Cradle Of Filth have been an all-time favourite amongst gothic and black metal fans around the globe since they formed in 1991, and throughout their 34-year run they have released a staggering thirteen studio albums, two live albums, two compilation albums and four EPs. The band takes their time to curate and perfect every piece of art they create, and their brand new neck-breaking album The Screaming Of The Valkyries is absolutely no exception. The Screaming Of The Valkyries encompasses the same raging energy that the fans have come to know and love from the band, with nine brand new tracks to quench fans’ thirst for frontman Dani Filth’s feral growls. Starting the album off seriously strong is ‘To Live Deliciously’, a track that takes the concept of living your life to the fullest to dizzying new heights - expect ear-bursting screams (enough to shatter your family’s fine china), and even a few thunderous sound effects from this unfortunately short-lived track. The band strive to make every song their absolute best, and this album displays this ‘deliciously’ with the next track ‘Demagoguery’, which really delves into the band's vocal talents and showcases exactly what they are capable of. The guitar riffs throughout most of the song are absolutely insane, but none of them compare to the riffs in the bridge of the track, which are guaranteed to send even the most relaxed of the band's fans into a headbanging frenzy. Would Cradle Of Filth really be their extremely talented selves without their iconic build-ups? These iconic build ups have been there since the beginning, and their penchant for this is showcased phenomenally during the next track ‘The Trinity Of Shadows’. It starts off slow, and its build-up fits together seamlessly with the backing vocals. This being the most prominent part of the track, and a part that fans are bound to fall in love with, combined with this being the longest track of the album, make for a brilliant song. Next up to take the limelight is ‘Non Omnis Morar’, and would a black metal band really be a death metal band without at least one song in their arsenal with a latin name? This track showcases just how seamlessly both Dani Filth and Zoe Marie Federoff’s brilliant vocals merge together, working like a well-oiled machine. Federoff’s vocals dip in and out during the track, giving an energy of etherealness amongst the macabre lyricism. The next track ‘White Hellebore’ seems to skip a couple of steps and leaps directly into the hardcore riffs, which is not at all what you would expect after the relatively much slower previous track, but Cradle Of Filth takes this concept and makes it their own in such a talented and unique way. The track ends with gracefully spoken lyrics, which are a blessing to every fan's eardrums who have the opportunity to hear this masterpiece. The next two tracks ‘You Are My Nautilus’ and ‘Malignant Perfection’ are two completely sonically disparate tracks, yet both touch on the same topics of love and heartbreak, most notably ‘Malignant Perfection’ hitting the topic of falling for someone who's unhealthy. The mosh-worthy electric guitar and drums from the incredibly talented Marek Šmerda and Martin "Marthus" Škaroupka will have fans forming circle pits in absolutely no time. The next two tracks, much to fans’ despair, bring the album to a bittersweet end, but Cradle Of Filth are of course known for their music gluing itself to fans’ eardrums. The band give a whole new perspective to the phrase ‘going out with a bang’ with these next two tracks, ‘Ex Sanguine Draculae’ and ‘When Misery Was A Stranger’ - and with track names like those, you know that the band means business. Cradle bring their feral energy to spectacular new heights to close off the album here. The tracks have everything you could ever ask Cradle Of Filth for; insane riffs, blinding vocals and the energy of an 80’s metal ballad on ‘When Misery was a Stranger’. Cradle Of Filth have been creating art and showcasing their blinding talent for the last 34 years, and they keep showing us that they can still bring the same untamed gothic energy as they could the day that they released their first album. Score: 8/10 The Screaming Of The Valkyries will be released on March 21st 2025 via Napalm Records. Words: Becca Wheeler Photos: Cradle Of Filth

As punters walk around the Great Portland Street station looking for the venue, there is a big, bold 229, signalling that this is the right place. The floor is getting busy quickly, as people are coming down to celebrate International Women’s Day with We Hate You Please Die, The Menstrual Cramps and Eli Dayo. Originally from France, but currently residing in London, Eli Dayo is rising up with her strong vocals and unique writing skills that make her songs remarkable. Having some production issues and having a different bassist to step in at the last minute, her set was still energetic, with many fans visibly enjoying the first opener’s performance. The only downside was that no one knew the lyrics, and some people still chose to not pay attention to the set at all. We think it was a great first performance of the night, that was definitely memorable and fitting for the night’s theme. The next in line were the only British performers of the evening, and definitely the fan-favourites, The Menstrual Cramps. Releasing their latest EP ‘ACAB’ last year, the Bristol based punks showed us that they are anti-patriarchal and screaming for equality more than ever before. Blessing the crowd with hits like ‘Tinder Girl’, ‘Abortion’ and ‘Neo-Nazi’, we were witnesses of a fierce set from the first second to the very last. The lead vocalist, Emilia Elfrida, highlighted the importance of activism and punk in current times, going into topics such as feminism, queerness and politics. Raising awareness about the ‘Band’s Boycott Barclay’s’ movement, of which the band members are proud co-founders, the band showed their commitment to supporting Palestine. The set made the venue move and sing along and was definitely an important feature of the event. Last, but not least, were the headliners emerging from France, We Hate You Please Die. Currently promoting their new album, ‘Chamber Songs’, that came out last year, across Europe and UK, the three-piece, consisting of the members Chloe Barabe on bass and lead vocals, Joseph Levasseur on guitar and Mathilde Rivet on drums, is confirming their presence as a band, who is not scared to come out of conformity. The band describes themselves as punk rock and riot girls, going back to the familiar sounds of punk, while giving the genre their own twist. And it definitely works, as the full floor of the 229 venue confirmed. Without many words, the band went right into action, playing for the excited fans. The instruments and vocals in their songs are well balanced and do not feel overwhelming, giving each member a chance to showcase their talents. A nice touch was switching the vocals in between Chloe and Joseph, making the experience even more satisfying. Although the guitar and bass lines were well executed, there were moments where they felt repetitive and long, giving us nothing to look forward to. Nonetheless, the band carried the evening spectacularly, making the fans long for more, as we could see at the end of their set, when the band left the stage, and the crowd began chanting to get an encore, which was unfortunately not delivered. Overall, the evening was a daring experience full of support and encouragement. All three performers gave their absolute best, showcasing their work. Organising an event to support women and femme-persons, with the lineup consisting of queer and femme artists, is a brilliant way to celebrate this important day, especially with a lot of men and masculine people joining the crowd. Words: Katerina Stepanikova Photos: Atoosa Salamat

(Disclaimer: This review shall be composed in the vein of the late Cormac McCarthy) You could feel it under your feet. This low and malignant tremor stirring in the bones of the world. A sound without cognate and so without reckoning but incorporeal as spirits benighted out of the dark. The earth itself contracts to the shattering feedback. The concussions of raw electric force wild where violent riffs herald to some nameless calamity. The vocals spread like sheet lightning accompanying the distortion. Where comes the riff? Who farriers the hoof of the beast? The breakdown arrives with clamour and flagrance as a great monster risen out of the earth with a form so great and so terrible as to burlesque the bestial mosher that hides in the Tartarus of every being. They play on. They are playing, playing. They say they will never die. Welcome to the Spiritworld. Ok, so maybe the rest of this review might not be conducted in the manner of McCarthy, but like the lyricism of the group, his echo will resonate throughout. Emerging from the sands of the Mojave, Spiritworld is the long-brewing peyote vision of Stu Folsom (or Justin Brundy, for those with no taste for stage names), a man who has spent decades fermenting his obsessions with the three H’s; hardcore, honky-tonk, and hellfire - until they bore something akin to an unholy sourdough starter. It began with Folsom, a metalcore outfit that flirted with western aesthetics before Spiritworld took the whole damn affair up several notches - first as a cow-punk curiosity, then as something far more sinister. With Pagan Rhythms in 2020 they emerged as a full-throttle, Old West-obsessed death machine, a gang of riff-slinging reprobates barrelling through a scorched-earth mythology where Satan himself rides resplendent over humanity. But by the time Deathwestern landed, the band had realised the rattlesnake within, shedding their skin to reveal the bastard offspring of Sergio Leone and Slayer, all rattling bones and Old Testament fire ‘n’ brimstone. The writer’s first experience of these desperados was at London’s legendary Black Heart pub ahead of Deathwestern’s release in the dog days of 2022. No one in the room knew what kind of hell was about to be unleashed, four brightly-dressed cowboys emerged from the backroom and proceeded to hew the room asunder in an act not soon to be forgotten. It was different, the type of different that makes you follow a band and see what they can pull from their bag of tricks next and follow them like Barnum & Bailey’s troupe. Now we find ourselves in 2025, and the group is more formidable than ever. The six-shooter smokes, a body lies bleeding in the dust. It’s high noon. The meridian of the day. The intro to Helldorado echoes from the saloon doors. ‘Abilene Grime’ kicks things off like a bar fight that starts with a dirty look and ends with a man being tossed through a window. Beginning with a scream, a funky country guitar riff, and drums chugging along in a train line groove, then descending faster and faster - dragging the song into Spiritworld’s familiar domain. This one’s a pit-killer. The last thing some unfortunate soul will hear before being moshed into a fine pink mist. ‘No Vacancy In Heaven’ bursts out with Slayer-esque bravado and some brilliant call-and-response from Mr. Folsom, blaring out “IF THERE’S A HEAVEN THEN I DON’T WANNA KNOW” with all the panache of a preacher who has lost his faith in the big man upstairs and finds it again with the big iron on his hip. Featuring echoes of God Hates Us All and South Of Heaven, the die has truly been cast. ‘Western Stars & The Apocalypse’ is a slower jam, but comes and goes like a summer storm listing over a desert valley. ‘Bird Song of Death’ is – dare we say – a jauntier tune than Spiritworld has ever released. This one would fit right into a hoedown at the barrelhouse, with a lively arrangement featuring acoustic strumming and clapping throughout. It harkens back to the cow-punk days, but also endeavours to become something more. But when ‘Prayer Lips’ slithers in - whispered vocals, a creeping melody, and, yes, a goddamn saxophone solo (realised by one RJ Demarco). What the hell is happening? Manifest destiny, it seems. Spiritworld isn’t content to stay in the crossover-thrash dust bowl, they’re peering into a stranger horizon. Just as you collapse, spent, ‘Waiting on the Reaper’ crashes in like a thunderclap and drags you back into the crossfire. ‘Oblivion’ pairs Zach Blair of Rise Against with Blackbraid’s Sgah’gahsowáh, an alliance of punk and Native American black metal screaming forth visions of ruin as two wayward ghosts of Old America howling across the indifferent plains. After the spectral drift of ‘Cleansing’, ‘Stigmata Scars’ comes tumbling out of the gate, a merciless brawler crowned by a sacrilegious rallying cry: “STIGMATA SCARS ON MY HANDS!” It is gilded with a killer solo from Kreator’s Frederic Leclercq, with all the intensity you have come to expect. The experience ends with ‘Annihilism,’ a more traditional country tune with some extremely dark subject matter. It’s a hell of a thing to witness a band wade into unbroken territory, pushing their craft beyond blood and thunder. After the carnage, the bones have been rattled and the dust has settled, you can lean back, boots grazed and spirit-weary, and let the peculiar whimsy of it all wash over you like a great wave. What Spiritworld is trying to do here is simple. Rather than a full-blown evolution of their sound, it appears that they are just stretching their muscles a bit. There’s still plenty of carnage for those who fiended for the death-metal dime-novel of Deathwestern, but the creeping country influence and the slower, twangier deviations will send the traditionalists running to the hills, howling that their hallowed crossover-thrash outfit has been contaminated by Kenny Rogers-isms. Let them run. If every band capitulated to those with metal tunnel-vision, the genre would be a drier than a canteen in the Mojave, doomed to churn out Storm of the Light’s Bane rewrites until the end of time. Helldorado is not just an uncharted endeavour for the band either, for it seems to continue on from the story that Folsom’s Godlessness anthology told in Deathwestern. The subject matter remains the same, with the brutality of the Old West and the musings of hell on earth continuing as before. Yet the delivery is an altered beast, and compared to the rough ‘n’ ruggedness of their last offering, Helldorado is a rustic phantasmagoria, a fever dream that refuses to be bound by the narrow constraints of its theme. This is the inevitable crossroad all concept-driven bands must face - the great Darwinian aphorism: adapt or perish. Yet SpiritWorld seem unphased, schooled in blows and ready to take on the whole stinkin’ world, they approach with confidence, but do not appear to commit their whole head into the apple-bob just yet. It seems we have to stay tuned to see what mad stylings this great favourite can put out next. If you enjoy your slamming in the experimental vein of Employed to Serve and Rivers of Nihil, then Helldorado might just be up your alley, partner. Folsom himself puts it best; “If that makes me an outcast or even more fringe than your average underground music act then that's okay. The stench of being genuine is beautiful.” Score: 7/10 Helldorado will be released on March 21st 2025 via Century Media Records. Words: Kiarash Golshani Phots: Spiritworld

Awe. It is the reason you got into metal in the first place, is it not? You marvelled at the crushing guitars, you wept at the sight of electricity transmuting into sound, and you gaped at the sheer speed of a double kick pattern pulverising a kit like a child immersing itself into a ball-pit for the first time. In all of its bombastic splendour, you felt the touch of real glory upon your brow. Awe. Where do metalheads get their awe? It depends. For some, it manifests in the form of soaring vocal melodies juxtaposed with brutal guitarwork. For others, it may be a simple riff that encapsulates a moment within their own life – the emotions one experiences perfectly distilled into sonic form. But for another, more unique, breed of listener, it is technicality that inspires the most awe. They get their rocks off to a free-jazz saxophone solo being played offhand whilst the drummer is a step out of time and the guitars are exclusively playing dorian mode. Nuts about their notes-per-second statistics and time signatures so incomprehensible they might as well be an elaborate tax fraud scheme. We have been called many things; “enlightened,” “intelligent,” “devilishly handsome,”– but to others we are known by another name: “Snobs.” Without snobs, the legitimacy of music as an art medium suffers; how would Caravaggio paint if he just had three colours on his palette? They are there to point out that all songs in 4/4 are fundamentally the same even when nobody asked. When they come at you about your basic music library, they are not trying to harm you – no, they are trying to help you. And frankly, thank god for them, because without their glaring, condescending judgments, music as an art form would collapse into the hands of the unwashed masses. What would you do without them? And yet, this arcane breed of snob is forever at war with itself. Like a house that is divided, they cannot stand what they deem as defects upon their pristine genre. Their downfall (aside from being annoying)? Subjectivity. Complexity is their mistress, yet when faced with it, they can’t even agree on what it should look like. Which brings us to Imperial Triumphant, who have provided succour in the form of Goldstar. In the prickly landscape of avant-garde metal music, where people will honest to God accuse you of having "undeveloped ears" without a hint of irony, Imperial Triumphant can be divisive to say the least. A band that nobody can quite agree on, because what the hell even are they? They fashion themselves in Slipknot-esque stylings, careening out of the dark in bright, golden masks that look like they snuck out of one of Gatsby’s parties. Art-deco is the name, dada blackened death-jazz is the game - the soundtrack to a thousand damned flappers Charleston-ing their way into the pits of Hades. They are New Yorkers Zachary Ezrin, Steve Blanco, and Kenny Grohowski – a band of extremely talented musicians pushing their instruments to the limit. Their previous record, Spirit of Ecstasy, was a handbook in sonic excess. Featuring Kenny G (yes, that Kenny G) in all of his smooth-jazz glory. It will be hard to top such a mammoth collaboration, but Goldstar may prove itself yet. Themed after Fritz Lang’s 1927 German expressionist masterpiece Metropolis and featuring a bare-breasted Maschinenmensch on the cover, this record is yet another addition to rock’s long, weird record of venerating German expressionist cinema. But enough about the aesthetic - let’s talk about the music, if you still use earthly terms like ‘music’ to define whatever this is. It all starts with ‘Eye of Mars,’ the great filter. Before you can even clock what’s happening, a thunder of riffs, blast beats, death growls (and trumpets) surround you. If you cannot handle what Imperial Triumphant is putting down here, now is your cue to leave. Abandon all hope ye who enter here. ‘Gomorrah Nouveaux’ then begins with a Moroccan Gnawa-jazz beat (this is Imperial Triumphant we’re talking about here), before stop-starting like a subway train driven by a drunk conductor. There are some wonderfully evil vocals on display here from Zachary Ezrin who growls like a New York cab driver slamming on the brakes as a pedestrian screams; “Hey! I’m walkin’ here!” ‘Lexington Delirium’ takes it down several notches and the Floyd Rose starts to shine. It is a song about skyscrapers a la Bowie’s ‘Thru’ These Architects Eyes', an ode to the skyline with all the archaic devotion of a Sumerian scribe looking proudly upon his local Ziggurat. The dissonance of the sound is an encapsulation of the hustle and bustle of the Big Apple. Tomas Haake of Meshuggah is on guest duties here, rumbling out a requiem to a tower block in the style of Catch 33. ‘Hotel Sphinx’ continues the sonic assault, with what sounds like cartoon slipping-on-a-banana-peel noises amid the maelstrom. Pace-wise, the tempo-rubato of this song seems once again to be controlled by the drunken train driver, yet the breakdown in this one still slams. Hard. The next song, ‘NEWYORKCITY,’ is a 40-second grind-core panic attack featuring Yoshiko Ohara of Bloody Panda screaming Yoko Ono-isms over a flurry of blast beats and palm muted notes. Anyone who has ever commuted into work in a big city will deeply resonate with this one. After a short interlude advertising ‘Goldstar’ like an old cigarette brand (complete with a faux-Ink Spots introduction), ‘Rot Morderne’ strikes – and admittedly the dadaist madness is waning a little. It is stop-and-start metal mayhem just like ‘Hotel Sphinx’ was. But like a phoenix, ‘Pleasuredome’ invigorates the experience. This is one for the drummers, featuring Dave Lombardo of Slayer fame performing a Brazilian Maracatu-inspired solo and Tomas Haake back with some more spoken-word. With as much chaos as Richard Christy’s elegantly messy banging on The Sound Of Perseverance, where it sounds like he’s throwing pots and pans across a room but it still ends up being in perfect 6/8 time. Kenny Grohowski is truly the ‘drummer’s drummer', having also performed with the criminally underrated Secret Chiefs 3, they give a phenomenal performance throughout the album. It is pure percussive pandemonium from start to finish, like a final drum exam at Juilliard. Finally, the closing track, ‘Industry Of Misery'. Seven-and-a-half minutes of pure obliteration. The bass work of Steve Blanco penetrates through the cloudy dissonance like a shot from a gun, careening at its own pace whilst the other instruments continue their carnage. It plays out like a death march until, suddenly, it starts dying in real-time, degrading into what sounds like a low-battery novelty birthday card slowly gasping its last breath. And just like that - it’s over. This was exhausting. Even with its moments of eerie calm, the sheer density of it all wearies the bones, and this is somehow still their most accessible album yet. While it is about as intense as a massage from a thousand angry wasps, by the time it’s over, you feel like you’ve attended quite the classy affair. The ghosts of Thelonius Monk and Ornette Coleman haunt this thing, their large shadows looming over every note. But where jazz was always about the swing, Goldstar is about the collapse, an opulent soundscape of skyscrapers crumbling in upon themselves and a Manhattan traffic jam at rush hour where every car horn is in a separate key. Looking down the Chrysler Building like the band do in their ‘Lexington Delirium’ video, you’d see frantic figures swarming across grids, each rushing to an enigmatic destination. The sheer, overwhelming futility and absurdity of it all. Awe. That is what Imperial Triumphant have set out to capture here, and they do a bloody good job of it too. However, they still remain metal marmite; love them or can’t stand em’ for many. They don’t care if you ‘get’ them. They don’t care if you like them. But if you’ve already got artists like John Zorn, Oranssi Pazuzu, or even John Coltrane in your roster, you’re probably ready to join the imperium. Goldstar is a gilded, dilapidated monument to excess, music to an extravagant capitalist ouroboros devouring itself. “Look upon my works, ye mighty, and despair!” And if you don’t like it? Well, maybe your ears just aren’t developed enough. Score: 7/10 Goldstar will be released on March 21st 2025 via Century Media records. Words: Kiarash Golshani Photos: Alex Krauss & Shannon Void

Bloodywood’s sophomore album Nu Delhi sees the New Delhi quintet finding their stride after a stratospheric level rise to international fame since the pandemic. Across eight tracks, Bloodywood gives the feeling of hopping between roofs of buildings in the dead of night with a sense of urgency that only comes from a band ready to pack up and take over the world. The album opens with ‘Halla Bol’ (Raise Your Voice), a track that is equal parts thrash and metalcore with gorgeous electric ambience, while introducing the ‘sit down and listen to us’ theme that is present throughout this project. The chopped chanting to introduce the listener creates a pit in the stomach akin to that of a soldier whose body has begun to anticipate the ambush, while the track itself is a dopamine producing machine that gets listeners ready to move. This blends into the self aggrandising 'Hutt' (Annoyed/Angry) - when Raoul Kerr tells us that critics were “looking down” on them but they’re “on the way up now” we 100% agree; the confidence that permeates from this track is by no means misplaced. The play on “we don’t give a- hutt…” did not go unappreciated either. Third track ‘Dhadak’ is a favourite track contender - their signature sound permeating through the Dhol beat throughout, spliced with the broken vocals they are experimenting with on this project and matching with themes of persistence and making their music for the love of music. This is really Sarthak Pahwa’s time to shine as he elevates this track beyond its energetic metalcore grooves, and is a major player in its replayability. Hitting its stride as an album from here there is second single and only feature ‘Bekhauf’ (Fearless), with said feature being metal heavyweights BABYMETAL; you know you’ve made it when! While the infusion of Indian folk sounds and instruments is what makes the Bloodywood sound, the inclusion of a more cookie-cutter metalcore song is yet more proof that they have the quality that the space they have carved themselves requires; from exemplary screams and belches that accompany the BABYMETAL signature songbird vocals, to the double bass workout Vishesh Singh completes on the drum kit behind. This single is the perfect demonstration of the grip Bloodywood have on their place in the scene, and fits wonderfully within its tracklist (not to mention, the beautifully animated music video that accompanied its release is more than worth anyone's time!). Act 2 of this album is the better half if there is one, with the beginning of ‘Kismat’ (Destiny) serving as a mental-itch scratcher in its whisper rap then breakdown conjuring feelings of screaming atop the highest point of your hometown. As the name suggests, there’s themes of the realisation of dreams present within this song, with a sense of parasocial pride emerging as it’s proclaimed “I became all the heroes I believe in”. The breakdown in this track may also be the best on the project. The traversal energy is still strong in this track and this act, with 'Daggebaaz' offering the angst present more on debut Rakshak, but after this there is the strongest single ‘Tadka’ (Tempering). Playing on a foodie theme, this song promotes togetherness and their supremacy as a band in equal parts. Starting with a trumpet and military style beat, Bloodywood compare their rise to fame and what they will do with it to traditional Indian hospitality, shouting out mum and grandma while they compare cooking in the kitchen to the cooking in the studio they have done on this project while they boast about the addictive quality of their sound. The vibe is optimistic metalcore, with the whole track working to build towards a finale from the gods - the fire inside the belly is definitely fanned, as are windows broken by the time the final burp rings out. The album closer is lead single and title track ‘Nu Delhi’, which needs no explanation: its tongue-in-cheek play on nu-metal and hometown New Delhi in its title exemplifies perfectly the blend of sounds that Bloodywood produces to create their signature sound, which captivates from start to finish. Much of this album has been described as [adjective] metalcore, because it is simply what good metalcore should sound like - if you’ve been looking for the album to convince your friends of the quality of the subgenre, then this is it. As Kerr mentions in ‘Nu-Delhi’, diversity is a gift, and Bloodywood as a project, let alone this album, is a jewel in that crown: a no skips, full-energy offering that takes all of the wheat from their debut and cuts the chaff with skill. The confidence and resolve that is woven through each track is deserved for a band who have enjoyed an explosive first five years, so all that’s left to ask of them is to pick up their favourite bands from the Indian metal and hardcore scene and take them to worldwide audiences - they’ll be doing the heavy scene a generational favour. Score: 7/10 Nu Delhi will be released on March 21st via Fearless Records. Words: Julia Brunton Photos: Bloodywood

From free pints to pit aeroplanes, the first quarter final of Manchester’s Metal to the Masses competition brought the energy as the UK’s metal community begin to get excited for Bloodstock 2025. At 5pm in Manchester, a small draft was blowing through Rebellion as the audience for the first quarter final trickled in. The roster was packed: 4 competing bands with last year’s runners up 40,000 leagues guest headlining after the competition’s sets. The energy was friendly as small groups found their spots in the pit, pints and tins in hand as the clock ticked towards the 6pm start time. After a quick sound check it was time for competitor one - thrash metal quartet Leader. A first impression of Leader may include a lack of movement or presence, but after a couple tracks they hit their stride and the technical abilities of each member become apparent. The pit in turn opened immediately, with its participants including a man donning a gas mask and full camouflage military-style gear running around in the circle pit started by frontman Joey Kirby. The energy only got higher through the 30 minute sets and How You Doing rang out from the stage, with the chant of ‘Leader! Leader!’ after every song marking them as a favorite and possible winner for this quarter final. Rounding out their set with track Things are Going to Change the buzz was palpable and the draft was replaced with the sweat that denotes quality in the hardcore space; a good set, and a well earned cup of tea for Kirby as he slipped back onto the floor to watch the competitors. Tokeo Second up was rap-rock outfit Tokeo, with their frontman dressed in a white shirt/white plaid outfit that reminded us of chef whites - after realising he was in fact one of the competitors this observation felt quite rude. After a high energy opener they followed with the title track from their next EP Standards of Living, with said frontman hopping between speaking regularly and speaking in poetry, the dissatisfaction with the state of the modern working class permeating from him in both his lyrics and crowdwork between songs. Speaking of, their guitarist took some of that load albeit jankly from the Tokeo frontman as they coaxed the crowd closer and tried to start the pit that grew more naturally in Leader before them, to moderate success. Tokeo also gave off the vibes that they were friends who made a band rather than the other way around - their guitarist in particular was having a whale of a time with an ear to ear grin that did not leave his face the entire set, and the band as a whole seemed more at ease with the jokes and working the room in general. As they left the stage these were a personal favourite for a winner. Number 3 of the night were Silence Reigns, a heavy metalcore outfit who were the first to have pre recorded entry music - favouritism? Only joking. The pit was stringent for the first couple songs, with Gas Mask Man holding down the fort as the rest of the room paused for breath. Silence Reigns bring that boss fight intensity, with lead Matthew Parry commanding the room from the platform they brought while guitarist Louis Chadwick supplemented with beautiful clean vocals in tracks such as Chains. The request for a circle pit was once again filed and approved with Gas Mask Man opting for the naruto run as they looped around the middle of the floor. Parry was possibly the most confident in front of the crowd, especially solo as he worked walls of death to great success, but was perhaps too comfortable as they accidentally ran themselves over before their final song. Asleep At The Helm The final competing band of the night was Asleep at the Helm, another metalcore quartet who may have been fighting an uphill battle as competitor 4. The crowd, many smoking, went mild with the pit closing for a while; they went hard nevertheless, with bassist Nat Douglas giving the energy and guitarist Lewis Oldfield rocking a funky mask. The presence of Asleep at the Helm was arguably the worst, with the vocalist routinely keeping his back to the crowd during the instrumentals and calls for circle pits and walls of death now feeling repetitive at artist 4 of the evening. This said, Jimmy Dahmer’s vocals were strongest, able to swap between screams and clean vocals and able to pull off a breakbeat style scream throughout the set. The melodies were gorgeous (even if the one in the penultimate song was in a backing track), and they still held their own overall even if they didn’t seem in the running now that all the bands had played. Now feels right to take the time to mention how well run the event was on the part of Metal to the Masses and Rebellion. An organised wristband system and cohesive hosting to let the smokers know when the sets were starting was appreciated, as were the tokens for free drinks handed out a couple times throughout the night. The staff at rebellion were great and attentive, and the voting went smoothly with the time to count found from the final set of the night. 40K This set was from 40,000 leagues (or 40k, as the chant went) - it’s clear how they did so well last year. Frontman Nathan Cross’ stage persona came out as soon as his feet hit that floor: from joking about their loss the year before, to kneeling with the crowd before they started moshing to running around the venue looking in random doors - he’s a crazy girl! The crowd even worked him back, with calls for a kiss and more coming between pretty much every song before he sheepishly said to ask his girlfriend. 40,000 Leagues are textbook metalcore - shredding guitars and hardcore vocals ringing out and gorgeous half-time breakdowns restoring the energy of the crowd as the pit reignited. The last few songs of their set included covers, with a cover of Chaka Khan and Rufus’ Ain’t Nobody being a highlight before the set closed out. Or it didn’t, as the room chanted feverishly for one more song and with the okay from the venue and a popular vote Rebellion was treated to a metalcore version of Livin La Vida Loca by Ricky Martin. In short, it was sick, with the room doing the ‘upside in-side out’ part of the chorus. The last hurrah of Gas Mask Man came at the end of this track as he dove from the stage to be caught and dirty-dancing-style carried in a circle while he flapped his arms like a bird - A jovial end to the competition before the final results were revealed. So what were they? Popular vote went to…Leader! Well deserved, with their technical metal prowess and the ease of which the crowd seemed to mosh. The judge’s vote was…Silence Reigns! Again well deserved with their easy stage presence and ability to captivate the room. Graciously 3rd and 4th were not handed out, though in this opinion Tokeo must have had to have been a close number 3. A satisfying end to a good night overall as the crowd trickled out into a sharp Sunday night - we’ll see you two in the semi finals. Words: Julia Brunton Photos: Dave Ellits

A night jam packed with the latest up and coming talents of the music industry, The Pale White played at Oslo in Hackney. Only their second headline tour as a group, they showed London exactly what they're made of. The three piece indie rock band from Newcastle have been releasing music since 2016 and have been on the rise ever since. They supported the iconic PIXIES on tour in 2024 and then have set their sights on touring the UK ever since to bring their music to the fans before the release of their new album, 'The Big Sad' next month. The show started with the captivating Hot Stamp, playing to a great turn out, with the crowd giving the band their attention and cheering throughout. This Indie rock band have been around since 2022 and are fronted by a sister duo Jasmine and Poppy that knew exactly how to keep the crowds attention with the lead singer, using her natural angst and movements cleverly with the music. The band sported outfits right out of the 70s making them very cohesive onstage and perfectly matching the punk vibes of their music. The whole room was foot-tapping along with them as they played both old and brand new songs. Overall, the band gave a great performance. Next to take to the stage was Lizzie Esau. With her signature fairy wings, she caught everyone's attention right off the bat. Lizzie has been in the indie rock scene since 2020 and has opened for the likes of Baby Queen, Beabadoobee and The Amazons and it's clear to see how she has such an impressive resume already. The room slowly began to fill throughout her set as she ruled the stage with her presence and talent. Her supporting band helped her along with great interactions between them and even being completely unphased by a technical difficulty, while playing into it and joking with the audience. The engagement of the crowd was impressive as they clapped and even sang along to songs they didn't know. Lizzie is beyond a doubt someone to look out for in the future. As the time slot for The Pale White approached the room filled from front to back with roaring cheers the moment the lights went down. They opened with the track ‘Validate Me’ from their 2023 EP ‘A New Breed’ which instantly had the whole room singing along. It was also great to see despite only being a less than 400 capacity gig, fans had secured the front row from the very beginning waiting just for this set. Carrying on their set the energy only built and built with each song having a louder response than the last. Lead singer Adam took a moment to mention that he felt this show would be “Our definitive London moment” and we would have to agree, the energy in this show was special and the start of something great! The second half of their setlist saw mosh pits starting to open as they encouraged the fans to move and boy did they respond. Even when playing unreleased songs from their upcoming album the energy didnt slow for a moment. That is until the rest of the band exited the stage leaving just Adam to have the crowd lift their flashlights and Lizzie Esau join him on stage for a beautiful duet. He took a moment to shout her out afterwards which is so important for a lead band to bring up their support acts with them, a delightful moment with witness. The last few songs of their set featured hits like ‘Swim For Your Life’ and ‘Infinite Pleasure’ which had mosh pits half the size of the venue opening up as drummer Jack Hope played a very long and musically impressive drum solo. The crowd went crazy. Once again it must be reiterated that the energy in the room was exceptional especially considering the size of the band and the venue. Publications such as NME have even scouted these guys as a "thrilling newcomer to the rock scene" and Out Of Rage completely agree and are excited to follow them on their journey. With the rest of the tour to play, their new album ‘The Big Sad’ out on the April 18th and a yet another tour supporting PIXIES across Europe this summer. They have a big year lined up and bright things on the horizon. If you don't want to miss out on the waves they will make, they are definitely a band to keep a sharp eye on in 2025. Words: Amy Smyth Photos: James Smith

How else should you spend your Sunday, why with face melting virtuosic keyboard solos by the coolest keyboardist currently in prog. Walking into a venue just off Tottenham Court Road you are transported into what feels like a gig from the past. Minimal staging, a few lights and a load of people passionate about prog in a basement venue. Everything about tonight feels casual, a gathering of people just wanting to hear some interesting songs with very little judgment. First on the bill tonight is Sweetpool. A 3 piece act made up of a drummer, a bassist and guitarist on lead vocal duties. Their sound fits well into the prog landscape of tonight, but they don’t sound like a traditional prog act. They have a sound somewhere between The Fall and Hawkwind, psychedelic post punk with driving riffs. The bassist and drummer come on stage in matching hats whereas the guitarist comes on stage with Micheal Stipe reminiscent makeup. The highlight of the set comes from the oddly catchy ‘Magic Food’ which is introduced as being a song about food which isn’t real. They are the least heavy band of the night but bring a great vibe into the venue ready for the rest of the night. Next on the bill for tonight is modern prog metallers Something Or Other. The band are heavy which stands out in the best way possible tonight. Their sound is authentic and lacks any level of pretentiousness associated with prog. The band is made up of two guitarists, a bassist, a drummer and vocalist. Each member excels in their instrument, but their lead guitarist stands out as a pure shredding machine. Her solos are fast, intense and just great fun to watch. The older members of the crowd were most likely unprepared for how heavy this set would be but they enjoy it, so much so to the extent that that their necks don’t stop moving. The most effective part of the set comes as the introduction for their song ‘Scapegoat’ where the band boldly stand up for trans rights, which is more important than ever to be vocal about. The crowd enthusiastically agree as the band then go full steam ahead with the track. A very heavy set that would work well for fans of prog and super heavy music in general. Tonight’s headliners are Kyros. Their take on prog is hard to pinpoint but can be best described as taking the best moments from Duke era Genesis and mixing that with synth pop and a good sprinkling of metal. The band are nothing but pure professionals, down to the smallest details such as decorating the stage with greenery and bringing a custom lighting package. As the band take the stage, they instantly bring their trademark sound. Walking on one by one until the mastermind behind the band takes the stage, keyboardist and vocalist Shelby Logan Warne. There is no getting around the fact she is a pure prog god on the synths. The crowd certainly knows that by going absolutely crazy as soon as she takes the stage. She just exudes charisma. The band are absolutely playing off each other too, from just a generally tight sound to choreographed stage moves proving just how much fun they are having live. Prog doesn’t have to be inaccessible and long winded ; Kyros’ songs are straight to the point and always catchy. Even in the more traditional aspects of prog gigs such as solos, they are never long and they are always a pleasure to watch. All 4 musicans on stage get their chance to shine. The main theme of tonight’s set is just fun, and the crowd completely understands that from singing along to throwing some pretty intense dance moves for a prog gig. Smiles appear on faces effortlessly due to the electric atmosphere. The fact the two support acts lacked synths makes them stand out even more in this set. Shelby really does bring something so magical to music. There is no better feeling in life than seeing a kickass keytar solo. Kyros are an utter joy to watch, blending a unique array of sounds to create their own take on prog. If you see Kyros live you are guaranteed to leave smiling from ear to ear. Words: Will Freeman Photos: Artemi Falzon

Belgian progressive metal band URSA has thrived on intricate compositions, shifting time signatures, and powerful atmospheric moments. With Call of the Infinite, the band marks a turning point, reintroducing their previously instrumental work with the raw intensity of newly added vocalist Jan Buekers (ex-Sons of a Wanted Man). The result? A record that feels urgent, cohesive, and undeniably heavy; a true statement of where URSA stands today. After gaining recognition through instrumental singles, the band’s decision to incorporate vocals was a bold one. With Call of the Infinite, URSA ensures their music isn’t just revisited but fully realized, pushing their sound into even more intense and emotionally charged territory. Recorded, mixed, and mastered by guitarist and founding member Alexandre Belli, this album cements the band’s identity while also paving the way for their future. Right from the start, Call of the Infinite sets a gripping tone. The album opens with 'Hitch', a brief yet eerie 26-second track featuring a distorted speech snippet that disorients before plunging headfirst into 'Deconstruct'. The first full song wastes no time, overwhelming the listener with dense, intricate guitars and Buekers’ ferocious screams. Just over a minute in, the track takes a momentary step back, shifting into a rhythmic guitar section with the repeated lyric “you hold on” serving as an emotional anchor - before diving back into the chaos with Buekers’ growled delivery. It’s an intense, gripping opener that lays the groundwork for what’s to come. Following immediately behind is 'Erase', which begins with an abrupt, jagged guitar riff that cuts through the air like a blade. Buekers’ vocals maintain their aggressive edge throughout the song’s early moments, only to give way to a melodic, almost hypnotic guitar solo. Just as the listener settles into this brief moment of calm, the track shifts back into its heavier elements, creating a sense of push-and-pull tension that keeps things unpredictable. Next comes 'Major', the second shortest track on the album at just under four minutes. It passes by in a blur, keeping the intensity high but allowing for moments of striking guitar work to break up the relentless aggression. The balance between heaviness and melody remains a defining feature, showing URSA’s ability to weave intricate soundscapes without losing their visceral energy. The album continues with three more full-length tracks, each offering its own twists and turns, before reaching 'Arcas' - a short, haunting instrumental piece that acts as a prelude to 'Primordial Crown'. This final song, first introduced to audiences as the band’s debut single with vocals, serves as a climactic ending. The balance of blistering riffs, crushing vocals, and atmospheric elements makes it a fitting closer, encapsulating everything Call of the Infinite represents. With Call of the Infinite, URSA proves that they’re not just refining their sound but redefining it. The decision to add vocals to their already intricate compositions was a risk, but one that pays off - Jan Buekers brings an emotional depth and intensity that elevates the music to a new level. From gut-punching heaviness to haunting melodic interludes, this album delivers a listening experience that is both immersive and relentless. For fans of bands like The Ocean, Intronaut, and ERRA, URSA’s latest offering is a must-listen, and with live shows planned across Belgium, the Netherlands, and Germany, there’s no doubt that Call of the Infinite is just the beginning of a bold new chapter for the Belgians. Score: 8/10 Call of the Infinite will be released on March 15th 2025. Words: Jason De Mendonca Photos: URSA

All Against haven't ever shown signs of holding back their aggression thus yet, and their latest album Straight Down To Hell reinforces their status as a powerhouse in modern metal. This eight-track onslaught showcases the band’s relentless energy, technical prowess, and unapologetic aggression, making it a brutal statement that demands attention. Hailing from Portugal, All Against merges influences from European and American metal traditions, creating a sound enriched with the intensity of thrash and groove metal giants while adding a distinct Iberian ferocity. The band has developed a reputation for their unyielding live performances, and ability to blend traditional heavy metal with modern extremities, making Straight Down To Hell a monument to, and demonstration of, their evolution. The album begins with the title track and it's no quaint intro track - 'Straight Down To Hell' is a sprawling, nine-minute epic that sets an ominous tone. A slow build transitions into thunderous riffs and explosive drumming, establishing an atmosphere of chaos and destruction. The ambitious structure shifts between high-speed aggression and crushing breakdowns, while guttural vocals amplify the album’s dark themes. Following this, 'Inner Mayhem' maintains the album's intensity with a blistering pace and razor-sharp guitar work. The track showcases the band’s technical abilities, featuring relentless drumming whilst fusing thrash influences to a modern metalcore edge, in a way that feels current and seriously ferocious. 'Nação Valente e Imor(t)al', notable for its title and connection to Portuguese heritage, references a line from A Portuguesa, the national anthem. This incorporation imbues the song with a sense of pride and defiance, transforming it into an anthem of resilience. The haunting melodies combined with aggressive instrumentation create a depth that resonates deeply, making it a standout moment on the album. 'Narrow Streets of Disgrace' provides a shorter yet equally potent outburst of rage, clocking in at just under three and a half minutes. This track launches into rapid-fire riffs and relentless drum blasts, embodying the raw essence of All Against's sound. In contrast, 'Nepotism', the album's shortest track, leaves a lasting impact through its jagged rhythms and searing vocal delivery, ensuring its intensity is felt across its entire runtime. As the album progresses, 'Out of the Box' and 'Professional Hater' continue the auditory assault. The former showcases groove-heavy experimentation with shifting tempos, allowing brief moments of breath before exploding back into aggression. 'Professional Hater' stands out with a commanding chorus, and a breakdown that's surely poised to become a fan favourite moment during live performances. The album concludes with 'Upside-Down Humanity', a five-minute finale that encapsulates everything Straight Down To Hell represents - unrelenting, fierce, and uncompromising. The album's balance of technicality and raw aggression is what makes Straight Down To Hell such a compelling listen. Produced at Nox Messor Sound Studios, the mix ensures every instrument is audible, enriching the immersive listening experience. The guitar work delivers intricate solos and devastating riffs with finesse, while the drumming remains relentless, seamlessly transitioning between high-speed attacks and bone-crushing breakdowns. Lyrically, the album addresses themes of corruption, societal decay, and personal struggle, conveyed with a sense of urgency that feels relevant yet timeless. Incorporating Portuguese cultural references and language, particularly on 'Nação Valente e Imor(t)al', enriches the band's identity while maintaining universal appeal. All Against crafts not just music but anthems of fury and defiance, where each song acts as a battle cry against complacency. Overall, Straight Down To Hell is a triumph for All Against, capturing the essence of their sound while pushing their boundaries to deliver a heavy, meticulously crafted album. Fans of thrash, death metal, and modern metalcore will find much to love. As the band embarks on this next chapter, one thing is certain - All Against is ready to dominate, taking no prisoners. Score: 7/10 Straight Down To Hell will be released on March 14th 2025 via Raging Planet Records. Words: Kelly Gowe Photos: All Against

20-year-old Westislonely has announced her forthcoming debut EP Even a Worm Will Turn, and after listening to this short but sweet four track record, it's clear that this star is making a bold statement in authentic rock and roll. Manchester’s own Westislonely has taken in all the influences of her childhood: the shared experience of listening to her older brother’s favourite songs; learning how to play the guitar and write music; she has then poured all of those into this raw, emotionally charged EP. Starting off the EP is ‘Guilty Pleasure’, the artist's most recent release, and it brings plenty of energy from the off, setting the standard for what West can achieve in just three minutes. It gives us an early noughties indie vibe, mixed up with a dose of feminine rage. The lyrics will resonate with anyone out there who has been enthralled with someone who wasn’t worth a single minute of your time. Flowing smoothly into ‘Cliché’, we get an acoustic sounding piece which will remind millennials of their Avril Lavigne phases, and will introduce younger generations to angsty, heartbreaking pop rock - these are the songs you grow up with, that help you express both your love and hate. Next up is ‘Human’, showcasing West’s stunning vocals and lyrical creativity, giving us something heartbreaking yet beautiful about growing up, feeling suicidal and not wanting to bring others down with us. Finishing up the EP is ‘Empty Space’ giving us the song that audiences will be singing back to West in future shows. Turnstile have a huge influence on this record and its energy which is particularly clear here, and there’s something about the way West brings these singles together that creates something nostalgic yet brand new in a similar vein to GLOW ON's magnificent take on hardcore. It’s a talent most attempt but just can’t quite get right, and West has perfected it in this less than 15-minute record. If Even A Worm Will Turn does anything, it shows vulnerability. The release gives us pieces of nostalgia, and genre-bends into an authentic, beautiful listening experience that's straight from the heart and soul. This EP is going to be a standout in 2025, and Westislonely should be on everyone's radar going forward now. Score: 7/10 Even A Worm Will Turn will be released on March 14th 2025 via the RCA Label Group. Words: Laura Hughes Photos: Westislonely

Chicago industrial metal powerhouse Derision Cult returns with Mercenary Notes Pt. 2, the next chapter in their blistering, politically charged soundscape. What began as Dave McAnally's solo project has evolved into a full-force collaborative effort, merging industrial grit with razor-sharp social commentary. If Pt. 1 was the blueprint, this latest release is the fully realized machine - pounding, aggressive, and unafraid to make a statement. With Sean Payne of Glitch Mode Studios on production, Pt. 2 dives headfirst into themes of AI overreach, social media manipulation, and personal freedom - territory that feels more relevant than ever. It doesn't just rant about modern dystopia; it sounds like it, fusing thrash-fueled chaos with industrial precision. Legendary guitarist Reeves Gabrels (David Bowie, The Cure) and cowpunk pioneer Pete Berwick bring even more firepower, adding layers that make this more than a straightforward industrial release. It's a little smarter, a little sharper, and a hell of a lot meaner. The result is a release that doesn't just continue the Mercenary Notes narrative, but also deepens its impact both musically and thematically. Dave McAnally's vocals carry an unmistakable resemblance to Rob Zombie - gritty, commanding, and dripping with attitude, though slightly more restrained in their delivery. Zombie's influence is intentional, as the band cites the former White Zombie frontman as a significant inspiration for the album. This is especially clear in the track "Influence", which radiates that iconic and unmistakable swagger and energy. Meanwhile, "Joker's Wild (and Kings are Dead)" sounds like it could have been ripped straight from a 2000s skateboarding highlight reel or a Viva La Bam soundtrack - and we mean that in the best way possible. It's reckless, brash, and unapologetically fun, cutting through the heavier themes with a shot of adrenaline. Injecting a dose of reckless energy into the EP's already potent mix. Musically, Mercenary Notes Pt. 2 strikes a careful balance between industrial grit and thrash-fueled chaos, keeping things both unpredictable and punishingly precise. Sean Payne's production ensures that every element - from the jagged distortion to the pulsating electronic layers - feels razor-sharp, adding to the album's relentless energy. Compared to Pt. 1, there's a noticeable refinement in how the aggression is channelled; it's not just about hitting hard but about delivering impact with precision. Lyrically, McAnally remains unapologetically direct, confronting the listener with dystopian imagery and biting social critique. However, the messaging sometimes borders on heavy-handed, hammering home its themes in a way that doesn't always leave room for interpretation. Still, there's no denying the passion behind the words, and for fans of industrial metal with a message, this EP delivers in spades. Overall, Mercenary Notes Pt. 2 is a hard-hitting, well-crafted industrial metal release that delivers both sonically and thematically. Derision Cult have refined their sound with expert production and a well-rounded approach, ensuring every track hits with precision and purpose. The EP's themes of AI, media distortion, and personal freedom are undeniably relevant, though the commentary sometimes feels a little too on the nose. While it effectively continues the foundation of Pt. 1, more evolution or differentiation would have made it stand out even further. That said, it's still a thoroughly enjoyable listen—intense, thought-provoking, and a testament to Derision Cult's ability to merge aggression with insight. Score: 7/10 Mercenary Notes Pt 2 will be released on March 14th 2025 via Glitch Mode Recordings. Words: Andrew Nile Photos: Derision Cult