchy riffs alongside the heavy drum lines really make this track one hell of a listen. Along with the gritty vocals and the lyrics “I did this all for you” being repeated throughout, the instrumentation makes for a song that will stick with you long after the album is over. ‘Caged for Extermination’ opens up with high-powered, loud distorted guitars, but it's the vocals specifically that really stand out on this track. This song talks about revenge, which as Vex mentioned is a theme that persists throughout this album, and is most obvious in lyrics like “caging up my enemies and feeding them to filth”. You can clearly hear the emotion and determination in his voice, and his talented screams get across the message in brutal fashion. The next song is called ‘VHS’ and features Darius Tehrani of Spite on vocals. It's an amazing track as Vex and Darius’ vocals are perfect together; the mixture of raw, gritty and angry vocals make this a song a really enjoyable listen .Starting off with Vex’s raw screams before going into Darius’s talented distorted growls allow their differing vocal styles to shine through and lets you hear the best of them both. Their vocals are an incredible contrast to each other and work very well together.  ‘Amputated Satisfaction’ begins with an incredibly catchy and melodic riff in an immaculate introduction to the song. Lyrically, this is yet another song that talks about revenge, as well as the satisfaction it could bring. The vocals in this track are really impressive, changing from low growls to sharp screams on a dime, making sure that there is no doubt that this is another impressive piece of writing and performing.  Seamlessly moving onto the next song ‘The Collection’, we meet CRUCIFICTION on a fast paced death metal track, filled with snarling screams and a heavy guitar riff that can be heard throughout. The drums start off slow at first before quickly picking up tempo as the song gets faster and faster. The harsh drum beats and the brutal guitar riffs underpin everything as the vocals speed up, which bring this song together excellently.  ‘Audition’ starts with a guitar riff that is very different to the rest of the tracks on the album, giving it a very clearly defined sound in comparison to the rest. This song flows really well, and like the last song it progressively becomes increases its pace - nearing the end of the song the hollow drum beats really stood out, as well as the clear guitar sound becoming more obvious as it picks up in speed, showcasing a really exciting riff.  They bring the album to a close perfectly on the last track ‘No Salvation’, featuring Alex Hill of the black-metal band Melancholia. Whilst most of the album talks about revenge, this last song discusses the thought that there is no saving you from the consequences of your own actions. This song has the perfect mixture of death growls along with higher pitched screams that can be heard throughout, and it comes as no surprise that Vex and Hills’ vocals work well together.   'Will to Power' is an amazing start for CRUCIFICTION, and it does a great job portraying the bands deathcore sound. This album is a real treat if you're a fan of brutal deathcore - t he dark, gritty vocals along with the heavy guitar riffs and the harsh drum beats have been interwoven wonderfully to showcase the sonic heaviness that they're so intent on displaying. This whole album has a 2000's deathcore feel, but CRUCIFICTION has done an incredible job making their sound feel separate, even whilst it draws plenty of influence from that scene. They're sure to give us plenty more great stuff, and we can't wait to see what! 'Will to Power' will be released on October 11th via Rise Records. Words: Kelsey Mainwaring Photos: CRUCIFICTION