Guiltless are coming out guns blazing with debut album, Teeth to Sky - though it’s not exactly their first rodeo. This album follows last year’s EP Thorns, but on top of that, much of Guiltless’ line-up have decades of experience in other sludge metal bands (A Storm of Light, Generation of Vipers and Intronaut). That - combined with influences from no-wave and industrial metal outfits such as Swans and Godflesh - guarantees an interesting listening experience, even if the musicality doesn’t match those two bands genre-wise. Those bands’ attitudes towards music are very visible though, and shine across Teeth to Sky - their approach here results in some of the most visceral and arrestingly noisy music in recent memory. The album opens on ‘Into Dust Becoming’, starting on sustained guitar feedback before kicking into gear with this distorted, dissonant riff that wouldn’t feel out of place on a Chat Pile record. It creates an unsettling feeling of claustrophobia, and that’s before the vocals have even started - the drums pick up the pace as lead singer Josh Graham screams “Til time’s arrow strikes my throat”, a perfectly apt line to describe the themes of the finality and nothingness of death littered throughout the rest of the album. It’s described in a way that puts this violent imagery into the listener’s mind while still being extremely poignant, with lyrics throughout the album managing to achieve a similar effect. One such case being the next track, ‘One is Two’, which presents this idea of the duality of the human condition. Lines like “are we beast, are we man, or are we both, saved and damned” display the concept unequivocally. This lyrical motif appears again on the back half of the album, on ‘Lone Blue Vale’ - one of the more doom-oriented cuts on the album. In fact, the slower moments on here are where it seems to shine through the most. The sheer amount of power felt on tracks like ‘Our Serpent In Circle’ and closer ‘Illumine’ cannot be understated, particularly on the latter. Closing the album on possibly the most intense note so far, and the longest song on the record, is already a great sign. But the song is defined by the underlying distortion that permeates throughout almost the entire track. Keyword being almost - the middle of the song takes everything out of the mix other than drums and a guitar in the left ear, briefly turning quieter as it builds to the conclusion - it’s worth noting that the vocals feel very quiet in this section. It’s slightly jarring, but the band manage to make up for it with a masterful display of dynamics, building up towards a brutal outro section to the song, the perfect way to wrap up the album. Teeth to Sky is an album that manages to consistently impress the listener, despite some songs feeling similar at times - the slow and methodical approach they take at points on this album is deeply cathartic to the listener, and rewards them at almost every turn. Guiltless are definitely a band to look out for if this debut is any indication, and this album is well worth a full listen. Score: 8/10 Teeth To Sky will be released on March 7th 2025 via Neurot Recordings. Words: Jake Leonard Photos: Guiltless

Dawn Of Ouroboros, the four-piece band from Oakland, California, is counting down the days before their second album, Bioluminescence, is released into the wild. The eight-track album promises a rollercoaster full of emotions and catchy lyrics depicting nature, which has been a staple for the band since their beginning. This time, the album is inspired by the ocean and its flora and fauna, diving deep into the mysteries of its depths (pun absolutely intended). With the absolute vocal powerhouse that is Chelsea Murphy, supported by Tony Thomas on guitars and synths, Ian Baker on bass and piano, and Ron Bertrand on drums, the listeners are taken on a musical journey. It all starts with the title track, ‘Bioluminescence’, and within the first few seconds this sets the boundaries sky high. The band is not scared of starting the track with heavy guitars and drums, and we can hear some pretty intense riffs even this early in the album. The second track ‘Nebulae’ takes us all the way to space, to admire the beauty and danger of such a breathtaking natural spectacle. As in the first track, we can hear Chelsea’s clear vocals blended perfectly with her screams, complimenting the aggressive melody. ‘Slipping Burgundy’ is a fair bit slower, but is still a very powerful track. We can hear some clear vocals this time round, lining up well with the sadness of the song, before going back to powerful screams and guitars. The fourth song on the album ‘Poseidon’s Hymn’ has a rather different melody to it. Depicting the story of the Greek god Poseidon and introducing us to his destiny, the band is starting to shift into mythology whilst still being loyal to the oceanic theme of the album. Containing a well executed guitar solo, the song takes the listener and puts them straight into the epicentre of everything the band has had going on thus far. The fifth song ‘Dueling Sunsets’ features prominent drums that are full of rage and fire, which engage the listener and help them carry on through the plot of the song. We can hear some synths in the second half of the song that distinguish it from the rest of the album, and give the listener a nice change from the usual set of melodies the band employ. ‘Static Repetition’ starts quite calmly, before transitioning into a paradise of electric guitars and riffs. “Symphony begins, not orchestrated, entranced by the steady pulse of wheels on steel" is a notably memorable quote from the song, describing a morning in a big city that's full of the hectic lives of its inhabitants. ‘Fragile Tranquility’ is again little slower than the other songs, but does not miss out on anything as it is one of the heaviest songs on the album. Being shrouded in the mystery of mythological tales, the song can be interpreted as a description of the other side of the veil of life. The last song on the album happens to be one of our favourites - ‘Mournful Ambience’ is not very long and does have just a handful of lyrics, but it sounds otherworldly with its synths, clear vocals and the piano as its main instrument. The song sounds like a true departure from the world of Bioluminescence, earning its rightful place as the final goodbye. Having quite an irregular theme, the album definitely offers a fresh perspective on the black and death metal genres. All the parts blend together in a deeply satisfying fashion, albeit sometimes almost too much to the point where the listener could easily get lost in all the different sounds that are happening at the same time. The balance of screams and clear vocals is well established throughout the album though, and we do appreciate the occasional surprise with synths or piano, and would definitely like to see the band use more in future wherever it compliments their music. It's clear that Dawn Of Ouroboros put a lot of work into their latest release, and it has certainly paid off. Score 7/10 Bioluminescence will be released on March 7th 2025 via Prosthetic Records. Words: Katerina Stepanikova Photo: Rob Watkins, Watkins Media

Big things are happening for the UK based sludge/doomgaze/post-rock band Vordermann, as they are finally releasing their very first EP Feeding on Flowers/ into the world. The five-piece from Stoke-On-Trent, who say they're influenced by such names as Torche, The Melvins and Mogwai, did their homework precisely and gives us three songs that are fresh and crisp. The first track is called ‘Cloudpiercer’ and was released earlier this year as a single. Moving at a fairly slow pace, it boasts very pre-apocalyptic atmosphere with fitting vocals and well played guitar, introducing us to the themes of the EP. Leading to a punchy bridge, we get a brief conversation in the background, supported by a mix of drums, guitars and synth, peaking into a breakdown, that complements the beginning of and simultaneously ends the track. ‘Delirium Tremors’, the second track on the EP, is written in a similar style, but the melody is a bit more upbeat and energetic. Being longer than the previous one, the song combines different paces, leading to a big, pompous build up. The track can be interpreted as one’s quest to make the world a better place, feeling hopeful and full of motivation. The last track, ‘Saint Banger’, has a completely different melody to it. Sounding like an epilogue, the songs tells us a story of defeat and hope, without actually using any words except the conversation in the background that has followed us throughout the whole EP. Using the guitars and drums, the band makes the instruments talk to the listener in a way that truly helps you feel the music that much more. The build up in this song is breathtaking and really showcases the bands talent and potential. The last part of the song - with vocals now - could be interpreted as the last attempt to save everything and everyone, a scream of relieve and urgency. The craft that went into making Feeding on Flowers/ is remarkable and really showcases the band’s genre of choosing, and the influences that contributed to the birth of the EP and the band. We can hear different melodies and well-sounding clear vocals. It is also abundantly clear that the band is not afraid to experiment with different elements in their music and that helps massively in order to make it unique and interesting. However, some of the elements in the songs are quite repetitive, such as the recordings in the background, or the build-ups in every song, but despite this the tracks are well executed. The EP is an absolute must-hear for anyone who likes discovering small bands and unconventional sub-genres. Score: 7/10 Feeding on Flowers/ will be released on March 7th 2025. Words: Katerina Stepanikova Photos: Vordermann

London’s Electric Brixton venue has been home to plenty of the most impressive heavy tours of the last few years. Even in the last couple of months it’s held shows from Misery Signals, Cattle Decapitation and plenty of others. But last night’s show might be one of the most talked about of those for years to come, as three apoplectic bands turned up and turned the room inside out. Paleface Swiss sold out their whole headline tour for their latest album ‘Cursed’, and just their name and the promise of their crushing live show alone was enough to sell a very healthy majority of tickets, but with the addition of The Acacia Strain’s pounding deathcore and Desolated’s spittle-flecked hardcore, it was a surefire recipe success. Now, as we rewind to the events of the night and it’s abundantly clear just how successful it really was, we can look back and see quite how obvious it was that the show would be so brilliant. The first sign should’ve been the absolutely enormous queue that more than comfortably wrapped all the way around the corner and carried on for some distance, with a significant proportion of the punters rocking their own Paleface merch in preparation for the night to unfold. Once in the building, even before the first notes of Desolated’s set rang out, the excitement was more than even just palpable - it was visible on the faces of most everyone in the room! Desolated then began proceedings with a stunning display of how not to observe health and safety practice within crowds, as they riled up a pit full of spin kickers, crowdkillers and more within a song or two. Their utter disdain for anything other than causing mayhem was a joy to behold, and with riffs upon breakdowns upon riffs upon breakdowns they mercilessly careened through a half hour set that could have carried on for far longer, but was immeasurably enjoyable whilst it lasted. Notable highlights would be ‘Victim’ and ‘Another Realm Of Misery’, but if there was more room then their whole set would make an easy inclusion into the highlights reel of the evening. The Acacia Strain’s set was in a similar vein, but with more brutal vocals, more squeals (both vocal and guitar pick), and more moshers. As Paleface Swiss’ noose hung ominously above the stage, adding a morbid atmosphere to proceedings, the hardcore tinged deathcore crew walked onstage to a chorus of whoops and cheers, before abruptly switching up and getting into sixth gear to kick off the set. The fashion with which they dispatched their crushing setlist was incredible, and their professionalism shone through as they displayed their massive experience at running a crowd that’s already full of energy excellently. ‘CHAIN’ went off like a bomb had been let off, and ‘Feed A PIgeon Breed A Rat’ was truly a sight to behold. Finishing with ‘Carbomb’ left no room for breath, and certainly brooked no argument that The Acacia Strain had laid the Electric Brixton to waste. As the evening’s headliners arrived on the stage, the volume in the room easily tripled. Paleface Swiss have been going from strength to strength of late, and their London show might be one of the finest examples of it. As the European quartet began their set with ‘Hatred’, the room erupted into a sea of movement, with crowd surfers and moshers and spin kickers all taking up space in the middle somewhere, just trying to be as involved as possible in the pulverising power of Paleface. The band have notably a little less hardcore influence than their support acts, and whilst that did mean that they had a little less two stepping and mosh calls, the melodic elements they did incorporate soared high into the night above the audience. Their carefully crafted blend of modern and old school deathcore with bits of hardcore, metalcore, nu metal and modern alt music gives them plenty of points for a huge variety of fans to latch onto and enjoy, giving them a scope that their supports just didn’t have. As the set progressed, songs like ‘...and with hope you’ll be damned’ tore the Electric Brixton a new one and gave their lighting technician plenty of time to shine. The visual show was stunning, and when vocalist Marc Zellweger joked about coming back to play the Wembley Arena next time, it felt less and less like a joke the longer the set carried on. We could quite easily be watching one of the next big arena headline bands on the circuit - and with it all to play for, they hit for six. The one-two punch encore of ‘Pain’ and ‘Love Burns’ was received rapturously by an audience who could not do anything but scream their love for the band, and walking out into the cold Sunday evening air after they’d finished felt like the end of an era for the Swiss group, and the beginning of something that much bigger. Words: Jake Longhurst Photos: Lizzie Jones

After their 40th anniversary tour, Destruction is back with their 16th full length album Birth Of Malice. The German thrash metal band debuted in 1982 and have been non-stop ever since - being inspired by Iron Maiden, they have ruled the thrash metal scene for years and they've returned to do it yet again. This twelve track album is packed with plenty of full force German thrash metal for the new generation of thrash fans. 'Birth Of Malice' is a short intro to the album that creates plenty of atmosphere, with an instantly Teutonic vibe being apparent with the mix of strings and building vocals. ‘Destruction’ launches the listener straight into the guts of the album, with devastating drums and descending guitar riffs giving every classic characteristic of thrash metal, exactly as you would expect. This song has the repeating lyric “We’re destruction” which is of course the title of the song AND the name of the band, so adds a slight layer of humour to the song. The third track ‘Cyber Warfare’ tackles the all-too relevant topic of technology taking over the world, which the music reflects in the intro using electronic and glitch-like sounds. The vocals on this album, produced by Marcel Schmier, are aggressive and clear in tone to perfectly match the tones of the guitars. ‘No King - No Masters’ gives fire to the themes of rebellion as it talks of challenging those in power. This track is fast paced and brutal as it introduces ripping guitar solos in the second half, whereby any listener can envision how a mosh pit to this song would look. The next track ‘Scumbag Human Race’ follows in the same vein, expressing the doom of the human race. The vocals on this one are more deep and raspy, displaying Schmiers vocal duality. Layered guitars come in later in a monumental building solo that feels suitably epic in scope and scale, before meeting a sudden end with the lyric “Going straight to Hell". ‘God of Gore’ jumps straight into intense riffs and vocals wasting no time getting going. It also switches into a more syncopated drum beat, with a strong bassline giving a bit of separation to the rest of the album. ‘A.N.G.S.T’ follows on and creates a different tone to the rest of the album, being more downbeat and hitting a tempo perfect for headbanging. As the layered vocals and guitar riffs rise and fall together, the song escalates to its climax. Track number eight ‘Dealer of Death’ continues to comment on the political climate, professing the band's anger with those in power. It follows in line with the rest of the album, featuring shredding guitar solos and booming metal vocals. ‘Evil Never Sleeps’ is a stand out track here, with the riffs being incredibly satisfying from the start - this song also seems to have the best auditory balance of all the songs and includes some more melodic layered vocals that would be perfect to scream along to live. The melodies in the addictive chorus give it an edge against the rest of the album and also separate it musically, as a lot of the other tracks can blend together if listened to in a row. Nearing the end of the album, the track ‘Chains Of Sorrow’ features the sounds of the titular chains in its intro, as well as a bouncy drum beat to get a crowd moving. The dramatic lyrics are reflected in the fast paced guitars and classic thrash metal drums, using lots of cymbal interplay. ‘Greed’ opens slightly differently to the rest of the album with a drum solo from drummer Randy Black, showcasing his talent throughout the song - having no trouble staying in time whilst delivering intense, fiery beats. The last song is the band's own rendition of ‘Fast As A Shark’, originally released in the year of the band's formation by Accept, another German heavy metal band. The band have really made it their own, putting their own spin on the song to help it match the rest of the album. Although this album lacks some variety within its tracks, every track is high quality, well produced and a great display of the talent of a band that has been named as one of the big four in German thrash metal. It’s consistent and unwavering, with every track being fast paced, heavy and each having their own special message to the listener. Destruction also have plenty of shows lined up for 2025 following the album release, so be sure to go to their website if you enjoyed this album and keep an eye out for any shows near you! Score: 7/10 Birth Of Malice will be released on March 7th 2025 via Napalm Records. Words: Amy Smyth Photos: Destruction

Swedish sludge/post-metal band K L P S (formerly known as KOLLAPS\E) are on the verge of releasing their second full length album. The self titled record is comprised of six tracks that are all packed with well recorded and polished metal, which comes together incredibly cohesively to create a real journey of a listening experience. The four piece band, formed in 2018, have set out to find their own unique sound in the bustling world of complex metal. This album, although only their second to be released, is a great example of such a sound - it doesn't stick to rules or within any bounds that the metal genre might create, and instead blossoms in a beautiful yet tragic way. Track one, ‘SUBVERSE’, throws you right into the deep end with a perfect headbanging beat and masterful screams from lead vocalist Daniel Wallenburg. The sections of this song waiver between heavy breakdowns and artistic instrumentals that utilize the moments of calmness to create an atmospheric sound. ‘KATARSIS’ kicks off with synths that lead into another heavy cadence - here, the bass and guitar riffs really rule the roost as the rest of the song plays around them. A more melancholy kind of ambience is created on this track, one could easily picture an apocalypse soundtracked by this song. The fact that it's also entitled 'KATARSIS' is is very well portrayed as the song comes together, showing a huge build up then release of emotion. Third up on the record is ‘TRIBULATION’, an eight plus minute long track that starts off slow and builds, using moments of calm between bars to create hard hitting moments. The guitar plays a very key part in the instrumentals, repeating a haunting yet addictive melody as the rest of the instruments build around it. The best part comes just before the five minute mark, when the instrumental is broken to bring back the desolate vocals and some intense hypnotic rhythms. 'NATTSVART’ is the heaviest track here, with a more fast paced tempo and even deeper screams. The title - meaning 'Black Night' in Swedish - is astoundingly apt and is reflected tremendously in the music, creating a soundscape that matches the name perfectly. The arrangement creates a real gothic aura - again, breaking between the heavy segments to deliver powerful instrumentals. The penultimate track ‘UNDERTOW’ displays some of the best vocals from across the album, the vocals being aggressively guttural and presenting a perfect showcase of the bands ability to vary from their more instrumental focused songs. It also features an unexpected - yet pleasant - use of synthlike basslines in the second half, showing their lack of fear when being experimental, and it absolutely pays off! The last track on the album ‘AUREOLA’ refers to the light that radiates from a body presented as holy in its title, yet the booming drums and sorrowful riffs almost portray the exact opposite, like an entrance to hell or a journey into the depths of the earth. Later bringing in layered vocals, this slows into an instrumental and then grows into the meat of the song - the song keeps you waiting before finally dropping into an immensely satisfying finish. Featuring guitar solos, bass riffs and emotive melodies, there's truly nothing this song is missing - it is a stand out track. All in all, this album holds anything that a sludge/post-metal fan could be looking for especially for those that look out for more atmospheric instrumental in their music. K L P S are lined up to play at Västerås Doom Fest later this year but we hope to see them playing more shows soon, one can only imagine how intense these songs would be in a live setting! Score: 9/10 K L P S will be released on March 7th 2025 via These Hands Melt. Words: Amy Smyth Photos: K L P S

Hailing from Amiens, the relatively new French progressive metal band, March of Scylla are breaking away from the world of EP’s with their debut album Andromeda. Promising a niche in the dark prog scene, March of Scylla can confidently say they are starting to leave their mark. Fans of Gojira, Sleep Token and Architects are absolutely going to want to tune their ears into this one. Kicking off with ‘Ulysses’ Lies’, the album bursts to life with heavy drum beats encapsulated by haunting, almost choir-like tones, cruising beautifully into heavier vocals. Keeping the melodic vibes going into solid vocals can often lead to the meaning and lyrics of songs being lost, but March of Scylla have hit the wonderful balance of having both, throughout the album, following themes of existential anxiety and deep emotional struggles. Setting the tone for the rest of the Andromeda, ‘Ulysses’ Lies’ is a five minute powerhouse that really establishes what the album is going to build into. Amiens is famous for its Gothic cathedrals, so it’s no surprise that ‘Death Experience’ carries on the religious undertones of this album with a building, angelic melody forcing its way through to a full bodied drum rhythm. The kind of tempo that makes you stop in your tracks, your foot will start tapping, your head will start bouncing and before you know it, you’re imagining March of Scylla performing this in one of those very cathedrals. That’s where it belongs. It fits in their image unapologetically. With an album title like Andromeda, March of Scylla have given themselves the gruelling task of making their music live up to the tales of the Greek mythology they are based on. Thankfully, it seems they have done their research. ‘To Cassiopeia’, is one of the shorter songs on the album - but one that really leans into the darker elements of the progressive metal genre. Cassiopeia was the disdainful mother of Andromeda in Greek Myth, and this song confines that story in music. You can hear angst and rage all within the low guttural groans and echoey beat, coupled with draughty wind sounds to create a dark chilling piece of music. The distinct lack of instruments in ‘To Cassiopeia’ helps to break up the album and makes the launch into ‘Dark Matter’ even more intense. Some of the songs through the middle of the album, ‘Storm Dancer’ and ‘BlaAst’ - whilst still being incredible on their own - tend to get a bit lost when looking at the album as a whole. They are placed within an album self described as a “thought provoking musical journey” where both the beginning and end are thoroughly elevated with a fully realised conceptualisation, and here it just feels like there's something missing that gives them an emptier feeling than the rest of the album. But - the magic of a band like March of Scylla is that these songs could lend themselves to a small crowd of 50 in a local French venue, or to a sold out show of thousands across the globe. Andromeda being March of Scylla’s debut album leaves you to imagine that they are only going to go on to produce great things. The combo of melodic but heavy vocals, layered perfectly with meaty guitar riffs and well thought out concepts, marks March of Scylla as an absolute band to watch. Their music more than belongs in the dark progressive scene, and with a debut album like Andromeda we are very excited to see where they go from here. Score: 7/10 Andromeda will be released on March 7th 2025 via Klonosphere and Season Of Mist. Words: Emily Bancroft Photos: March of Scylla

The start of a new month meant Pengshui’s awaited tour hit Exeter. The lineup was nothing short of spectacular, with the powerhouse Native James as well as grime-metal four-piece DeadWax in support. First up was the latter of the two, and here’s how that went down. He and his band were met with an already packed Exeter Cavern. The job of a support band is always to warm up the crowd and it’s safe to say that was the case. His fusions of rap and metal created what felt like an instant record of mosh pits for the venue. Even though his set was only 30 minutes long, it really packed a punch, playing his hits such as ‘Power’ and ‘Hammer’ which made the crowd go absolutely crazy - there wasn’t a single person standing still in the venue! His insane stage presence was obvious - practically hanging off the stage fixtures and hyping up the crowd. DeadWax was up next. The Leeds based grime-metal band had one of those extremely imposing stage presences. Their bass - driven riffs made songs you can dance as well as mosh to, it felt a weird feeling seeing audience members two-step then punch each other! Even their guitarist was joining in (on stage, unfortunately)! Although a shorter set than opener Native James, there was a feel that this band were going to go far in their careers, even having only been around since 2019. Songs such as ‘Northern Behaviour’, ‘Believe Me’ and ‘Disconnect’ were hits in the small venue, basically making the entire floor a mosh pit! Then came Penghsui. Unfortunately their set was only about an hour long, but they definitely used that time extremely well. Their high-energy performance was truly captivating, fusing dubstep and metal in one and playing the synth parts through a bass was something that seemed like it shouldn’t work, but did! The band made it one of the few times the Cavern has seen crowd-surfing, and the few that went up must have hit their heads on the low ceiling, but it was definitely a sight to see! Native James and the lead singer of DeadWax made another appearance during Pengshui’s set, both being brought back on for songs which fit their respective backgrounds, with the latter helping with a dubstep infused song, and the former supporting with a grime-based song. The DeadWax lead singer decided he would crowdsurf during his song, creating chaos in the pit, but it was definitely worth it. One thing that must be said about Penghsui is their crowd engagement is top-tier. At every given opportunity, the crowd were involved in some way, shape and form, whether that’s them singing parts or whether it’s the lead singer messing with them! During their song “Shoes Off”, he got crowd members to, actually, take off their shoes, and there must have been about half of the crowd who did it! One of the phrases the lead singer said near the end of the set was that they “shout at people and have a nice time” which was evident in their engagement with the crowd! The band's influences are obvious in their music. Bands like The Prodigy and Enter Shikari must be influential in some way, moreso the latter as they’ve remixed two of their songs! Speaking of which, Pengshui have a remix of “Omen” which the band actually asked them to make, which must be one hell of a highlight of their career. They played this live and it went down a treat with the crowd, with 100 people all well and truly dancing along to their version of the legendary song. It ended with the lead singer being on facetime to his grandad, where he got everyone to say a “hello” to him! It was definitely one of the most wholesome moments the Cavern has ever seen! Pengshui are suddenly a must-see band for everyone. They’re chaotic, but in the best of ways, and if you like that, go see them. You won’t be disappointed. Words and Photos: Ollie Hayman

Hypermass are set to unleash their second EP Apparition Day on March 7th, marking their inaugural release with Seek & Strike Records. This five-track offering sees the band expanding their sound in new and compelling ways. While staying grounded in the heavy, groove-driven foundation that defined their debut album Empyrean, this EP pushes things further - folding in elements of jazz, blues and electronic music while maintaining the band's razor-sharp edge. The Norwegian metal quintet is known for their blend of melodic death and thrash metal, crafting their unique sound since they first formed in 2012. The lead single 'Headcase' wastes no time in making an impact. Built on a foundation of tight, punchy riffs and an undeniable groove, it leans more into a punk-infused energy than the band's previous output. It's bold, and it works - everything is meticulously crafted, layered with subtle nuances that make it feel fresh on each listen. Lyrically, it's as straightforward as Hypermass gets: a descent into madness, laid bare, without metaphors or ambiguity. The band has likened it to a throwback to 90s metal, and the comparison holds up - it’s got that raw, almost infectious quality that makes it feel perfect for rowdy, sweat-soaked crowds. That sense of groove remains central throughout Apparition Day, but the EP is anything but one-note. Each track carves out its own identity, a deliberate move from the band, who said that they wanted the release to feel like a collection of distinct moments rather than a singular concept. That's not to say there isn't cohesion - Hypermass have always had a knack for blending aggression with melody, and that balance is on full display here. Thematically, the EP takes a sharp look at modern society, touching on the human condition and the ways in which convenience often creates creativity and connection, Artificial intelligence features as a major talking point, with the band questioning the blind embrace of technology without considering the consequences. It's a timely, thought-provoking subject, forcing listeners to think more deeply as the band powers through riffs. While Apparition Day marks an evolution in Hypermass’s sound, it never loses sight of what has made the band so compelling in their previous releases. The EP thrives on contrast, as tight riffs meet melodic flourishes, the blend of genres is appealing and flows well despite its differences. The fusion of genres makes for a listen that constantly surprises and entertains. There's a clear desire to keep things fresh, but it doesn't feel forced or self-indulgent - every shift in tone serves the bigger picture. Lyrically, the band is as direct as ever - Apparition Day feels immediate and personal. The frustrations with modern life and society as a whole, technology's encroachment on human creativity, and the loss of meaningful connection are laid bare, adding another layer of weight to the already massive sound. Yet, as dark as the themes may be, there's an undeniable energy to the music that keeps it from feeling bleak. Apparition Day solidifies Hypermass's place in the modern metal landscape. It's ambitious, yet accessible, technical without feeling overwhelming, and above all is an enjoyable record to listen to. Whether you're a long time fan or new to the band, this is a release to listen to. Score: 8/10 Apparition Day will be released on March 7th 2025 via Seek & Strike records. Words: Jason De Mendoca Photos: Hypermass

Imagine if you will; a truck - an old bastardized muscle machine, paint scorched by the sun, engine howling with mechanical despair - hurtling down an endless stretch of cracked desert highway. Sandstone buttes and mesas are pockmarking the landscape onto the horizon, while dust roars from the tires and vanishes into the dry wind. There’s a maniac behind the wheel with a left-handed cigarette burned down to the filter. The hula girl on the dash shimmies violently. Lucky dice clatter against the rear-view mirror like old bones. It’s a hundred miles to anywhere and they’re going nowhere. Fast. Sailing to the fiery sunset, to the higher-landed regions, and to the lower verge of supernaut heaven… This ayahuasca-esque vision must have invaded the brain of a group of Finns at some point (in this case a concoction of Fear and Loathing and the Finnish national epic, the Kalevala - we are a very cultured mag after all.) This, dear readers, is Kaiser. Their music is the sound of iron meeting stone, of great storm clouds listing low over darkened desert. In other words, a hell of a lot of fuzz. The seasoned metalhead thinks many things when thinking of metal from Finland. Namely operatic, symphonic, and folky jams - with riddles of fiddles and a crapload of songs about drinking. What they do not think of is what can be branded as “desert doom sludge metal”. This is the equivalent of a band living in the badlands making songs about how they long to be making snow-angels in the tundra. Macabre. Doom metal is a sub-genre so large and diverse that it can be analysed independently of its mother genre. It has become its own empire, ruling over record store bins and Bandcamp’s trending section with an iron fist. We are currently in something that can be described as the “High-Sabbathian” era. Riffs and tones grow larger and more complex every year as punk and prog influences in equal measure infiltrate the sound, and the amplifiers crush under the weight of the increasingly hazy tones that rattle their mechanical innards. Kaiser seem to fall squarely into the Truckfighters/Kyuss/Fu Manchu area of the doom metal dustbowl. Formed in the fevered humidity of late summer 2013, they are the meeting of Otu, RiQ, and Pex. This monosyllabic trio have been slinging riffs for over a decade in this amalgam, and their newest record aims to melt the ice away. Their first album 1st Sound arrived on this earth in 2018, and now, seven years hence, we have their second full LP; 2nd Sound. Clearly alumni of the Peter Gabriel School of Naming Albums. The first track 'Brotha' crashes through the gate like a thundering stallion, ranch hands fruitlessly sprinting after it as he bucks his way out of the stable. And brother, that horse is wild. Solid, solid jam. Great performance from Otu, whose voice soars across the vastness of the riff. The tone achieved here stretches throughout the album. It is a warm mix, in fact the mid-dynamic range has all but been swallowed up by the distorted beast that roars throughout. Like 'High Octane Supersoul' before it on 1st Sound, by the end of the song, you’ve got veins in your teeth and blood up to your elbows. Ready to kill. If 'Brotha' is the wild horse, '1.5 Dozen' is the bandit that rides him. Quite a bouncy jam that would set any live venue alight. 'Meteorhead' begins with a Graveyard-esque movie sample before the beatdown begins. This song is badass, methinks. It’s filled with more attitude than nineties WWE and rumbles low and slow like a Louisiana cookout. They channel Chris Cornell and Soundgarden on the fourth track 'Oversized Load' (don’t laugh). It’s a heaving, throbbing track that runs thick (DON’T LAUGH) and quietens the pace a bit. The riff nags accusingly, in a sort of neener-neener manoeuvre, whilst Otu continues to belt out like a lost vocal stem from Badmotorfinger. 'Stood Still' is the honorary 'Planet Caravan' of this record. A descant in eastern that sounds like it should be played in a candlelit tavern full of crusaders debating whether God has abandoned them. The vocals are stylistically crushed as RiQ’s drums and pads accentuate the air. Then you have 'Awaken Monster', which channels something similar to early Sergeant Thunderhoof. The opening riff wails like a prehistoric beast caught in tar underpinned by an even heavier riff like a great herd of riffiphants. This track also features a brilliant bass performance from Pex who bellows beneath this song like a slumbering god. 'A Clockwork Green' is as thoughtful and intelligent a composition as anything that was on Sabbath’s Volume 4. There’s genuine feeling here, and a more psychedelic direction until it hurtles back into its breakneck speed, then withdraws back into a more affable outro that mirrors its intro. 'Aftershock' is one hell of a closer. At ten minutes long, it is mammoth-sized, with a mammoth-sized riff to compensate it. It descends slowly with a simple drum and guitar tandem before bursting forth in erratic eruptions. At this moment, the epiphany struck that this album would be absolutely killer to see live. For the non-doom oriented, there is literally no better feeling on planet earth than the guitar riffs literally vibrating in your ribcage. What Kaiser has here is definitely a rib-rattler. Excelsior. At the surcease of aural flagellation, you are left wondering how the hell a band like this has slipped under your radar for so long. This album is so thick it won’t spread on toast, won’t leak through a sieve, and won’t even submit to desperate sawing of a butterknife on a cold winters morning. It is the cheese on pizza that still sticks to it even when you pull it a metre away. You can quote us on that. Bottom line; it is a very welcome addition to the hallowed halls of the doom-lords, a fine ornament to any stoner rock playlist that would make the casual listener scramble for their Shazam app like a televangelist caught in a brothel raid. They’ve crafted a record that doesn’t just lean on the usual tropes of the genre, but delivers something solid, cohesive, balanced, and heavy without being a mind-numbing slog. While the guitar pedal knobs remain hot-glued down, what you get here is a record that moves with purpose like a fat old lion - one that recognizes how to make a nasty riff stick without bludgeoning you over the head with it for ten straight minutes. Striking that fine balance between mind-melting excess and the kind of taut, honed precision. It’s loud, sure, but it’s also varied enough to keep from feeling like one long and droning wall of sound. The most solid of stoner rock records, Kaiser come into 2025 a force to be reckoned with. This is a band primed for domination of the UK, and definitely one worthy of a spot at the mighty Desertfest to tremble the venues until the paint chips on the walls and the floorboards disintegrate into pathetic kindling. Kaiser have done something great here that is definitely worth your time, fellow doomers, be sure not to miss this when it releases. To quote from another famous Kaiser ; “Why, man, he doth riff the narrow world like a colossus, and we petty reviewers walk under his huge tone and peep about the amplifier to find ourselves dishonourable graves.” Score: 8/10 2nd Sound will be released on March 7th 2025 via Majestic Mountain Records. Words: Kiarash Golshani Photos: Kaiser

There is a coziness to Divorce’s debut album – an intimacy akin to being in the backseat on a roadtrip with a group of friends as you regale and involve each other with stories from your lives. Every element of the record serves the creation of this comfiness, from the touches of country and folk sprinkled throughout, the production fresh from a studio on a remote Yorkshire farm, and at the core of it all, the unmistakable closeness between songwriting duo Tiger Cohen-Towell and Felix Mackenzie-Barrow. Cohen-Towell and Mackenzie-Barrow have been writing music together since they were teenagers, and it shows in the subtle ways they complement one another across Drive to Goldenhammer’s runtime. Immediately, on the opener 'Antarctica', their voices dance around each other, before converging in harmonies as a country-style violin further affirms the homeliness. It is fitting that this song recounts a shared experience between the two, a drive to Mackenzie-Barrow’s dad’s house in which the pair saved a calf at the side of the road. It is these small yet significant moments between the two that provide the basis for the whole album. Together, Tiger and Felix invite you into their lives, navigating their respective personal journeys that its title implies. 'Lord', for instance, tracks Tiger’s story of accepting queer romance amongst a backdrop of guilt. “Lord, I’m letting go”, screams its euphoric chorus. The moody waltz 'Fever Pitch' deals with said guilt’s resurgence, whilst 'Karen' uses its titular character to explore their shared insecurities about becoming washed up in the music scene. On the other side of this coin, and kicking off the album’s record’s best run, is lead single 'All My Freaks', a naively optimistic tune about making their way through the music industry. The bright, Naked and Famous-esque synths provided by Adam Peter-Smith particularly accentuate the track’s positivity. 'Hangman' once again shifts the album’s tone, its resentment and frustration blazing over the intricately picked guitar line that holds it together. Mackenzie-Barrow has stated that this song was written during his time as a social care worker, articulating his exhaustion at the sector being systemically overlooked and under-supported. “The world of social care is hidden in a society that likes to pretend it doesn't exist, but it is vital and deserves much more focus and investment than it currently receives”, he stated, and his views are effectively delivered by the inherent tension that makes the track captivating. Drive to Goldenhammer’s most important moment, however, is the multi-part 'Pill'. Another exploration of queerness, the song begins with futuristic synths and robotic, one-note vocals, signifying Tiger’s struggle to come to terms with themself. Eventually, though, this deliberately stilted beginning gives way to an incredibly warm second half, presumably representing the movement towards joy in self-acceptance. If the album has one central triumph, then it is this song. With its unconventional structure and changes in instrumental palate, it guides the listener through the complex emotional journey at its core with incredible grace and poise. Though the album does trail off somewhat through the slow and spacey 'Old Broken String' and 'Where Do You Go’s plodding moodiness, closing track 'Mercy' provides an aptly heartwarming conclusion. On a record that’s success hinges on a songwriting duo coming together, bound by inimitable friendship, it is fitting that the final words you hear as it fades out are: “I’ll always love you like that”. This closing line is perhaps the thesis for the album overall: no matter what tribulations each of us goes through, everything is surmountable with the support of our loved ones. Divorce’s breakout success is, fittingly, testament to this, and their best flourishes come through when this message takes centre stage. Score: 7/10 Drive to Goldenhammer will be released on March 7th 2025 via Gravity and Capital Records. Words: Ali Glen Photo: Flower Up and Rosie Sco

After a long awaited return to the UK, Set It Off hit the stage for their highly anticipated 2025 tour, Selling out every show along the way. Joined by an extremely strong lineup of support acts - TSS, Call Me Amour, and Point North the excitement was undeniable as they took over Manchester’s O2 Ritz. Opening the night, TSS (formally The Sunday Sadness) wasted no time in igniting the crowd. Their stage presence and striking image set the tone for a high energy performance that never lost momentum. Kicking off with “Would You Be My Therapy?” The band had the audience fully engaged. Moving seamlessly through their set with tracks such as “KILLING ME” and “The Wrong Way”, TSS performed with confidence proving they belonged on stage. Next up, UK based Call Me Amour kept the adrenaline flowing touring their recently released self-titled EP, They launched into “Happy Hell” instantly hyping up the crowd with a whirlwind of mosh pits. During “Blackout”, Frontman Harry Radford lept over the barrier weaving through the audience all while delivering powerful vocals. Ensuring no fan was left out, he even made his way to the accessible viewing area mid set. Tracks like 'Chasing Bugs', 'Good Day' and 'Bloom' maintained the intensity, Solidifying their reputation as a must see band. Los Angeles based trio Point North followed, met with deafening cheers. Opening with “WORLD vs PEACE” they immediately had the crowd jumping, shaking the venue floor. Keeping the energy high with “Into The Dark (feat. Kellin Quinn)” and “STITCH ME UP”, their unique sound was met with an overwhelming response, as fans sang loud enough to nearly drown out the band. A standout moment came during “Below The Belt” when Set It Off’s Cody Carson joined frontman Jon Lundin for an unforgettable duet, sending the crowd into a frenzy of cheers and jumping. As the lights dimmed, the room erupted into chants of “Set It Off!”, anticipation reaching a high. Beginning with 'Wolf In Sheep’s Clothing (Reborn)' the band commanded the stage from the beginning, With Cody Carson leading room wide mosh pits throughout the night. Especially during 'The Haunting' when Cody pointed the mic to the crowd, Urging them to sing louder. The setlist perfectly blended new and old favourites, including 'Evil People' and 'Kill the Lights' keeping the energy electric. Between songs, heartfelt speeches were made to thank the audience for their unwavering support, (Bringing some fans to tears). A highlight of the night saw drummer Maxx Danziger swap places with Carson for an explosiveperformance of “I’ll Sleep When I’m Dead”, Earning roaring applause. As the set neared its end with “Killer In The Mirror” and “Why Worry”, The audience refused to let the energy die down. Chanting “Set It Off!” after the band had left the stage, They were rewarded with a powerful encore of “Punching Bag”, closing the night with an electrifying high. From start to finish, every act delivered the best performances possible. With Set It Off proving exactly why their return to the UK was so highly anticipated. A night of boiling temperatures, emotional highs and unforgettable moments. This was not a tour to miss. Words: Shanice Harrison Photos: Ely King