Kensington’s genteel atmosphere is disrupted with sounds woken from an age that sleeps far beneath the pavement. That can only mean one thing; WARDRUNA have come to the Royal Albert Hall. The band is only at the beginning of a long-haul odyssey across the globe, dragging their ritualized spectacle from one ancient leyline to the next. Tonight, here in Britain’s classiest concert hall, they stand in support of Birna, their latest offering. A record so staggering it effectively ruined the rest of 2025 for any other album that had the misfortune of following it. Most of that album is sung from the perspective of a she-bear having to navigate the destructive legacy of modern humankind. Now, on spring equinox eve, she has finished hibernating and has crawled out of her cave, starved, and ready to hunt. And what a strange hunting ground this is. The Royal Albert Hall is not your typical venue for the type of crowd it is hosting tonight; it is too sensible, bathrooms are far too nice, and there are actual ushers. The regular smart-casual getup of the clientele is gone, and in their place band tees and battle jackets galore. It looks like a metal show, smells like a metal show, but Wardruna is no metal band. Alas, this is a legacy of Einar Selvik’s far-gone stint in black metal band GORGOROTH. It has been a long time since Wardruna had the likes of Gaahl within their ranks, And yet, the spectre of black metal still shadows over them, an unholy ghost refusing to be exorcised. But first, the precursor to the ritual. The antecedent performance is provided by the wonderful London-based cellist, JO QUAIL. For a venue that also hosts Songs of Praise on Sundays, it is a fantastic contrast to see her with something that looks less like a cello and more scavenged from bones of a long-extinct beast. It is a bizarre, skeletal beast, but Jo demonstrates that it doubles as an entire orchestra as well. Using percussive techniques and a loop pedal, she layers sound upon sound, crafting towering compositions that surge to fill the hall. It’s the perfect invocation for the night ahead. Then—a raven’s caw. The hall plunges into darkness. What begins with simple strings soon unveils into a warm, resonant cascade. This is ‘Kvitravn.’ The Royal Albert Hall is a Roman amphitheatre. The crowd roars, the music swells – the overwhelming feeling of “this is going to be good.” With pulsing lights matching pulsing drums, ‘Hertan’ follows, transforming the venue into the very heart of Kensington itself. The crowd sways, entranced, caught in some kind of shamanist ecstasy. As it ends, ‘Skugge’ begins and the lighting shifts. Suddenly, Einar Selvik is not just a man on stage, but a shadow god. His silhouette stretches across the ceiling, immense and looming like some Norse-feratu, delivering a fable to us lowly mortals in Midgard. And from there, time loses all meaning. ‘Solringen’ summons an eclipsed sun on the backdrop through a prayerful chorus of voices. ‘Heimta Thurs’ builds up then unleashes in a mighty crescendo. A great snow-capped peak rises through the dirge of ‘Lyfjaberg.’ Einar himself becomes the background for a quieter skaldic tune on ‘Voluspá.’ Then comes ‘Tyr,’ and out comes the lurs - gigantic Bronze Age war horns, vestiges of violence from the 6th century BC, so thunderous and bass-heavy they rattle your insides. For ‘Isa,’ the lights penetrate behind Einar as he is bathed in white light, drumming out a melody that has the whole crowd in the palm of his hand. ‘Himmindotter’ unravels into a simulated lightning storm, light and sound crashing together in a cacophonous fever dream. By ‘Fehu,’ the band is giving all that they have, instruments from bygone eras are pounding away and the energy reaches its lofty height. Lindy-Fay Hella, who has been delivering spectral dirges and hypnotic movements all night, spirals through the music. And then, silence. For a moment, nobody moves. Nobody speaks. The spell lingers in the air with the smoke. Then Einar begins to speak. He lays it out, Wardruna’s real philosophy: that it does not serve to “relive” any particular era, but to revitalise the motifs and traditions of the past to create something new. “The cultural pissing contest is irrelevant,” he says. It’s a blunt, slightly bizarre moment. Wardruna has always been honest about their goals, that is to invigorate traditional music and themes, and not to rehash the past. Admittedly, it feels like it leaves no ambiguity on their mission statement, and seems to be to ensure those in the audience that still believe that Vikings shaved the sides of their heads don’t confuse their music with the real sagas. While it is about as subtle as a shotgun shell to the family jewels, it does invoke a sense of openness and maturity about the consumption of art within context that is rarely displayed within the metal sphere. They then give two encores in the form of the torch-laden and haunted ‘Helvegen’ and the quiet bear-lullaby of ‘Hibjørnen’ before it all ends with a shower of applause. What makes a Wardruna live show so special is not just about the spectacle. While it is indeed amazing to behold, what sets them apart from similar (possibly lung-related) groups is their bonafide devotion to authenticity. Many groups go for accuracy, wanting to portray the things they sing about in a manner that satisfies the historian. Yet, there is nothing that satisfies the historian more than bringing history to life. Wardruna songs may not be lifted from an ancient saga, but the feelings evoked throughout must be analogous to those felt in eons past. Instruments pulled from the past are used in new, exciting ways. The inner historian gets giddy at the savvy usage of an instrument such as the lurs. Several times during the show you would find yourself experiencing a skaldic trance, realising that the transferral of knowledge through songs and ritual instrumentation is how humanity experienced stories for a vast majority of their history. It is a timeless feeling. Wardruna brings that ancient phenomenon back into the fold, treading the line between the phenomenal and illusory worlds through the powerful medium of song. At its core, this is a celebration of humanity, of all the madness, triumph, and sorrow that got us from the first fire-lit gathering to wherever the hell we are now. And right now, Wardruna is at the absolute peak of their power. There’s never been a better time to catch them on the road. Words: Kiarash Golshani Photos: Ollie Hayman

The hailing stars of the alternative scene, Oversize, are currently gliding through England, promoting their debut album Vital Signs, that was released in February. Formed in the Southwest of England, the emo-shoegaze five-piece consists of vocalist Sam McCauley, drummer Sam Shutler, bassist George Lewis and guitarists Tazz Edwards and Lewis Lennane-Emm. Gracing the New Cross Inn with their newest release and some oldies, the band was supported by Rosary and Mercury. British emo band Rosary opened the night in style. Founded by the drummer Luke Woods, the Suffolk-based band released their latest single ‘ForYourEyesOnly’ last year, with more coming out this year, as the band mentioned throughout their set. Being influenced by the giants like Green Day, Day To Remember and blink-182, the band’s performance was lively, with breathtakingly beautiful guitar riffs, that were always on point and well executed. The crowd was getting warmed up, so sadly the band did not get much action, but it was noticeable that the fans enjoyed the set. The second supporting band, Mercury, are an alt-rock and post-hardcore band formed in Stoke-on-Trent. With their newest single ‘Why This Hurts Me’ being released recently, the band stuns with their drum work, as their drummer is an absolute beast who is pushing boundaries to maximum. Their set was captivating, delivering memorable guitar riffs and raw vocals, getting the fans excited for more. Although there were some small technical issues before the performance, the band still got the best out of them, giving the audience a great taste of their repertoire. After two supports, it was finally time to unleash all the energy, as the headliner Oversize took over the stage. After their cancelled Manchester concert, that was supposed to take place on Saturday March 15th, the fans welcomed the band with full venue and high energy, that was kept for the rest of the night. The headline set was a shorter one, with the concert lasting a little less than an hour, but was intense, with everyone in the audience singing every word of the songs. McCauley’s vocals were on point the whole time, delivering a memorable experience. Closely followed by Edwards’ and Lennane-Emm’s immaculate guitar jobs, Shutler’s intense drumming and Lewis’ backing of the members with his trustworthy bass, the band was prepared to take onto the iconic venue more than ever and absolutely smashed it to pieces, walking off the stage with a massive at the end of the night. The concert was indeed a memorable experience, with each band performing immaculately. Most of the fans showed up for the first support, which might have something to do with the first set starting a bit later, but it was pleasant to see big crowd for the first set. Overall, the concert was very enjoyable, showcasing a greatly picked line-up of bands, that are all originating from England. A night to remember for sure, as we are definitely going to hear about all the bands more in the future. Words and Photos: Katerina Stepanikova

Almost twenty years ago in Denton, Texas, a metal band was born - that being Memphis May Fire. Known for their impactful lyrics, the band has created a place for themselves in the metal scene. They are set to release their latest album Shapeshifter, which will then followed by their tour across the USA with Casket, Wind Walkers, and Elijah. The album opens with ‘Chaotic,’ a track that captivates with its infectious beat - full of catchy verses and punchy backbeats from Jake Garland's drums. The switch to heavier elements continues, with a spotlight on Matty Mullins' vocals that's followed further with a 'blegh' vocalization often heard in heavier music. ‘Infection’ provides a difference to this, delving into electronic elements and showcasing Memphis May Fire’s willingness to explore differing elements of music. Cory Elder and Kellen McGregor's strings swell as a pair, and work together to support Mullins' emotionally charged vocals, building up to the cough vocalization that then reinforces the song's theme. ‘Overdose’ further expands the album's sound, including electronic introductions, prominent strings, and Mullins' powerful, heavier vocals. The track balances aggression with catchy choruses, effectively showcases the album's theme of self-realization. ‘Paralyzed’ opens heavy, only to subvert expectations with melodic vocals. The whispered vocals mirror those of Hans Zimmer's ‘Electro Suite’, introducing a potentially sinister, villainous intent. McGregor’s use of the technique involving natural pinch harmonies on the guitar heightens the song’s intensity, creating a sense of urgency or panic. ‘Hell is Empty’ showcases Memphis May Fire's talent to play within the genre, incorporating certain metal elements to create an orchestral sound. The slowness acts as a support for the lyrics, often with repeated phrases pushing their meaning. ‘Necessary Evil' is one of the weaker moments here, found lacking its own identity. Its frenetic rhythms initially suggest that a new sound is to come, but ultimately echo previous elements we have already heard, disrupting the album's continuity of ongoing sonic evolution. ‘The Other Side’ offers a short rest, an electronic lull that shines through Mullins’ harmonious vocals, drawing similarities to both Sleep Token and the progressive metal style sound of the 2010s. Title track ‘Shapeshifter’ brings back the album’s initial momentum, presenting intense screamo vocals and guitar shreds, going back to Memphis May Fire’s earlier, heavier sound. ‘Versus’ provides an electronic interlude, with bass swells that create deep emotions within without resorting to heavy breakdowns. ‘Love Is War’ serves as a powerful, climactic finale, featuring classic metal sounds, driving drums, rapid-fire fast guitar riffs, and strong shreds, effectively concluding the album’s diverse sound and story. Looking back on Shapeshifter, Memphis May Fire has delivered art that showcases a diverse range of styles both instrumentally and vocally. The group creates different elements within the album to portray their message and tell a story throughout. While one track, ‘Necessary Evil,’ slightly disrupts the album's flow, the overall experience is undeniably compelling, offering plenty of opportunities for headbanging, singalongs, and more. Score: 7/10 Shapeshifter will be released on March 28th 2025 via Rise Records. Words: Kira Lashmar Photos: Memphis May Fire

The titans of melodic death metal are back! No, this is not a drill, Arch Enemy is about to release their twelfth studio album Blood Dynasty. This opus features eleven new tracks blasting the band’s signature powerful guitar riffs and guttural force, but it is also full of surprises. As we near the 30th anniversary of the band, founding member Michael Amott commented “This is our 12th studio album, and the rule of metal is that you’ve got to keep trying to say the same thing, but in slightly different ways! There’s a degree of familiarity in our sound, which I don’t see as a problem because we’re playing the music we love. But obviously, we’ve got to throw a couple of curveballs in there each time, a few new interesting things to spice it up a little bit. How do you get people talking about your record when it’s the 12th one, you know?”. And that’s why we’re here folks - so let’s talk about it! Before we get into the songs, it’s important to salute the powerful work done on the album’s cover. It grabs your attention and sucks you into its universe before making the slightest sound. In a beautifully decrepit depiction of a royal family, we see crowns resting on decayed skulls, military uniforms draped over their figures, giving hints of what they used to be. A river of blood rising with desperate hands coming out finishes the piece. It questions power, legacy and what makes a community. Expectations are therefore already set high when the opus starts to play, anticipation rising like the river of blood as 'Dream Stealer' loads in. It doesn’t let down, coming out with a very goth opening, full of flair and drama, almost Phantom of the Opera worthy. But before you get used to it too much, hell unleashes with a very fast and bullet-like rhythm. But before you know it, we are diving into a heavy metal arrangement before the chorus. This feels not only like a song but like a catalyst of what’s to come in this album. A mix of styles, something old and something new. We are strapping in for a surprise, expecting influences from many horizons. Last but not least, the back choir on the chorus has an anthemic quality, making this song something that is bound to be exciting live. Like we’re switching gears, 'Illuminate the Path' brings in something that is pure metal. With a great balance between lyricism, heaviness, and screaming, this will make all long-time fans happy. It is almost a comfort song for fans, as they can trust the band’s roots to be the same despite experimentation. It is not without a tad of gothic flair, reminding us of the beginning of the first song, building a red thread as we progress into the tracklist. From the first beat, song three will get you hooked. 'March of the Miscreants' is more than just an average song, it is an absolute powerhouse. It is in your face in the best possible way with a very drum-heavy beat. Daniel Erlandsson takes the lead on this song, it is uplifting to feel the drums at the front with Alissa White-Gluz’s screaming almost following the drums, rather than the much more typical opposite. This track is not only innovative but downright hypnotic, and little to nothing is more exciting than the prospect of a live version. In its form of a battle cry, unifying and bringing people together, it feels like it is tailor-made for an audience. The music itself feels alive and tells a story, with instruments talking to each other., and the explosive end mirroring the feeling it’ll leave you with. Arch Enemy did not hold back and we love to see it. It establishes itself as one of the best songs of the genre already. Needless to say, that feels hard to follow. What do you bring after such a mindblowing moment? 'A Million Suns' is short but sweet, with a speed metal feel that is most definitely interesting but not as memorable as its predecessors. 'Don’t Look Down' continues in the same vein, its most memorable point being that it feels like a continuation of 'March of the Miscreants' with the war cry “stand your ground”, making us wish the song order was swapped for it to follow directly after. Having 'A Million Suns' in between breaks the impact it could have had, merging these songs into a blur even whilst their potential is clear to hear. But then comes 'Presage', an unexpected interlude. Whilst we know the band have done this before, it still comes as a surprise to hear its violin opening. A sweet Spanish guitar follows and gives a welcome, refreshing palate cleanse. It hits like a rest in between fights, to appreciate the sun in a field, and it makes you curious as to what’s to follow, especially as the title track is up next - whereby we enter a new quest, with a more symphonic and lyrical approach. It doesn't go without reminding us of Epica’s symphonic metal instrumentals, in all their grandeur and splendour. 'Paper Tiger' then takes over, the fourth and most recent single teased out of this album ahead of release. The band shared its enthusiasm for the song but also the album, saying “With Blood Dynasty almost here, we thought we’d sneak in another single for you! 'Paper Tiger’ is a personal favorite—these riffs are so much fun to play. The accompanying video was shot on a German airfield last summer with our visionary friend Mumpi. Turn it up and let it roar!”. And indeed it is made to roar with a very heavy metal instrumentalization, guitar riffs, and screams which drag into a higher pitch that is less common for the band. It reminds us to expect the unexpected even in what we know, and not to take things for granted. However, here comes the real treat. With 'Vivre Libre' (Living Free), the band honours Alissa White-Gluz’s Canadian heritage. This cover of a 1985 song by the French hard rock band Blaspheme is nothing short of unexpected. While White-Gluz’s voice is known for its range and adaptability, this immaculate ballad with clean vocals will leave you with a mouth agape., to the point that this track was originally intended as a bonus but has made it to the final cut due to its stunning vocal performance. Unfortunately, 'The Pendulum' suffers the same fate as 'A Million Suns'. It's an enjoyable listen, but it's always hard to follow such an impressive track as 'Vivre Libre'. Then, before you know it, we’ve reached the end with 'Liars & Thieves'. It is a strategic and well thought placement of such an anthem, calling people up for one last round. It encapsulates the spirit of the album well, combines clear singing heavy metal singing and guttural, punchy vocals. It also brings back a strong double pedal drum, which does not miss a mark. Its dragged out ending feels as it is leaving space for the crowd to join, already taking their input into consideration as part of the song for upcoming live shows. Blood Dynasty was recorded in the band’s native Sweden with producer Jens Borgren, who was also on the band’s previous album Will to Power - and you can feel this new opus’ place in the Arch Enemy pantheon. This album is powerful, fully fleshed and takes its audience as an integral part from start to finish. While some songs suffer slightly from the star quality of others, every track is bound to find its crowd and settle itself within the community with time to flourish and exist independently after release. Whilst of course we wish it was longer, two additional tracks will be available in the deluxe editions which do alleviate that somewhat! This is an album made to be lived, experienced and shared, its impact only promising to double once the band hits it on stage. And guess what, you're in luck as the band will be going on a quest through Europe and the UK later this year, so you won’t want to miss this chance! UK dates: 30.10.2025 Wolverhampton (UK) - Civic Hall 31.10.2025 Manchester (UK) - O2 Apollo 01.11.2025 London (UK) - Eventim Apollo Score: 8/10 Blood Dynasty will be released on March 28th 2025 via Century Media Records. Words: Lysandre Pons Photos: Arch Enemy

Gates to Hell are serving blow-your-head-off metal in their second feature length LP Death Comes to All, with the technical prowess to boot. They lay the rage down across 10 quick tracks, then pack up as soon as they arrived, and manage to leave a listener wanting for nothing but waiting for more - a purgatory perfectly fitting the concept of this project. Album opener 'Rise Again' kicks things into high gear immediately, with Story’s vocals jumping straight into this piece of wonderfully structured chaos. Apparent first in this track then throughout the project is the command of pace and tempo that Gates to Hell enjoy; they hop between thrashy punk and tension-building pre-breakdowns without a thought. It doesn’t take them long to get to their standout tracks either, with second offering ‘A Summoning’ slowing it down slightly to make room for the first of Garris’ ankle breaking double bass drum work while keeping up the ‘inside the crazed mind of a killer’ vibe that Death Comes to All appears to be embodying - when Story claims that “all that’s left is bloodstains and a knife” you believe him. As the album hits its stride it's astounding how much Gates of Hell can fit into barely, often sub, two minute track lengths. 'Weeping In Pain' manages a 30 second warm up before launching into its madness while only just hitting the over two minute mark, yet still somehow leaving the brain with the same amount of stimulation as listening to rock operatics. On the topic of 'Weeping In Pain', its closing sample sounds suspiciously like a sped up version of the end of Knocked Loose’s Deep in the Willow - did we go pinching out of our brothers sound library, Trey? On a serious note though, this project is like an exercise book of how to make high quality hardcore: single 'Next to Bleed' is a warpath put to music with Hanson and Lewis’ gorgeous guitar flares and Garris running a marathon behind them on those pedals. The samples that are used, such as the “welcome to hell” in the middle of the ‘21 Sacraments’ breakdown, or the voicemail in ‘Locked Out’, are woven perfectly into the sound mix; you can see the pit pausing for breath in your mind’s eye when you hear that "welcome to hell" before the rampage starts once again. Side 2 highlights include 'Sacrificial Deed' - its a song a girl could dance to, sits at only 1:48 but manages a three act structure and also incorporates the phrase ‘art thou’ in a hardcore song, which is beyond silly and a key part of why it is a highlight. For a technical choice, its follow up 'Death Comes to All' is where the band starts to show off, with a solo from someone in the middle turning into a guitarmony (yes that is guitar and harmony shoved together) at the last breakdown, where another one of those beautifully laid samples offers a false ending before the last eight bars of the track. The big favourite however would have to be the character reveal track 'Crazed Killer', where Story tells this character’s manifesto over a chaotic soundscape that gradually speeds up before a hard cut ending of “In a grave, never to be seen again”. Over its 1:37 run time, the feelings of the build up to the kill before the silence of its aftermath ripple out in a way that is almost concerning - that’s how you know it’s good. Gates to Hell close with 'Fused With the Soil'; it is everything that they have served in this project rolled into one. From the seamless "don’t think for a moment you are not in danger" at the end of its first breakdown, to its bouncy verses mixed with constantly transformative soundscapes working its way into an ambient (almost static) outro. All in all, if you’re looking for metal and hardcore, you will find it at a high quality in Death Comes to all. Its chaos has structure and intention, wanting to show off what this band can do while committing itself to the erratic. The only fault that could be made is how crammed the tracks feel when listening in one go - slow down and enjoy the ride is the phrase that comes to mind. Apart from that, well - it was sick, it was metal. Score: 7/10 Death Comes to All was released on March 21st 2025 via Nuclear Blast Records. Words: Julia Brunton Photos: Gates to Hell

After five years, Calyces are taking the metal scene by storm with their third album, Fleshy Waves of Probability. The progressive post-metal band hails from Athens in Greece was founded by the vocalist and guitarist Mathios Stergiou in 2018. Joined by the drummer Alexis Stavropoulos, guitarist Giannis Golfis and bassist Stelios Tragos, the band debuted in 2020 with their album Impulse to Soar, and with their latest release have delivered us eight melodic and original tracks that are centred around the themes of hardships, oppression, creativity and freedom. Taking us through their new tracks such as ‘Swirling Towards the Light’, ‘Lost in Phrase’ and ‘Lethargy’, the band keeps showcasing the variety of their skills. From the beginning of the first song on the album, ‘Swirling Towards the Light’, the energy is kept high, engaging us with catchy riffs and melodies, that are carried through the second song, ‘Boneshatter’, as well. On the other hand, ‘Lost in Phrase’ starts off slowly with acoustic guitar, just to switch into drums and electric guitar, giving us the 90’s and 00’s riffs and bridges, that are typical for the band. Paired up with Stergiou’s strong vocals, the song picks up very quickly, leaving us with a well-balanced melody, where none of the components feels too much. ‘Lethargy’, the last track on the album, is quite distinct from the rest, as it starts with precise guitar work and soft vocals. Transitioning into a melody carried equally by guitar and drums, the song is becoming more prominent. And as we feel like we have heard all the variations of the music, the bridge suddenly comes into play, being led by hauntingly beautiful violin, that fits gracefully with the harsh sound of progressive metal. Until the last second of the track, we can recognise the unmatched talents of Stavropolous, Golfis and Tragos, who are carrying the sound on their backs. With eight tracks on one album and no noticeable transitions between the songs, the listeners certainly can feel like there is not much space to comprehend the sounds and songs, that are taking place, and they might have a feeling that they were excluded from the whole experience. With some songs having similar melodies and tempos, one might think of certain songs as repetitive, such as ‘Voices in the Gray’ and ‘Flowing Through Storm’, or the previously mentioned ‘Swirling Towards the Light’ and ‘Boneshatter’. Staying true to the well-known formula of late 90s has its perks such as familiarity, but unfortunately often comes with the price of repetition, that can make some listeners skip over some tracks. Nonetheless, the work that went into Fleshy Waves of Probability is heard from the first note, as the band recorded various elements of the songs in different studios, assuring a thrilling outcome when pieced together. With the tracks touching the topics of adaptation to a new world and its hardships and freedom, the band continues with the theme of rebirth they set for themselves with their debut album. As much as the topic and the genre suit the band, the repetitive melodies did make us feel a bit lost in the music, somewhat making us little confused about the tracks, and at times feel like the melodies keep on dragging. However, the album is still a well-made piece that matches the talent of the band members. The last track, ‘Lethargy’, is a great example of balanced melody, fusing together instruments and vocals, while gradually adding intensity. The overall listening experience is pleasant, giving us a few “wow” moments. A good example of progressive metal, that stays true to its nature but tries to experiment with sounds. Score: 7/10 Fleshy Waves of Probability was self-released on March 21st 2025. Words: Katerina Stepanikova Photos: Calyces

Italy has taken the alt-music world by storm in recent years. Whether it is Måneskin’s 2021 Eurovision win with ‘ZITTI E BUONI’ which later became a worldwide hit, or Marlene Kuntz’s incredibly well-received 2022 album, Karma Clima, the Italians seem to be producing liquid gold. And Stormo is no exception. The quartet exemplifies what alt music should be, with Tagli/Talee entailing a brash mix of the acidity of noise rock and the puncture that post-hardcore possesses, with these genres amalgamating into a homunculus of an album. ‘Tagli’ becomes the cornerstone of the whole album. It’s a deeply melancholic rumble of the guitar. The drip of passion it exhibits entices you, leaving you hungry and hollow for more. It is the shallow end of the pool, allowing the listener to tread in safe waters before that agonising spirit of Stormo plunges you into the deep. The growl of the instrumental morphs into the fervour expected from a Stormo album as ‘Sabbia’ begins to play. ‘Sabbia’ satiates this hunger. Pounding drum work is layered with riffs in this song, exemplifying how adept the band is with their work. Every auditory manipulation is evidently purposeful, with these overlapping vocals becoming a cacophony, surrounding the listener from all angles. A real standout moment can be found with ‘Kallitype’. In many ways, this album is a collage. Written exclusively on the road during their 2023 European tour, Tagli/Talee is a collage of cities, venues, and people they have visited and seen all morphing into one work of art. ‘Kallitype’ reflects this composition, intertwining elements from so many genres into this one unification of a song. Stormo avoids all the common pitfalls seen in the genres they cross, the vocals do not appear to be forced in any way, and, in fact, sounds like a much-needed release. The moment vocalist Luca Rocco opens his mouth, rage inherent from the very soul of his being torrents out as the floodgate opens. The influence of horror is tangible throughout ‘Come Fauce Che Divora’. Adrenaline cuts into you thanks to the fractured elements of the track. The grating noise bites into you, with the tension seeping through every hit of the drums (courtesy of drummer Stefano Rutolini) matching the pace of blood pumping through your ears. In many ways, it wouldn’t be out of place in a horror film chase scene, with an overlapping of sound akin to the scraping of shoes on tarmac and a rustle of feet through the underbrush. It’s tangibly visceral due to the deliberate use of texture achieved through the symbiotic work of Stormo and Holy Similaun. ‘Bordi’ is another standout, as passion punctures through everything, building and building until this great escape of emotions. The only thing this writer dislikes about the album is how painfully short it is. No track breaks past the two-and-a-half-minute mark. It left us seeking more, wanting more, needing more. And there is one snag that we found upsettingly unable to overcome when assimilating with this album; that is, the writer doesn’t speak Italian. The most Italian thing to be found is probably the Pizza Express that was drunkenly ordered the other night - unlike that Pizza Express, Tagli/Talee is some Italian that is bound to not disappoint. However, even without any comprehensive knowledge - or frankly any knowledge at all of how to speak Italian - this album still spoke to me in ways I never thought a piece of music could. And that’s the thing about music, it transcends all language. Every strum of the guitar reaches out a loving hand to you, every strike of the drum whispers faintly in your ear and every guttural uttering of the vocals cups your cheeks in an ever-so-familiar way. Stormo has this formidable talent of defying all linguistic bands, becoming their very own Tower of Babel. This is music that knows you, understands you, is you. The transcendent rage the album explores is one that everyone has reckoned with in their life. Just let it wash over you. Score: 9/10 Tagli/Talee was released March 21st via Prosthetic Records. Words: Dylan Milton Photos: Stormo

Weighted by the inexplicable grief of losing one’s mother, Euphrosyne have repurposed that burdened blanket, woven the most beautifully haunting melodies into the fabric, and bundled that black metal onslaught into Morus. It’s a catharsis unlike any other. The debut album – with Efi Eva on vocals, lead guitarist Alex Despotidits, Stelios Pepinidis on drums, and bassist George Gazis – permeates your very being with the emotional depth of every note, a meticulous measuring of intensity that leaves you breathless in its wake. Title track ‘Morus’ lulls you into this serene soundscape of spoken word; although it is no less suffocating in its simplicity, it’s perhaps the most profound depiction of melancholic tension that the album reflects. The liminality of mourning crescendos into ‘July 21st' and we have the visceral introduction of vocals. A pitter-pattering of piano keys orchestrates the fray of violin whispers before Eva lets out an anguished scream, creating an almost tangible sense of grief. We’re barreling through a form of melodeath, with drums going ten to the dozen and some truly stunning lead guitar work, leaving no stone unturned. ‘Valley of White’ diligently rotates this Grecian urn of an album. Distorted riffs shift between brutality and beauty before transitioning into a melodic minor of musing, and it is beautiful. Almost industrial in its heaviness, Eva’s soaring vocals somehow add a tranquility to the blackened fury. Whether that be the doom-laden chords or the primal screams that feel like they’re coming from a place of unimaginable pain, the dynamics on this song are tight and masterfully weave together atmospherics with a crushing heaviness. The way Euphrosyne uses space and silence to build tension is nothing short of masterful. Arguably the most poignant peak of the album is ‘Mitera’. Sung entirely in Greek, the quietude of the track is still a cacophony of noise both introspective and imposing, yet it captures the essence of post-black metal in a way that feels almost spiritual. Despotidis seems to carry this weight of despondency with each twang of the plectrum until Eva’s vocals - intertwining themselves so comfortingly within the strings - pierce through to release that hope in one fell swoop. This impression is erased when the band resumes its dark dissonance on ‘Funeral Rites’. Exploding into a blistering assault of melodic abrasion, the rhythms howl with heart wrench. It is guttural. In fact, one of the most striking aspects of Morus is Eva’s incredible range and versatility; her ability to seamlessly transition between clean, serene vocals and harsh, tortured screams is awe-inspiring. Many bands would need two vocalists to capture the emotional range that Eva conveys on her own. You can feel the pain and sincerity in every note she sings - especially when she’s tackling such a raw, difficult subject matter - that we truly believe she’s taking the genre to new places. The track is one of the album’s most contrasting, letting its ominous tones haunt the entirety of its riffs, yet that is before ‘Asphodel’ and its gentle melody grows bolder. It’s an overwhelming soliloquy to death and the perfectly accompanying haunting vocals that grow in scope. We find ourselves arriving at our final destination of ‘Lilac Ward’, a sprawling soundscape of eight minutes. Euphrosyne lose themselves between these textures that will surely differentiate them later on in their career and it is pure catharsis. Offering closure to the pain that has bled through every track before it, it’s clear they don’t shy away from the weight of its subject matter. The grandeur of these Greek artists and how they distill every note, every scream, every guitar line into a visceral experience is truly commendable. Morus is an album that doesn’t just take you through its themes of loss and grief - it forces you to feel them. There’s an underlying sense of finality to every track, a relentless march toward something inevitable; even when the band brings their sound down to a whisper, there’s always the looming sense that something heavier is on the horizon. Euphrosyne have crafted something truly unique - the pain that Despotidis and Eva have poured into this music is palpable - and it’s this emotional depth that makes the album so compelling. We imagine that Morus will find a place in many listeners’ rotations during moments of mourning and personal reflection. An ode on a Grecian record. Score: 8/10 Morus was released on March 21st 2025 via Black Lion Records. Words: Talia Robinson Photos: Euphrosyne

UK metalcore newcomers Iron Form burst onto the scene with their debut EP, Cut From Cold Blood, a blistering 20-minute assault of relentless drumming, sharp guitar work, and emotionally charged vocals. With a pedigree that includes members of Svalbard, Handcuff, and Eulogy, the band brings experience and intensity, channeling the raw energy of early 2000's metalcore and post-hardcore. While the EP doesn’t always push boundaries, it still offers plenty of moments that showcase Iron Form’s raw potential. From the opening moments of 'New History', it’s clear that Iron Form isn’t holding anything back. The track explodes immediately, setting an unrelenting pace with pummelling drums and forceful guitar riffs. The solo towards the end adds a welcome flourish, briefly breaking up the relentless intensity before the song slams to a close. It’s a solid introduction that establishes the band’s sound, even if it treads a well-worn path. 'Spirit Rain' introduces a short spoken-word section before launching into its razor-sharp instrumentation. The guitars are relentless, feeling almost like a barrage of bullets, piercing through the track with precision. However, the song struggles to maintain momentum, settling into a pattern that feels repetitive. While undeniably aggressive, it lacks the dynamic shifts needed to make it stand out among the EP’s offerings. 'Vengeance Prayer' picks up the pace again, delivering a fast and punishing assault. The brief slow down halfway through, featuring another spoken-word section, attempts to add a dramatic pause but ultimately feels more like a brief interruption rather than a moment of true impact. The track does its job but doesn’t leave a lasting impression, failing to bring a distinct identity to the table. The EP’s standout moment comes with 'Become The Blade', a track that fully embraces its mix of melodic hardcore and alternative metal. The metallic riff that kicks off the song is an immediate attention-grabber, and the subtle technical flourishes in the background add a welcome depth. The cymbal-heavy drumming enhances the overall energy, making this one of the more memorable and well-crafted tracks on the record. Closing with the titular 'Cut From Cold Blood', the EP ends on its strongest note. The introduction builds anticipation before diving into some of the most engaging instrumentals on the record. The interplay between the guitar and rhythm section feels particularly tight here, and the instrumental passage around the two-thirds mark adds a unique texture that sets this track apart. It’s a glimpse of Iron Form at their best - blending intensity with just enough nuance to keep things fresh. Cut From Cold Blood is an aggressive, tightly executed debut that establishes Iron Form as a band with plenty of potential. While some tracks blend together, the EP still delivers in terms of sheer energy and strong musicianship. Tracks like 'Become The Blade' and 'Cut From Cold Blood' hint at exciting possibilities for the band’s future, showing what they’re capable of when they add more dynamics to their songwriting. For fans of early 2000's metalcore, this EP is a solid entry that pays distinct homage to its influences, whilst attempting to carve out a space of its own. With time and further refinement, Iron Form has the tools to develop into something even more distinctive. Cut From Cold Blood is a solid first effort, but whether it’s a lasting one remains to be seen. Score: 5/10 Cut From Cold Blood will be released on March 21st 2025 via Church Road Records. Words: Jason De Mendonca Photos: Iron Form

North East alt-rock outfit Decrepit Youths have been stunning us over the past year with release after release of top tier singles, taking clear inspiration from a wide range of artists such as Bring Me The Horizon, Don Broco and Bad Omens. Although their inspiration is obvious, they have a distinctly unique sound thanks to their dual vocalists. This Friday brings the release of their debut EP Love Psycho Kill Machine - a compilation of two previously released singles, and one brand new track. The title track and lead single ‘Love Psycho Kill Machine’ opens the record with a driving guitar riff that sets the tone for the whole song - loud. While the track does rise and fall in energy between the verses, bridges and choruses, it begs to be played as loudly as possible to truly feel the effect. Vocalists David Stoker and Connor Pattinson clearly put all of their energy into this recording with truly angry vocals that perfectly compliment the song, offset by the calm and clean female voice narrating throughout. Their latest release ‘Black Dove’ is arguably their best to date, opening with a massive melodic, almost operatic vocal with synth and layered overdriven guitars backing, all topped off by an intense beat provided by Thomas Lee on the drums. The track bounces between a high energy, post-metalcore sound, akin to more recent Bring Me The Horizon releases, and a bridge that sounds like it could have been pulled straight from A Nightmare Before Christmas (excluding the frequent expletives), which is then followed by a synth laden breakdown. This is hands down one of our favourite tracks from the group, and we hope to hear more like it. The third and final track on the EP is ‘Monster and Me’, which again clearly takes influence from a range of artists - combining clean piano melodies with heavy distorted guitars and screaming vocals. The quality of the track is well beyond what a band of this size has any right to produce, and has clearly had a huge amount of work put into it. Overall the EP leaves us only wanting to hear more, and to see how the band develops their sound over their coming releases. If you’re a fan of an angry sound, and music that is clearly fuelled by rage and lust then this is definitely one to listen to. We can't wait to see what they come out with next, and to see how they transfer the energy they put into the recording of this EP into their live performances. If this is the quality they can produce with just three songs then we eagerly await a fully fledged album. Score: 9/10 Love Psycho Kill Machine was released on March 21st 2025. Words: Chris Brown Photos: Decrepit Youth

After a seven-year hiatus, Polish prog-metallers Bright Ophidia return with their first studio album since 2017’s Fighting The Gravity. Recorded at Lagrune Studio, this long-awaited release explores the ins and outs of human emotion, charting the highs and lows of our inner struggles. For the uninitiated, Quiet and Calm marks Bright Ophidia’s fifth full-length release (alongside a handful of demos and singles). Over the years, the band have earned a place among prog metal’s elite, sharing festival lineups with Opeth, Dream Theater, and Haken - most notably at Prog in Park, Poland’s premier progressive music festival. With this latest release, Bright Ophidia continue refining their signature blend of compositional complexity and metallic aggression. The album blends together intricate, layered guitar work, unpredictable time signatures, and atmospheric textures into an energetic and evolving auditory experience. While the expected elements of their past work remain, there’s a renewed sense of urgency and emotional depth that helps in making this one of their most immersive offerings to date. The heavy incorporation of ethnic instruments and vocals via the appearance of several guest performers is a bold new evolution in their sound that deserves further exploration. There’s something truly special here, and hopefully, this new direction extends far beyond a single album. The early singles provided an intense glimpse into the album’s evolving direction, building anticipation over the years. Bright Ophidia have steadily released music videos leading up to this moment, starting with ‘In Your Eyes’ five years ago, followed by ‘Survive’ a year later, and most recently, the album’s opener ‘Anger’ last year. It’s been a long time coming, but with an album this meticulously crafted, the wait has been more than justified. Additional standout tracks include the title track ‘Quiet and Calm,’ and the album closer, ‘Rise.’ The ethnic instrumentals from featured guest performer Marek Papaj on ‘Rise’ beautifully mirror those in the opener, ‘Anger,’ creating a sense of cohesion that bookends the album perfectly. Meanwhile, ‘Quiet and Calm’ leans heavily into djent-inspired grooves, offering plenty for fans of prog’s younger, (debatably) heavier sibling. With Quiet and Calm, Bright Ophidia have delivered an album as impressively intricate as it is powerful. Showcasing true mastery of their genre with razor-sharp technicality and flawless production. Every riff, rhythm, and atmospheric layer feels meticulously placed, yet never at the expense of raw emotion. The perfectly refined production allows each element to breathe while maintaining the crushing intensity that defines their sound. What truly sets this album apart, however, is the band’s bold embrace of ethnic voices and instrumentation. Rather than feeling like a gimmick or a passing experiment, these elements are woven seamlessly into the music, adding depth and richness to the listening experience. It’s an exciting evolution—one that not only expands their sonic identity but also hints at an even more ambitious future. If this album is any indication, Bright Ophidia are just beginning to explore the full scope of their creative potential, and we can only hope that this direction continues to unfold in the years to come. Score: 8/10 Quiet and Calm will be released on March 28th 2025 via Via Nocturna. Words: Andrew Nile Photos: Bright Ophidia

Best known for his work as a guitarist and vocalist in transcendental black metal outfit Agriculture, Daniel Meyer’s solo debut Kneeling is a deeply immersive and texturally rich experience. Unlike Agriculture’s cathartic, soaring compositions, Kneeling is more intimate and experimental, embracing imperfections and layering sound to create a thick, almost tactile atmosphere. Split into two distinct halves, the album first explores an off-kilter, lo-fi indie rock approach before descending into dense, atmospheric black metal. Meyer describes the album as “huge piles” of sound, an approach that makes Kneeling feel both expansive and claustrophobic at the same time. The first half of the album leans into hazy indie rock, with songs wrapped in biblical allegory and distorted recollections. The production is deliberately rough around the edges, layering multiple takes over each other to create something that feels alive and constantly shifting. Opening track 'Ugly Man' sets the tone immediately. The vocals sound distant, as if coming from the other side of a wall, while the cymbals crash in an erratic, almost disorienting pattern. The subject matter - a surreal imagining of biblical punishment being inflicted upon Ron Jeremy - adds to the song’s off-kilter energy. '16 Angels' is one of the album’s most striking tracks, feeling mournful and deeply reflective. Meyer’s vocals drift softly through the mix, creating an almost hypnotic effect, like watching light dance on the surface of a lake. The lyrics, which depict a man donating blood to a group of angels, give the song a dreamlike, ritualistic quality. When the guitar solo finally pierces through the haze, its sharpness feels like a wound, cutting through the otherwise meditative atmosphere. The final song of Side A, 'Sacrificing a Calf', is deeply unsettling. Two guitars play slightly out of sync, creating a sense of unease, as if time itself is faltering. Meyer’s voice is soft and almost reassuring, but the lyrical content—a literal depiction of an Old Testament cattle sacrifice—lurks beneath the surface, making the song feel strangely ominous. Side B shifts dramatically into raw, atmospheric black metal all about LA, where Daniel abandons lyrics entirely in favor of wordless howls and screams. Meyer’s vocals blend so seamlessly into the distorted walls of guitar that they feel less like a human voice and more like another instrument, buried within the chaos. 'Blanket' feels like being trapped in a cave behind a waterfall, the sound of rushing water muffling the outside world while shadows dance across the walls. The droning guitars create an overwhelming, almost claustrophobic atmosphere, while Meyer’s vocals blend into the haze like distant echoes reverberating off the stone. There’s a sense of isolation here, a heavy, inescapable weight that settles in as the track unfolds. In contrast, 'The Beach' introduces a sense of space. The sound of whirring machinery hums beneath gentle piano, before Meyer’s agonized cries cut through the stillness like wind howling through an abandoned house. The track captures the feeling of solitude and decay, like standing alone on a shoreline, watching the tide pull away at something long forgotten. The album closes with 'A Great Man', an eerie and almost reverent piece. It begins with a haunting piano that echoes like a hymn in an empty cathedral. Then, midway through, Meyer’s screams shatter the stillness, turning the song into something raw and primal. It is a hauntingly beautiful end to an album that thrives on contrast, balancing moments of tranquility with overwhelming intensity. Kneeling is a bold and unconventional debut, embracing both beauty and chaos in equal measure. Rather than blending indie rock and black metal together, Meyer keeps them separate, allowing each half of the album to fully explore its own sonic world. This separation makes the contrast between them feel even more dramatic, as if crossing from one dimension into another. At times, the sheer density of Kneeling can feel overwhelming, particularly in the album’s second half, where the layers of distortion and droning guitars can start to blur together. However, this also feels like part of its intent - an album meant to be experienced as a whole, rather than dissected into individual songs. While its abstract approach may not be for everyone, Kneeling is a fascinating experiment in texture and atmosphere, an album that doesn’t just tell a story but makes you feel it. Score: 7/10 Kneeling will be released on March 28th 2025 via Another Side Records. Words: Jason De Mendonca Photos: Daniel Meyer