It's been a whole year since we attended our first festival as a publication, and now we're back there again! Reality Unfolds is an amazing three day event in New Cross, London, that showcases a blindingly good set of hardcore bands, screamo acts, metalcore groups, and more - as well as in it's short three years of life routinely featuring full debuts, UK debuts, debut headliners, one off shows, long-awaited returns, and even last shows! There is always something good to find at Reality Unfolds, even for the most discerning of listeners, and on the first day of the 2025 edition we caught every act to let you know what's what. Closed Hands Closed Hands kicked off the weekend with a bang - the skramz group decimated their half-hour opening slot with the efficiency of a far more seasoned band. Mixing in basslines that alternately sounded like ones from Iron Maiden's catalogue and staples of the Midwest Emo recipe book, as well as drums that ran the gamut of heavy styles, the low end of the band held immeasurable interest whilst the top end set about raining chaotic anguish onto the New Cross Inn crowd. As it was the singer's first time fronting the band alone, they mentioned they'd been pretty nervous in the week leading up to the show, but the nerves were indistinguishable from excitement as they took the 6 o'clock crowd by the scruff of the neck and dragged them about vocally until they had to finish. Walking offstage, they recieved a very well-deserved round of applause. Hour Of Reprisal Norwich's own Hour Of Reprisal set about to tear down the whole venue, with a brilliant hardcore set that alternately spoke out against right wing hardcore, the police, and also anyone who wasn't moshing hard enough. The straight edge crew had more breakdowns than a petrol car filled with diesel, and in particular the song 'Every Anti Word' had four distinct breakdowns and closer 'Failed State' featured FIVE of them, which made for an incredibly satisfying watch all in all. They're releasing an album in the near future, so any fans of slabs of sonic destruction should keep a close eye on Hour Of Reprisal. Vicarage The mighty Vicarage were on third, walking onstage at 19:30, and their modus operandi was clear - to exorcise the crowd in one obscenely heavy set. Playing through their whole November EP 'Perfect Hatred' was a particular highlight of the whole evening, as the release is crushingly good from front to back and sounded even more potent when played live. 'Be Thou Clean' was without a doubt the highlight of their whole set, with the song rippling through onlookers' bodies like a shockwave of rancid heaviness. The band are hopefully going to be touring again soon, so if you've not already seen them you'll very soon have the chance to understand why they're one of the bands on everyone's lips. Long Goodbye Metalcore crew Long Goodbye turned up the aggro mere moments after getting onto that hallowed New Cross Inn stage. The force with which they spat out their bruising tunes cannot be understated, and as the current touring support for headliners WristMeetRazor, they've been warming up for some time so were in furiously fine form on the night. Whilst their entire set was a spectacular display of brute force metalcore, their closer was a level above anything else they played - 'endlessly repairing a dying format' was another one of last night's biggest highlights, and will singlehandedly have made Long Goodbye a plethora of new fans in that crowd. Dry Socket Hailing from Portland, Oregon, the main support slot on day one came from Dry Socket. With a different tone to most of the rest of the bands playing, you might be forgiven for thinking that they got a muted reception, but the brazen American punks showed up and showed out with a pit full to the brim of two-steppers, crowdkillers, moshers and more. Their more punk based hardcore gave an injection of speed and rage to proceedings, and even had a couple of people commando crawling across the floor, which is a new one on a couple of us. Raising the roof with their high paced hardcore from beginning to end, Dry Socket have certainly gained a fan in Out Of Rage. WristMeetRazor Finally, it came time for WristMeetRazor to take the stage. The first ever published interview on Out Of Rage was with Justin, the vocalist of WristMeetRazor, so to be able to cover their second ever UK show and first UK festival show (and headline) is a big full circle moment for us! As the lights dimmed and anticipation grew, the volume turned up and Justin demanded the crowd get closer and tighter before they launched into their set. The Washington D.C. five-piece pulled out all the stops to make their caustic, industrial metalcore set a moment to remember, and they succeeded massively. Another of the big highlights of the night was them playing through the track 'Static Reckoning' off of their 2024 effort 'Degeneration', which not only went down a treat with previous fans but riled up the pit yet again for plenty more energy before they finished the night off in style. And with that, day one of Reality Unfolds was over, but we'll be back again today to see just what kind of musical decimation the genius behind Reality Unfolds, Theo Araby-K, has got in store for us all. Words: Jake Longhurst Photos: Lizzie Jones

Bands choosing to play an album in full can be a risky move for a headline tour, yet Insomnium prove how it was the right choice to celebrate Shadows of the Dying Sun. It’s a Tuesday in January; the streets of London are cold and relatively quiet. Throughout the streets an hour before the doors open, the queue of excited metalheads keeps growing for Insomnium’s only UK date this tour. The venue fills up fairly quickly after doors finally open, with the crowd ready to see the first band of the evening Omnium Gatherum play their album Beyond in full. The album works well in a live setting due to how well sequenced it already is. Each song has time to fulfill its potential. It almost comes across as odd that Omnium Gatherum is only an opening band tonight as the end of the set is satisfying in a way that only usually headline acts can come close to. The crowd are ready for the actual headliner for tonight, the first album played in full tonight was loved by all metalheads in the crowd. The crowd ready and wanting more now await Insomnium. The venue fills up further, the front now dense with metal heads on edge waiting to hear a classic album for the first time live in full. As soon as the band hit the stage they start with pure energy and passion. What’s even more impressive is that guitarist Markus Vanhala is playing in both bands tonight yet you can’t tell he just played another record in full before. The crowd take the album opener 'The Primeval Dark' well, the crowd stood in awe of what’s about to happen. People grab their friends and head bang together. As soon as they transition into 'While We Sleep' the mosh pit opens, and the crowd goes to another level of intensity. The song is arguably the most popular by Insomnium and playing it this early in the set may not work all the time but for an album tour it works brilliantly as the fans know they already love every song. The fans sing along to that iconic guitar riff while doing a mixture of jumping and headbanging. The set only just started yet the crowd is already ecstatic with the music. As Insomnium carry on playing 'Shadows of the Dying Sun' in full it’s clear how much this album means to people. The crowd is clearly emotional to finally hear many of these songs live for the first time. The band asks a few times throughout the set what the next song will be and the crowd gets more enthusiastic each time shouting out the name of the next album track. Every song gets a chance to be celebrated in a live context. The pit shows no signs of slowing down, waves of crowd surfers compliment Insomnium’s excellent stage presence. 'Ephemeral', another fan favourite, sees the crowd fully embrace the heaviness of the song with the pit growing even further. Even those not in the pit are moving along in some way to this song. When the band play the title track there's a sense of dread in the crowd that this set will be over soon. On the original release of 'Shadows of the Dying Sun' the title track is the final track, yet tonight we end the set with 'Out to the Sea', a bonus track. The band blazes through the album in full bringing the set to an end. As they leave the stage the crowd take a little time to gather their breath back as tonight they have just seen one of the best melodic death metal albums played in full. The fans still want more, chanting Insomnium over and over till the band return to the stage for a two-song encore. The band open the short encore with Lillian from their most recent album. The shredding guitars and heavy vocals instantly bring the crowd back to life, you wouldn’t be able to tell the band has briefly left the stage. Plenty of fans air guitar along to the riffs while the pit continues. The final song tonight is One for Sorrow. It’s one of the calmer songs tonight as the pit finally slows down as the moshers grab each other and wave their horns along. That brings tonight to a close. The band seem to have loved the crowd, and the crowd were happy to hear such an album played perfectly in full. Metal fans at their most wholesome. Words: Will Freeman Cover Photo: Ben Blisset

January can be an exceptionally bleak month of the year for all, with the bitterly cold temperatures and the inability to defrost a windscreen, but with Swedish quartet Sarcator’s new album ‘Swarming Angels & Flies’ dropping tomorrow, the band will be turning up the heat to unimaginable levels. With eight brand new whiplash-worthy tracks and three mind-blowing covers, ‘Swarming Angels & Flies’ will leave fans needing a neck brace by the midway point of the album. Starting off strong with ‘Burning Choir’ as their opener, Sarcator sets the tone of the album sensationally with an ear-bursting track that throws all the angst and aggression at fans that they’ve come to know and love from the band over the past six years. Full of exceptionally high-energy from Leo Buchalle's riffs on guitar and Jesper Rosen's pummelling force on drums that will leave fans foaming at the mouth. The guttural and raw vocals should definitely come with a ‘do not try this at home’ warning, with lead singer and guitarist Mateo Tervonen most likely needing some serious vocal rest after recording this first track. Next, the album transitions into ‘Comet of End Times’, the second track of the album and right off the bat, begins with a powerful and angsty guitar riff from Leo Buchalle that will have fans sprinting into the center of the pit in no time. The scream-worthy vocals from Tervonen showcase his innate talent and brags exactly what he is capable of. ‘Comet Of End Times’ is perfectly followed by the title track ‘Swarming Angels & Flies’, which hits eardrums with insane instrumentals right from the get go, inciting a feral need for fans to head-bang themselves into intensive care no matter where they are. The midway point of the album (how’s the whiplash going?) is marked sensationally with ‘The Deep Ends’ and ‘Where The Void Begins’, the latter being the longest track on the album sitting at a healthy seven minutes, where ears are blessed with guitar riffs to top all those that listeners have heard so far. Tervonen confidently shows off his spectacular vocals in these two tracks, leaving anyone who listens gasping for more and, as a noteworthy centrepoint for the album, the remaining tracks do not disappoint. Fans are in for a very welcome treat with ‘Where The Void Begins’, which makes a momentary shift in sound and builds from the very beginning, but nothing could prepare anyone for the moment the vocals kick in, nor for the insane howls they’re about to hear. As we approach the final tracks, the story comes to a monumental end with ‘Closure’ and ‘Unto Sepulchres’, two tracks which are bound to create circle pits in any and all situations. ‘Closure’ shifts the gears and launches instrumentals that not one fan knew they needed, with ear-splitting riffs which would have anyone stomping along on their dreary morning commute. This leaves us eye-to-eye with the final track, ‘Unto Sepulchres’, which perfectly defines the term ‘big finish’. If fans think they’ve heard all there is to hear by this point, Sarcator bursts out of the shadows with another trick up their sleeves, ending the story with speaker-ruining growls and finger-breaking riffs which could well be the best on the album. ‘Swarming Angels & Flies’ encapsulates rage in its finest form, and will be a blessing upon every metal fans keen ears - not to mention it's head-splitting to the point where it should come with a volume warning to anyone listening with headphones! ‘Swarming Angels & Flies’ will be released on January 17th via Century Media. Words: Becca Wheeler Photos: Sarcator

With AntiMozdeBeast's new album ‘The Alien Machine’, a new striking industrial electronic terrain has been mapped. This album stands apart from previous AntiMozdeBeast releases by taking listeners on a tense and unnerving thematic rollercoaster, that's been blended with juxtaposed adrenaline-fuelled electronic rhythms and hauntingly hypnotic beats. Combining influences from Nine Inch Nails, Skinny Puppy and Ministry, Gabriel Palacio single-handedly builds upon his signature experimentally industrialised electronic fusion and avant-garde stylistics with a texturally chaotic approach. ‘The Alien Machine’ propels listeners into a new uniquely creative and enigmatic instrumental landscape, shaped by dynamic discordant layering and retro-infused electronic tones to create a mystifying auditory labyrinth which listeners will find hard to escape.  Opener 'Antigone' sets the tone with its fast-paced ambient beat and oscillating electronic melodies. Introducing a distorted retro-video game feel that continues throughout the album, the track incorporates mysterious undertones with repetitive synths weaving throughout. It induces high-intensity unnerving emotions, that play a quintessential part to the experience of the album.  With ‘War Dance’, AntiMozdeBeast continues playing with the listener’s emotional headspace - this time using panicked rhythmic patterns, paired with discordant chords, that echo the stressed emotional state this song conjures up.  Symbolising ‘The Alien Machine’ well, ‘Sanctuary’ creates images of being caught under an alien spaceship’s beam in a dark field at night. It features layers of similar rhythmic structures spread in dynamically unique forms throughout, combining a mysterious electronic organ sprinkled with echoes and reverb. This song plays marginally with the stereo mix, weighing heavily to the right with sharp echoes on the left building upon the immersive experience. This track is a journey of discovery that steals your focus, transporting you to another world completely. ‘Poisoned’ throws a more industrial techno beat into the pot, constructing scenes of an underground German techno rave. Palacio’s choice of distorted metallic noises brings an industrial factory vibe that washes well with the fluctuation of rhythmic layers and electrifying up-tempo beat. It ultimately tells a story, but not one understood in any human language so much as one from the alien species beyond. Finalising this epic album is our highlight, ‘Ode Wise Dragon’. This calming yet ominous track features sounds akin to a wise dragon whispering messages, encoded in electronic melodies and a slow thumping beat. The colourful crashes and distorted tones build upon the atmospheric and unnerving feeling, that's exacerbated by the dynamic rise-and-falls in the featured musical elements. The crescendo produces a transcendent eery finish with a dramatic end, all to leave you wanting more. What is most poignant in this track is how it weaves into the mysterious world created by AntiMozdeBeast, jolting the listener through varying emotional states to create an adrenaline-fuelled narrative. In its entirety, ‘The Alien Machine’ introduces a more thematic layered journey through a world that AntiMozdeBeast has constructed. A wild ride through a mysterious yet stressful alien universe, with a flurry of hectic discordant tones and dark shadowy sepulchral undercurrents. Despite the tense, almost anxiety-ridden headspace the tracks take you to, it is bathed in originality and a unique creativity that would be fitting in a dark, alien-infested video game. Through the juxtaposing layered elements and the control that the music has on the emotions of the listener, this album is a wild ride to say the least. If you're looking for an other-worldly, mysterious auditory journey, then ‘The Alien Machine’ by AntiMozdeBeast is absolutely for you. 'The Alien Machine' will be released on January 17th. Words: Katherine Russell Photos: AntiMozdeBeast

Manchester's Aatma nightclub erupted into festive celebration this past weekend as the second anniversary of Seasons Beatings kicked off a full day of metal performances. Hosted by Kings of the North promotions- a promoter specializing in hardcore and beatdown- the event showcased some of Europe's most metal bands. From Belgium's ‘Clench your fists’ to Manchester's very own ‘Closed Casket’ the event was packed with across-the-board talent. The whole event was set in a traditional underground venue. A grungy, authentic atmosphere paired with the down to earth crowd created a safe space for those who were gearing up for a night of hardcore death metal, spin kicks and mosh pit madness. The day varied in style as bands began to take to the stage promoting their talent and some even announcing new music such as ‘No Witnesses’. The East Midlands band not only commanded the stage with their presence but also performed some of their most popular songs such as “Deluded”. The band used consistent and complex guitar riffs paired with versatile vocals to get the crowd going even starting off the mosh pits for the night. Despite this event showcasing bands of the same genre, all presented their own unique sound that paid homage to the underground metal bands before them. Many gave respect to each other and thanked those in attendance for keeping the genre alive. One band that showcased how unique they can be was ‘357 Homicide.’ The two-man band took on all aspects of a four-member band but split between two. The drummer Jake Gamble showed off a unique and initiative drum set up. From an imbedded sample pad to rare, shaped cymbals the band performed a multi rhythmic set showcasing the diversity in hardcore bands as the two multi performed for their whole set to great applause. Another highlight of the night was Manchester's own ‘Closed Casket’. The band performed to one of the biggest crowds in their hometown. Many bands before them showcased gratitude and great respect for them in their sets. ‘Closed Casket’ used electronic components, rap elements and social commentary. Along with traditional screamo vocals from singer Zack Booth. Paired with his rap interjections Booth brought a modern yet familiar edge to the genre proving their self-claimed title as performing “Manchester's hardest scrap music”. The band proved themselves to be a part of underground excellence and showed off their dedication to the genre despite only being formed in 2022. Seasons Beatings housed some big names one of them being ‘Bitewound’. The band known for their presence in the aggro sub-genre came to the stage with a jam-packed performance. ‘Bitewound’ announced new music, showcased new music and performed some of their biggest hits to the crowd of fans that had gathered at the foot of the stage. Implementing things from reggae influence on bass pair ups and even guitar/ drummer riff offs, the band mirrored classic metal rhythmic patterns whilst sticking true to their love for the aggro genre. Most songs were bridged with anti-establishment and social commentary allowing the band to present as their authentic selves. Another element the band homed in on was their willingness to have the crowd participated in their set. Many came up to perform vocally with the band truly portraying the bands reach and popularity in their respective fields. ‘Seasons Beatings’ has the potential to keep on growing. The community they have created will only grow with every coming year and hopefully more bands will be called up to perform. The event went back to the roots of hardcore metal music and stayed true to its underground start up keeping it alive for time to come. The event benefits both fans and bands alike. Fans get to come to a safe place to mosh out and enjoy metal music live whilst the bands perform, widen their audience and perform their years of dedication and hard work. Words: Kira Lashmar

The Orange County, CA hardcore royalty Stick To Your Guns - made up of Jesse Barnett (vocals), Andrew Rose (bass), Chris Rawson (guitar), Josh James (guitar), and Adam Galindo (drums) - have channelled unbridled catharsis on their eighth full-length record, and their SharpTone Records debut, 'Keep Planting Flowers'. Emerging in 2003, the band have raised the bar with each successive release. Having amassed over 100 million streams, they’ve built an incredible back catalogue of albums, and this one is no exception. It’s brilliant, and expertly showcases the carnage and catharsis Stick To Your Guns are known for. The LP is packed with aggression from the get go, starting off strong with 'We All Die Anyway'. It’s short and simple with not an ounce of energy being lost or wasted. Next up is 'Spineless', which came about from a writing session between Chris and Isaac from Knocked Loose during the COVID-1 pandemic. Out of that writing session came the insane opening riff, which sets the tone for the rest of the track. A key moment across the whole LP comes in the form of the anthemic lyrics “It’s all in your fucking head”, which will undoubtedly be a focal point of future STYG live sets for the crowd to scream along to. 'Permanent Dark' is said to be about the day Jesse found the light, the day he realised that everything he has accomplished would not have been possible without the love, support and guidance from others. The whole message is about how we as individuals are taught to believe we are the main characters, and our own individual lives are the most important thing, but once you realise that you have a greater connection to everything around you, you find both purpose and a reason to fight. The track has a brilliant combination of Jesse’s screams and some really high energy riffs. You can also hear the rain in this track, which is a recurring theme on this album with other natural sounds to show growth featured throughout. Bang in the middle we find the song 'Invisible Rain', which is a very classic STYG song that keeps things firmly within what they do best. The album then kicks it up to an even higher gear with 'Severed Forever'. With a galloping drum beat beneath Jesse’s guttural vocals and some seriously gnarly guitar work that's paired perfectly with the chantable chorus, it's a hell of a ride. Arriving immediately afterwards is 'More Than A Witness' which is without a doubt one of the most poignant lyrically. Providing a hard hitting message, with lyrics like “How can we look away”, this is a song for those of us who are tired of seeing the awful shit going on in the world and want to do something about it. The title track is another favourite. It has a more stripped down vibe compared to the rest of the tracks, yet still has such an incredible message. It’s about making connections, keeping going, creating, thinking and growing, no matter how hard gets. It tells us to keep checking on our loved ones, to try not to let the hurt that we carry bring us down, and to turn that into something wonderful. Who knew hardcore could be so poetic? If there’s one thing this album does, it really knows how to hit home with incredible lyrical messages. Next up is 'Eat Me Up', which was originally intended to be on 'Disobedient', but the band just couldn’t get the track to work on that release. It was clearly worth the wait, as it's made for an awesome song on this LP. Penultimate track 'Who Needs Who' is an insanely high energy track. Featuring Scott Vogel of Terror, it never relents. It’s an amazing back and forth between Jesse and Scott, “Never forget who needs who, you need us, we don’t need you”. The collaboration is incredible, and both vocalists absolutely smashed their performances on this one. Lastly comes 'H84U', which has a very nostalgic early 2000s vibe to it. It’s the perfect closer for this album, and features Connie from SeeYouSpaceCowboy who really brought her own ferocity to the track and made it that bit more intense, in a fitting finale to such a strong album. The album truly is hardcore at its finest. It showcases Stick To Your Guns' energy, as well as their ability to hit home with some hard hitting messages, and sometimes that’s just what you need. The album's central message is never going to stop being poignant, that of keeping on going no matter what - something beautiful can always come, even from pain and suffering. 'Keep Planting Flowers' will be released on January 10th via SharpTone Records. Words: Kayleigh Hadley Photo: Sarai Kelley

If you’re looking for a cinematic soundtrack to motivate and launch you into the new year, Exiled Hope and Steel Forge have come together to deliver the answer for you with a six track long melodeath EP full of worldbuilding. The release follows a story built by Exiled Hope that centres on protagonist Hope who's undertaking a journey through the underworld - all represented perfectly through the ups and downs of the music, with each song representing a different part of her journey. Soloist Sofia Frasz of Exiled Hope uses this EP to collaborate with the band Steel Forge in order to explore new genres she hasn't been able to before. Through this process, she has managed to perfectly blend the two bands, keeping the essence of them both very present in each song. The EP starts off strong with ‘A Light In The Darkness’ which blends folk influences as well as a unique song structure to create a truly cinematic sound, full of adventure and drama. Sofia's guttural vocals play a big part in this song, with brutal lyrics written by Danny Hell, the lead vocalist of Steel Forge. The next two songs - ‘The Calling’ and ‘Fate’s Design’ - carry on this story. One particular section we enjoyed is the monumental guitar solo in the last half of ‘Fate’s Design’, accompanied by a bass heavy breakdown making for what feels like a grand climax for the character. ‘The Calling’ contrasts excellently by being much heavier, with the guitar riff having an almost nostalgic sound, reminiscent of a boss fight in a fantasy game. ‘Beyond The Veil’ gives room for a break on the EP, where Sofia flaunts her impressive vocal range. The song ends on a haunting blend of layered vocals, enough to give the listener chills. The strengths of this song contrast heavily with the rest of those present, with a much more symphonic, nigh orchestral feel to things. This is our standout track on the EP, with its seven minute plus runtime being more than worthwhile! The last full song on the EP ‘Approaching Resurrection’ picks back up and leads to a tremendous climax with a fast paced, riff heavy number. The finale, ‘Epilogue’, is a complete instrumental, full of orchestral rhythms that guide you through this two-minute journey. Though short, it leaves a great impression and begs the question of where is this character going to go next? All in all, this EP is an impressive display of an array of talents coming together, both in genre and structure; the music is experimental and exciting, always keeping the listener on their toes. Fans of melodeath, black metal and doom metal are sure to enjoy the story of this EP. The genre-bending blend can fabricate fantastical imagery, and even if you haven't followed either band before it will transport you right into the creator's story. As for the future of these two acts, Exiled Hope’s next album ‘Apocrypha’ is due to release on April 11th, so be sure to keep an ear out for that! 'Realm Of The Exiled' will be released independently on January 10th. Words: Amy Smyth Photos: Me

Debuting with their EP ‘Panorama’, the French six-piece Hanry return with an incredible glimpse into their future on ‘Disruption’. With their last EP being recorded and released by themselves, this EP marks the first time they have collaborated; working with Pelagic Record in Berlin to deliver an EP that sets the gold standard for ambient electronic rock. This EP feels like a train journey from a dark, dank cyberpunk city to vast fields covered in snow; it's an album that would go hand in hand with any time you’ve felt like staring out the window lost in thought, contemplating, looking back on memories and life. The structure of this release is definitely short but sweet, with a four track run that only totals to about 20 minutes worth of time, but the blending of each track, and their complimentary nature, make for quite the journey in the bands sound. Not only that, but it also shows a wondrous mastery of the sort of ambient rock they’ve displayed on this record, which is incredibly impressive for such a compact listen. The synths on the EP are perfectly balanced in the mix, whilst the subtle guitar and soft drums only pick up for beautiful crescendos of electronica that sound both familiar yet still so fresh. Looking back on ‘Panorama’, this EP seems to show a very promising next release for this band, with this one feeling like a new beginning and acting as a beautiful transition into something new. This notion is also reflected sonically with the darker, more sombre notes towards the beginning that progress into a much higher pitched and hopeful sound at the end that will captivate the listener, leaving them wanting more. Each of the four tracks on the EP compliments the next, and makes for a glorious listen. The real centre of the aforementioned hopeful feel is the final song ‘Intermission’ which takes the notes higher in a way that will make you feel like floating - it is simply beautiful. With 'Disruption', the members of Hanry have come together to create something transcendental and ethereal in its essence - this is the kind of EP that can be left on with eyes closed, ears open, and thoughts left to drift. In only twenty minutes they have proven themselves more than worthy of our attention and yours, and will be kept firmly on our radar for their next release. If you like getting lost in music and thought, this EP is absolutely perfect. 'Disruption' will be released on January 10th via Pelagic Records. Words: Ben Blissett Photo: Mathis Le Mounier

Formed in 2023 by Ben Karas (Thank You Scientist, Windfaerer), Slaughtersun emerged as a powerful new force in the death metal scene. After years of musical experimentation, Karas brought together an impressive lineup, including Cody McCorry (Thank You Scientist), Jason Quinones (Tombstoner), and Justin Hillman (Cranial Damage). Drawing influence from death metal giants like Gorguts, Death, Cannibal Corpse, and At The Gates, the band’s sound blends technical precision with intense power. Slaughtersun's debut single, 'Fall of the Firmament', dropped in late 2023, followed by tracks like 'Relentless Thelemic', 'Ready Cell Awaits', and 'Black Marrow'. Each release shows the band’s commitment to creating sounds that merge traditional death metal brutality with a few twists. Their new EP 'Black Marrow' continues in this path, offering a raw and relentless listening experience for those ready to dive into something intense. If you're looking for something that pushes the boundaries of death metal while staying true to its roots, Slaughtersun might be worth adding to your playlist. The opening track, 'Unearthly Propaganda', is a powerful instrumental that's just over 30 seconds long. Its obscure and mysterious sound slyly pulls you in, building tension and bracing you for what's to come. That sense of anticipation explodes with 'Fall of the Firmament', the EP’s lead single and a defining moment for the band. With its intricate riffs and driving rhythm, the track balances sheer aggression with technical finesse. With its fierce lyrics, the song evokes a world on the brink of collapse, the fall of men, and destruction. Justin Hillman’s vocals, or “unearthly wails,” as the band calls them, add another layer of intensity, amplifying the song's impact. Following the explosive energy of 'Fall of the Firmament' 'Relentless Thelemic' continues to build on Slaughtersun's intense sound but with a shift in lyrical focus and atmosphere. Where the former embraced apocalyptic imagery, 'Relentless Thelemic' delves into even darker themes. The song’s lyrics are steeped in ritualistic language and spiritual conflict, with references to sacred rites and a sense of rebellion. There’s an undeniable heaviness to the track, both musically and emotionally. The song maintains its fierce momentum, with Jason Quinones’ drumming that highlights the track's urgency. Meanwhile, Cody McCorry’s bass provides a grounding force, ensuring that even in the song’s most intense moments there is a sense of power and depth, while Ben Karas’ electric violin work adds layers of complexity. 'Ready Cell Awaits' takes the listener on a haunting journey into the realms of spiritual unrest, with its dark lyrics and intense instrumental build-up. The track is dense and heavy, with the drumming keeping up an ominous rhythm that mirrors the lyrical themes, whilst the bass and violin pull the track ever forward. Everything is tied together by the brilliant vocals that make for an immersive track that moves from brooding reflection to fierce emotional release, showing Slaughtersun's ability to create both depth and aggression in one compelling package. 'Black Marrow' stands as the EP’s hallmark. With its pounding rhythm and great intensity it embodies the raw, unrelenting force of SLAUGHTERSUN’s sound. The track weaves together mind-blowingly harsh riffs, guttural vocals and powerful drumming to create an atmosphere that makes the listener experience tension and excitement. The song’s musical composition, while being clearly rooted in death metal’s brutality, shows a level of complexity that sets it apart. With its frantic energy, sharp transitions and thunderous rhythm section, the title track is a very fitting climax to the main body of the EP. The EP’s final track, 'Relentless Thelemic (Frightbox Live Session)', offers a raw, unfiltered experience that stands in contrast to the polished studio recordings. This live version showcases Slaughtersun's fierce energy in its purest form, capturing the intensity of a performance that’s both urgent and visceral. While keeping the complexity and aggression of the studio version, the live setting adds a spontaneous, gritty immediacy that reveals the band’s deep connection with their music, revealing the true spirit of Slaughtersun's sound. Slaughtersun is a band unafraid to push the boundaries of death metal whilst simultaneously honouring its roots. This EP marks the beginning of their journey and, while it’s only the start, it’s clear that Slaughtersun is already carving out a distinct presence in the death metal scene. With each track pushing boundaries and showcasing their potential, 'Black Marrow' is a bold statement, and it’s easy to imagine that as they continue to evolve they will refine their craft even further. 'Black Marrow' will be released on January 10th. Words: Mell Cestra Photos: Slaughtersun

Canada’s own symphonic death metal band Ex Deo are finally returning with a new EP ‘Year of the Four Emperors’, four years after their last album. The successful project, founded by the frontman of Kataklysm Maurizio Iacono who is diving back into his roots, follows the vision of telling the history of the Roman Empire, and this time round is focusing on the chaotic events of AD 69. Each of the four songs on the album is named after one of four emperors, who ruled over the Roman Empire in AD 69, starting off with Emperor Galba, which is also the longest track. Followed up by the rise and fall of Otho, Vitellius and Vespasian, Iacono’s vocals, complimented by guitarists Jean-François Dagenais and Stéphane Barbe, bassist Dano Apekian and drummer James Payne, are delivering the major historic moments in a unique, yet sometimes almost intimidating form. As we can tell throughout the EP, and specifically in the first track, the band plays a lot with the narrative - making the music more melodic and sometimes symphonic in the spoken word verses, and going straight into heavier sounds whenever there is action. The second and third songs are heavier in their nature, but still retain the melodic sensibilities of earlier, and the last song consists primarily of screams and heavy tones, recounting the events of Vespasian’s acquisition of the throne. The highlight track on this project is the opener, with its usage of ancient instruments such as the lituus, the curved war-trumpet, whenever Otho is calling out for Galba’s head. Paired with the vocals and modern instruments, it's incredibly pleasing to the ear and takes the listener right into the heart of the events. The EP is a strong return for the group, as the band continues to tell the stories of the Ancient Rome whilst pushing their own boundaries within music further. The usage of different melodies really gives their music life, and the work put into this project is spectacular and certainly delivers an excellent experience, with a mixture of sounds that is going to leave the listener longing for more. ‘Year of the Four Emperors’ will be released on January 10th via Reigning Phoenix Music. Words: Katerina Stepanikova Photo: Ex Deo

We sat down with Defences to discuss their latest album, ‘Shadowlight', where the warmth of their honest insights revealed it as a true labour of love. Released on November 8th 2024, the album represents a pivotal point in the band’s evolution, exploring themes of self-acceptance and the trials of personal growth. The conversation began with a nod to the album's inception, which stemmed from a moment of serendipity during their writing sessions. Following their second album, guitarist Calum explains “we'd essentially written another album's worth of material that felt like a bridge to the next thing.” He continues "because of the vibe and the different feel to it, we all thought, hang on, this is a lot closer to what we want to be doing—like, our sound." This was the starting point for ‘Shadowlight', a record that would take the band on an emotional rollercoaster, reflecting both their individual and collective experiences. As we dive into the album, it becomes clear that the journey isn’t merely linear. ‘The Curse’ opens the record with a weighty introspection that sets the tone for what’s to come. “I think it just felt like the perfect introduction into what we were doing,” lead singer, Cherry details, “the riff comes in quite hard, so it gets people going straight away.” This powerful opening not only captures the essence of the album, but also invites listeners to embark on a transformative emotional journey. Transitioning into ‘Gold in the Dark,’ listeners are greeted with a sense of hope amidst despair. The lyrics serve as a testament to the resilience found within vulnerability. “I’d come across this quote about finding the gold in the dark and finding positives within all of the negativity that you're dealing with,” Cherry explains. “There's this sentiment of being trapped, of being driven by habit rather than necessarily by active conscious decisions” adds Calum. This balance between darkness and light, and the process of finding yourself, become recurring themes throughout ‘Shadowlight' to underscore the album’s exploration of the human experience. For ‘Ego (Maniac),’ “you get a little bit of the shadow self's perspective, which is kind of cool,” Cherry reveals, “it's the only track on the album that does that.” Calum adds, “I see this one as the Disney villain introduction song for Shadow Cherry.” This approach not only enriches the lyrics but also enhances the sharp, driving instrumentation, which perfectly matches the song’s message and offers a fresh perspective by shining a light on the darker versions of ourselves. Among the standout tracks are ‘Perish’ and ‘Breathe It In,’ which explore the complexity of navigating emotions. ‘Perish’ presents an unflinching acknowledgement of darker feelings, delivering a moment of raw honesty that many listeners will find relatable. “You can't separate yourself from it, so you have to accept and embrace it” Cherry outlines. Acting as a next step in this personal growth journey, we find ‘Breathe It In’ which emerges as an anthem of resilience. “'Perish' is about the acknowledgement and then 'Breathe It In' is about that self-acceptance” Cherry adds, emphasizing the importance of finding peace amidst struggle. Meanwhile, ‘Silence & the Sound’ takes a more reflective turn, seamlessly blending the past and present in a way only Defences could pull off. Cherry shared some insight into its production, “I spent a lot of time walking to a field near my house and would do a lot of self-reflection. I started talking to myself and having profound conversations about life, so I started recording voice notes.” Those notes found their way into the final track, woven into the soundscape to enhance its emotional depth. “It’s like a musical onomatopoeia” says Calum, reflecting on the song’s ending “you're transported to that field with Cherry, there are none of these voices all you can hear is the outside and birds.” The result is a track that’s intimate yet expansive, perfectly capturing the essence of the album's themes. As the album progresses, the poignant ‘Inspirit’ takes centre stage, resonating deeply with the band’s experiences. Inspired by their journeys through grief, the track captures an intimacy that feels both raw and transformative. "There's no symbolism, there's no analogy or parable, it's just us singing to the people that we've lost," Calum explains, noting that the minimal instrumentation was a deliberate choice to preserve the song’s vulnerability. “The decision to build into nothing [for the ending] is quite reflective of the topic matter,” he says, echoing the poetic symmetry in their music. ‘The Almost’ and ’Greatness’ follow, creating a dynamic exploration of self-perception and achievement. ‘The Almost’ reflects on the feeling of being caught in limbo, while ‘Greatness’ critiques the societal pressures to succeed. Cherry describes ‘The Almost’ as being in this state of limbo, "It’s a little like the Upside Down from Stranger Things, where you're neither here nor there," she continues, "the beauty about being in that place is it gives you the ability to see both sides clearly.” Then comes ‘Greatness,’ adding another layer to this concept, Calum states “it’s essentially a similar message to 'The Almost', but it's coming at it from a different angle.” He continues to point out the irony in the title, stating “it's the greatness that you were all meant for. It's what should have been rather than what could have been.” Together, these tracks reveal the complexity of ambition and the importance of self-acceptance. The title track, ‘Shadowlight,’ serves as a powerful conclusion, encapsulating the entire journey. Cherry reveals that the lyrics were penned early in the process, predicting her own personal growth. “It was kind of a bit of an attempt at foreshadowing or manifestation,” she explains. As the final track unfolds, it ties together the album’s themes of resolution and acceptance. Calum describes ‘Shadowlight’ as the “end credits” song of the album, a fitting conclusion that encapsulates both closure and hope. He regards Cherry’s performance as one of her strongest, amplifying the song’s emotional impact. Defences have created an album that transcends individual struggles, offering a shared exploration of resilience and self-discovery. “I consider ‘Shadowlight’ to be this space in between,” says Cherry, “you know who you were and who you want to be and you’re in the middle.” The dynamic contrasts between stripped-down arrangements and rich, layered compositions amplify the emotional spectrum of the human experience. In a world where, far too often, priorities necessitate superficiality and haste, the album ‘Shadowlight’ resonates as a heartfelt reminder to pause, reflect, and embrace the journey of becoming. It challenges listeners to confront their shadows while reaching for the light, making it an essential addition to any music lover’s collection. Words: Beth Oakley Photos: Fordtography

After a bumper year of alternative gigs, Islington’s Garage played host to yet another outstanding lineup of crushingly heavy status, in the form of a brutal one-two from headliners Eyehategod and the single support act Goatwhore. The headliners are purveyors of the very finest of punishing sludge metal, and have influenced everyone from Crowbar to Lamb Of God, whereas the supports mix a few different sounds from black metal to thrash into a feverishly fast concoction that is mighty popular within the undercurrent of the scene. As they continue on their tour of the UK, a stop in London gave us the opportunity to check in on both bands in the flesh. Arriving into the venue as Goatwhore’s unholy serenade began, their black metal tirade was fast, frenetic, and full of fire. Their set included a number of tracks from their 2022 album ‘Angels Hung from the Arches of Heaven’, along with classics like ‘Apocalyptic Havoc’ and ‘Alchemy Of The Black Sun Cult’. Whilst they were one of just two bands, and had a lot of time to fill, Goatwhore never gave anything less than their very best and filled the room with a visceral, grim enjoyment. Kicking off with the simple line “I’ve got bad news, we’re Eyehategod!”, the NOLA heroes sludged it up to 11 for the duration of their excellent set. The red lighting, that will no doubt have upset every photographer in the building, pervaded for the whole set and bathed them in a rusty colour reminiscent of their seminal album ‘Take As Needed for Pain’. With a very healthy eighteen song setlist, the headliners showed off just how heavy they really can be in a pummelling assault of the senses. Starting off with an onstage jam, the icons gave their intro before letting their instruments ring out and gradually build in volume as they set off with a rendition of ‘Lack of Almost Everything’ into ‘Masters of Legalized Confusion’. The one-two off of ‘Dopesick’ had the crowd baying for blood, which of course the band didn’t hesitate to help with. Tracks like ‘30$ Bag’, ‘New Orleans is the New Vietnam’, ‘High Risk Trigger’ and of course the famously controversy-courting ‘Sister Fucker (Pt. I)’ had the Garage in a chaotic harmony of moshing, headbanging, and deeply appreciative swaying back and forth from front to back. Finishing the show with ‘Every Thing, Every Day’, the band bid everyone farewell and let the frantic crowd dissipate into the cold London night, safe in the knowledge that the capital was full of sludge once again. Words: Jake Longhurst