Mysterious Portuguese duo Lord Sin prefer to keep their identities hidden and let the music speak for itself. On new record ‘Confessions’, they do just that. There’s a multitude of reasons as to why the experience of ‘Confessions’ is such a fluid yet lively listen, with each moment flowing from one to the other as if you’re living it whilst it occurs. The record was recorded in a way which is rare in today’s modern music industry - the guitars and drums were recorded by the duo in a single take, with extra instruments such as further guitar takes, bass, keys, and then eventually vocals all added on afterwards. So while the songs are of course planned and aren’t entirely improvised, there’s still that raw element of pure live playing and on-the-spot syncopation throughout. Recorded at Rock n Raw Studios in Alfornelos in March 2021 by Bruno Jorge, then later mixed and mastered by Ricardo Towkuhsh Rodrigues at ERRE Estudios in September 2022, Lord Sin’s approach makes for a unique and thoroughly exciting listen. That live recording process gives many wonderful little details such as at the beginning of ‘Negligent’, when you can hear a slight soft thud as the drummer gets ready to come in. Then there’s the extremely long, lingering ending of both ‘Guilt’ and ‘Regret’, with the guitar feedback reverberating through the amps. It all feels so live and real, with tiny moments like this that make the record really come to life, to the point that sometimes you can't help but feel as if you're sat in there with them. Musically, the album sits neatly in the psychedelic doom metal field, but with a few extra elements thrown in and at times a dark electronic vibe that adds a fresh flavour into it all. There’s some phenomenal black metal vocals throughout, at times reminiscent of early Cradle of Filth, although on ‘Living Sin’ we get to hear a different style of vocal delivery for the first time as the singer switches up the style and drops into speaking instead of growling during some of the verses. There’s also some beautifully ethereal, echo-drenched guitar noodling over the top in ‘The Presence’, a catchy guitar on ‘Negligence’ with smooth transitions between growls to more sung vocals tooffer a transcending listening experience, and a melodic, dark, swirling bassline on ‘Living Sin’ which is unexpectedly funky. Then there’s the church bell and organ introduction on ‘Guilt’ which shakes things up a bit and switches up the atmosphere, almost taking things into a creative, gothic horror landscape with a dark vampire Queen of the Damned feel, and lyrics telling a more fantasy driven tale compared to the others, but still with very relevant meaning that is rooted in the real world. Lyrically, the topics are very relatable – love, life, society, sin, death, guilt, regret – all things that listeners can connect to and topics that bleed out over the course of the album’s interesting lyrical content. There’s some very open, raw and honest moments too such as the line “I need you to hate me, but I love you” on opening track ‘Spectres’. Hypnotic, rhythmic and epic, there’s only 6 tracks on ‘Confessions’, but every one of them plays its part. With all of them longer than six minutes and one a whopping 12 minutes and 3 seconds, this is definitely album length – and the perfect length. Some bands of this style and genre make the mistake of creating overly long albums with 15 songs that drag on for nearly two hours. This, however, leaves listeners still wanting more without being overwhelmed. ‘Confessions’ is a fantastic record which the listener can connect with, the type of music that relaxes you deep down in your soul and keeps you coming back for more. 'Confessions' will be released on December 13th via Larvae Records. Words: Harley Lorna Photos: Lord Sin

London punk alt rock band Chubby and the Gang headlined the YES Pink Room in Manchester for the second to last show of their tour across Europe and the UK. Alongside them, opening the shows were indie rock band Jade Hairpins, delivering a belter of a 30 minute set which ensured everyone was on their feet and prepared for what was to come. This was Jade Hairpins’ second time playing the Pink Room, following their previous supporting set in February 2023, and the release of their latest album “Get Me The Good Stuff” which was released in September of this year. Having played the venue previously, the band took to the stage with confidence and charisma which shone throughout their performance and kept the crowd engaged, making sure to mention that “people who like what they hear can grab our album at the back, and for the people who don’t… our album is at the back”. The splashes of humor ensured there was no tension in the air and reminded those in attendance that the show was only just beginning and there would be more fun to come. While Somewhat contrasting to the music from Chubby themselves, there were still influences of punk prevalent in the Hairpins’ set, almost as a nod to two of the members’ other musical venture: Fucked Up. Overall, their setlist mostly comprised of songs from their newest release, including “My Feet on Your Ground” and “Drifting Superstition”, with a couple of songs from their debut album interspersed throughout, “Motherman” concluded their set and brought a full circle moment to their first release. Once it was Chubby and the Gang’s turn to hit the stage, the mega fans of the audience made themselves known, belting along to every word, right at the front with the man himself, Charlie Manning. This included newer songs such as “To Be Young” and “Cocaine Sunday” off their October release “And Then There Was…”, an album which was almost entirely a one man project from Manning, produced by Jade Hairpins own frontman, and Fucked Up drummer, Jonah Falco. The laughs continued between songs with Manning, on multiple occasions, expressing regret to the burger he ate before making it to the stage. As well as on stage banter with guitarist Charlie Wyatt joking about being a painter and decorator, concluding with “This is to everyone who calls us industry plants” before transitioning to the next song. This wouldn’t be the only dedication the band made, as another song “Bonnie Banks“ was made out to Manchester, despite the song being about London as the band had expressed how much northerners dislike Londoners. This brought the fun to the show that an audience can come to expect from seeing Chubby and the Gang perform. The atmosphere was incredible as the band played a mix of songs from each album, which ensured everyone got to hear their favourites, alongside their new music. The blend of songs also made it an overall thoroughly enjoyable set for everyone in attendance, with everyone leaving extremely satisfied, despite the gig ending earlier than typically expected with a 10pm finish. Words and Photos: Libby Percival

Anyone who has spent a decent enough time in the UK alt scene will be familiar with Enter Shikari. The band are famed for being outspoken in their beliefs of right and wrong, in their music and their message. Enter Shikari are just ‘that’ band, their icons in the scene and are contents completing side quests, from Rou joining War of The Worlds to the band’s involvement with St. Albans football team (their hometown), they’re never ones to stay in their lane. In this tour specifically, they had a charity drive to help with homelessness in Liverpool and have played a variety of smaller venues since the venue levy fund was introduced during their arena tour. Rou Reynolds (singer) is specifically outspoken in wanting to clean the waterways alongside his disdain for the worldwide system of control. Alongside this, the band always try to uplift other musicians and tend to bring along new supports to each tour to give more opportunities to uplift new music, for this tour it was Teenage Wrist who they chose to spotlight. Whilst Shikari are phenomenally talented musicians, their core message of openly fighting against the system with honesty and integrity is a huge draw for their fans. They believe in people power and that message is needed now more than ever in the current climate, thousands of fans screaming every word in Birmingham proved just how much so, between empowered speeches and the audience singing their hearts out, the passion and the frustration was palpable. No one can amp up a crowd like a strong message and killer breakdowns. Even people who don’t like their music often say they support Enter Shikari because of their message and what they stand for, the question is, will this be sustainable? Their popularity continues to grow with every album and every tour pretty much completely telling out, the demand is high, but with ticket prices continuing to rise, and with their popularity growing, will they inevitably succumb to the arena shows with arena prices? Going out on a limb, Shikari is one of the few bands that are worth it, they always put on a hell of a show. They are one of the best live bands out there, you can tell that they live and breathe their music with every fibre of their being, the passion and love for their craft exudes from them as they’re thrashing about onstage or interacting with fans. Enter Shikari is also one of the few bands that sound just as good live, but even better than them just sounding great, their lighting is always stellar, helping to create that overall experience and really make it a memorable concert for the ages. Experiencing ‘Bloodshot (Coda)/Bloodshot’ with an insane light display and even an added remix section is as close to a religious experience as you can get, really. They know what the fans want, their set is a perfect balance between new music and the classics that everyone wants to hear. The moment they take ‘Sorry, You’re Not A Winner’ off the setlist I fear there is something gravely wrong. If you missed this tour, you can catch them on the Main Stage (!!) at Reading and Leeds next year, and I don’t think it’ll be long before they’re even higher up the bill. Words and Photos: Ely King

We interrupt your regularly-scheduled brutal slamming heavy metal content to bring you live coverage of Pennsylvania hip-hop duo Joey Valence and Brae. On their abrasively loud European and North American tour, these Pokemon-Go playing hoodlums have recently been causing havoc shaking ass in venues across the UK. Live from the Basement of Manchester Academy, we give you a full account of the evening's ‘mighty-morphing’ proceedings; how they hit us with their punk tactics, entered their BRAT era and then decided to start a fight mid-set. Immensely sharp and staggeringly cool, Joey Valence and Brae have packed a punch in the alternative circles since their arrival on to the scene in 2021. Taking immediate sonic inspiration from Beastie Boys and Refused alike, they adorning outfits that flatter both Guy Fieri and Fred Durst in a flush street-wear kinda style. We accepted them into our circle when they released their debut album ‘Punk Tactics’ and when they played to the greebo crowd at Download in 2022, their set went down immensely well- in the same way that if by some miracle Andy Copping booked Vengaboys, it will be the single greatest thing to happen in modern metal. (Come on Live Nation- You know we love to party!) Starting off the friday night rave was Ewook, JVB’s Star Wars loving friend and dj who warmed up the crowd fantastically to the extent that they were throwing hands at club-style remixes of ‘Break Stuff’. In his fifteen minute set, Ewook cycled through song after song without a break throwing trance and house beats at The Cranberries and Oasis. As a regular opener for the duo, laying down the beats for his friends during their headline set, you wouldn’t have Joey Valence and Brae without Ewook. The dynamic duo arrived on the scene, throwing all the shapes they could to their song ‘THE BADDEST’. A track we were surprised to hear so soon, the crowd were absolutely feeling everything and giving it their all. The energy carried into ‘PACKAPUNCH’ a song that features serious rapper (and honorary member of the hardcore community) Danny Brown. Some respite from the action came with ‘DANCE NOW’, a moment to fully take in the momentous surroundings. Joey Valence and Brae had an infectiously positive stage presence and it made the whole atmosphere absolutely sick. With the invitation to join the Hooligang formally accepted by the audience, they raced through more fast paced hits, which both ‘STARTAFIGHT’ and ‘LIKE A PUNK’ opening the first and only mosh and circle pit of the night. Their reception went down so well that the audience started throwing Pokemon cards at them. You heard all your favourite lyric choices, including: “I feel like Michael Cera in his swag era”, “Call me Ben 10 because I own ten Benz” and “I’m a boss-bitch like Judge Judy”. However, the absolutely phenomenal “John Cena the way I bing chilling” was absent from the setlist. However they managed to fit in their Teen Titans epic ‘DELINQUENT’ which is the Charizard EX of JVB songs. ‘Crank It Up’ their first song the duo ever released went down greatly with the crowd into BFF hit ‘NO HANDS’. Throughout the entire set, Ewook was there to support his boys with new remixed versions of the songs and his little dances behind the decks. He is a truly underrated member of the JVB experience. Circling through their ‘365’ cover, Joey Valence and Brae extended Charli XCX’s BRATCHESTER welcome well into the fringes of the weekend. Heading towards the end of their set they decided to do what any good Limp Bizkit set would and play their best song twice. The second run through of ‘THE BADDEST’ was much more louder and unhinged than their first. With an oncore they finished with the almighty ‘PUNK TACTICS’ bringing a dazzling night to a close. Ultimately, Joey Valence and Brae, you are the baddest bitches in the club. Words: Amber Brooks Photos: Izzy Scott

An American punk who makes the most of her visits across the pond, vocalist Laura Jane Grace has been non-stop rock-and-rolling around the world. Since working on her solo catalogue with the release of her debut effort ‘Stay Alive’ and the more recent ‘Hole In My Head’, Grace hadn’t toured extensively outside of her native land of the United States until recently. With her back-up band The Trauma Tropes by her side, and support by rising British stars Pet Needs, Grace finally found the right time and on this cold winter night in Manchester, the right place. Pet Needs opened the night with a bang and a scream. A four-piece originating from Colchester in Essex, they brought the power of punk rock and the electricity of pure lightning from the first beat of the drum and first note of the guitar. The energy was sudden and the room was moving, grooving, jumping and bumping, and the excitement of the rest of the evening was one shared between both the group on stage and the fans standing before them. Frontman Johnny Marriott was the ring-leader in this mutual bond forming as strong as it had; especially when sharing tour stories. Talking about activities such as drinking coffee in France, eating pizza in Italy, and introducing Laura Jane Grace to what he considered the most faithful example of British culture: a meal at Toby Carvery. Marriott and the rest of the group are what the British punk scene should be all about. Loud music, jumping for joy, full belly laughter and chanting about the best parts of living in the UK. Punk rock isn’t punk rock without a smile on one’s face and hands hanging in the air. Pet Needs was the very start of the festivities, and with Marriott’s great encouragement, the welcome could not have been warmer for Laura Jane Grace and the Trauma Tropes. With Grace’s trademark charisma and the talent shared within her fellow musicians on the stage, the main event kicked off with a range of new tracks. Opening with the semi-emotional ‘Walls’, the oh-so-relatable ‘WW3’ and the one that Grace labelled as one of her most personally penned pieces, ‘I Love To Get High’, it was an example of the singer’s multi-faceted process of writing what she knew. Living a life of ups and downs, big obstacles and small victories, Grace learnt how to channel her feelings and thoughts in the way of writing music that reflected her views. From serious topics such as authoritarianism in government, to more personalised and tailored views on the capitalistic takeover of pride events, to even processing religious trauma with the pondering of God’s external appendages and how they are used. Throw them in with tongue-in-cheek lyrics and a heavy guitar riff each, and Grace had found the sound that would define their career and thousands of her fans’ lives and experiences. Along with the brand new solo songs being given the spotlight for the first time in the north-western city, Grace threw it back to the past with a collection of Against Me! tracks. This included the fan-favourite pairing of ‘Black Me Out’ and ‘True Trans Soul Rebel’ - both hits taken from the critically acclaimed ‘Transgender Dysphoria Blues’ - which got the room erupting in singing, screams and cheers, flooding alongside appropriately blue and pink stage lights. Laura Jane Grace will always leave a legacy as being one of the first punk icons in the industry to come out as transgender, and has inspired many others in and outside of the music world to take the same steps and live their happiest and most authentic lives. In that tiny room, with gatherings and gatherings of fans, there was no mistaken there were members of the queer community who were not just singing along to the songs, but feeling every note and believing every word they were throwing back into the air. Punk is not dead. Punk isn’t even dying. Punk just waits for the right places and right times to pop out and bring in the communities that need to come together the most in that instant. Laura Jane Grace always finds a way to pull this off, and on that chilly night on that one Manchester street, everyone found that push to keep going that they needed - even if they didn’t know they needed it. Words: Jo Cosgrove Photos: Ely King

It might be late in the day, but don’t look too fast to the new year - December 2024 is still full of surprises, with bands dropping some heavy hitting releases. Amongst them is KIR, an astonishing pair from Kraków, Poland, composed of Ferment (Guitars, Bass) and Harvest (Vocals), who are accompanied by Krzysztof Klingbein joining as a session drummer. Shortly, you’ll be able to jump into their debut album entitled 'L’appel du vide', which is French for 'the call of the void'. This opus is a 31 minute journey through urban isolation, human frailty, and despair. KIR does not shy away from raw emotion and intense feelings, dragging us in by the collar from the first note. The opening track 'DestinationVoid' is also the shortest, but acts as a much-needed stepping stone into KIR’s universe. It brilliantly sets the scene in a dream-like fervor, making us wonder what is real or not. This nutshell of the chaos of the human experience is a carefully curated piece, featuring field recordings the band have taken in Kraków’s streets. It is blurred and mixed, almost static-like, guiding us towards a gritty sound and distorted strings. The ending brings us into 'Monument' seamlessly, stretching time and space. The coherence between end and beginning makes you question where one song starts and the other ends. At least, it does until we're abruptly hit by powerful guitars and Harvest’s erratic vocals. It may be the shortest song after the intro but it carries its name well, being truly monumental. There is no time to breathe, it's heavy and busy from the start with not a second to spare. However, there's no moment to get used to it as changes in tempo keep surprising us with new hypnotising rhythms, constantly switching up our expectations. Masterfully done tremolo riffs stun us in place in a high skill demonstration. This impactful start is, according to the band, “capturing the monotony and futility felt by society’s restless masses”. Harvest injects into this song his own personal experiences from working night shifts in the city life. His guttural notes bring an end to the song with a rawness that is clearly from the core. Those characteristic heavy screams come back in 'Znów', the Polish for 'again', which sets together a fascinating pair of black and death vocals. As we were kept on our toes by the instrumentation in the previous song, it's now the turn of the vocals to do so in an impressive display of range. The song runs at a devastating pace, with a brutal performance on the drums by Krzysztof Klingbein, throughout a song that feels like stepping into an invocation or ritual, with the chant carrying us to the end. 'Nów', meaning 'new moon' in Polish, reinforces that hauntingly dark atmosphere in a slight play on words. There is no slowing down, even at the end of the track, only a tantalising fade-out that works to transition back into the atmosphere we we found in the intro, albeit with a sense of changing frequencies and loading of the next steps. 'Eter' takes over with melodic, rolling riffs. It carries a different weight, taking elements from doom to pass on this deep rhythm. Strong, heavy drums kick off the vocals like a signal. They burst into long screams, held and reverberating through the back - all of it a metaphor for the echoing streets of a city in lockdown. In the band’s words “the track plays with contrasts: comfort and discomfort, belief and disillusionment, each layer embodying the chaotic tension between belonging and alienation.” The album has built up and up, each track growing in stature, sound, and even in length as each song is a bit longer than the one before, up until the grand finale that is "Apoptosis". Indulge us as we get into the meaning behind the word. Apoptosis is used in Greek to describe the fall of petals from flowers, or leaves from trees, but is also a form of programmed cell death. The title of the song itself, therefore, carries a beautiful double entendre, a reflection oscillating between natural, poetic and physical endings. It runs with the beat of marching drums. It is a rage-filled lament, calling out listeners and itself. It has not come to terms with its own finality. KIR brings us a beautifully dark and human form of black metal, unafraid of incorporating elements from other genres or of life itself in an experimental move. “L’appel du vide” holds up a mirror to ourselves and the society we live in. It has an undeniable catharsis, and a raw power that transcends music. If you’re looking to be heard, to find kindred spirits in a universal experience crossing languages and genres, don’t miss this gripping debut LP. 'L'appel du vide' will be released on December 6th by GODZ OV WAR PRODUCTIONS. Words: Lysandre Pons Photos: KIR

Denmark's Neckbreakker are becoming one of underground death metal's most talked about names. Having fairly recently been signed to Nuclear Blast Records, they're now just a few days away from not only their label debut, but their full debut album, 'Within The Viscera'. With a gritty picture of chained hands on the cover, it doesn't instantly look like a stereotypical death metal album, lacking the usual trappings of blood, gore, fire, and indeed viscera, but do not be fooled - it sounds as heavy as anything you could ask for. Mixing influences and sounds from the obvious forefathers of the genre, a la Death and Morbid Angel, with more modern influences and styles in the vein of modern hardcore, brutal death metal, and some technical portions that have a slight tinge of Cryptopsy to them, the band have a healthy volume of ingredients in their bubbling cauldron of sound. They're a nice bridge between a few different areas of the genre, but ultimately sit closest to the modern death metal sound that we've come to recognise over the last five years - and their nine song debut album is an excellent addition to the genre. Opener 'Horizon Of Spikes' shifts into gear quickly and without a hitch, working to warm up your ears (and likely legs, shoulders, neck, and vocal chords) by way of its aggressive guitar work, incessant drums, and pained gutturals. Walking down the path more followed for death metal bands of late, they've also included a feisty breakdown at the back end of the track to whet the appetites of any hardcore lovers who've happened to venture this direction. Guitarists Joakim Kaspersen and Johan Lundvig have their work cut out for them on this single, but they don't let a single second go to waste in a potent introduction to the band's sound. Next up comes 'Putrefied Body Fluid' which starts with a riff that could get someone in a neck brace headbanging, and keeps the energy high all throughout - with some particular highlights coming by way of some very enjoyable guitar work and pummelling drums at the end of the song that make for addictive listening. Lead single 'Shackled To A Corpse' follows, and as anyone who's heard it already can testify, it is an absolute rager of a song. The five piece have given it the kind of caustic atmosphere usually found on Venus or in undersea volcanic vents, and it turns the edges of your mouth down into an approving grimace without hesitation. Marking a brief shift in sound and song titling comes 'Nephilim', a slower and more deliberate intro belies what lies ahead. The band launch into an old school chug before the vocals kick in over a rampaging instrumental section, complete with proper death metal guitar fills and runs. The drums are, yet again, absolutely unstoppable - Anton Bregendorf has clearly had his Weetabix - and the solo cuts in with extreme satisfaction guaranteed, to finish the song ahead of 'Purgatory Rites', which uses more foul riffing and ludicrous drumming. Track six, 'Unholy Inquisition', is the longest song on the group's debut by some length, being over a minute longer than the two closest competitors. With more than enough in the song to make for a whole track before it reaches the gurn-inducing halftime section, this is the best possible example of the phrase 'it's a marathon, not a sprint'. Bring your Lucozade. This is backed up by 'Absorption', which hits like a train and, at almost five and a half minutes long, won't let up for quite some time. This may be the most outright aggressive we hear vocalist Cristoffer Kofoed across the LP, and most definitely features some of the best howls we've yet heard. The second to last moment of malice found here is 'SILO', a romping, stomping, circle pit creator. There are plenty enough grooves and riffs here for the whole album, and they're all backed up by the string slinging of bassist Sebastian Knoblauch, who underpins things with a crushingly heavy bottom end that will do serious damage to speakers and inattentive crowd members at a show. Finally, we're eye-to-eye with the finale - the third and final single on the album, 'Face-Splitting Madness'. This song feels utterly perfect for the finisher, with its venomous sound that takes just a slight shift from the majority of the album and keeps things fresh enough to reach the breakdown with a whole new lease of life. The unsettling guitar that plays out the finish is a fine way to wrap up proceedings, making for a very strong end to a very strong debut. A heady mix of modern and old school death metal, Neckbreakker’s debut album is ready to do exactly what their band name suggests. 'Within The Viscera' is a stellar debut, with the only hint of the bands inexperience showing through the relative lack of variation across the LP, but that likely won't be at all a problem for any fans of rip-your-face-off aggressive death metal. Ripping between head-spinning riffs and brutal chugs, the Danes are ready to make their very deserved way into the collective awareness of death metal fans across Europe and the world. 'Within The Viscera' will be released on December 6th via Nuclear Blast Records. Words: Jake Longhurst Photo: Malene Vinge Jakobsen

As the lights dimmed in Manchester’s New Century Hall, the energy was almost palpable as fans flocked to the barricade in excitement to see another night of symphonic metal courtesy of the Netherland’s own, Delain. However, this wasn’t just any old gig as this tour marked the debut of the Dutch quintet’s newest editions, vocalist Diana Leah and bassist Ludovico Cioffi, who were set to make their Mancunian debut tonight. Despite this though, the excitement of it all was shattered by a widespread feeling of confusion as the opening act, Damian Wilson sauntered up on stage with his... acoustic guitar. You’re probably thinking right now “an acoustic guitar...But Delain are a metal band?” and believe me, so was the rest of the crowd. From the moment he uttered his first sentence “My name’s Damian Wilson and I live in a van!” and began to play his first song, you could almost hear the people's eyes squint and eyebrows crunch together as everyone began to think “is this seriously the warmup act?” Being an opening act is never easy but being an opening act for a band that is a completely different genre to you, now that’s just unfair, but believe it or not, Damian Wilson took on the challenge like a true champion and with his intimate acoustic numbers, stand-up anecdotes and witty charm, he won over the crowd like it was nothing. It was towards the end of his initial set that a member of the stage crew shuffled to the front to inform Wilson that the second opening act, Stone Broken, couldn’t make their set due to Vocalist/Guitarist Rich Moss falling ill and that it was up to him to keep the crowd happy for another 20 completely improvised minutes. Considering that not only was there a fair number of Stone Broken fans in the audience, but that the rest of his set was completely improvised, Damian Wilson can confidently say that he did a good day's work as a warm up act that night as by the end of his set the crowd couldn’t stop talking about what a tremendous show he had put on despite all the odds that were stacked against him. Being an opening act is hard enough; it takes real stones to win over a crowd that isn’t there for you but to do essentially two acoustic sets, one being completely improvised, opening for a symphonic metal band and to have the crowd love you by the end of it. That takes some real talent, and Damian Wilson showed that night that he’s definitely got it. As the lights dimmed, eager anticipation swept across the crowd as all the members of Delain bar Diana Leah walked up on stage to set up. It was as if they themselves knew Leah’s vocals were going to be critically judged by everyone throughout the night, hence why they decided to open with a song that sounded like the most definitive opening track of all time, The Cold. The gradual building of instrumentals sounds like if a metal song was fused with a fantasy movie soundtrack which did a tremendous job of building anticipation of Leah’s entrance. As she strutted on stage to effortlessly bash out a few oldies to get the crowd going, it was clear that Leah was in her element. She sounded strong and prominent yet never as if she was straining herself to give it her all. The way she effortlessly knocked down single after single within the group's discography, you couldn't tell that these tracks technically weren’t hers; however, she wasn’t done just yet. As the band ventured into their more recent tracks, any doubt in the group's capability was swiftly shut off with their performance of The Reaping. (https://youtu.be/wC2d18Fxe4o?si=aP2g7491paoGPYnu) (link to music vid of The Reaping) There’s something amazing about how the melodies of Delain’s latest EP translate so seamlessly into a live setting. Considering that it was released only 2 weeks before the show (meaning that most of the audience didn’t know the lyrics to sing along) The Reaping showcases just how catchy Delain’s latest tracks are. With keyboard and guitar riffs that are so punchy and addictive, when you pair them with excellent strobe lighting and an absolute visual masterclass in headbanging from both Leah and Cioffi, you find yourself anticipating the verse more than the chorus just for that thick guitar riff to come crashing through the monitors. Despite not every song holding the same amount of pure aggression within its melodies, Delain has ensured that this isn’t an issue for them. See, what symphonic metal lacks in ferocity and emotion it makes up for in refinery and excellence and Delian’s live shows are a prime example of this. Between the various illuminating instruments to match the equally erratic light shows or the beautifully mixed instrumentals that provide a carefully crafted base for Diana Leah to elevate her vocals to heights that really pierce through your soul whenever there’s a key change (Aswell as bringing back the crowd favorite, Damian Wilson for Your Body Is a Battleground, a very nice touch indeed). These guys know how to curate and put on a headlining act which feels fierce and powerful yet also refined and elegant. Words: Alex Walden

Japan's heavy hitters HANABIE. are back at it again with this late in the year release ‘Bucchigiri Tokyo’. Over the last few years HANABIE. have become an international success, with music videos including ‘我甘党 (WE LOVE SWEETS)' gaining 2 million views, and the music video for 'Pardon Me, I Have To Go Now' amassing over 10 million views across YouTube and TikTok. A number of notable influencers in the scene have reacted to these videos, giving them an even wider audience to the point of them selling out London venue The Underworld and playing Download this year, in what was an extremely well-received second stage set. Something interesting about the band is that not only does lead vocalist Yukina cover vocal duties, but shares them round with the rest of the band - namely Matsuri (guitar), Hettsu (bass), and Chika (drums). Whilst not such a common sight across most scenes, this is actually quite a common theme in the Japanese metalcore scene! Going into this EP, if you're not fluent in Japanese you're going to struggle to understand most of the lyrics being sung by all four members, but that doesn't take away from the fun that this EP will provide. The band also lean very heavily into the kawaii culture that is so well-known for its Japanese origin, but don't let their cutesy aesthetics and music videos fool you, these four certainly know how to get down low and have plenty of songs to mosh to, as well as a number of riffs heavy enough to get a crowd swinging. Digging our way into the beginning of the EP, we first reach title track ‘Bucchigiri Tokyo’, kicking things off with a mix of hard-hitting and melodic vocals that is a real ear-worm with a killer breakdown. Following that is one of two singles, ‘Metamorphose’, and it's one you're sure to nod your head along to, with Chika's rhythmic patterns making for a hypnotic rhythm that'll have even the most unforgiving of necks bobbing in time. ‘OTAKU Lovely Densetsu’ comes next - this song feels a little different to the rest of the EP, as frankly this single could belong in a video game, due in no small part to the array of electronic elements dotted throughout the song. The fourth track ‘GAMBLER’ is the longest track of the six, at three and a half minutes long, and is also the most guitar-heavy of them all, raging into another great breakdown that is certain to bring a smile to your face. ‘Ito Okashi My Type’ has a nice mix of vocals from across the band that will make you want to get spinning round a high-energy moshpit, at the exact same time as singing along to a perfect combination of their regular vocals and some faster rapped lyrics. ‘Bonus Guilty Time’ finishes things off, and whilst it may be the shortest song on the EP, that doesn't stop it from being just as much of a banger as the rest of the EP. This one has a sound that will surely lend itself to Bring Me The Horizon comparisons, and also has vocals by drummer Chika in one of her less regular additions to the vocal side of things. Overall this is a very enjoyable EP to have at the end of the year. Each song could very easily be the opening for an anime, with some brilliantly wacky riffing and an excellently worked clash of sounds that would sound bizarre almost anywhere else, but works perfectly here. HANABIE. are sure to get bigger and bigger, and we can't wait to see what it is that the band put out next. ‘Bucchigiri Tokyo’ will be released on December 4th via Sony Music. Words: Lucas Grayson Photos: HANABIE.

Amongst the fabric of modern metal, few bands are held with such high regard by their fans as Fit For An Autopsy. The group have gotten better and better, with their last two albums credited as some of the best in each year they were released, and their most recent release, ‘The Nothing That Is’, continuing the trend of phenomenal work by the group. After dropping such a hot release, it was of course time for a trip around the UK, and with an all-star lineup joining them to keep the pits full, one hell of a night awaited. The first of those all-stars on the bill was the almighty Heriot, one of the UK’s best and brightest metal bands. Coming off of the September release of their stunningly good debut album ‘Devoured By The Mouth Of Hell’, they’re now in the enviable position of taking a slew of phenomenal songs on a UK and European tour with a group of excellent artists. However, for those who were thinking that the openers aren’t worth your time - best think again. Heriot’s set was apocalyptically heavy, taking all the sounds of an infernal pit and throwing them into your face as if your mere existence is an insult to them. They had all the heft of a planetary collision, and could quite easily have been headlining the event with the sheer ability displayed all set. Opening with ‘Foul Void’ and ‘Enter The Flesh’ kickstarted their unholy half an hour with a vengeance, and closer ‘Demure’ was a viciously potent finish to one of the best live sets this year. Whilst they did have one hell of a show to follow, Washington DC’s Darkest Hour gave out as good as they got with a melodeath/metalcore show in the vein of the very best of Trivium. Having also released an album this year, with ‘Perpetual Terminal’ coming out in February, there was a torrent of new music on offer this evening which suited Darkest Hour just fine. Playing a six song set with four songs off of ‘Perpetual Terminal’, the crowd lapped up the new material as readily as the old - old favourite ‘With A Thousand Words To Say But One’ went down a treat right before the newly-released finale ‘Goddess of War, Give Me Something to Die For’ whipped up an enormous round of applause, as well as a fair bit of energy within the crowd too, getting a number of runners and moshers moving. Playing third on the night was our tour headliner, Fit For An Autopsy. On a tour to support their latest release ‘The Nothing That Is’, the North American bruisers fit four new tracks into their crushing setlist - opener ‘Lower Purpose’, highlight of the set ‘Red Horizon’, the frenetic ‘Saviour Of None / Ashes Of All’ and penultimate song ‘Hostage’. However, they were far from the only brilliant songs played as plenty of songs featured from 2022’s ‘Oh What The Future Holds’, and there was a potent duo of ‘Warfare’ and the title track off of ‘The Sea of Tragic Beasts’. With a set filled with riffs, breakdowns, and gutturals, they rose above the crowd of London’s Electric Brixton like a wave of power and energy, full of rage directed at injustice and violence, further cementing their status as a prime live act. Finally came the co-headliners for the night, the UK’s Sylosis. Their metalcore riffage complements the style of Darkest Hour earlier in the night, whilst their technical breakdowns fit nicely with Fit For An Autopsy’s brutality, and their slower moments echo the sludgy aggression of Heriot. With a twelve song set like Fit For An Autopsy before them, they ran through a career-spanning setlist going from the old - 2008’s ‘Teras’ and ‘Conclusion of an Age’ - to the new - 2024’s ‘The Path’, including a decimating guest feature from Heriot’s Debbie Gough - and running the gamut of everything in between. Of course, bangers like ‘Calcified’ and ‘I Sever’ were as popular as you’d expect, but every song was received with a chorus of whoops and cheers, which kept the energy high for the entire set. For the rest of the tour they’re acting as the main support, but to see them headline such a venue with such a brilliant supporting lineup was a bizarrely proud moment. Every single moment of live music on the night was phenomenal, with a litany of memorable moments that will take their time to be forgotten - however, opening bands don’t often show up the entire touring bill in the way that Heriot did. The performance of a lifetime somehow upstaged three much more experienced bands and made them the stars of the night, in a manner that did warrant this second mention. That said, the audience looked like they could’ve gone for a repeat of the whole night before getting bored, and there was not a single face that didn’t have a grin plastered across it as the venue emptied out. Words: Jake Longhurst Photos: Sarah Farooque

Underground metal enthusiasts have a reason to celebrate with the release of Chaos Reigns’ ‘Sweet Violence’, a bold and innovative six-track EP that cements the band’s place as a rising force in the hardcore scene. While their influences—most notably The Dillinger Escape Plan—are clear, Chaos Reigns have carved out their own sound, blending technical proficiency, dynamic vocals, and an unrelenting energy that commands the attention of the UK metal scene. Opening with ’False Gods’, the EP launches straight into a barrage of swaggering guitar chords and intricate rhythms, setting a frenetic yet polished tone that runs through the release. This track strikes a balance between chaos and control, featuring a memorable chorus that lays the groundwork for the sonic journey ahead. The pace quickens with ‘Graveyard Shift’, a dissonant and unpredictable song filled with panic-inducing riffs and unconventional transitions. These two tracks highlight the band’s ability to balance technical precision with a raw, visceral edge. ‘Violent Delights’ and ‘Snakes & Branches’ lean more towards the controlled side of vocals and showcase a more structured approach without sacrificing the unpredictability that defines the EP. Meanwhile, Both tracks feature accessible and easy to listen to grooves, interjected with the unhinged, chaotic riffs that fans have come to love from Chaos Reigns, making this a perfect EP for both veteran hardcore fans and those new to the genre. The EP reaches its climax with ‘Sins of Success’, a track that draws on all the band’s strengths, combining intricate rhythms, ferocious riffs, and an emotional intensity that builds to an unforgettable final minute. The closer, ‘The Lotus King’, shifts focus, offering a more expansive and melodic experience. Featuring a haunting vocal duet with Mikey Chapman of Mallory Knox, this track slows the tempo and brings the EP to a dramatic and emotionally charged conclusion. A key strength of ‘Sweet Violence’ is its flawless production, which ensures every element, whether it’s the intricate guitar work, dynamic vocals, or driving rhythm section, is captured with clarity and impact. Jason Heightman’s vocal range is particularly noteworthy, effortlessly transitioning between guttural screams and melodic passages, all delivered with confidence and a subtle British edge. Beyond the technical brilliance, what makes ’Sweet Violence’ stand out is its ability to blend chaos with structure, aggression with melody, and technicality with emotional resonance. The EP feels like more than the sum of its parts, showcasing a band that is unafraid to push boundaries and experiment within their genre. With ‘Sweet Violence’, Chaos Reigns have not only delivered an explosive and innovative record but also established themselves as one of the most exciting bands in modern hardcore. Their fusion of musical precision and hardcore punk energy is fresh, ambitious, and utterly captivating. We believe ‘Sweet Violence’ is a must-listen, and it positions Chaos Reigns as a band to watch in the years to come. Words: Vee Richardson Photos: Chaos Reigns

Thrash metal has long been the embodiment of speed, aggression, and unrelenting energy, standing as a defiant pillar within the heavy metal world. Rooted in blistering riffs, breakneck tempos, and a visceral attitude, the genre continues to evolve while remaining true to its rebellious core. In this tradition comes Disposable, a formidable thrash metal outfit hailing from Edinburgh, Scotland. Disposable delivers music with an intensity that rivals the genre's greats, blending old-school ferocity with a modern edge. Their latest effort, the upcoming album ‘It’s Blood That Trickles Down’, is a raw and unapologetic message against the injustice and corrupt powers found not just in the UK but around the globe. Before we even begin listening, the album catches our attention immediately and we’re drawn to the album cover designed by the band themselves, depicting various anthropomorphic figures of power looming over a board game while the people playing gamble their lives and possessions away. It’s a powerful image and message slating those in power, and gives a clear indication of the theme this album will dive deeper into. ‘It’s Blood That Trickles Down’ starts off with a short intro track ‘40 Guns’ and, although less than a minute in length, it's a raw and punchy opener cut with snippets from US news on the state of gun control in the US. It’s fast, angry and unapologetic and entirely unwilling to break stride, as it seamlessly transitions into the next track ‘Snakes on Ladders’, a relentless thrash track blending speed with meaty breakdowns and a razor sharp vocal delivery. As we continue down the album's relentless path, each new track feels like an assault of speed and aggression that takes us back to the golden age of thrash with a very welcome modern edge. We reach the halfway mark with ‘Figured Out’, a protest against the ongoing war in Palestine, as the rapid instruments and harsh vocals fade out to be replaced with a call for freedom - a short but powerful track that stands out to stick with you as the album continues into the next track, ‘Complicit’. It's a hard hitting track on the repercussions of the Conservative government in the UK which delivers some of the strongest and most visceral vocals and breakdowns of the whole album. Finally, at the end of the album we are met with the closing track ‘Tough Guy’, Disposable's very own take on the Beastie Boys track. With Disposable's raw unfiltered sound, it transforms this already iconic track in new and fresh ways - no easy feat for a track nearly 30 years old - making it the perfect finish to this powerful and personal statement to the affairs around the world we all share. Full of unflinching aggression from start to finish and raw razor sharp musicianship, ‘It’s Blood That Trickles Down’ is more than just a trash metal album; it’s a powerful political statement delivered with unfiltered rage and emotion. Tackling the pervasive threats of fascism, inequality and war on a global scale, Disposable channels their fury and own beliefs into a rallying cry for peace, freedom and justice. This is not just an album for headbangers and the pit lovers among us, but an album for anyone who values the power of music as a force for change. In a genre that is defined by its defiance, Disposable is a band to watch who are already standing out in the crowd and demanding to be heard. ‘It’s Blood That Trickles Down’ will be released independently on November 30th. Words: Arcadia Craven