PATRIARKH’s return with an 8 track sermon 'ПРОРОК ИЛИЯ' (Prophet Ilja) to tell listeners the story of their hometown and the religious sects within it, utilising the best of black metal and the best of Eastern European folk to build an eerie doomsday vibe. The album opens with lead vocalist Bartłomiej Krysiuk beginning service with spoken word on the backdrop of frantic writing behind him, then introduces the choral backing in track 2 that will be a mainstay in this project. The harmony of hardcore vocals with the choir featured throughout cultivates the feeling of watching a metal show in a cathedral, a feeling developed through the introduction of the female vocalist to the soundscape. Speaking German or Polish is not a requirement to enjoy the narrative structure of this project, which is a concept album covering the lifetime of the prophet Ilja and his work in an orthodox religious sect in PATRIARKH’s native Podlasie. The incorporation of traditional folk instruments adds to the worldbuilding within this album, and when tied together with the dark metal and religious elements places a listener well into the context of which the story in the album takes place. The structure of the project is like a dark fairy tale, with a slow build to 3rd act crescendo makes for an engaging cover-to-cover listen, putting sound to a descent into religious paranoia that becomes more apparent as the spoken word becomes erratic and the sound of fire is mixed into the background of an already ethereal soundscape. The highlight tracks on this project are track 6 and 7, with track 6 offering a change of pace and swapping to a more pagan style of folk rather than the orthodox catholic that has been the inspiration in the previous songs. The female vocalist returns for another gorgeous harmony and some welcome classic guitar elements. In contrast, track 7 gives the feelings of the last service and party before the battle starts, offering the false climax that must have accompanied soldiers of old celebrating as if it would be their last. The 3rd act guitar coupled with a strict and fast double bass drum line and off beat snare captivated the ears and made one ready to go to war, albeit with a prolonged outro. The main issue with this album was a habit of bloated track lengths. PATRIARKH could have made good use of interludes and act breaks especially within the concept; each of the elements that they wished to utilise were used in every track and often given a full minute dedicated to the introduction of each, where the ability to choose elements and allow some to fall into the background without introduction could have made for a more interesting auditory experience. Adding to this, the everything-all-at-once approach meant that many of the songs had a jelly-like structure, where a whole track had a set structure but the change from one section of a track to the next was a delayed discovery rather than a clear transition. This was also in part due to the mix not favouring one vocal or instrument over another throughout the project which, when done across the whole album, makes a complex soundscape somewhat flat on listening. Overall, 'ПРОРОК ИЛИЯ' is a solid return for PATRIARKH, encompassing a very strong concept and engaging story that has transcended its language to warn of the rising fear and paranoia that can come with strict religious conviction. 'ПРОРОК ИЛИЯ' comes out on January 3rd via Napalm records. Words: Julia Brunton Photo: Jacek Jaca Wisniewsky

Well well well - Out Of Rage has officially made it into 2025! Happy New Year! We're so glad to have been doing this for over a year now, and can't wait to see how the year progresses for us. With that in mind, there's plenty of awesome shows set to blow your socks off this month that you should be well aware of. On January 7th, Dark Funeral's first European headline tour in eight years will steamroll London. The black metallers aren't kidding when they say it's going to be their biggest production tour to date, as they're also bringing along some seriously big names to support them, with Italy's Fleshgod Apocalypse acting as the main support act, whilst Ex Deo and Kami no Ikari will be opening the show. For a night of pure heaviness, this isn't one to miss! There's plenty more extreme metal to doll out, as Insomnium are also heading out across Europe and are starting off in London as well! The Finnish blackened melodeath group are playing their acclaimed album 'Shadows of the Dying Sun' in its entirety, and will also have their original lineup back together on stage! They'll be joined by Omnium Gatherum in London, who are going to play 'Beyond' in full, which is looking like a night to remember. Here's a special one for us - Reality Unfolds Festival was the first festival we covered as a publication, and we're beyond excited for this year's edition! The lineup is as mouthwateringly good as expected, with WristMeetRazor headlining on Friday 17th amongst their first ever UK appearances, Stormo headlining Saturday 18th after 16 years away from the UK, and Stormo making the trip from Italy after six long years gone to headline on Sunday 19th. Aside from them, there's a slew of our favourite bands playing - Hidden Mothers, Shooting Daggers, Vicarage, Hour Of Reprisal and so many more. The New Cross Inn will be blown to smithereens after this one, so don't miss it. Speaking of WristMeetRazor's first ever UK appearances, they are indeed running a tour as well as playing Reality Unfolds, so the US metalcore/screamo maniacs will be playing nine times total around the UK. Taking Long Goodbye around for the first four shows in Brighton, London, Leeds and Glasgow, they'll then be taking Divine Hatred for the last five and visiting Newcastle, Manchester, Sheffield, Bristol and Southampton before they leave for likely far too long. Don't miss them! Across the same week and a half as the last tour, Better Lovers will also be crossing the pond and playing a few of their reliably brilliant sets around old Blighty. Playing in Bristol, London, Manchester, Glasgow, Newcastle, Leeds and Birmingham, the Puciato-fronted fivepiece are dragging the amazing pair of Frontierer and Greyhaven with them for what will no doubt be a night of pure mayhem. Silent Planet will also be visiting around the same time in the back third of the month, when they travel across to play a string of six shows after visiting us with Polaris early last year. Playing Bristol, Glasgow, Leeds, Birmingham, London and Manchester, they're taking 'Superbloom' all across the UK, and will be joined by Like Moths To Flames, Vexed, and Avoid, to make up an excellent four band bill. Of course Neck Deep are back again, they're never gone for too long, and the Welshmen are bringing a three band lineup that's going to be one of the best of 2025, when The Wonder Years and One Step Closer both support them. Playing in Birmingham, Manchester, Glasgow, Newcastle, Nottingham, Bristol, and Swansea, it's more refreshing than expected to see a band tour without playing in London. Cattle Decapitation will also be making their return to British shores in January, bringing the Terrasitic Reconquest tour to Birmingham, Glasgow, London, Bristol, Manchester and Southampton. The madcap extreme metallers aren't alone in this, and have the stellar support of Shadow Of Intent, Revocation, and Vulvodynia to carry them around between the end of January and the beginning of February. On the final day of the month, Leprous will be playing the only UK show on their world tour in London, as they perform an exclusive Evening With show supporting their latest album 'Melodies Of Atonement'. The Norwegians played an incredible real-time fan request only set at RADAR festival last year, and after that stunning success it's likely that this London show will be another momentous night of music. We're also highlighting the Bullet For My Valentine and Trivium coheadline tour. Two modern metal behemoths playing their iconic 20 year old albums on the same tour? Pinch me, I must be dreaming! The mighty Orbit Culture will be opening proceedings across six nights and five different UK arenas, playing twice in Cardiff and once in Glasgow, Manchester, Birmingham and London. This will be sensational, so don't skip out! Finally, the first round of Metal 2 The Masses will be kicking off ASAP across a slew of towns and cities around the UK. This is an amazing initiative to get involved in, and will give thousands of local bands the opportunity to play to a healthy audience, and potentially even get all the way to Bloodstock Festival! Supporting small bands is essential, so we would encourage that as much as any of these shows, if not more so. Get down and support your local! To round off, thanks for reading Out Of Rage - here's to a brilliant 2025 for us and for you, we can't wait to see what's in store. Words: Jake Longhurst Cover Photo: Kayleigh Fryer (Pupil Slicer, Reality Unfolds 2024)

We've had our brat summers, our hardcore-tumns, and plenty of shows - but more than those, we've had a mindblowing number of brilliant albums released this year! From Kendrick Lamar's unannounced 'GNX', to the sensational Magdalena Bay's LP 'Imaginal Disk', and One Step Closer's glorious 'All You Embrace'. However, none of those three gems quite made it into our top twenty, but there is not much room to breathe for all the quality on display below. Our Christmas present to you has finally arrived - here is the official Out Of Rage top twenty albums of the year. Heriot - Devoured by the Mouth of Hell Medieval mosh-lords Heriot gave us the pleasure of their debut album this year. ‘Devoured By The Mouth Of Hell’ returns us to the dark fantasy that the blackened metalcore mob has cultivated over the past few years, with its already iconic abrasive sound. Aggressively brutal guitar tones and banshee-like shrieks take precedence amongst the few shining moments of tranquillity. Few debuts have ever hit this hard, and it is the undeniable promise that this album is overflowing with that provides the first entry on our list - AB Boundaries - Death Is A Little More Boundaries latest album is a powerful metalcore masterpiece. The album offers soaring melodies, violent breakdowns, and intensely personal lyrics that explore themes of loss, wrath, and death while fusing the raw aggressiveness of early 2000s metalcore with current production. Songs like 'Scars On A Soul' and 'Turning Hate Into Rage' stand out for their constant energy and dynamic changes. Matt Honeycutt, Lochie Keogh, and Marcus Vik provide depth and diversity as guest features. This album has cemented Boundaries' position within the genre, featuring a band at the height of their abilities - LJ DWINGLE - Volume 2 DWINGLE's 'Volume 2' has come in hard after their previous release ‘Volume 1 Remastered’. With the eight songs combining for a total of 30 minutes, there's a number of highlights across the record - none more so than ‘GATORAID’. It's full of wild vocal ranges and janky riffs, in a perfect distillation of everything that's great about 'Volume 2'. This album is an easy listen and a great diving in point for someone wanting to expand their taste heavier music - CH-E Joey Valence & Brae - No Hands ‘NO HANDS’, the highly anticipated successor to last years ‘Punk Tactics’, doubles down on Joey Valence & Brae’s signature blend of '90s-inspired hip-hop with a smattering of punk influence. A riotous release that features Ayesha Erotica, Danny Brown, Z-Trip, and Terror Reid, every moment of 'NO HANDS' is high-octane and packed with infectious energy. The duo hit the ground running in style throughout the album’s 45-minute runtime - the standout tracks ‘BUSSIT’, ‘PACKAPUNCH’ (Ft. Danny Brown), ‘THE BADDEST (BADDER)’ (Ft. Ayesha Erotica), and ‘CAN’T STOP NOW’ offer the perfect blend of raw nostalgia with a modern twist, making 'NO HANDS' an unforgettable trip that's well worth embarking on - AH I Don't Know How But They Found Me - GLOOMDIVISION I Don't Know How But They Found Me are back and as better as ever as a solo project, with their latest second studio album ‘GLOOMDIVISION’ released February 2024 by front man and vocalist Dallon Weekes. This indie/pop/rock album glows with a thrilling variety of different genres and instruments within each song. From guitars to synths, each song on the tracklist is full of instrumentation and are all displayed with their own sense of uniqueness and contrast, coming together to make the album very special. It's full of upbeat groove, and could be spun for hours on end - ML Graphic Nature - Who Are You When No One Is Watching? Graphic Nature’s ‘Who Are You When No One Is Watching?’ is a brilliant addition to their discography, blending hardcore, and industrial influences into a brutal 13 track album. Songs like ’Blinded’ and ‘To The Grave’ hit with ferocity, pairing ear-crushing riffs with eerie electronic atmospheres. The album’s raw intensity mirrors the introspection of its lyrics, exploring identity and self-doubt with fierce honesty. The band’s innovative use of texture and dynamics creates moments of both chaos and clarity, making for a captivating listen and a true non-skipper of an album. Graphic Nature have crafted an album that not only delivers gut-punching heaviness but also pushes the boundaries of modern heavy music - VR Cane Hill - a piece of me i never let you find. Cane Hill have only gotten better and better with each release, a trend that has continued with 2024's ‘a piece of me i never let you find.’ With an eminent soundscape that has something for everyone, this is perfect modern metalcore, and one of the releases of the year. There are no skips at all - just hard hitting riffs, a vocal range to envy, and songs full of raw emotion. The lyrics are full of emotion, and with such a powerful vocal performance it's a phenomenal pairing. This album could be talked about for years to come, and the highlights in particular sear themselves into the memory - most notably, ‘I Always Knew We Where Doomed’, ’Fade’, and ‘Permanence In Sleep’. An unforgettable release without a doubt - LG Delilah Bon - Evil, Hate Filled Female Delilah Bon’s latest album is unapologetically bold and a fierce, electrifying statement. With a potent blend of hip hop, nu-metal, riot grrrl and attitude, Delilah tackles themes of empowerment, defiance and social critique. The production is gritty yet polished, fully complimenting the sharp lyrics. Songs like 'Maverick' and 'The Internet' stand out for their intensity and creativity. This album has carved out a space for Delilah in the scene and we are likely to see her grow a loyal and dedicated fanbase from here - LJ SOFT PLAY - Heavy Jelly Loud, brash, energetic and in your face. SOFT PLAY make their return to the scene with a new name - but don't be disheartened if you “don't like change”, ‘Punk’s Dead’ kicks down the illusion that SOFT PLAY are changing anything other than their name and the UK punk scene. Heavy, dirty, grooves and endlessly quotable lyricism are paired with whimsical journeys through the John Wick films (‘John Wick’), the dangers of an overfull pedal bin (‘Bin Juice Disaster’) and selfie dependent gym culture (‘Mirror Muscles’) before breaking hearts with the sincerely beautiful ‘Everything and Nothing’. Punk’s not dead and SOFT PLAY will be fighting to keep it that way - DS Scene Queen - Hot Singles In Your Area Scene Queen is making room for hyperfemininity and sexuality to be a focal point for some much-needed conversations within the metal community, where, despite the apparent lack of rules and regulations, there has been too much conservative attitude since its inception. Taking inspiration from 2000s internet culture, ‘Hot Singles In Your Area’ continues the exploration of rage, sexuality and comedic interludes started on 'Bimbocore' with an equally positive message weaved through a musical mix of girly pop and gritty hardcore. Somewhere in a venn diagram of Ke$ha, Bloodhound Gang and Spiritbox you’ll find Scene Queen and the Bimbo-Beta-Pi initiative holding female/non-binary mosh pits and putting the industry on notice to do better or get out the way - DS Raised By Owls - Vol 3: The Satirical Verses Raised By Owls brought their signature comedic grindcore chaos this year with ‘Vol. 3: (The Satirical Verses)’, delivering unending brutality and witty satire. From the absurdly catchy ‘Robert Zombie’, to the chaotic genius of ‘Altars of Sadness’, the album blends breakneck riffs, guttural growls, and hilariously bizarre lyrics. Their quintessentially British humour is as unapologetically absurd as ever, poking fun at both pop culture and everyday life. Beneath the laughs, the musicianship is impressively tight, proving Raised By Owls are far more than a novelty act. With this album, they solidify their reputation as masters of extreme comedy metal - VR SeeYouSpaceCowboy - Coup De Grâce Mixing the best of post-hardcore and metalcore with a little bit of lounge jazz and pop/indie rhythm and melody, SeeYouSpaceCowboy have created one of the most fascinating and brilliant records of the year. With breakdowns and jazz croons alike found across ‘Coup De Grâce’, it’s a conceptual masterpiece full of phenomenal moments and amazing songs. ‘Silhouettes In Motion’ is a contender for song of the year, and ‘To The Dance Floor For Shelter’ is a glorious idea made good, with even more added by Spiritbox’s own Courtney LaPlante. Queercore is doing better than ever, and SeeYouSpaceCowboy are a huge part of why - JL Speed - Only One Mode One life. One attitude. Speed’s ‘Only One Mode’ is a triumphant release, blasting the Sydney hardcore outfit into the mainstream. A record devoted to the underground community they have been cultivating for the last decade, the LP is a mosh sandwich of beefy breakdowns and the hottest riff sauce. It stands as testament to Speed’s diehard mentality, one that is not defined by lifestyle but by being ambassadors who preach authenticity and acceptance for anyone who wants to be a part of the scene. When vocalist Jem Siow incorporated his flute - his livelihood, as a flute teacher for the last decade - into a hardcore song, it created one of the most memorable sounds alternative music had this year - AB While She Sleeps - SELF HELL While She Sleeps’ ‘SELF HELL’ is an ambitious and genre-defying album. Blending metalcore with industrial and electronic influences, the band crafts anthems that are both aggressive and introspective. Tracks like ‘SELF HELL’ and ‘LEAVE ME ALONE’ walk a thin line between heaviness and radio-ready hooks, while ’DOWN’ delivers relentless energy. The album tackles themes of mental health and societal struggles with pure honesty, offering a cathartic and relatable experience. This release has not only reassured While She Sleeps’ position as innovators within the metalcore scene, but has also pushed their sound into bold, exciting new territory for the band - whilst still retaining elements that fans know and love - VR Bilmuri - American Motorsports The incredible Bilmuri with their album like no other; 'AMERICAN MOTORSPORTS'. This album brings a no-skip joy throughout, the sort of music to be played on a warm summer’s day with friends. Chugging guitars and an atmospheric feel make this an album destined for your emo and head-banging playlists, whilst strategically placed saxophone solos bring listeners to the midwest and evoke a sense of wonder and euphoria within the overall feel. This album also brings a country feel with its twangy vocals, bringing the sound right together. Songs like 'SPINNIN’ YOU AROUND' and 'BLINDSIDED' showcase this to a tee, which are finished with insane breakdowns to get you hooked on every single track from start to finish! - EP Fever 333 - Darker White Community, charity and change. These are the core principles Fever 333 were formed around, and recently change has been at the forefront. With an almost entirely new lineup, Jason Aalon Butler adds the star-studded crew of April Kae (Imanigold), Brandon Davis (Vanna/INSPIRIT) and Thomas Pridgen (Trash Talk/The Mars Volta) into an absolute powerhouse quartet of inimitable styles and incredible collaboration. ‘NEW WEST ORDER’ gives an autobiographical tour of the journey to this album and seamlessly blends “punk rock hits with a little rap twist”, setting the stage for ‘Darker White’ to take aim at injustice and intolerance. Inspired galvanizing lyrics were a given. but paired with infectious grooves on 'NEGLIGENCE / BULL & A BULLET’, cranking up the west coast hip hop vibes with ‘TOURIST / MOB MUSIC PT2’ and bringing the heavy riffs and emotive screams throughout ‘HIGHER POWER / MURDERER’, 'NEW WEST ORDER' provides us with the anthems for righteous anger that will be forever cemented as the soundtrack to community, charity and change - DS Charli xcx - brat 'brat' as an album finally made Charli xcx culturally go through a full '360' degree turn. She has gone from making underground 'club classics' like 'Vroom Vroom', to making sure everyone would 'talk talk' about her all summer long. The album stands as an impressive work of music, everything Charli xcx has been working at creating over the past 10 years seems to have become a cohesive work. The production is fantastic, the beats are catchy yet if I talk about the album itself too long, 'I might say something stupid'. The album is such a cultural milestone for 2024, if you looked at where Charli was before 2024 you would think 'girl, so confusing'. She even shut down Times Square to perform in the big 'apple'. 'brat' summer was everywhere, 'I think about it all the time'. In these '365' days, 'brat' stands out as one of the biggest pop culture phenomena - the album is more than an album of the year, it IS the year - WF Frank Carter and the Rattlesnakes - Dark Rainbow A record comprised of love, change, and reminiscing, ‘Dark Rainbow’ is the curveball we didn’t expect but have fallen in love with. Frank Carter and the Rattlesnakes were best known for their gritty punk rock energy, so to release a record that’s got as much piano and crooning as this was entirely out of left field, yet it acts as a perfect, and beautiful, epitaph on this chapter of the band's career. ‘Superstar’ is the sexiest song of the year, ‘Man Of The Hour’ deals with being seen as someone you aren’t, and the gorgeous title track is a poignant message of care. On what could be the band’s last studio album, we’ve been gifted a piece of music that loves us as much as we do it, and will stand as a testament to the passage of time giving us all a chance to change and evolve. Thank you Rattlesnakes, for all you’ve given us - JL Poppy - Negative Spaces It’s been a big year for Poppy, nominated again for Grammy consideration after “Suffocate” with Knocked Loose, and cementing herself fully into the metal world with 'Negative Spaces'. The album flip-flops between circle pits one moment and girlytwirling the next, incorporating all the playful femininity we’ve come to love and expect from Poppy, while pushing a more serious hardcore edge. Each track serves a different energy, with 'crystallized' offering a more trancey synth pop to juxtapose the machine-gun fire heavy drums and screams of 'they’re all around us'. The album’s lead track 'new way out' was well chosen, becoming an anthemic song of the summer for 2024. It’s arguably the strongest track among a set of real heavy-hitters with producer, ex-Bring Me The Horizon’s Jordan Fish, weaving anger, rage, and melodic riffs all throughout the album’s 42-minute runtime. 'Negative Spaces' is cathartic and eternally replayable, more than earning its second place spot on our AOTY list - ES Knocked Loose - You Won't Go Before You're Supposed To When vocalist Brian Garris took a precarious plane journey during an increasingly unsettling storm, the title of metallic hardcore heavyweights Knocked Loose's next album came from the prophetic words of an the older lady that soothed his troubles throughout his flight. 'You Won't Go Before You're Supposed To' is a record that defies god and tests faith - all in under thirty minutes. With harrowing screams, gunshot snares and gritty gut-wrenching riffs, the album signifies an abrasively daring new era for the Kentucky five-piece, with damagingly gorgeous symbolism that pierces straight into the heart of the American South. Released in May, Knocked Loose's ability to cleave away the old flesh from the heavy music scene has provided them a uniquely devastating sound - one that deservedly champions them for next generation of metalheads. In a live setting, the band's ferocity has garnered them Grammy nominations and mainstream TV performances platforming metallic-tasting fury for the unsuspecting public. With their reggaeton-imbued breakdown and grotesque cries into the void during their standout track ‘Suffocation’ with Poppy, it earned one of the most engrossingly brutal moments of our scene this year. As voted for by our entire team, and in agreement with so many of you, 2024 was the year of Knocked Loose - AB These were all selected as part of an open entry long list submission (for OOR contributors), which were then whittled down to a shortlist of 40, and those were then voted on by the contributors to create our final twenty. Writers: Amber Brooks, Amy Hannah, Ciara Hicks-Evans, Danny Sanders, Emily Perry, Erin Strom, Jake Longhurst, Lizzie Jones, Lucas Grayson, Mikaela Long, Vee Richardson, William Freeman Editor: Jake Longhurst Cover Photo: Nic Howells - SeeYouSpaceCowboy Voters: OOR Contributors

2024 has been a bumper year of EP's, with some of the best we've heard in years! Across the entire scope of alt and heavy music we've seen a litany of phenomenal releases, with some debuts pushing the boundaries of music and some late career gems, from bands of all sizes - an honourable mention must go to the band flat (@flat.dchc on Instagram) from Washington DC, whose demo wasn't quite inside our top twenty but deserves a shout out for punching so far above their weight! With that one mention though, we'll lead into the main juice of our article - the Rage Network's top twenty EP's of 2024. Let's get into it! Пять Сантиметров В Секунду (Five Centimetres A Second) - Тлеть (Look) Despite the first minute of the EP doing its best to not show off the heaviness of the release, this might be one of the most accomplished EP’s on this list - which is even more impressive seeing it come on Пять Сантиметров В Секунду’s debut release! Mixing in facets of hardcore, slam, death metal, techno, nu metal and metalcore, it’s a multi genre explosion of sound. There are moments reminiscent of Bad Omens, others of Knocked Loose, and even some of Party Cannon, in the chaotically brilliant 17 minutes that make up this phenomenal debut EP by Пять Сантиметров В Секунду - JL Paledusk - Palehell Japan’s finest experimental metalheads Paledusk return for their new Pale Hell EP. Brimming with energetic cyber sounds and extreme unpredictability, they bring something completely unique to the alternative music scene. Working with Bring Me The Horizon on a sample for the Brit legends' latest release 'POST HUMAN: NeX GEn', they rip apart the constructs of nu-metal, electronica and j-rock to provide a new fantastic act that is incredibly exciting to get behind - AB Killing of a Sacred Deer - Killing Of A Sacred Deer Killing of a Sacred Deer have, in the space of 14 minutes, managed to recreate the atmosphere of hell. Songs like ‘Mangled Flesh Cathedral’ evoke the unbridled, incendiary rage of the most brutal slam, grindcore and hardcore going, and the features from Cauldron, Serration and World Of Pleasure provide a slight twist on the already potent formula that only serves to make this self-titled debut into even more of a landmark release. Killing of a Sacred Deer haven’t pulled a single punch - every riff, every breakdown, every divebomb pulls your mouth into a grimace that will last for far longer than the lean runtime on display - JL Chaos Reigns - Sweet Violence Chaos Reigns’ newest EP ‘Sweet Violence’ is a powerful introduction to the band’s dynamic sound. Tracks like ‘Graveyard Shift’ and ‘The Lotus King’ weave together crushing breakdowns, soaring clean vocals, and emotional lyrics that explore themes of inner struggle and perseverance. The balance between melody and heaviness is brilliantly handled, offering moments of reflection alongside sheer aggression. The production is polished without losing the raw, almost DIY edge that makes their music hit so hard. With ‘Sweet Violence’, Chaos Reigns have begun to build a strong foundation for their future, proving they are a band with passion, potential, and a huge future ahead of them - VR Chubby and the Gang - Cocaine Sunday Chubby and the Gang’s ‘Cocaine Sunday’ captures the raw energy of punk and the swagger of rock ‘n’ roll in a tightly packed 12 minute EP. Tracks like ‘The Bonnie Banks’ and ‘To Be Young’ showcase the band’s ability to take a typical British indie sound and combine it with punk charged lyrics to create something uniquely them. The release radiates both chaos and charm, making it a wild yet heartfelt ride. Chubby and the Gang manage to channel the spirit of classic punk while crafting something that feels fresh and relevant. ’Cocaine Sunday’ is a high-energy, unrelenting showcase of the band’s infectious sound - VR Mirar - Mare The word ‘instrumental’ truly doesn’t hold the weight it should most of the time. Mirar might have remedied that situation with their blindingly heavy EP ‘Mare’. The claustrophobic, industrial terror they evoke across half an hour's worth of caustic, abrasive music. In the same way a vengeful god could cause fear and awe simultaneously, this EP creates contrasting emotions that work to both scare and impress the listener in equal measure. Finale ‘Cauchemar’ might just be the most accurate soundtrack to the apocalypse we’ve ever had recorded, and even the soft piano outro doesn’t take away from its devastating power - JL Agriculture - Living Is Easy Black metal so often just a nihilistic outburst of vitriol - but Agriculture has taken the typically negative genre and created one of the most beautifully affirming statements of life to date with it. ‘Living Is Easy’ is a gorgeous, heart-wrenching, Deafheaven-esque release about the beauty of living and being alive. The title track in particular is seven minutes of lush emotion that can and will bring you to tears. It’s the sonic equivalent of a final goodbye to your loved one yet knowing you’ll see them again one day, or the last boat crossing the horizon under a beautiful sunset. Agriculture are modern metal masters - JL BIG ASS TRUCK - BIG ASS DEMO Get your two stepping boots on, it’s slightly silly hardcore time. BIG ASS TRUCK’s ‘BIG ASS DEMO’ is a five song, 12 minute example of how much fun it can be to just let loose and throw some arms around. With 12 CC’s of fuck you injected into the bands engine, they’ve released an EP that any modern hardcore fan should be able to put on and start grinning to immediately - JL GEL - Persona Rage never sounded so good. American hardcore rockers GEL prescribe to a diet of relentless, fast-paced punk with their new EP 'Persona'. The record solidifies the band’s constantly aggressive sound with vocalist Sami Kaiser’s unapologetic growls and guitarist Maison Nave’s remarkable ferocity. Calling all greebos straight into the pit, GEL provide the power as one of the best hardcore acts in the scene - AB Mallavora - Echoes Mallavora’s Echoes is a compelling EP that seamlessly blends alternative rock with metal influences. The title track, ‘Echoes’, begins with hauntingly delicate melodies before erupting into a thunderous finale, while ‘Vultures’ layers powerful grooves with dynamic, soaring vocals. Each song is layered with intent, tackling tough themes of resilience, loss, and hope. The EP’s tight production highlights the band’s intricate musicianship, capturing their passion and energy. Mallavora’s thoughtful lyrics and emotive delivery make ‘Echoes’ a standout, and honestly, severely underrated, release for the UK scene this year, solidifying their place as rising stars in the heavy music scene. With this release, they’ve set a high bar for what’s to come - VR No Cure - I Hope I Die Here Combining the groove of traditional hardcore with the aggression and tone of modern metallic hardcore, No Cure have brought out a behemoth of heaviness in their twenty minute long release ‘I Hope I Die Here’. The pulverising project begins with ‘Hang Me From The Bible Belt’ and doesn’t let up for even a second until the very end of eighth song ‘Warcry’, with particular highlights coming in third and fourth with ‘Forced Coagulation’ and ‘The Basement Beneath The Fountain’. The southern moshers are in for an enormous 2025 if they can keep this up - JL Bodysnatcher - Vile Conduct A rising name in the deathcore scene coming off of a great run supporting Spite, Bodysnatcher's newest EP 'Vile Conduct' is a brutal, unapologetic display of the bands power and future. Whilst all six tracks delivering crushing breakdowns, sharp riffs and emotionally charged lyrics, songs such as 'Human Disdain' and 'Infested' stand out for their energy - seamlessly blending the intensity of deathcore with hardcore's ferocity. 'Vile Conduct' showcases Bodysnatcher's ability to channel rage and pain into into a cathartic listening experience, that leaves a lasting impression on fans - LJ EVERGARDEN - In Light Released in January to far too little fanfare, EVERGARDEN started the year with an absolute bang. In just four songs, they explore the extremes of their oeuvre and the apocalyptic trudging wall of sound that has come to define the black metal/shoegaze scene whilst also delivering ethereal melodies and cutting emotional vocals through their almost overwhelming layering of blasting drums, sweeping guitars and guttural growls. 'In Light' is the soundtrack to an apocalypse happening just outside the window - it gives a sense of serenity and comfort amongst the chaos and delivers an emotionally cathartic experience, and we simply cannot wait to see what this dynamic duo has in store next - DS House Of Protection - Galore A warm welcome goes out to newcomers House Of Protection, producing their second EP this year in ‘Galore’. Coming from a wealth of experience with Fever 333, Night Verses and The Chariot as landmarks in dynamic duo’s Stephen Harrison and Aric Improta’s journey, their new project House Of Protection has strong foundations, and a seasoned capability to turn every song they produce into something phenomenally catchy. The band is captivating, capturing each mood with tight electronic elements and raw unbridled anger. A sanctuary of boundless creativity, House of Protection are at the forefront of an exciting new movement into the musical landscape of 2025 - AB HANABIE. - Bucchigiri Tokyo ‘Bucchigiri Tokyo’ is the latest release from HANABIE., bringing metalcore sounds and the Harajuku aesthetics together in a beautiful, yet unexpected marriage. The EP features all the elements that make HANABIE. who they are, with the constant contrast between clean vocals typical of Japanese idol pop and the harsh, heavy vocals that remind us that HANABIE are a metalcore band. This EP builds on HANABIE.'s previous releases, experimenting more with synthesisers and synthesised vocals, whilst keeping the spirit that gets you ready to rock and geek out at Tokyo. If you want to satisfy your inner otaku, then this EP is perfect for you - AS Footprints in the Custard - Live Laugh Lads ‘Live, Laugh, Lads’ by Footprints in the Custard brings to you 4 songs and 15 minutes 40 seconds of pure joy. ‘Oh Fuck! (You’re Gonna Make Me Party)’ is the big hit from this EP, which does exactly what the name suggests, and will leave you smiling and wanting to jump straight in the pit. The band are a right laugh, with plenty of comedy laced throughout the entire EP, and whilst they are usually up for a giggle, the song 'For The Freaks' takes a slightly less outright comedic tack. Being alternative has all too often caused us to be picked on or weeded out, but songs like these truly bring us all together into the community we've become - CH-E Vower - Apricity This first offering from post-hardcore supergroup VOWER is a masterpiece of emotional soaring vocals and instigating screams courtesy of Josh McKeown (Palm Reader). Enticing, epic and inviting soundscapes exploring very prog-metal-esque guitar pieces provided by Joe Gosney (Palm Reader / Black Peaks) and Rabeaa Masaad (Toska). All of this is supported by the colossal drum patterns and swaggering, hypnotic bass lines from Liam Kearly (Black Peaks) and Rory McLean (FrogLeap). This definitely feels like a product more than the sum of its parts with each element taking centre stage throughout the four track EP and leaving you to marvel at the scale and sincerity of the emotion, sound and excellence displayed. Apricity means the warmth of sun in winter and 'Apricity' certainly embodies and delivers that warm reminder of a sound that has been sorely missing in the scene for a while - DS Cody Frost - Anatomy If you have not listened to 'Anatomy', go and do it now. Now think - how are we supposed to accurately portray the range of genius on display? Alternative heavy takes on pop/rave-inspired anthems, grand gothic vampiric love stories that double as allegories for the do-or-die attitude that Cody embodies, and piano laden ballads with that 80s dark synth breakdown. Cody Frost has been very open in regards to their musical influences (Enter Shikari/SOFT PLAY/Gorillaz) and throughout 'Anatomy' there are definitely some touches that act as both a love letter and evolution to the genre, whatever that genre may be. It is doubtless that Cody Frost will be credited in other artists' influences sooner rather than later. This is the kind of EP which is best listened to on full blast four or five times in a row, just to appreciate every detail - DS Sylosis - The Path 'The Path', Sylosis’ latest EP, is a thrilling addition to their already stellar discography, cementing their place as modern metal pioneers. Combining melodic death metal, thrash, and a touch of metalcore, the EP showcases the band’s signature technicality and emotional depth. Across five tracks, Sylosis delivers sharp riffs, thunderous drumming, and dynamic shifts that keep listeners hooked. Josh Middleton’s vocals are exceptional, ranging from the iconic growls to soaring clean melodies, perfectly complementing the EP’s intricate arrangements. The title track, featuring Debbie Gough of Heriot, is a standout moment, adding a powerful dynamic to their sound. Tracks like 'Disavowed' and 'Soured Ground' are equally compelling, blending intensity with thoughtful composition. The polished production enhances the energy and precision of the performances, making every note hit with a purpose. 'The Path' is more than just an EP; it’s a statement of Sylosis’ unwavering excellence and artistic evolution - LJ unpeople - unpeople In a year that’s been absolutely stuffed full of excellent music, unpeople have still stood out like a beacon. Their groovy, live show ready riffs and screams are up there with the very best of the 2024 heavy music pantheon, not to mention the fact that their live performances are already stellar. Having only released one song before 2024, the lead single ‘smother’, the band were in for a big year anyway with the release of their debut project - but that didn’t account for the utter brilliance of the entire thing. It’s a self-referential piece of alt-rock/metal that speaks to the declining mental health of a generation, and runs a razor tone over a sheen of sardonic wit that’s tough to not fall in love with instantly. ‘smother’ is an instant standout for its simple yet addicting guitar line and singalong chorus, but ‘going numb’ and ‘waste’ bounce along with all the energy of a toddler drinking Red Bull, whilst ‘moon baboon’ and ‘overthinking’ have the weighty heft of stadium-sized anthems. The fact they have opened for Metallica shouldn’t surprise anyone who’s listened to this already, and it should prepare anyone who hasn’t heard them for just how spectacular this band is - and for the world beaters they will inevitably become - JL These were all selected as part of an open entry long list submission (for OOR contributors), which were then whittled down to a shortlist of 40, and those were then voted on by the contributors to create our final twenty. Writers: Amber Brooks, Atoosa Salamat, Ciara Hicks-Evans, Danny Sanders, Jake Longhurst, Vee Richardson Editor: Jake Longhurst Cover Photo: Sarah Farooque - Sylosis Voters: OOR Contributors

The Home Team hit a Home Run at Rebellion, Manchester There’s about a 66% chance that we would ‘Walk This World’ with The Home Team, and then some. From an engagement to an audience louder than life itself, this show had something for everyone. Hailing from Seattle’s bustling music scene, alongside being hugely popular on TikTok, The Home Team enticed an energetic, passionate crowd at Rebellion in Manchester. Supported by Andreas, and The City Is Ours, the crowd metaphorically ripped the roof from Rebellion. Andrés, honorary Welshman (IYKYK), opened the show with a spectacular performance leaving you wondering what genre they were playing with, alas, it turned out that Andrés can do it all. From scratch happy-hip hop to a metal-inspired finisher, Andrés knew how to wow a crowd and certainly got the party started. Bringing out the lead singer of The Home Team for ‘Casual Bender’ was a genius move in terms of getting the audience to really pay attention from the offset. Andrés laced up sheer talent, humour, and a raw passion for music so it’s not hard to see why they were invited to support The Home Team. The City Is Ours took the party to another level entirely which was surprising given they were stranded in the Netherlands less than a week before the show, having to take land, sea, and air just to make it back to the UK. With very clear inspiration from early Alexisonfire, clean vocals worthy of a Dallas Green protégé, and a frontman serving charisma by the bucketload, The City is Ours put on a show worthy of headlining their own tour. In fact, we wouldn’t be surprised to see them on the New Blood stage at Bloodstock, or at the very least, competing in Metal 2 The Masses. From the moment we stepped foot into Rebellion, the air was buzzing with excitement, so you can imagine the roaring cheers when Brian, John, Ryne, and Daniel hit the stage. Brian’s cheeky demeanour, infectious happiness, and hip shaking got the crowd riled up, whilst Ryne amped the crowd up, belting the lyrics to every song. Each member of the band displayed a remarkable degree of skill and confidence. Their sound was crisp, and every note resonated perfectly within the venue. The guitar riffs were sharp, the bass lines were deep and engaging, and the drums provided a solid backbone that drove each song forward. It’s clear that The Home Team have spent countless hours perfecting their craft, and it was incredibly impressive to witness, for it’s not often that a band can engage with an audience so seamlessly, creating an inviting atmosphere that made everyone feel part of the experience. Starting the set off strong with ‘Brag’, leading into ‘Right Through Me’, it was actually difficult to hear the lyrics as it sounded like every word sung was screamed back at them by ever-loving, passionate fans. The synergy between band members was evident as they moved seamlessly through their setlist, maintaining a high level of engagement, only heightened by the incredibly romantic Walk This World With Me which resulted in a proposal. Huge congratulations to Anna and Alex from all at Out Of Rage! One of the most impressive aspects of The Home Team’s performance was the undeniable synergy between band members, which translated to them not just playing music together but rather communicating through it. The stage interactions were fluid as they exchanged glances and energy that spoke volumes about their connection to both each other and the audience. This made each song feel like a collaborative effort rather than individual performances stitched together. For instance, during instrumental breaks, you could see them feeding off each other’s energy, which elevated the overall vibe of the gig. It’s rare to witness such harmony in a live setting, and it made for an unforgettable experience. The setlist for the evening was another highlight worth mentioning. The Home Team curated a selection of songs that not only showcased their range but also kept the audience engaged from start to finish – regardless of whether they knew the songs. For example, opening with fan favourite, ‘Brag’, immediately got everyone singing along, creating an electric atmosphere right from the beginning. As they progressed through their set, they included tracks from their latest album alongside classic hits, ensuring there was something for both new fans and long-time supporters alike. Words: Ellie Archer Photos: Libby Percival

Aussie punk three-piece The Chats touched down (…up?) in the UK for their final tour of the year, stopping off in Liverpool for a less than sober evening of rock’n’roll ragers and Australian pop-culture references that a European crowd can just about understand. Despite having quite a few UK tours under their belt by this point, this was their first ever time playing a show in Liverpool. And what a venue to do it in. Built out of an old factory and tucked away near a retail park by the River Mersey, The Invisible Wind Factory is an eclectically decorated venue that doubles as a roller disco when concerts aren’t happening. It’s a room where you can just feel how lived-in and loved it’s been over the years. It was a stacked lineup from start to finish. London punks Rifle started us off for the night, giving us a set of blisteringly angry punk rock anthems. Having only released their first EP in 2022 and a second the following year, the crowd was treated to a rare moment of getting to see a band still finding their feet. We’re excited to see what these guys do next off the back of this tour. Our second support is The Prize. Forming in 2021 in Melbourne, this five piece are also still finding their identity. It’s great to see a band of The Chats’ size uplifting up and coming bands like this. Reminiscent of bands like Amyl and the Sniffers and The Interrupters, The Prize were an absolute treat to watch live. The Chats hardly wasted any time getting started, jumping straight into ‘Nambored’ the moment they got onstage. Bassist and vocalist Eamon Sandwith was incredible to watch onstage, shouting out his lyrics as he slammed out the chuggy bass lines The Chats have become so well known for. Backed by guitarist Josh Hardy and drummer Matthew Boggis, they were an utterly unstoppable unit. Ripping through 25 songs in just under an hour, The Chats can’t write a slow song to save their lives. They couldn’t even play their already incredibly fast songs at the right speed, with ‘Smoko’ taking half the amount of time to complete live as it did on the record. And who could blame them? The energy in the room was palpable and the crowd were purely electric, it was non-stop movement across the entire floor. Things only kept picking up towards the end of the night. The crowd got treated to a cover of Kiss’s ‘Rock And Roll All Night’, which the band dedicated to people who weren’t going to work the day after the show. Immediately after this, The Chats jumped into their final song of the night, ‘Pub Feed’, a gem of a track simply about having a good pub dinner. Despite the 9,000 miles between England and Australia, there’s nothing that unites the two cultures like drinking and pub culture (as was evident by the many drunk fans stumbling out of the venue at the end of the show), and they couldn’t have picked a better song to finish on. They left the crowd on an incredible high, and we (and everyone else in the room) can’t wait to see what they get up to next. Words and Photos: Izzy Scott

Walking up the stairs to Manchester Academy 2 bang at 6pm, the vibe was laid back as the more mature crowd filtered in. The crowd was predominantly a casual Thursday and date night cohort that filled about half of the room before first support Doddseskader took the stage. Doddseskader are a Belgian duo that could only be described as noise metal. Their set was accompanied by a whole light and visual show, the perhaps accidental inclusivity of having the lyrics on the screen as part of the visuals - though hindered somewhat by Alcest’s kit being covered with a white sheet meaning that said show had mapped itself over said sheet in the corner. Nevertheless, Doddseskader’s set was engaging both in their songs and with the visuals, which were trippy shapes and landscapes morphing in the background to fit with the themes of the songs. Though loud and brash many of the songs were slower paced (bar the highlight that had a techno metal breakdown) the crowd seemed to enjoy the set overall, and by the end of their 20 minute opener they had won over the crowd shown by a showering of applause. Up next were Svalbard - a melodic metal band that seemed to be the act piquing the interest of the crowd if the t shirts of choice were anything to go by. Guitarist and co-vocalist Serena Cherry was a comfortable frontwoman in this space, reminiscing to the crowd about her first metal gig being Slipknot in Manchester to some cheers while keeping it lowkey in her song introductions. Svalbard’s stage presence was cosy, mainly focused on jamming with each other rather than playing to the crowd as Cherry adopted the indie girl stance of raised shoulders and a downward glance to her guitar as she screamed her parts with remarkable ease. The crowd in turn were happy to watch: respectful headbangs and comments in peer’s ears replaced the jumping around and pits that are stereotypical of metal shows. The end of the show was punctuated by Cherry pointing out that it was a band member’s birthday, but due to his aversion to the birthday song she requested a moment of silence for aging; the crowd obliged, making for a very funny moment. The set went over well, and half an hour later it was Alcest taking the stage for their set. Every faucet of this set was high quality: the set design was gorgeous, being made up of a light lit like the moon covered in cobwebs and kept company by two beautiful wolf sculptures, some stairs up to the bass and percussion zones of the bands setup and collections of reeds and wheat everywhere to build a rural and dreamlike ambience. Each musician was skilled at their art and all got their fair time in the sun throughout the 1h20min set. Winterhalter stole the show with his double floor tom setup and beautiful pieces, moving around his kit with ease and able to exude technical skill whether he was soloing or slipping into the background of the track. The sound mix foregrounded the instruments over the sparse vocals and created a transcendent soundscape that captivated the crowd, even if the lack of movement made this less apparent. The crowd interaction was minimal, a lot of thank yous and a brief moment to mention that as a band they had played the city a lot and always looked forward to it, but the non verbal communication with the crowd through claps started and looks cast upon the room. They saved the crowd favourite for their first encore song Hospital, which was met with happy noises from the room, more swaying than the average and roaring applause by the end. All this said - an Alcest show may be better in a seated venue. Each track lasted 4-6 minutes with their final track coming closer to 10, and by the 45 minute mark each track began to meld into the last and the ache in the legs became ever stronger. The structure of an Alcest song seems to be an intro, a 4-6 bar vocal refrain, then the post-metal instrumentals begin, all at a similar tempo to each other. For those who like to stand and get lost in the refrain this setup could make for a wonderful meditative experience and this was the case for many - for those who like more movement and back and forth with their musician an Alcest show may not be the best recommendation. Overall, this show worked like a well oiled machine, with all bands on their marks and set up on time to the minute and providing quality and beautiful soundscapes for the audience often holding one another or allowing themselves to get lost in the melodies. Alcest and Svalbard knew their audience and played to it well; Doddseskader would be an interesting one to see in a room where people were in the mood to dance. Words: Julia Brunton Photos: Ace Cheng

Killerkorp was originally formed in 2018, and features Ben Lyddiatt (vocals), Jakey Day (lead guitar), Jon-Luke Bloomfield (rhythm guitar), Daniel Lyddiatt (bass), and Sonny Wright (drums). They cemented themselves as a part of the UK metal scene with their formidable debut EP ‘Pain’ back in 2019, gaining acclaim for its ferocious riffs and potent lyrics. They’re now back with a new EP, ‘Vices’, to turn up the heat on their burgeoning reputation as a great live act as well as recording band. ’Vices’ showcases the band's ability to push the boundaries of metal and mix genres effectively, blending death metal and hardcore together into a vicious sound. The EP is filled with raw aggression and pure emotion, and it feels like the band have tied any loose ends off to find their sound here. On first listen you’re thrown into an immersive experience. Contrary to what would be expected, things start off almost ambient, before it explodes in a frenetic rush of sonic power, as title track ‘Vices’ kicks in to show off their writing ability, that’s only improved since ‘Pain’. The next track ‘Last Grasp’ is an incredible showcase of drummer Sonny Wright's skills, that underpin the aural assault going on above the drums. ‘Scathed’ is comfortably the shortest track, weighing in at just under two and a half minutes, and showcases the rabid fury of hardcore at its most obvious within the band's work. Finally, ‘Weak’ comes in to round off the EP with a hefty six minute run time. The song feels like some sort of post-apocalyptic ambient experience that harks to Nine Inch Nails in places, albeit with a good number more killer riffs than Trent Reznor and Atticus Ross would traditionally introduce. Killerkorp's latest release ‘Vices’ showcases the band's ability to blend two of the music world's most aggressive genres into a sound that stands on its own, whilst being reminiscent of Lamb Of God, Machine Head and more. The stand out across the entirety of this EP is the band's pure rawness, as it’s clear to see that they aren’t afraid to be bold with their sound and push their own boundaries. The production is also notably improved in comparison to previous work, which has helped shape their sound into the ferocious sharpness that it is now. It’s plain to see why they have cemented themselves as part of the UK metal scene, if they’re able to write music like this!. Having toured with the likes of Raised By Owls and Beyond Extinction, they are a surefire one to watch within the scene. ‘Vices’ will be released on December 13th. Words: Kayleigh Hadley Photos: Killerkorp

When five guys from Sheffield made it big, (and no this is not about Bring Me The Horizon) they played Victoria Warehouse. As a cultural home for all heavy things innovative and disruptive -as the almighty RADAR Festival descends upon the venue every July- While She Sleeps bring with them their latest headline tour and a show with massive compassion for the fans that made them better than ever before. As the first winners of the HMA Award for their innovative Sleeps Society membership, a sustainable and proactive platform bringing the fans into the bands creative and cultural sphere, we catch them at the height of their ‘SELF HELL’ album run. A tour officially on the precipice of a wild and exciting future in arenas and moving towards headlining major festivals, where does this put the band that can sell out one of the largest venues in Manchester? But first a warm metalcore welcome from the supports Thrown and Currents with French metalcore quartet Resolve opening the show. Their 2023 album ‘Human’ is a tidal wave of cascading choruses and dramatic breakdowns, which was surprisingly a joy to watch on the big stage. Full of dips between the quiet and chaotic, lingering moments of suspense and loud abrasive guitars, was sonically very exciting to experience. Perhaps a little later in the evening would have done the band better, but still they gave it everything they could and it will be thrilling to watch how the band progresses here in the UK. Thrown, our reigning HMA ‘Best Breakthrough Artist’ was next to grace the stage. A band more centered on the music than their image, they churned their pit up and spit it back out. This was certainly the most rowdy crowd of the night- and rightly so. When Thrown performs a set, it is anything short of sweaty and chaotic. However it certainly was more tame than when they played in the room next door a few months back. Their progression as a band in the last year has been impressive and certainly one to follow in the future. Currents- our American homeboys hailing from Connecticut- provided the grand welcome for While She Sleeps. From the back of the stage, the sound was impressive and the band made every opportunity to put their entire energy into their songs. Whilst at points their sound may have appeared repetitive through their set, it was clean-cut and tight in its performance. We may have needed a bit more for it to have made an impact. Our headliners made themselves known, exploding onto the stage with their impressive light show and their opening track from their new album ‘PEACE OF MIND’. Employing - what we like to call- a ‘Sleep Token strobe’, they’ve certainly put a lot into this production. Perhaps in an attempt to prove that they can sell arenas in the future. It was truly a captivating entrance, with risers giving much-needed height to the stage. Whilst vocals seemed a little low in the mix (and this resolved itself as the set progressed) it was a show you could feel from your chest, especially as it leads into ‘LEAVE ME ALONE’, We push into a medley of classics, ‘ANTI-SOCIAL’, ‘YOU ARE ALL YOU NEED’ and ‘THE GUILTY PARTY’ and we fully feel in the swing of the show. As always the swept guitar is a cathartically transcendental experience against the low thrums of the choruses. This is the While She Sleeps we know and love: nostalgic, hard hitting and powerfully raw. A chasm of beautiful lights made the performance of ‘RAINBOWS’ an absolute spectacle. Whilst this show was definitely one to watch rather than participate in the pit, we definitely saw tears stream from grown men's faces as they mouthed along to ‘You Are We’. As a band the vast majority of the crowd have grown up together and experienced the changing scene through their music, it was a powerful display of how much While She Sleeps meant to a room full of compassionate people. ‘SELF HELL’ and ‘SYSTEMATIC’ gave back the energy the room desperately needed after that sentimental display. We had expected more energy from the crowd as a whole at this point, but this didn’t mean that people weren’t enjoying themselves. A whole room of arm swaying, devil horns and headbanging was a given even at the back of the crowd. With ‘Four Walls’ being the necessary throwback the set needed to appease the older fans. ‘Down’ featured Currents vocalist Brian Wille taking on Malevolence’s-own Alex Taylor’s heavy vocals. It was definitely refreshing to hear the deep growls against the harmonised choruses typical of a While She Sleeps song. We then push ‘Silence Speaks’ an obvious crowd favourite and a reminder that While She Sleeps have absolutely made monumental songs that shape the alternative music landscape. Finishing on ‘TO THE FLOWERS’, the band throws a plastic bouquet into the crowd. It truly is an emotional moment for everyone involved. One of the most grateful bands in modern music, While She Sleeps have an undeniably unique and strong bond with their audience. Whilst this wasn’t the most fast-paced brutal crushing energetic atmosphere, it was one of the most spectacular ones. We’re on the fringes of something big here and whatever the next step, we will follow the five lads from Sheffield on their next venture. Words: Amber Brooks Photos: Nic Howells

Well it's officially cold now, and here at Out Of Rage we're keeping warm by listening to the absolute fire on our playlists. There's a delectable run of gigs coming up too, so you'll be able to get yourself warmed up in many a moshpit or sweaty room yet, here's our picks for the hottest shows over the next month! Lake Malice are in the midst of a tour with Blackout Problems and Sperling right now - they've already played across a large swathe of Europe, and are now playing around the UK! You can catch them tomorrow in Manchester, or in Nottingham, London and Bristol across the three days after that. Their hyperpop/metal sound is a brilliant live combo and absolutely needs to be experienced in the flesh! Within Temptation have also played most of Europe, and on the 15th of November they'll be pulling up to Cardiff's Utilita Arena before London's OVO Wembley Arena on the 16th, Nottingham's Motorpoint Arena on the 18th and the First Direct Arena in Leeds on the 19th. Coming with them are Annisokay, Blind8, Alex Yarmak and Taya, so the lineup is stacked and will captivate any audience they come across. On the same starting date as the previous tour, Delain are taking a trip around the UK and Ireland with Stone Broken and Damian Wilson. Starting off in Glasgow, they then head to Wolverhampton, Belfast, Dublin, Manchester, Bristol and finally finish in London on November 23rd. Having toured alongside Within Temptation before, and featured them on a song, the band are treating any fans of symphonic metal and similar to a double whammy in close success if they can make both tours! Just one day later, Laura Jane Grace kicks off her tour with backing band The Trauma Tropes, with Pet Needs opening. Her work with Against Me! needs no introduction, and she stands as an enormous icon in queer spaces and the alt scene, for her music as well as her tireless campaigning. Playing in Milton Keynes, Southampton, Glasgow, Nottingham, Leeds, Dublin, Belfast, Manchester, London and Birmingham, the tour gets to a sizeable portion of the UK and will be a triumphant night of punk. On the heavier end of the spectrum comes Fit For An Autopsy, and their incredible touring lineup of Sylosis, Darkest Hour and Heriot. The UK and European tour commences in London on November 22nd, before stopping in Leeds, Glasgow, Manchester, Birmingham and Bristol on their way to mainland Europe. The band have just released their latest album, and with a support this strong it's looking like a killer show every night is guaranteed. Coming in with an 80's thrasher's favourite lineup this year, Anthrax and Kreator are coheadlining a tour with Testament that;s stopping in at Manchester, Wolverhampton, London, Dublin and Glasgow, before they head into Western Continental Europe and get to Paris, Dusseldorf, Munich and Esch-Sur-Alzette. The thrashers will be on fiery form as ever, if their most recent shows in the UK are anything to go off, and always provide a memorable evening of riffs. Bury Tomorrow are taking an all-star lineup of bands around the UK and Europe, with Make Them Suffer, Thornhill and As Everything Unfolds all making up one stellar bill. They're only playing three shows in the UK, and are in Glasgow on the 22nd, Manchester on the 23rd, and London on the 24th. All three shows are either nearly sold out or completely sold out, so get on it to go see this brilliant gig! Metal's current favourite band, Sleep Token, will be taking the stage across the end of November and early December with Bilmuri in tow. The prog/djent/funk/metal/pop/who knows what else group have had a meteoric rise fuelled significantly by social media, and their tour has had the same treatment with multiple shows already sold out. On the 25th they play Glasgow's OVO Hydro Arena, then Manchester's Co-Op Arena, the O2 in London, Cardiff's Utilita Arena, the First Direct Arena in Leeds and then back again to London's O2 on December 3rd. Pick up tickets now if you don't want to have to pay even more when they do a stadium run. Finally, London's Chubby and the Gang are doing a short three date stint with Jade Hairpins, going from London to Glasgow via Manchester in early December. They're playing at the Moth Club on December 3rd, Yes' Pink Room on Decmber 5th and McChullis on December 6th. Their live energy is always a riot, and after an excellent recent album it's not at all in doubt that this tour will be just as good as all the rest. Words: Jake Longhurst Cover Photo: Fit For An Autopsy

Hailing from upstate New York comes the most enjoyable death metal band in the world, Undeath. After releasing a modern classic in 'It's Time... To Rise From The Grave', they're back with a full length that is sure to liquify many an eardrum and melt brains worldwide. Featuring the timeless death metal sound they've honed, as well as their signature mosh-inducing riffs and high-tempo grooves, 'More Insane' really is, well... more insane than any other death metal album out this year. Opening with 'Dead From beyond', the five-piece present a bit of everything they're good at in just four minutes. The guitars go from low chuggy riffs to pit starters, throwing a little solo or two in and then for good measure going back to the underbite creating riffs they are best at. Alex Jones' vocals sound as excellent as they did all that time ago when we first heard Undeath, with maybe a little more maturity to his delivery in his enunciation of the gruesome lyrics. This leads into the title track, one of the three singles released thus far, and there are a plethora of moments here that will bring about the grim smile you only get from disgustingly heavy metal. The two minute mark features a particularly enjoyable double bass and guitar attack that will have your head rocking back and forth like a bobblehead in a rally car, and is guaranteed to break barriers and stage-diving records -not to mention the cavernous growl the song finishes with that is all but certain to sound like an unholy beast in a live setting. The third song, 'Brandish The Blade', is also a single and is somehow even less repentant than the previous two songs, with a frenetic tempo and drumming that'll bring out a sweat just by hearing it - God only knows how Matt Browning hasn't torn his ACL yet. At the halfway mark is the sneeriest breakdown thus far, which will clearly cause circle pits aplenty in the not-so-distant future. Song four is also a single, the last of them, and 'Disputatious Malignancy' is clearly one of the best pure death metal song titles there is. Not only that, it lives up to the sensational naming by being a proper meat and two veg death metal song that's fit to bursting with gutturals, deeply disturbing lyrical content, gargantuan riffs and stupendous usage of a double bass pedal. Track five, 'Sutured for War', feels almost like it's been blackened a little, as it is noticeably tinged with the iciness of Scandinavian black metal. The track is still well within the limits of the Undeath sound, but does serve to broaden their horizons a little on this album, as well as being a pure headbangers anthem. Track six is another phenomenally named song, this one called 'Cramped Caskets (Necrology)'. The riffs run rampant here, and the sound of Tommy Wall's bass will likely be found careening around your skull cavity for 3-5 business days after having listened to this. The whole song is rife with moments to gurn at, and if your neck survives the ordeal you'll be grinning like a loon afterwards. This is followed by 'Bounty Hunter' which slows things down a little for a more mid-paced groove that feels like it could quite easily soundtrack the march of an unhallowed army, before 'Wailing Cadavers' rolls up and makes you want to spin kick the nearest animate or inanimate object, whichever may be more convenient (note, Out Of Rage takes no responsibility for any outcome whatsoever related to Undeath-induced spin kicks, unless those results are entirely positive for everyone involved in which case it was definitely us). The back half of the song is where the spin-kickiness really kicks in (pun intended) and you feel the full force of the crushing heaviness Undeath have written into being here. By now, if you've survived this far, you will reach what might be up for song title of the year - the legendarily named 'Disattachment of a Prophylactic in the Brain'. The penultimate spot on the album isn't always easy to fill, but Jared Welch and Kyle Beam use their guitars to devastating effect and take a trek across nigh on their entire fretboards, delivering a double-pronged attack of squeals and chugs in quick succession. The final track, 'Bones Clattering in a Cave', is one final opportunity to fill up on caveman style heaviness before the band retreat away to their cave to hide, so it's lucky that it's a riotously enjoyable slab of metal that rips between tempos at lightning speed. Undeath haven't ever messed around musically, and they've given us no reason to doubt them on the aptly named 'More Insane'. There are breakdowns aplenty, chugs throughout, more riffs than you can shake a thigh bone at, everything you could possibly want off of one of the best death metal releases this year. Till Undeath do us part fellas. Words: Jake Longhurst Photos: Nick Karp

Swindon's most exciting young band have the release of their first full-length album within touching distance now. Heriot's rise within the ranks of British metal has been nothing short of sensational, and well-deserved too. Combining filthy sludge with rank death metal, 90's metalcore, a pinch of hardcore and industrial and even the occasional eery moment of calm has made the band into a powerhouse who write and play at a level that belies their relative inexperience, and is displayed prominently on this excellent album. Starting with the album cover, they've shown exactly what they're about. With a piece of art that looks like it's been ripped straight from a lost LP by Meshuggah or At The Gates from the 90's, the aesthetic of the album is already pixel perfect. Combined with the medieval weaponry focus and their amazing onstage style, Heriot's entire album cycle is pretty much as good an album cycle as you could ask for. Playing Download's second stage, touring with Fit For An Autopsy, and being widely revered amongst metalheads are now things the band should start to expect to happen much more frequently. As the album opens up we hear the oppressive heaviness of second single 'Foul Void' rip up the illustrious Out Of Rage HQ speaker system (otherwise known as laptop speakers or headphones) to glorious effect. The song hasn't lost any of it's sludgy wonder since it was released, and is a stellar start to the album. This leads us into what is comfortably the shortest song here, and at 1:49 long 'Harm Sequence' really does not stick about. It's a hardcore song at heart, but with plenty of metal embellishments such as a short but sweet solo, but features two breakdowns with the latter being a version of a half time beat, which really sweetens the deal. Next up however we find ourselves face to face with a more sinister song - 'Opaline' is the third song here and is far less aggressive right out the gate, rather taking its time to build up before the floodgates are opened on it's crushing heaviness. Next is the first single off of 'Devoured...', which is the almighty 'Siege Lord' in all its brutal glory. The medieval weaponry aesthetic feels so very at home here, not only with the apt title but also the astute heaviness of the song both come together into one overtly dominating atmosphere. Already garnering about 120,000 streams on Spotify at the time of writing, it's rapidly become one of the fans' favourite songs and will likely be heard at Heriot gigs for many years to come. The fifth song on the album is the one with possibly the best title of the lot - 'Sentenced to the Blade'. Luckily enough, it does more than enough to warrant such a fantastic name with numerous face-melting riffs from Erhan Alman and Debbie Gough, snarl-inducing breakdowns and lip-curling screams from Debbie and bassist Jake Packer. It also cannot be overstated how excellent Julian Gage's drumming is across the album, his writing ability has noticeably improved and he now expertly underpins everything with moments of indescribable aggression that foil with plenty of grooves full of menace and power. His drumming shows through particularly obviously on the intro to the next track 'Solvent Gaze', which is another of the more menacing, understated tracks. It pulsates with the same atmosphere you'd find in an abandoned castle or fortress, which yet again fits their aesthetic perfectly. 'Lashed' carries on this less intense style of theirs, with some of the most clean vocals we've ever heard in a Heriot song. The four piece are on the top of their game in terms of curating an atmosphere, with an incredibly sinister feel all the way through thus far. 'At The Fortress Gate' brings back the riffs in epic fashion, bringing a slightly more industrial sound into the mix with grinding guitar lines underpinning most of it's runtime. As we reach the penultimate track 'Visage', Jake Packer's bass rumbles louder than ever in a mournful crescendo before the track reaches its pinnacle in a beautiful finale that flows into the last song here. 'Mourn' is the longest song on the LP and lets us strap in before the HM2 tone fully hits you across the face in a flourish of intensity to finish the album. On a debut album, Heriot have managed to evolve what we thought their sound was into something much more fully formed and fleshed out, as well as adding some subtlety and nuance into the mix whilst still keeping their brutality intact. Debut album of the year is as yet undecided, but for those interested you would do far worse than chucking your hat into the Heriot ring. 'Devoured by the Mouth of Hell' is released on September 27th via Century Media Records. Words: Jake Longhurst Photos: Heriot