Helloween are one of the biggest names within power metal, and stand as one of the cornerstones and founders of the genre. As this legendary band turns 40, what better way to celebrate than releasing a 42 track long, remastered, Best Of album called March Of Time. The tracks selected showcase the history of the band, allowing long time fans to reminisce about tracks they grew up with, and allow new fans to take a deep dive into everything the band has to offer. One huge upside is that any tracks taken from the band's earlier albums have never sounded better. The modern mixing hasn’t taken anything away, but instead left a clearer mix where the iconic dual lead guitars shine through stronger than ever. Tracks taken from Walls Of Jericho are given a new energy through this mix and given time to truly shine, and the tracks taken from both the Keeper of The Seven Keys albums are ingrained into many metalheads and they truly come alive here. The two iconic singles from this era, ‘Future World’ and ‘I Want Out’, are the best they have ever sounded - there’s a reason they brought so many fans towards the band. Yet now they have a new lease of life, and will be enjoyed by metalheads for another 40 years. The release doesn’t just spend the time on the more popular tracks that Helloween have released, but celebrates everything the band has done. Although nothing chosen is a super deep cut, it’s still a great variety that features stuff from plenty of the less popular albums. The compilation obviously will not be everything the band has ever released - that would be a LONG album - but works well in telling the band’s story. Notably, the Andi Deris era gets a good variety of tracks on the album, as many other collections of the band’s music tends to overlook it. Having this level of coverage works well as an introduction for newer fans as it gives them a taste of every album, and frankly even some of the older fans will be less aware of these tracks, so will definitely enjoy the opportunity to rediscover them. The modern era of the band, that with two lead singers, is also featured on this compilation. This era shows best what makes Helloween a special band who are still developing their legacy. Not many bands would write anthems such as ‘Pumpkins United’ as a love letter to what the band stands for. At the time of release, it marked the return of Kiske to the band, but as time has passed it stands as an anthem celebrating where the band are, two lead singers united in one band. Filled with references to past songs, it’s a perfect choice to be included on this compilation. Including other tracks such as ‘Skyfall’ which also features dual vocals that works to celebrate where the band is now. Both vocalists did great work when they were the only vocalist in the band, but this modern era shows how joyous they are as a pair. As there is only one full studio album from this era there isn’t as much material to select from, but this is how the band exists, and this is what the band is moving forward. March Of Time is a truly great compilation album, and its impressive 42 track long length allows it to explore and celebrate the band. There’s a great variety of tracks that show everything the band has done. However, there isn’t any rare material so for the fan with everything already it may not be the best package. But - it is still a great compilation for those who have just found the band, or those who want to have a curated experience of the band they love. Score: 7/10 March Of Time will be released on March 28th 2025 via BMG. Words: Will Freeman Photo: Martin Hausler

Six years since their previous album Four of Arrows, Great Grandpa have not taken their time apart for granted and have come back stronger than ever. Constantly re-defining their sound, this quintet from Seattle is back with their new album Patience, Moonbeam. After several years of distance due to differing chapters in their lives, Great Grandpa decided to scrap most of what they previously recorded and started fresh, to give us a new perspective of their momentous years apart. With this, we have ended up with an album that truly highlights every members talent with a beautiful sound that is cohesive and whole. Patience, Moonbeam swings smoothly through opposing sounds, giving us moments that are both heavy yet tender, or playful yet serious, delving into both the pains and pleasures of life. Unlike previous record Four of Arrows, this was not recorded in the restraints of a recording studio with a producer and was created over a longer period, with each member contributing and exploring different iterations of each song. Starting with the 36 second instrumental ‘Sleep’, we’re introduced with classical orchestral sounds, letting us know this album is going to be operatic at its heart. This record is not defined by a single genre and each song flows into the next as if it is one 36 minute long song. ‘Never Rest’ highlights the previous statement perfectly, in that this is a single that takes you on a rollercoaster. An expectedly smooth start, with stunning backings of guitar, strings and drums, building toward a dramatic chorus where the speakers explode and then immediately pausing for a silent, lyrical finish. Working through the other already released singles ‘Junior’, ‘Ladybug’ and ‘Doom’, we are treated to an arrangement of sounds. Some sounds take us down an American country road for a celebration of youth and the rebelliousness that comes with this, another is almost acid-trip like electronics with a huge sounding fun chorus. Other songs like 'Kiss The Dice' and 'Top Gun' have the nostalgia effect coursing through their veins, in a sepia-tone sonic slow walk home after a break up that washes over you and drags you into the world they've fostered. Penultimate track 'Ephemera' mixes things up a little, with the trip-like electronics returning but in a more relaxed, moody manner that keeps the energy groovy and almost sultry, as Great Grandpa flex their creative muscles and demonstrate their range and talent. Finishing up the album is the only single that Great Grandpa decided to keep from their previous recordings, ‘Kid’, and it’s perfectly slotted in its final position. With the context behind this song being members Pat and Carrie’s unfortunate pregnancy loss, it gives this album a deeply emotional core and dramatic melodic ending. There is nothing that has not been thought of thoroughly throughout this whole record and there is something for everyone when listened carefully enough. You never quite know which way the album is going to go, and that makes for a listen filled with fun, emotion and constant surprise. Score: 8/10 Patience, Moonbeam is out on March 28th via Run For Cover Records. Words: Laura Hughes Photos: Great Grandpa

In their self-titled EP, Desert'Smoke have crafted a sound that conjures feelings of a wild west shootout and the conflict of this conflict across four psychedelic tracks. Utilising distorted guitar shreds and floor lead drums they build a world in the minds eye of a bar brawl gone wrong and a search for recourse that never quite gets resolved. The stage is set in track one ‘Fuzzy Txtitxu’, with its slow paced intro crafting an equilibrium in its uniform use of stoner rock conventions, with just enough ambience behind it to add apprehension of what is to come. When this song does kick in at 2:10, the band’s aim to introduce heavier conventions become clear, combining hard rock riffs with the distorted guitar to give the feeling of walking into a bustling western town. The drumline from around minute five was very pleasing to the ear too, as were the seamless guitar runs. ‘Gravity Absence’, however, is where this western feel becomes more apparent. The swinging drums do a lot of the heavy lifting in this aspect, but the aforementioned deeper guitars add to this vibe too. As the nine minutes of this track play out, the story of walking into a bar and finding oneself starting a duel begins to spin, with the track swelling to almost-chaos as shots ring out. The tempo increases with the stakes, as the consequences of these actions begin to become real, while the guitar shreds increase their chaos. ‘Blind Watcher’ feels like a real journey - looking out into a desolate landscape, only to walk back to the scene of the crime and wonder what to do about it. The melodies are dreamy and thoughtful, then at around 7:29 the track kicks in, and an audio crashout ensues like a reckoning. The outro to 'Blind Watcher' maintains its crescendo’s intensity, and the mind's eye wanders from the desert into the town once more knowing it will do something, but not knowing what. The closing track '49th Steam Box' is the heaviest of the four, managing to instil some Deftones energy into its soundscape. This track feels like a plot in the making: darting about in the night to find comrades and plan an escape, before devolving into a short drum solo. The last minute of '49th Steam Box' is a wind down, as if going into hiding; in this story, the subject has chosen to try and escape what they have done, rather than face it head on. All in all, Desert'Smoke is a piece of western whimsy that will fit well into any psychedelic or stoner rock festival setlist - it is easy to get lost in the images that the melodies concoct, as well as in the beautiful runs themselves. Score: 7/10 Desert'Smoke will be released on March 28th 2025 via Raging Planet Records. Words: Julia Brunton Photos: Desert'Smoke

London ska-punk staples Buster Shuffle return with their sixth studio album, Together. Packed with infectious energy and singalong moments, the record is bursting with the kind of cheeky storytelling and upbeat rhythms that have become the band’s signature. Rooted in themes of unity and support, Together leans into its feel-good ethos, encouraging people to come together, whether through shared experiences or just a rowdy night out. Right from the start, 'Shows How Little You Know' sets the tone with its playful, lighthearted energy. The lyrics are full of classic British humour, kicking off with the dilemma of wanting to get their first tattoo but not knowing what to get, before joking about inking "your mum" on their neck. It’s the kind of track that immediately puts a smile on your face, pairing sharp wit with bouncy ska rhythms and a melody that sticks. The whole thing is over in under three minutes, but it doesn’t need to be any longer - short, sharp, and ridiculously fun. 'Take A Pill' follows with a chant-ready opening of “woah’s”, the kind of song practically built for live crowds to yell along to. The contrast between the upbeat ska-punk instrumentation and the song’s more somber theme - turning to medication as a solution for life’s struggles - gives it an emotional weight beneath the surface. The repeated refrains like "take a pill" and "day by day" add to the track’s hypnotic, almost mantra-like feel. It’s catchy in a way that creeps up on you, and before you know it, it’s stuck in your head for the rest of the day. Later in the album, 'Knocking At 112' slows things down just a little, carrying a nostalgic and mischievous energy. The song paints a picture of childhood memories, knocking on a mate’s door to see if they can come out and play. The xylophone in the background adds to the youthful feel, giving it an almost storybook-like charm. It’s lighthearted yet brimming with warmth, making it one of the more unique moments on the record. 'One In Ten' brings something different again, in parts with a muffled vocal effect making it sound like a phone call. The lyrics feel like a direct plea for reassurance, giving it a sense of intimacy despite its lively beat. It’s a rant, a vent, a moment of frustration wrapped up in a ska-punk package, and that mix of vulnerability and energy makes it stand out. It’s another one of those tracks that sneaks up on you - the more you listen, the more it clicks. Rounding off the album, 'View For A Fool' ties everything together, but with a more reflective tone. There’s a weight to it, like the band is taking a final moment to step back and take stock. It doesn’t completely ditch the fun, but it’s got a different kind of impact, leaving you thinking just as much as you’re tapping your foot. It’s a fitting closer, showing that Buster Shuffle can bring depth to their sound without losing the charm that makes them so enjoyable in the first place. Overall, Together is everything a Buster Shuffle album should be - fun, full of energy, and packed with memorable moments. There’s a little more variety this time around, with tracks that dig into heavier themes while still keeping things musically upbeat. The balance between humour, nostalgia, and introspection makes it feel like a well-rounded, carefully considered album rather than just a collection of songs. Whether you’re a long-time fan or new to the band, it’s an easy album to get into, and one that will no doubt go down a storm when played live. There’s no filler here; just Buster Shuffle doing what they do best. Score: 8/10 Together will be released on March 28th via Do Nothing Records. Words: Jason De Mendonca Photos: Buster Shuffle

Austrian rockers Vulvarine are back with Fast Lane, their second album and first release under Napalm Records. Since 2019, they’ve been tearing through the scene with their own brand of high-energy, riff-heavy rock they call vulvarock - a mix of classic rock ‘n’ roll, punk, and heavy metal with a modern edge. With Fast Lane, they double down on that sound, delivering a record jam-packed with attitude, big hooks, and enough variety to keep things feeling fresh. Right out of the gate, 'The Drugs, the Love and the Pain' sets the tone. It’s a full-throttle opener that wastes no time, hitting you with driving riffs and Suzy Q’s infectious vocals. The whole thing blazes by in just over three minutes, and is truly a track made to be replayed, perfect for blasting on a late-night drive with the windows down. 'Ancient Soul' slows things down just a touch while keeping the energy up. There’s a bluesy, classic rock lean to it, with cymbals crashing in the background and a funky riff that adds some extra groove. Sandy Dee’s guitar solo is straight out of an old-school rock playbook, adding a nice nostalgic touch without feeling dated. Things take a turn with 'Demons', one of the heaviest tracks on the album. The production here is thick and layered, giving the song a moody, almost hypnotic vibe. Suzy Q’s vocals shift into a haunting, commanding presence, making this one of the more standout moments on Fast Lane. It’s a darker detour that shows Vulvarine isn’t just about good-time rock anthems - they’ve got depth too. Midway through, 'Alright Tonight' brings things back to a more laid-back, groove-heavy feel. This is the kind of song that belongs in a dimly lit bar, the kind where the floors are sticky, and the jukebox only plays rock classics. It’s got an effortless cool to it, with a rhythm section that makes it impossible not to nod along. Then there’s 'Fool', co-written with producer Felix Heldt, which takes the band’s sound in a slightly different direction. It’s leans towards a modern, techy sound, but still keeps that raw rock ‘n’ roll spirit intact. It’s a refreshing change of pace that shows the band isn’t afraid to experiment a little. One of the most unexpected moments on the album is their cover of Modern Talking’s 'Cheri Cheri Lady'. Covers like this are always a gamble, but Vulvarine absolutely nails it. They take the ultra cheesy 80s original and crank it up into a full-blown rock anthem, helped in part by a killer guest solo from Thundermother’s Filippa Nässil. It’s a blast - one of those tracks that makes you grin the first time you hear it. The album wraps up with 'She’ll Come Around', a stripped-down, introspective closer. It’s just Suzy Q and a gently played electric guitar, with what sounds like fire crackling in the background. It’s intimate, raw, and a perfect way to wind things down after an album that mostly operates at full throttle. Overall, Fast Lane is a solid step forward for Vulvarine. They refine their sound without losing that fiery, rough-around-the-edges charm that makes them stand out. If you’re into high-energy, attitude-filled rock that doesn’t take itself too seriously but still delivers, this one’s worth a spin. Score: 8/10 Fast Lane will be released on March 28th 2025 via Napalm Records. Words: Jason De Mendonca Photos: Vulvarine

Walk across any campsite at a festival, and you will be bound to hear the majestic sound of the Vengaboys. Something about the combination of not washing for a week and good drinks makes the average metalhead go truly feral as soon as the opening bars of to ‘We Like to Party’ get started. With the announcement of the Dutch party animals playing Download's District X, this cements a lifelong friendship between metalheads and Europop. Imagine the record-breaking circle pits as everyone prepares to board the ‘Vengabus’. Download is already one big party, and frankly everyone is already playing them while in camp, so this announcement is potentially one of the most raucous and exciting decisions Andy Copping has ever made. Download has been known as the home of metal in the UK for many years now, and it seems like with a push to book three brand new headliners every year - perhaps it’s time to look outside of metal for new acts across the board. There's only so many metal bands left who haven’t played the festival, so they need to look outside the genre to find new acts who can appeal to the most battle-hardened moshers and may even bring in a new crowd, introducing them to one of the world’s greatest festivals. 1) Pitbull No one else brings the party like Mr Worldwide. With Pitbull finally touring the UK again with great levels of success, he would help Download shift those extra tickets with how dedicated his fanbase is. You will always see his fans donned in the ceremonial bald cap, suit and sunglasses in honour of the icon that is Pitbull. His shows are known for high energy and no other group of people brings more energy to a gig than metalheads. Pitbull brings hits that people can actually sing along with rather than just experience the intensity of metal. Pitbull would prove that Download is a festival for everyone, not just those wanting to go to battle in the pit. Mr Worldwide 2) Paramore Paramore have been asked by fans to play Download for many years now, and they did in 2007. But the call for Hayley and the gang to headline the festival would be something else. So much about their infectious melodies and Hayley Williams’ energy appeals to emo's who just want a little dance or a cry. Their emo friends in Fall Out Boy headlined last year - who share a relatively similar fanbase - and it went down an absolute storm. There is no doubt Paramore would give Download everything, even if they did support Taylor Swift last year. Imagine the firework show they could bring during ‘Hard Times’ - and this time no one will be getting fired! 3) ABBA ABBA are one of the most legendary bands of all time. Metal fans seem to have this strange love of ABBA - invite them to any party, and they will always add some ABBA bangers to the playlist. Although the band have not toured since the 80's, they have created a virtual version of the band, like a boomer version of Hatsune Miku. A secret set from virtual ABBA would be the stuff of legend - imagine hearing ‘Dancing Queen’ and ‘Gimme Gimme Gimme’ while surrounded by some of the biggest ABBA fans under 50. You could even make it into a late night set on the Dogtooth stage, as the band wouldn’t exactly need to sleep then. 4) Jedward For some reason metalheads absolutely love Eurovision, and Jedward are one of the most legendary acts to stem from the contest. Jedward’s name comes from a creative blend of the two member’s names, John and Edward. This creativity extends beyond their name and into their classic songs. Their legendary track ‘Lipstick’ is a true Europop classic at this point and would be one of the highlights of the weekend for sure. Even for those attending who aren’t as familiar with Jedward would still enjoy seeing them cover - and arguably improve - other people's songs, such as their version of ‘Ghostbusters’. They would be one of the best bookings the festival ever had. 5) The Wiggles The Wiggles are one of the first band’s people ever hear. They are the gateway into metal for many young moshers. Bringing out the wiggles to play a set at Download would be one of the best ways the scene could say thank you back to them. Although ‘Fruit Salad’ is nowhere near the heaviest song in the world, it still has that level of power through nostalgia, taking you back to a simpler time where there was no genre, no scenes, no -cores, just bloody good music. The band could arrive on stage in their iconic big red car and take everyone on a journey with them. Sometimes all you need for a good festival act is a bit of nostalgia and positive vibes. 6) Jane McDonald What are metalheads known for? Being dramatic, so why not give them someone to bring actual theatre. Jane McDonald is known for covering a variety of classic musical theatre bangers. Imagine on the main stage seeing our Jane covering ‘Memory’, it would be such a great emotional catharsis for the crowd, letting them know it’s okay to express emotions through crying, not just being violent in the pit. Her range of styles is huge, she could also bring the party vibes with her legendary versions of ‘Jai Ho’ and ‘Cake By The Ocean’. She cut her teeth in the industry entertaining drunken crowds upon cruise ships, so she can definitely handle 100,000 metalheads running off nothing but beer and good vibes. 7) Corey Feldman Corey Feldman is an actor turned greatest musical genius of the past 100 years. No one else can craft a song exactly like him. It was of no surprise when Nu Metal gods Limp Bizkit brought him on tour to open for them. His music is challenging at times which when paired with the lyrical genius of Fred Durst created the true intellectuals gig. This gives him credit in the metal world so he would be a safe choice and would not be rejected by the crowd. Even if people don’t initially accept him for his music they will soon truly fall in love with him due to his choreography on stage, which unbelievably he plans himself. A little culture would help make the lineup more welcoming to academic types, as we all know no one else could write ‘Angelic 2 The Core’ 8) The Cheeky Girls Keeping up with expanding the party feel why don’t Download book and book another cheesy act. The Cheeky Girls are a Romanian pop duo best known for their classic ditty ‘Cheeky Song (Touch My Bum)’. They were a fixture of every bad party of the 2000s due to the camp nature of their music and how catchy the simple phrase of ‘Touch my bum, This is life’. They would work well opening for the Vengaboys soon-to-be legendary headline set, bringing everyone back to the 2000s. 9) Crazy Frog Nostalgia based acts seem to dominate the modern festival scene. Those who were around for the dawn of the legendary Crazy Frog are now old enough to be able to afford their own tickets! Crazy Frog has not performed in public in any capacity for a while now, so getting him as a booking would be the stuff of legend. Imagine the staging he could have, as the lights go out and then you hear over the speakers his legendary battle cry ‘Bing Bing Bong’ while he appears from the smoke on stage. Although not as loved in the metal scene as other acts, he still has his fans and they are dedicated. Words: Will Freeman

Rebellion is a staple of live music in the metal scene that really nurtures smaller bands and allows them a place to be uniquely them, so it was no surprise that Metal To The Masses had chosen this iconic venue to host the Manchester rounds of the competition. With the acts already down to the last sixteen, the pressure was mounting for a coveted spot in the grand final. Being that it was the quarter finals, the quality of bands performing was already incredibly high. Drawing the short straw of being the first act of the night meant bringing the energy, and DWINGLE, a local band with a relatively small online presence, stormed the stage ready to provide just that. Strutting on stage as a four piece in matching uniforms of white shirts, black ties and even darker sunglasses, the crowd knew they meant business. As they launched into their first song, a few fans sporting DWINGLE merch nodded along, but when the song faded and the band properly introduced themselves, it became clear: this wasn’t just a band with a gimmick. DWINGLE absolutely had the talent to back up their schtick. Being the first act on the bill is always a terrifying notion to comprehend, so when DWINGLE rose to the challenge with all the energy they could muster, it blew the crowd's minds and got them into the spirit of the evening. Managing to get a crowd moshing at 6pm on a Sunday evening is no mean feat, but DWINGLE managed to get everyone in the audience on their side. Bringing non-stop energy and entertaining lyrics, DWINGLE have hit a niche that the independent metal scene seems to have been missing for a while, so it was no surprise that they were the first band of the evening to advance to the semi-finals through the crowd vote. Dwingle Second to hit the stage were Covert UK, winners of the judges vote and young up-and-comers. Performing with the skill and finesse of a band that’s been around for decades, Covert UK managed to stir the crowd to their side whilst being the youngest band on the lineup. Most of the band being under the age of eighteen meant they were already starting on a backfoot compared to the other talent that evening, but if the crowd noticed, it definitely didn’t show. Donning impressive blacked out stage makeup which could be seen from the back of the venue, Covert UK’s natural aptitude for heavy riffs and crowd work stood them in very good stead. Their set coexisted with visuals behind them on screen, including a Dr Who reference which brought the set full circle as their guitar work featured notes that sounded like they’d been lifted straight from the show. It came as no surprise that Covert UK were awarded the judges vote, winning them a spot in the next heat. Covert UK are a band with impeccable talent and a fully realised concept, coupled with a unique sound that felt like they’d been playing together a lot longer than their age would suggest. Covert Lantern, third to perform that evening, needed a special mention away from their performance. As well as delivering a killer set, which the crowd ate up, Lantern were there to assist All Out Of Bubblegum (who performed later that evening) when they experienced technical difficulties. Without a second of hesitation, they fostered that sense of community the Welsh take pride in, and jumped to aid Bubblegum by offering their amp to the band to ensure their set could continue. Away from this, their performance was absolute. Imagine a hard-core band with the potential to get the entire crowd going mental, fronted by Mr Poppy from Nativity, and you will have found Lantern. They brought the fun to the evening, treating each audience member as if they were the only person in the crowd. You could see how much effort this band put into entertaining and how much this competition meant to them. Sadly, this energy didn’t translate into a spot in the semi-finals, but we believe Lantern are truly a band to watch out for. Lantern Rounding out the night, All Out Of Bubblegum graced the stage with Fa Caudwell, their vision in pink, leading them out. Marred by technical difficulties with their frontman's guitar, their set started on a rough note. That being said, once issues were said and done, the band bounced back with incredible strength and truly refused to let the evening falter. Their copious amounts of stage presence and crowd interaction meant they could pull it back and deliver a stellar set complete with a wall of death that the crowd delighted in, and gave a huge testament to their professionalism. Musically, their set was tight, punchy, and all the things you expect from a great live band. Their catchy choruses and chants were repeated back to them by both old fans and new, spreading like wildfire across the venue. By the time All Out Of Bubblegum left the stage, the room was buzzing with energy. The bands in this quarter final had truly proven that it was truly anyone's game. All Out Of Bubblegum One of the best things about Metal To The Masses is the love and sportsmanship each band shows for eachother, and both DWINGLE and Lantern deserve a special mention for that, with both bands successfully coming to the aid of All Out Of Bubblegum when they faced equipment failiure on stage. It's a rare thing to see bands lend out their equipment at a regular gig, so to see it happen between bands that were in direct competition with eachother in a high-pressure environment was truly heartwarming. As the event drew to a close, it was clear to the audience just how much of a supportive affair these shows are. Bands congratulating one another, sharing drinks and stories, and standing in the crowd supporting other acts showed how much this meant to everyone involved. An incredible night with first-class bands is what Metal to The Masses promised, and that's exactly what they delivered. Words: Emily Bancroft Photos: Anna Goley

Since their conception, Deafheaven have existed at least in the vague consciousness of metal. Their first release was taken as a sign of promise, before they blew the lid off of their perceived potential with the modern-day classic that is Sunbather. Having created an icon of extreme music already, as well as three further sensational releases - all probing into different areas of their broad stylistic range - it's surely at least heavily improbable that they could do the same thing again twice? Improbable, yes. But impossible, no. Having pretty much created and curated the genre known as blackgaze, there are few adequate comparisons for a band who are so beautiful yet so crushingly heavy, so starkly painful and so gorgeously emotive. Even their immediate sonic peers in Alcest, Agriculture or Sadness can't quite compare to the vast array of sounds and feelings that Deafheaven can conjure. It seemed to all the world that, as far as we could tell, Sunbather would reign supreme at the head of the blackgaze table for aeons to come - but not all is as it seems. Lonely People With Power is the heir to the throne, that blends the beautiful with the brutal to perfection yet again. After the extremely brief and slightly uncomfortable 'Incidental I', the all-but album opener 'Doberman' is a heavyweight aural boxer that throws you about the ring, tossing any preconceived notion of 'yes, but Sunbather' out of the window. George Clarke is in the form of his life, with roiling howls and anguished shrieks alike pouring out of whatever it is you may be listening on, whilst Daniel Tracy pummels his drums into submission and Kerry McCoy, Shiv Mehra and Chris Johnson all rollick in the pandemonium of their assorted strings. Lead single 'Magnolia' introduced us to this new era of excellence, ushering in a new age of Deafheaven with the first serious signs of heaviness since 2019's 'Black Brick'. Anyone who gave it a listen may have cautiously gotten their hopes up for a great album, maybe an 8 or even a 9 out of 10. But they were all of them deceived, for a new iconic blackgaze album has been forged in the fires of San Francisco. Of the nine tracks that follow 'Magnolia', eight of them can stake a claim to being on an end of year best songs list - and that ninth is an interlude barely longer than two minutes, so is dubiously even a true song. 'The Garden Route' comes immediately afterwards, and is a shock to the system to say the least. It stands up there with the VERY best of the band's discography, and is not alone in that fact either. 'Heathen' and 'Amethyst' follow suit, albeit taking two different routes to get there. The former rides a groove that we've not really heard Deafheaven get into before, and swerves in and out of more relaxed cleans and middle-of-the-road heavy (by the standard of the band) in a wondrous concoction of immense enjoyment. The latter, however, builds up and up and up for the first half and then explodes into a freefall, spiralling out into musical oblivion as each band member steps to the fore and delivers a timestopping display, simultaneously. Side C begins with 'Incidental II', a haunting departure from the expected path of this album. That long worn road needs some deviations on occasion, and the perfect time to detour has been found in an unsettling feature by Jae Matthews of Boy Harsher. This follows slickly into 'Revelator', the unofficial title track due to containing that within its lyrics. It's a more gothic side to the usual Deafheaven formula, and runs an ominously reverent sound that feels like descending into depravity masked as martyrdom. Starting out with a simple drum beat, 'Body Behaviour' feels like another real step away until Clarke's vocals reappear, but even then it's still markedly less oppressive and allows a little glimpse of sun into proceedings. Followed by 'Incidental III', the aforementioned dubious song features a reading from Paul Banks of Interpol before it segues into some of the most utterly glorious music put to record thus far in audio history. 'Winona' might be the best song released this year. It is an utter triumph of the Deafheaven concept, bringing their most emotionally devastating writing to the fore and intertwining it seamlessly with a crescendo of breathtaking, crushing weight in sonic form. You will routinely find yourself at a loss for words, or even thoughts, as the band run rampant across the audio files. They are in their element, dancing with the best of themselves in what feels like not only a successful finish to an album, but a triumph. That feels so perfect, and yet they're still not quite done yet. It's time for the final crescendo. 'The Marvellous Orange Tree' takes the baton for the final leg of the relay, and does so in more subtle fashion than most of the rest of the LP - at least until things kick off once more, for this final stretch. The cacophonous brilliance of 'Winona' left long behind, we're riding the last wave into the sunset and crying whilst we do so. The song evokes longing, wistfulness, and the titular feeling of loneliness, yet manages to make them all feel slightly closer to happiness than they should, in a gloriously bittersweet blend of heartwrenching quality that will only let up past the five minute mark, as the album lets you close the final page and shed a tear of finality. It's not even the end of March. But it appears that this writer has found her album of the year already, and it's going to take some serious work to even approach the utter majesty with which Deafheaven have conducted themselves upon Lonely People With Power. This is yet another era-defining album from a band who can't stop winning. Six albums in, and they're still the best band at the genre they created and perfected, with not a contender in sight. If you listen to one album based on a review you read online, make it this one. Score: 10/10 Lonely People With Power will be released on March 28th via Roadrunner Records. Words: Jake Longhurst Photos: Nedda Afsari

Prog rockers Tiberius have graced the scene with their newest album Singing For Company, combining the prog rock prowess they have shown before with some addictive metalcore influences, to craft a sound that exudes quality across all eight tracks. Drawing on themes of faith and crisis, they create an ethereal and sinister sound that’s all too easy to get lost in. The ethereal sound in this album can be heard from the outset, wherein album opener ‘New Revelation’ opens and incorporates a string section that is utilised throughout the project. The track elevates itself through its 5:14 runtime towards a swelling end. The lyrics in each track harken to a priest becoming angered at the religion they’ve sworn to, exemplified perfectly in ‘Soul Saviour's second chorus “soul saviours/fighting but there’s no change at all”. The interlude in 'Soul Saviour' also is simply gorgeous, utilising classical guitar as Grant Barclay talks of a baby born to delusion, before launching once more into a soundscape akin to every instrument soloing at once in the best way, then finishing with that same classic guitar. Listening to ‘Mosaic’, you can instantly tell why it was chosen for a single; Nick Kelly’s drums come into their own with a constantly evolving drumline in the first verse, culminating in 16th note hats mixed with double bass drumming as the bridge and chorus hits. The song built around Kelly’s work is great, with guitars running lighter to foreground the workout happening in percussion. It closes with just vocals and the return of the violins as a short break, before the second half of this project begins. The title track ‘Singing for Company’ is next, offering a sound that is equal parts jumpy and sinister in its calls for other voices to hear its song. The riff trading in the midpoint instrumental is satisfying to the ears; the main motif of “Share your song with me/Share your song for me” equally so, and is an immensely sweet line to boot. The track builds wonderfully, before tragically falling victim to the fade out by the end - perhaps more of a pet peeve than an actual issue, but nevertheless makes this project lose points. The last four tracks on this project contain most of this album's metalcore influences, starting with single ‘Juggernaut’; a pull no punches fusion of prog and metalcore with choral ambience by its end, that once again sends the listener soaring into the ethereal. It is backed up immediately by second album highlight ‘The Iliad Flow’ - another callout track for the group that the subject of this album is railing against, atop another drum workout for its first two thirds, before breaking for a violin section and floor lead build up while Barclay claims that he’s better off alone, then launching into a double teamed drum/guitar solo instrumental. ‘The Iliad Flow’ just gets bigger the longer it goes, before cutting itself off so nonchalantly it feels almost like it's showing off - yet the braggadociousness is deserved for the sheer quality of the music. To close, the Scotsmen break out the bagpipes for the beginning of ‘Touch the Past’, coming in at a whopping 6:43 and calling for backup while it asks for mercy and proclaims that the subject is “not your prophet”. ‘Touch the Past’ is a perfect closing track for this project, from certified bar “Hang them from the spire” in its lull second verse, to its consistent builds up and instrumental releases that hold onto the tension with a vice grip - only to release it like a breeze. The short piano melody is a nice touch at the end too, giving the listener the time to breathe after taking in the madness. All in all, this project is beautiful in concept and execution. The religious imagery of churches and spires, ideas of true religion and disbelief, apostles and martyrs are all contrasted with fire and brimstone revelation-style apocalypse, atop a constantly pushing soundscape where each member has their technical prowess on display. The mix of the piano and violin interludes push this soundscape into a purgatory that is perfectly thematic of the concepts at play, giving a feeling of conflict that feels deeply relevant to the landscape this album is being released in. The only true critique that could be levied at this project is the overuse of the fade out; even the track length isn’t much of a problem due to the structural strength of Singing For Company, but working on other ways to finish tracks would be a benefit to Tiberius. Singing For Company is worth a listen regardless of your preference of subgenre - there is something in this album for everyone, even if it is just an appreciation of the moving parts within it. Score: 7/10 Singing For Company was released on March 21st 2025. Words: Julia Brunton Photo: Calum McMillan

You have just under fifteen minutes left to live - so why not get the sledgehammer out? Baltimore darlings JIVEBOMB are about to release their brutal assault of an EP ETHEREAL, a ten-track firecracker of a record, with each song lasting well under the two-minute mark. At the perfect length to let off some much-needed steam, it pushes the boundaries of hardcore, grindcore and the realms of the extreme with two raised fists. There’s no doubt about it - JIVEBOMB are back for blood. Whatever happens in the pit, stays in the pit. ETHEREAL is JIVEBOMB’s third release, and the most gut-wrenching yet. Recorded in the Circular Ruin Studios in Brooklyn, New York, the record is gritty, intensely pushed to the limits and infused with vocalist Kat Madeira’s unrivalled snarls. Supporting Angel Du$t on their east coast tour in the run-up to the release, they will also have their UK homecoming at the Manchester leg of Outbreak Festival later in June, alongside hardcore royalty Knocked Loose and Speed. ‘THE IMPACT’ is our emphatic opener, pulling us forcefully into the album with guitar static. Heavy chugs build into a cascading drop of sound. We are introduced to JIVEBOMB at its most aggressive - a prowling beast of a track, ready to pounce on any unsuspecting listeners. It’s definitely a loud ‘in-your-face’ listen, something you'd blast on a sunny day to intimidate the neighbours. Picking up the pace with ‘ESTRELA’, we become fully acquainted with Kat’s unrelenting growls, churning the track into a sweaty mess. A spectacular slow-burn breakdown fuels the second half of the song, as we become one with the first single from this new era, ‘SURVIVAL AIN’T TAUGHT’. Still relentless and fast-paced, it loses itself slightly within the pacing of the other tracks but comes back to redeem itself when it changes up its style, employing a monumental blast of sound at the end of the track. Arguably, ‘WISE CHOICE’ is the biggest jewel in the record's crown. Both grimy and groovy, it turns the pit into a dancefloor. This track gives some well-needed breathing room to the listener, with the tight constraints of the record being otherwise blindingly fierce. But it doesn’t last long. ‘FATES DOMAIN’ is tight and imposing, a slow track driven by cut-throat guitars and harrowing wails, whilst the whiplash of 'RHYTHM ZERO' - being the fastest and the most blindsiding track of the record - leaves no room for error. Unpredictability drives this track, as well as an excruciatingly fierce whammy bar. In amongst the slam-sandwich of tracks, 'CHARM' is a brutal follow-up to 'RHYTHM ZERO'. It’s a pneumatic drill of a track that brings with it brutal noise and mortally impending doom. The construction project isn't over yet, with 'MISTAKEN' being reinforced with titanium steel beams, bassy drum manoeuvres and a whole lot of grit - a hard hat and PPE are a must-have when coming in within 10 feet of this album. 'SERAPHIM (MARINA’S SONG)' follows suit, leaving enough room for a guitar solo. It’s built on pure unbridled anger. 'DISFIGURED' brings the album to a close with immense sound and even more ferocity. A final war cry and a fleeting siren bring this damaging chapter of JIVEBOMB’s story firmly to a close. JIVEBOMB, this is an impressive record with a lot of potential. Some moments are so intense that eleven minutes of pure noise is just the right length to stomach it. There is no need for more, the record did what it needed to do. Thoroughly shaken, positively electrifying and, to top it off, it's still a good old-school sludgy record (with actually quite decent production). Live at the BEC is all we need to call it a triumph. Score: 7/10 ETHEREAL will be released on March 28th 2025 via Flatspot Records. Words: Amber Brooks Photos: JIVEBOMB

KAZEA is not a band that easily fits into any single genre box. The Swedish trio, formed by former Orochen members Jonas Mattsson and Rasmus Lindblom alongside drummer Daniel Olsson (Hellsongs) crafts a sound that is both expansive and deeply personal. Blending elements of post-rock, neofolk, and sludge metal, their music is an evocative journey through heritage, pain, and self-reflection. Their debut album, I, Ancestral, is a bold statement, immersing listeners in an atmospheric and cathartic experience that lingers long after the final note fades. From the outset, I, Ancestral establishes its haunting tone. The album opens with 'With a Knife', a short yet gripping track that layers a spoken-word passage over sparse instrumentation. Chains rattle in the background, a sound that will echo throughout the album, adding a sense of unease. As the song progresses, a gentle guitar melody intertwines with the speech, punctuated by the occasional cymbal hit, creating a hypnotic rhythm. Midway through, the guitar distortion shifts, intensifying the atmosphere and seamlessly fusing the speech with the instrumental elements. This interplay between spoken word and music is a defining characteristic of I, Ancestral, lending it a cinematic quality. llowing this eerie introduction, 'Pale City Skin' plunges deeper into KAZEA’s sonic world. The track continues the rhythmic pulse of the opener before erupting into heavier, more immersive instrumentation. The vocals blend effortlessly into the mix, their presence both commanding and ethereal. A sudden shift in guitar distortion once again forces the listener to recalibrate, momentarily disrupting the flow before settling into a new, equally compelling groove. KAZEA excels at these dynamic shifts, keeping the audience engaged and slightly off-balance. The album reaches an early emotional peak with 'Trenches'. Opening with a melancholic guitar passage, the song sets a sombre tone before gradually building in intensity. The dual vocals - one clean, one screamed - create a layered effect, amplifying the song’s sense of desperation and grief. The screams in the final section feel especially raw, as if ripped straight from the depths of anguish. The way the screamed vocals echo behind the clean ones adds an internalized quality, as if voicing an unspoken pain. This track stands out as one of the album’s most emotionally gripping moments. At the album’s midpoint, 'A Strange Burial' revisits the spoken-word approach introduced in 'With a Knife'. The return of the chains, accompanied by slow, deliberate guitar work, reinforces KAZEA’s ability to craft immersive storytelling through music. The song’s pacing encourages contemplation, inviting listeners to absorb the weight of the album’s themes rather than rushing through them. Then comes 'Wailing Blood', where the energy picks up again. A steady, rhythmic drumbeat, almost march-like, propels the song forward as another brief speech plays. The track balances an engaging intensity with an underlying sense of tension. While it may not be the most standout moment on the album, it provides a necessary shift in pacing, preventing the record from becoming too steeped in its own darkness. The final stretch of the album is where KAZEA truly shines. 'The North Passage' offers a brooding, slow-building atmosphere before leading into the album’s climax - 'Seamlessly Woven'. Clocking in at just over seven minutes, the closing track is a masterclass in pacing and composition. The inclusion of ambient sounds, such as the chirping of crickets, adds to the song’s naturalistic and meditative feel. The vocals glide smoothly over the instrumentation, and the introduction of a delicate piano melody enhances the song’s mournful tone. As the album winds to a close, there’s a profound sense of reflection, as if the listener has journeyed through a deeply personal experience alongside the band. With I, Ancestral, KAZEA has crafted a debut album that is as immersive as it is haunting. Their ability to blend heavy, crushing instrumentation with moments of eerie stillness makes for a listening experience that feels cinematic and emotionally charged. The incorporation of spoken word, ambient soundscapes, and dynamic vocal interplay ensures that the album remains unpredictable, never settling into easy formulas. Drawing inspiration from bands like 'Wovenhand', 'Cult of Luna', and 'Neurosis', KAZEA’s sound is a testament to their willingness to explore the boundaries of heavy music. Whether through the mournful beauty of 'Seamlessly Woven' or the raw intensity of 'Trenches', I, Ancestral leaves a lasting impact. As the band themselves have hinted, this is only the beginning of their journey. If this album is any indication, KAZEA is poised to carve out a unique and compelling space in the metal landscape. Score: 9/10 I, Ancestral was released on March 21st 2025 via Suicide Records. Words: Jason De Mendonca Photos: KAZEA

Noisepicker have returned with their second album The Earth Will Swallow The Sun - a collection of sounds built up over the duo’s seven year semi-hiatus, mixed by frontman Harry Armstrong. Drawing influence from his and drummer Kieran Murphy’s relative projects as well as the doom, punk, and blues that brought them to rock in the first place, the duo have paid homage to these roots in this passion project. The album opens with single 'What You Deserve', an eerie rock ballad that sets the pace and atmosphere for this project. The energy is that of dragging a broken leg away from the battlefield, fuelled only by revenge and the indomitable human spirit. This is followed by the first act highlight 'Chew', a cheesy rock song playing on the idea of hating ones face and the mind it contains; though a little on the nose in its lyrics (an issue that will persist throughout the following eight tracks), its echoed chorus and swelling soundscape make it stand out within this project’s first half. 'Tomorrow Lied the Devil' isn’t too far behind its predecessor, but is where the critiques of The Earth Will Swallow The Sun become fully formed. For its positives, the tension is built and maintained well - in particular by Murphy’s drum work, which includes a serviceable outro solo as the track closes out. The use of live mix is also to 'Tomorrow Lied the Devil’s benefit here - the manifesto style lyrics hit more genuinely when the echoes of the vocals can be heard. This said, the first major critique of this project is that of the somewhat forced nature of Armstrong’s husk in his vocals; this is presumably to fit the into the homage of the more traditional subgenres that Noisepicker is aiming for, but the struggles to keep up this tone become more apparent as the attempts to change notes have mixed results. Also, pet peeve one: there should be a comma between 'Tomorrow' and 'Lied'. As the second half of this project sets off the first true lowlight emerges in the form of 'The End of Beginning'. The use of the crashing sea and its harmonies work really well within the track, but in its bid for artistry the lyrical issues begin to shine through. Armstrong begins to list his present participles with increasing intensity, the music behind him beginning to swell as he gets to failing, drowning, breaking then dying - the swelling to his most intense doing words feels as cliché as it is boring to listen to, and when the sea crashing noises return at the end of the track a snort is caught in the throat while remembering that experimentation with different lyrical styles is good and healthy for an artist. Luckily, the next three tracks after this represent the highest quality chunk of this project, starting with 'Start the Flood'. The choppy guitars and live mix complement the vocal choices really well; the scream mixed in adds to the energy, and cringe lyrical choices such as "start the flood/cleanse the blood" are easy to ignore within the headbangabiity and earworm riffs. This is followed up by title track 'The Earth Will Swallow The Sun', where the experimentation works in the project’s favour. Lyrically, Armstrong simply chooses to shout “The Earth will swallow the Sun” over the top of himself and Murphy jamming with one another. There is some odd choices with adding monkey noises into the mix, but the organic feeling of this track conjures the feeling of sitting in a band practice with your friends messing around before real practice - it was “f*cking seamless”. To make a highlight hat trick, it is followed by 'Lorraine in Blood', a sneaky character track embodying the blues influence that Noisepicker have cited for this project; the drums and melody are reminiscent of Henry Mancini’s 1963 Pink Panther theme tune while Armstrong spins a story for the listener of falling out of love, and perhaps even a murder. 'Lorraine in Blood' is wonderfully sinister in its explanation of love turning to hate, bookended with radio static to add to its finding the motive energy. The outro to The Earth Will Swallow The Sun is called 'Lunatics', which feels counterintuitive with its slow tempo and passive feel - the purpose of having it is unclear, bar maintaining the previous track’s atmosphere for an extra couple of minutes, though when listened on repeat it does blend nicely into 'What You Deserve'. It could have not been there, or may have been better used as an intermission or placed before 'Lorraine in Blood' to give it a secret track feel. Overall, The Earth Will Swallow The Sun bats average: if live mix classic rock is what you are looking for this will work for you. The riffs and drumwork were good, though the lyrics were spotty, and the forced husk of Harry Armstrong became more apparent as the project went on. Even with its praise, 'Lorraine in Blood' was slipping into blaccent territory with Armstrong’s homage to the blues, which left conflicting notes on completion of listening. This is a perfectly passable offering - not more, not less. Score: 5/10 The Earth Will Swallow The Sun was released on March 21st 2025 via Exile on Mainstream. Words: Julia Brunton Photos: Noisepicker