Whitechapel's ninth studio album Hymns in Dissonance sees the Tennessee deathcore titans returning to their heavier roots, delivering an unrelenting, brutal listening experience. After experimenting with melody and progressive inclinations on The Valley and Kin, the band has once again taken up their more brutal inclinations. However - this is far from a step backward, it actually comes a huge leap forward that merges their trademark ferocity with the more subtle song writing they've honed over the years. A perfect merging of the band's unrelenting aggression and newfound nuance, this album is undoubtedly Whitechapel at their most brutally brilliant. From the beginning of Hymns in Dissonance, it’s apparent that Whitechapel have recaptured the unrelenting violence of their past sound. Opener ‘Prisoner 666’ sets an ominous tone with a foreboding guitar lead before plunging into a frenzy of blast beats, dissonant riffs, and Phil Bozeman’s distinctive guttural vocals. His performance is as venomous as ever, switching between deep growls and his signature mid-range snarl. The song’s lyrical themes of both physical and psychological confinement help to reinforce the album’s overall atmosphere of bleakness. The repetition of “I bear the number 666” is particularly chilling, making for an instant standout moment. The title track only helps to further cement the album’s uncompromising demeanour. Through a dizzying exhibition of guitar techniques, topped off with some brutal chugging breakdowns, the song demonstrates the precision of guitarists Ben Savage, Alex Wade, and Zach Householder. The band’s use of shifting tunings between drop G and drop F adds a layer of crushing heaviness, perfect for Bozeman’s visceral storytelling. Lyrically, the song deals with cultism and blind followership, providing an additional layer of darkness to the already suffocating soundscape. ‘Diabolic Slumber’ introduces an unsettling atmosphere before plunging into a maelstrom of tightly coiled aggression. The song’s composition is particularly interesting, contrasting moments of unnerving quiet with total sonic annihilation. The breakdowns are nothing short of monolithic, re-establishing Whitechapel’s position as one of the heaviest bands in modern deathcore. Bruising, technical, and downright merciless are the three things you most want to see from a band of this genre, and they've got all three ticked. Bozeman’s vocal range is put to good use, switching seamlessly between his cavernous lows and more raw, mid-range roars. The song’s thematic focus on sloth, one of the seven deadly sins, ties into the album’s broader exploration of human depravity. Tracks ‘A Visceral Retch’, ‘Hate Cult Ritual’, and ‘Mammoth God’ find Whitechapel truly at their most brutal. These songs call back to the band’s first releases, bringing back their relentless blast beats, palm-muted riffing, and crushing atmosphere. What makes these songs so compelling though, is that they refuse to rely on outright brutality as a crutch. The band incorporates subtle melodic undercurrents, adding depth without diluting the heaviness of their sound. Few bands can counterbalance sheer brutality with dynamic, engaging songwriting in the same way that Whitechapel do on Hymns In Dissonance. One of the highlights of the album is ‘Ex Infernis’, a track that briefly detours from the all-out assault to create something more atmospheric. The creepy vibe and layered guitars on the track provide a moment of respite, though the sense of tension never truly dissipates. It’s a testament to Whitechapel’s ability to build tension without sacrificing their signature intensity. Whitechapel's rhythm section deserves particular praise on Hymns in Dissonance. The bass can be the thing that truly makes or breaks an album, particularly when competing with three guitars on each track, and Gabe Crisp delivers an ground-shaking low end that underpins every song. Drummer Alex Rudinger delivers a technically flawless yet utterly devastating performance. His precision behind the kit, particularly on his breakneck double bass runs, means that the album is never stagnant or plodding. Lyrically, the album walks the grounds of internal anguish, religious disillusionment, and existential terror with both ease and finesse. Bozeman remains one of the most compelling lyricists, not just in deathcore, but in modern metal overall, and his vivid imagery only works to enhance each song’s tension. His ability to convey raw emotion, be it through guttural lows or unsettling spoken-word passages, renders Hymns in Dissonance all the more captivating. The production, helmed by Zach Householder, is impeccable. Every instrument is given enough space in the mix for the album's layered compositions to breathe, even while they maintain their crushing impact. The guitars slice like a knife, the drums pound like a hammer, and Bozeman's vocals are placed just so in the midst of the sonic maelstrom. Too often deathcore can come across as messy, however Whitechapel have consistently set the guide for how to navigate the genre perfectly and create something that feels clean and polished without compromising on brutality. As heavy as Hymns in Dissonance certainly is, it never feels one-dimensional. Whitechapel have succeeded in balancing the deathcore brutality of their older material with the more advanced songwriting skills they’ve developed on their last few albums. What we’re left with is an album that’s somehow both nostalgic and forward-thinking. In summary, Hymns in Dissonance is a huge success for Whitechapel. They’ve reasserted their dominance with this record, a vicious, uncompromising, and masterfully crafted return to their heaviest roots. Long-time fans will appreciate the return to their heavier inclinations, and newer fans will have plenty to sink their teeth into. Vicious, relentless, and masterfully crafted, this is one of the band’s strongest releases to date. Score: 8/10 Hymns in Dissonance will be released on March 7th 2025 via Metal Blade Records. Words: Vee Richardson Photo: Alex Morgan

Kodok is the sound of silence speaking louder than words. This haunting, atmospheric album takes listeners on a journey into introspection and isolation. With the title translating to "silence" or "loneliness," the record delves deeper into its signature blend of ambient and post-rock, incorporating darker, more experimental elements this time around. Following their well-received previous works, Kodok stands out with its rich, emotionally complex soundscapes that balance melancholy with moments of beauty. For listeners seeking a deeply immersive, thought-provoking experience, Kodok provides both a sonic escape and an emotional release—perfect for those who appreciate music that invites introspection and reflection. With its subtle yet powerful exploration of silence and sound, Kodok challenges the listener to embrace stillness and find meaning within it, making it an essential listen for fans of atmospheric music. The album is a testament to The Grey’s ability to evolve while staying true to their unique vision. The album highlights The Grey’s ability to create immersive, atmospheric soundscapes with strong, well-composed tracks. While the repetitive guitar and drum pairings maintain a cohesive vibe throughout, some moments feel a bit predictable. Despite this, the album shines in its emotional depth and the band's ability to craft memorable, evocative moments. While it may lack some dynamic variety, it remains a compelling listen for fans of atmospheric, introspective music. 'Painted Lady' by The Grey opens with a heavy, atmospheric blend of distorted guitars and precise, individual drums that set an intense tone. Halfway through, the track slows down, shifting into a more brooding, ominous atmosphere. The drums become increasingly unsettling, building a sense of tension and dread. The song’s ability to seamlessly shift from power to subtlety showcases The Grey’s skill in creating a dynamic, emotional journey. With its mix of heavy instrumentation and haunting, slower passages, 'Painted Lady' is a compelling listen for fans of atmospheric and post-rock music. 'La Bruja (Cygnus)' and 'Sharpen the Knife' showcase The Grey’s heavy instrumentation but differ greatly in mood and style. 'La Bruja' is a seven-minute track built on strong drum and guitar riffs, with a skillfully composed, repetitive structure that emphasizes its hypnotic groove. It offers a more methodical, cohesive feel compared to other tracks on the album, though its repetitive nature may feel a bit too familiar for some listeners. On the other hand, 'Sharpen the Knife' is raw and aggressive, driven by screamy vocals and heavy guitars and drums that embody pure anger. Where 'La Bruja' is controlled and immersive, 'Sharpen the Knife' is explosive and emotionally charged, creating two distinct but equally powerful listening experiences. 'Don't Say Goodbye' stands out as one of the most hauntingly beautiful tracks on the album. With its ethereal atmosphere, the song creates a mood that lingers long after it ends. The heartfelt lyrics, particularly the poignant line, “Don’t say goodbye unless you mean it,” strike a deep emotional chord, resonating with anyone who’s ever faced the weight of parting. The track is more guitar-focused than many others on the album, with the instrument weaving in and out, adding both warmth and melancholy to the piece. 'AFG' follows a familiar pattern with its repetitive guitar and drum pairings, reminiscent of earlier tracks on the album. While the song is well-composed, showcasing The Grey's signature ability to craft tight, cohesive structures, it doesn’t quite stand out in the way some of the other tracks do. The repetitive nature, while consistent with the album's overall vibe, feels somewhat predictable here, and it lacks the impact needed to serve as a strong conclusion. As a result, 'AFG' doesn’t quite deliver the powerful finish that the album deserves, leaving it feeling a bit anticlimactic. In conclusion, The Grey’s latest album is an atmospheric journey that pulls listeners in with its emotional depth and immersive soundscapes. While the repetitive guitar and drum pairings create a consistent vibe, they occasionally feel predictable, with a few tracks missing that extra spark. Still, the album shines in its ability to evoke introspection and resonate deeply with its audience. For fans of atmospheric, emotionally charged music, this album delivers a compelling experience. It may not break new ground in terms of dynamics, but Kodok delivers a captivating listen that solidifies The Grey's place as masters of haunting, immersive music. Score: 7/10 Words: Mia Gailey Photos: The Grey Score 7

bdrmm’s latest album Microtonic is a leap forward for the Hull-based band. With a sound that seamlessly blends their established shoegaze roots with bold, exploratory elements of electronic music, this record stands as their most ambitious and expansive work to date. As Ryan Smith aptly states, “I think this is the best thing we've ever done,” and it’s hard to argue otherwise after hearing the ten tracks which make up the album. Microtonic shows bdrmm moving beyond the confines of their previous genres, exploring a landscape of both new and familiar tones and atmospheres. From the get-go, it’s clear the band has broken free from the constraints that once defined their sound. Ryan explains how a newfound creative freedom emerged, largely fueled by his recent embrace of electronic music—drawing from influences as diverse as dance, ambient, and experimental electronica. That openness to new genre’s and sounds is present throughout the album. While the band’s signature layered guitars and hypnotic rhythms still play a prominent role, they are now woven into a far richer, more varied composition. Take the track 'Infinity Peaking', for example. This is where bdrmm begin to display their full potential, as post-rock guitars merge effortlessly with serene, synth-laden grooves that wash over the listener in a gentle yet captivating manner. Its euphoric yet melancholic vibe matching the kind of musical moment that would soundtrack a dreamlike, late-night dancefloor. Ryan's story of writing the track in the warmth of Málaga adds a layer of context, with the heat of the Spanish city helping to shape a song that feels liberating and expansive. The album’s willingness to embrace new collaborators is another striking feature of Microtonic. The inclusion of Working Men’s Club’s Syd Minsky-Sargeant and Nightbus’ Olivesque adds a fresh dynamic to the album’s sound, and perhaps nowhere is this more evident than on Goit, the record’s opener. With Minsky-Sargeant’s haunting vocals, the track dives into a darker, more experimental territory, with a number of dance rhythms. This track serves as an early indication of the album’s dystopian themes, which Ryan notes are rooted in the unease the band has felt since the lockdown period. It’s an unsettling yet compelling experience, encapsulating the anxiety and strangeness that spread through the modern world. Perhaps most impressive about Microtonic is how it balances its bold experimentation with a deep sense of coherence. Despite its diverse influences, from shoegaze and post-rock to electronica and dance, the album remains unified. Every track feels part of a larger narrative, with the band’s collaborative approach to songwriting—focusing on cut-and-paste techniques rather than traditional jamming—allowing for more vulnerability and creative synergy between band members. The result is an album that breathes with life and energy, each track adding to a grander sense of self-discovery. In many ways, the album is allegedly the sound of bdrmm becoming the band they’ve always wanted to be. Their ability to seamlessly combine the brooding atmosphere of their early days with the progressive, forward-thinking sound of their current era shows a group unafraid to take risks and explore uncharted territory. As Ryan notes, “This is a true expression of who we are,” and it’s hard to deny that this album captures the band in their purest form yet. With Microtonic, bdrmm have not just delivered their strongest work to date—they’ve redefined their sound, offering up a daring and expansive record that pulses with life and freedom. Both fans of the band and newcomers alike will find much to be excited about here, as bdrmm boldly carve their own path. Score: 8/10 Words: Emily Howarth Photos: bdrmm

On Monday February 24th, Gibson's London store, the Gibson Garage, celebrated its one year anniversary. To mark the occasion, not only were two of the UK's most entertaining live acts asked to come down, but Merc Clothing also got involved and made a line of clothes in collaboration with Gibson. We headed down to check out the bands, and see what all the fuss was about. The limited edition clothing line will be sold at the Gibson Garage, and is inspired by the British music scene across the decades. It draws particular influence from the Mod scene, and cuts a sharp figure onstage or off. The line features a tshirt with a black Les Paul and Mod symbol, a black crewcut shirt with the Gibson and Merc logos, a polo with the same, and a very sharp looking bomber jacket. In order to commemorate the event fully, two of the UK's best live acts were asked to perform, and promptly rocked the socks off of everyone in attendance. Blue Stragglers drove their fuzzy, distorted blues through the speakers and jammed as hard as any band you'll see, with plenty of grit and boatloads of fun. It was then Kid Kapichi's turn, and they didn't disappoint - the snarky Hastings group kept things as riotous as ever, with songs like '999' and 'Sardines' adding a political edge to their set, whilst 'Tamagotchi' gave them space to be a bit more light-hearted. It was a pleasure and a privilege for Out Of Rage to attend the event, and we're sure to see some of the management team repping one or two of the items from the new clothing line here and jamming out to some Kid Kap! Words: Jake Longhurst Photos: Daw Bell PR

Fast paced rock and roll, mosh pits and head banging what more could you want from a Gig, Split dogs provided exactly that! Split Dogs are a four piece British band packed with energy, they've been releasing music since 2022 and have been growing steadily with their shows bringing in more and more fans every time they are growing rapidly within the rock and roll scene. After the release of their second album ‘Here to Destroy’ in September the band are embarking on their tour to play these new songs live to their fans. Their sold out show at The Grace lived up to all our expectations, the ‘Here to Destroy’ Tour is the band's first ever UK headline tour consisting of 6 different dates all being either sold out or low on tickets. First to take to the stage was their opener just for this London show, Club Brat. This band embodies classic British punk metal but with all new blood, with only two officially released singles they are very new to the scene but that did not stop them from ruling the stage. As their band started their set it took some a moment to figure out the lead singer instead of being on the stage, spent the whole set in the front of the pit, a clever way to compensate with the small stage whilst bringing up the energy of the crowd by singing and dancing with them. This 5 piece band had the crowd's attention with their confidence and stage presence, any punk fan should be watching for their next gig, definitely not one to miss and we're sure they will continue to grow! In the moments leading to Split dogs set starting the room started to pack out with fans shoulder to shoulder all the way to the door. As soon as the music began the entire room was foot tapping, head banging and even moshing, not one person could stand still. Their female lead vocalist absolutely rules the stage with her raspy vocals and non stop energy, it's a wonder how she keeps up her energy throughout the entire set but it reverberates through the crowd and is reciprocated right back. After a couple of songs the guitarist shouted out for some movement creating an instant mosh pit that just grew throughout each song, by the end of the set the most pits were over half the size of the venue itself. The fast paced drums paired with angry, addictive lyrics ramped up the energy in the room, some fans even decided to crowd surf despite the low ceiling, a great sign of an exceptional gig. Fans in the crowd spent the whole show singing along and cheering with some great banter between the crowd and band members throughout the set, as well as great chemistry on stage between the band members, it was abundantly clear that this band loves what they do! Split Dogs are set to continue this UK tour with shows in Brighton and Bristol, then carry on to play some various shows in Europe. If you're a fan of fast paced rock and roll or even just want to see a new band live, Split Dogs are definitely a great way to fill that live music shaped hole! Words: Amy Smyth Photos: Jenny Parker

“Tragic friendship called inside the fog,” Mikaels voice haunts the venue with the wickedness of a thousand vengeful souls, “pouring venom, brew deceiving.” The forceful words slither into the ears of the devoted, a congregation swaying in a ritualistic delirium. Some are weeping. Parts of the crowd hold hands in a Danse Macabre. Arms go up in religious fervour. It is a garden of unearthly delights, and every soul here partakes in the fruit. But let’s rewind a bit first. This is OPETH we are talking about here, isn’t it? One of the most consistently high-quality live bands in metal right now? The crème de la crème? The magicians of melancholy? The tsars of guitars? Yes, of course they’re amazing. They have always been amazing. You don’t walk into a Michelin-star restaurant and expect anything less than an unforgettable meal. Before anything else, let us delve into the science of why Opeth these days are amazing. Aside from the fact that they are all top-notch virtuoso musicians with a touring crew tighter than a cave diver’s wet dream, what makes this era of Opeth particularly enthralling is simple: Mikael Åkerfeldt has returned to the inhuman growls of old. It’s as if every internet squabble over his clean vocals eroded away into obscurity overnight. Truly a sight to behold. And with their new record, “THE LAST WILL AND TESTAMENT,” the band has created the audio equivalent of a peace treaty. Just enough growling to satisfy the death metal crowd, and plenty of progressive rock elements to please the equally demanding prog fans. It is a tenuous balancing act delivered with unshakable confidence of artisans who know they are untouchable. Their previous jaunt into the UK at Bloodstock last August was a by-request party by all accounts, with performances so strong across the board that the Dio stage could barely contain them. They told us they would return. And now, here they are, standing before us once more, grinning like they know something we don’t. And maybe they do. Trips to the Roundhouse in Camden always take the form of a pilgrimage. The metalheads march together from the station, a slow pilgrim’s progress towards their circular pantheon. Though once inside, beers flow like holy water, and they all watch as the words “GRAND MAGUS” light the screen in Old English Text MT font. Grand Magus were also at Bloodstock with Opeth a few places back from their performance, and once more they come to support their Swedish brethren. Grand Magus are a band with great riffs, solid musicianship, and frankly – quite catchy songs. Yet this is not enough for the crowd. A few hands go up, but most in attendance are merely undergoing the wait. But they do not have to wait long, because before you can say “die,” the lights have gone down and Opeth are walking out to Aphrodite’s Child. At once, "§1" begins, and it is a wonderful opener, the ambassador of this new reconciliatory era for the band. It sprawls out across the crowd in great spectral tendrils and Mikael’s voice, a mix of soaring cleans and abyssal growls, commands the night - culminating in the thunderous refrain: “THE LAST WILL AND TESTAMENT OF FATHER.” Then comes the real gut-punch. “Master’s Apprentice.” A song so towering, so perfectly wrought in brutality and beauty, that the room tilts on its axis – a very welcome addition to the setlist. It is the highlight of the night, an unholy union of light and dark, and the moment when every soul present remembers - oh yes, Mikael Åkerfeldt still has the greatest growl in metal. Then the leviathan awakens fully with “The Leper Affinity,” its teeth gnawing, its talons raking through the room with Blackwater Park-era fury sounding like it just walked out of the record. Before “§7” starts, Mikael, ever the sardonic raconteur, muses that it’s “fucking difficult to play.” Humble as ever, they make it look effortless. Especially drummer Waltteri Väyrynen, a man with a phenomenally large shoe-size judging by how quickly he managed to supersede Martin Axenrot. Not a note missed, not a beat out of place, it is drumming par excellence. Proven by someone in the crowd screaming “WALTTERI” whenever there’s a lull, beckoning to their new rhythmic favourite. The set takes a melancholic turn with “Häxprocess” and “In My Time of Need,” the latter prompting a sea of swaying bodies and misty eyes. And then a deep cut, “The Night and the Silent Water,” a pleasant surprise - gracing the Roundhouse once more - from “Morningrise.” Mikael’s growls add an air of menace to its gentle tides. The bellowing ever-present undertow beneath the song exhibits the brilliant playing of long-time bassist Martín Méndez. “§3” once again proves the power and legitimacy held by their latest contribution, and then, Opeth’s signature banter returns. Mikael meanders into an anecdote about his schoolboy football days before snapping back into the abyss with “Ghost of Perdition.” And thus, we return to the introduction. Yet it is Fredrik Åkesson’s moment to lord over his guitar, and the crowd responds with metal-induced mania. With the new closer, “A Story Never Told,” they leave the stage to play heavy metal peek-a-boo. They then dive into the much-loved “Sorceress,” with keyboardist Joakim Svalberg really baring their chops thoroughly. Heads move like bobbles on a dashboard, swaying to the marching rhythm. Finally, they end with the pièce de resistance, “Deliverance.” It is a towering, earth-shattering closer, album-quality material. The incredible and iconic outro pounds out with blaring lights, and then it is over. Unfortunately. The setlist is structured in a logical way, bookended by predominantly death metal with a middle section focused on the more sombre offerings. A noble gambit, though one that left the middle section slightly burdened under the weight of its own wistful melancholy. The faithful grew restless, shifting in their beer-sticky purgatory, eager for the return of the beast - melodeath head and prog fan alike. It also might be the result of the amount of alcohol being toted around the venue, with Mikael barely able to get a word in sometimes as someone yells something inflammatory at him just to get a reaction less like a deity and more like a beleaguered older brother pestered by his drunk and belligerent siblings. Yet, they brought it hard and heavy as they so consistently do, with a quality that is impossibly hard to match in today’s sphere of touring groups. It leaves Opeth with their greatest competitor – themselves. In our humble opinion, a more dynamic placement of songs might have served them well. But that is the smallest of quibbles, a nit to pick in the mane of a lion. Opeth are as good – or even better – than many who have seen them say they are, and they have earned every accolade. To miss them on their next jaunt around the grey isles would be to miss a band to tell your children about. We undeniably find ourselves in the midst of an Opeth renaissance. And we follow this age of sonic enlightenment with bated breath, eager for whatever arcane and magnificent thing these Swedish wizards can conjure next. So to answer Mikael’s question posited just before the encore; “Haven’t we been fucking great?!” It is a resounding yes. Words: Kiarash Golshrani Photos: Tyler Whiting

you, infinite’s self-titled release brings back together Jeremy Galindo and Raymond Brown- founders of the atmospheric, post rock collective, This Will Destroy You- to create a new sonic adventure through their use of bold instrumental pieces. Leaving TWDY to explore a career in medicine, Brown continued to create music on the side. The pandemic sparked a creative shift and brought him back to sharing his ideas with Galindo, thus creating you, infinite. Joined by current members of TWDY; Johnnie McBryde, Ethan Billips, and Nicholas Huft, to record the album, the heft of their talents creates a unique sound and solid instrumental piece from start to finish. Our personal shoutouts are lead single, 'Throughlines', 'The Elder', and a tie between 'Shine Eternal' and 'Dormant'. With crystal-clear production and gorgeous album art pulled straight from the monolithic rule book, you’re in for an instrumental experience like no other. Opening the album, 'Focus On Reflection' is an opening tune to the key of slow and steady. Starting out soft and melodic, and later kicks into second gear without giving too much in the first song. It cuts through the peace with some jazzy guitars, providing the mental landscape of floating through space with a perfectly matched soundtrack. The lead single, 'Throughlines' is a solid track that feels like it’s here to allow the band to ponder the thought of what lies ahead. The song feels like it’s split in two, the latter half being the rocky sibling to the soft percussion-filled beginning. Marked with their signature solid drumming into classic guitar riffs, the track feels like it’s finally time to open the album up; it’s here to say the best is yet to come. Mid-album soundscape 'The Elder', is possibly our favorite. Starting strong with the first feature of heavier guitar and drums, it later is toned down with their iconic soft percussionist edge. The song feels like it could soundtrack any adventure, and wouldn’t be misplaced in a larger-than-life Christopher Nolan film. 'Shine Eternal' provides us with a heavier offering, the most dynamic piece on the album, the background filled with masterful drumming that kicks into high action towards the latter half of the track. An opposing vibe to the peace with sprinklings of nostalgia from previous tracks, 'Shine Eternal' feels like it looks into the future and conjures up feelings of what could be. To round off such an impressive album we have their final track 'Dormant'. Intense drumming leads the way into a rousing album closer that feels larger than life. Here to sum up the parts of its story so far, it brings both the nostalgia and hopefulness to the forefront and slams the book shut on this dreamlike world created within the soundscape of this album. you, infinite’s debut album needs to be prescribed as a way to help keep a hopeful, clear head and escape the everyday noise. This album as a whole is a sweeping masterpiece in instrumental electronic rock. Expect to see you, infinite going to places as big as their sound. 'you, infinite' will be released on February 28th 2025 via Pelagic Records. Rating: 7/10 Words: Elin Gould Photos: you, infinite

Exordium Mors return once again with their black/thrash metal sound that everyone goes crazy for. The New Zealand collective was formed in 2004 and has been treating the death metal community ever since. They now release their newest EP ‘Sworn To Heresy’, which is only made up of 3 songs. However, it does not disappoint and delivers the most chaotic 17 minutes. Trust us when we say there is never a dull moment when listening to this EP! While Exordium Mors are known for their black/thrash metal sound, they are also loved by the metal community for adding death metal into their diabolical mix- both genres can be heard in this EP which is what makes it such an exciting listen. The first track ‘Dawn Of The Crimson Sun’ is jam-packed with the heaviest guitar riffs and the excruciatingly fast picking. However, what draws you into the track is the intense vocal range that can be heard throughout, starting with the snarly-sounding screams before seamlessly going into the admirable death growls. The gang vocals in this track are what makes this one stand out. You can't deny that this song will be a crazy experience live! As this EP goes on, the brutal guitar riffs do not fail to surprise us. For example, during ‘Torquemada’, one moment the riffs are heavy and enjoyable, but the next it completely takes over with these angelic-sounding solos that will make you sit there and appreciate, wishing you could listen forever. ‘Oath’ does the same too but what builds this song is the searing drums. Known as 'The Nomad, this percussionist does everything he can to provide you with the heaviest beats. Exodium Mors does everything it can to make its unique sound out of this world. From start to finish, this EP takes you on a musical journey you have never been on before, delivering all the metal sounds you love packed into one. You will never get bored. From their blood-curdling vocals to the seething guitar riffs and captivating drumming, this is a impressive listen. Rating: 7/10 Words by Kelsey Mainwearing Photos by Exodium Mors

More than two decades into their career Four Year Strong are back in the UK to perform to lifelong fans and promote their eighth full length album ‘Analysis Paralysis’. This electrifying show was held at KOKO in Camden, a staple london venue that was happy to see them return after their last performance in 2017 on the ‘Rise or Die Trying 10th Anniversary tour’. The EU/UK 2025 tour has run throughout all of February and has visited countries such as Germany and France and included 8 UK dates! With continued hits throughout the last 2 decades fans swarmed to catch them live, and boy was it worth it. Shoreline were first to take to the stage, a four piece band that have been releasing music since 2017. The German emo punk/hardcore band have been to the UK twice before but never seen a crowd quite like this. Frontman Hansol Seung wasted no time in telling the crowd to get energised and rowdy and exclaiming how impressed he was when the crowd reciprocated his enthusiasm. This high energy band was a perfect warm up getting fans clapping, cheering and even singing along to them which is a tough feat for the first in any line up. Hansol also took a moment to make a speech about how the band has zero tolerance for homophobia, transphobia, racism etc. which was met with overwhelming cheers and highlighted the decency of the crowd these bands have drawn together. Next up was Koyo, running onto the stage receiving a formidable ovation and almost instantly starting the first of many mosh pits of the night. Fans throwing their hands, running and dancing expressing their enjoyment in any way possible was an entertaining thing to witness. Koyo are a five piece American melodic hardore band that have been growing in the hardcore scene since 2020. One thing to note about their performance was their drummer Tom Higham, his drumming is mesmerizing and truly elevates the sound of their music, especially live. Throughout their set the crowd grew and grew with more fans joining in moshing and jumping with the band. Their energy was enough to get even those at the back of the theatre head banging along. Finally the lights went down one last time, by this point the theatre was jam packed with every fan shoulder to shoulder, the deafening cheers of the fans were something to behold. The four piece American pop-punk band stormed onto the stage to a darude sandstorm remix intro breaking straight into their first song ‘aftermath/afterthought’. You could instantly feel the heat rise in the room as even bigger mosh pits began to open up and every fan in the room was jumping, headbanging and screaming the lyrics with the band. Fans varied in age and gender all came together to experience this band live, some of them newer fans, some of them having listened to Four Years Strong their entire lives but all enjoying it just the same. As the band continued to play hits like ‘Get Out of My head’ and ‘It Must Really Suck to Be Four Year Strong Right Now’ with fans finishing lyrics for them and clapping along with no issues, it was clear this is a crowd that is very familiar with the music. When vocalists and guitarists Dan O'Connor and Alan Day spoke to the crowd they got huge responses and even when asking if anyone was at the show in 2017 there was a surprising response, it's great to see such a dedicated fanbase! As they finally wrapped up their set with their biggest hits ‘We All Float Down Here’ and ‘Wasting Time (Eternal Summer)’ the audience didn't lose an ounce of energy carrying on with circle pits, crowdsurfing and monumental headbanging. But of course as everything does, the show eventually came to a close, fans wiping their sweat and reaching for water - or beer if they preferred. It's fair to say this show was a night that will stay in the hearts of these fans for years to come. Four Year Strong have quite the year set up with a freshly released album, this tour and an incredible summer lined up as they've joined the 2025 Warped tour 30 years line up! We can only hope that Four Year Strong and their opening acts will return to the UK to bring us even more incredible shows. Words: Amy Smyth Photos: Nik Bryant

Originating from Leeds, England, Caskets are a modern metalcore band that made their debut in 2021 with their album ‘Lost Souls’ and have since then taken the scene by storm, gaining millions of streams since the release of the record. They have since released a couple of EP’s and the album ‘Reflections’ that was just released last year, all of which captures this band's immense sound perfectly. They are now travelling around the UK, gracing us with their presence and making sure we have the night of our lives with their electrifying performances. The local welsh band Glass Heart took the stage first, setting the tone for the night beautifully while delivering us with a rhythmic performance that really got the crowd amped up. They released their debut Ep ‘In Opposite’ in December of 2020 and achieved over 300k streams over the year. The vocalist Adamross Williams had irresistible vocal hooks with songs you just can't get enough of. Colorblind walked onto the stage next, coming all the way from the US. The energy was immediately amplified. The lead singer and guitarists knew how to get the crowd going by demanding pits. The guitarists' screams roared through the venue and everyone in sight was banging their head to the sound of their music. Colorblind and Glass Heart definitely gained new fans after their incredible performances that night. After what felt like a long, 30 minute break Caskets finally appeared on stage with beaming lights and as each member came into sight the crowd went wild, everyone immediately pushing forward to the front. As soon as lead vocalist Matthew Flood sang into the mic, everyone in the venue was already screaming the lyrics. Lead guitarist, Benjamin Wilson and rhythmic guitarist Craig Robinson’s riffs echoed through my body and James’s wild drum beats kept you on your feet with the rhythmic sound soaring through the room. We got to hear a mix of old and new songs from the band which I'm sure all fans appreciated. Their stage presence was incredible and they kept it up throughout the entirety of their set. I often saw Matthew interacting with fans, grabbing their hands, allowing them to sing into the mic and at some point even took a fan's phone while singing her favorite songs into her camera. It was obvious the band really has a passion for what they do and love interacting with their fans. Caskets kept their energy up until the very last song, fans were screaming the lyrics and you could tell that nobody in the room wanted the show to end. The concert was overall a breathtaking experience. They had an extraordinary choice of support bands that got the crowd so hyped up for when Caskets came on. The Globe in Cardiff is a small and intimate venue which was great for the band.The staging was simple yet effective, the band's name was on a big banner with the light shining down on it as the band members stood up front and gave an unforgettable performance. Words: Kelsey Mainwearing Photos: Neve Saltmarsh

Bristol Punk-rockers Split Dogs are breathing life back into British punk, and it couldn’t be more exciting! The four piece, made up of vocalist Harry Atkins, guitarist Mil Martinez, bassist Suez Boyle and drummer Chris Hugall, are on a mission to rebuild and remind us of music’s essence, and second album ‘Here To Destroy’ is here to do exactly that. Back in 2015, vocalist Harry Atkins and guitarist Mil Martinez decided to form a band, taking on the name Spilt Dogs, which they pulled from the classic zombie film ‘Return of the Living Dead’. However it wasn’t until 2022 that Split Dogs emerged onto the Bristol punk scene, with bassist Suez Boyle joining the band in 2023. By this time, Suez had already cemented herself into the queer punk scene, having played the first ever Rebellion Festival at just 16 years old! Drummer Chris Huggall then joined the band full time in 2024 after having previously helped design artwork for the band, which completed the current Split Dogs lineup. The infectious energy that powered their live shows combined with their powerful lyrics saw Split Dogs quickly find themselves an integral part of Bristol’s punk scene, a scene that provided a safe space for LGBTQ+ and marginalized people. Fast forward to today and the band are about to release their anticipated second album, under new label Venn Records. Titled ‘Here to Destroy’ and with the cover featuring the band in front of smashed up cars, it’s evident from the get go that Split Dogs aren’t here to be quiet. Opening track ‘Stay Tuned’ proves just that, sounding like something straight out of the 1970s with fast paced guitars and vocals. It solidifies the fact that Split Dogs aren’t here to be in the background, they are here to destroy. With lyrics that call out modern society such as "The future's here/ But we don’t need it/ Burn it all down/ Hit factory reset", it is the perfect way to open the album. Third track ‘Animal’ starts with incredible fast drums and guitar riffs, with group vocals coming in at the chorus to shout ‘Animal’ as Harry Atkins sings "You lock me in your cage, You’re gonna see the animal". It’s incredibly catchy and a song that is bound to be incredible when performed live. ‘Monster Truck’ and ‘Be a Sport’ also both feature incredibly catchy guitar solos, fully showcasing the talent of guitarist Mil Martinez. The album closes just as strongly as it opened with the song ‘All In’, which keeps up with the strong vocals, guitars and drums, which have remained consistent throughout the entire album. Atkins has a powerful, unique voice which adds to the overall atmosphere of each song, with group vocals also a running theme throughout which consistently heighten each song. It’s extremely impressive when you find out the album was recorded over only a three day period, with no autotune, no effects pedals and no computers, the vocals were also recorded completely live, with no cutting and pasting. With Harry Atkins saying they wanted the album to have a "real 1970s rock n roll" feel, the decision to record the album completely live has certainly paid off! Split Dogs have successfully managed to capture the essence of '70s punk rock, whilst putting their own twist on it. If you’re a fan of classic British punk rock then Split Dogs should be at the top of current bands you need to check out! With their live shows not being something you want to miss, Split Dogs will be heading out on a UK tour next month, with dates across the UK and Europe. Upcoming shows include: 28/02 Billy Bootleggers, Nottingham 01/03 The Grace, London 02/03 Daltons, Brighton 07/03 Rough Trade, Bristol 18/03 Supersonic, Paris 20/03 Café Central, Bruxelles 21/03 La Zone, Liége 22/03 Café The Jack, Eindhoven 23/03 Poppodium Volt, Sittard 09/07-12/07 2000 Trees Festival Score: 8/10 ‘Here To Destroy’ will be released on February 28th 2025 via Venn Records. Words: Olivia Hermans Photos: Split Dogs

Eric Bass’ debut solo work ‘I Had A Name’ is a… frustrating project to review. It is equal parts fast paced fun emo rock and a somewhat cringe and unfinished collection of music, that feels like Bass was trying to prove that some of these tracks should’ve made it to other albums by placing them on this effort. Maybe we weren’t the target audience for this project, or maybe it needed another couple of months or an extra pair of ears during its process. This project began its uphill battle with opener 'A World Unseen', which is supposed to be a slow-paced build-up to the rocking in store, but instead suffers from a vocal tempo just a little too fast for its piano backing. The cringe unfortunately rose as the somewhat on the nose calls of prayer repeated, and when the ‘is he a Trump supporter’ train of thought begins to cross the mind keeping said mind open begins to get more difficult (For clarity, this article is not accusing Bass of having specific political views and it is his right to keep them as private or public as he wishes). But back to the positives - third track 'Azalia' is an easy standout for this project, with what sounds like a theremin in the intro and some DnB or hard-style inspired drums forming part of a fantasy rock backdrop, while Bass tells us the story of the titular Azalia and provides a strong proof of concept for 'I Had A Name'. Bass’ military-family background is put to great use in the songwriting in this intense rock ballad, with the vocals that he provides complimenting the themes around this concept well. Next track 'We Can’t go Home' keeps up the pace with almost-rap full sentence bars and elicits the feeling of dad rock made for young people, which is a refreshing energy. Further on in this album, single 'Mind Control' and 'All Good Children - Our Guts' show where it was trying to go: in the former, the themes of Bass’ religious upbringing are woven beautifully into the angst of a thrashy and campy emo rock as he talks about the nature of sin and when to forgive, with the piano outros he’s so fond of working perfectly to close out the carnage. For the latter, a gorgeous acoustic guitar melody opens the ballad, as the horrors of war plague the third act of a concept once ready to ride into battle with glory. These tracks offer nuance around the high fantasy concept that Eric Bass is playing in while never quite preaching to the listener, but the highlight of this album is easily the closing/bonus track 'I Wanna Go To Hell'. Playing on a nursery rhyme style melody and introducing the beloved trumpet into the mix, Bass gives a middle finger with a wink to the classic conventions of confession and good and evil in the faith he’s been exploring in the wake of this project; it’s like the grown up version of Green Day gag tracks like 'All by Myself', complete with a group of ‘la’s and Bass wishing the listener goodnight at the end, which in turn leaves a cheeky smile on our faces when this album does close out. Alas, all this considered, this album was very frustrating. For all the good that exists in it, a cover to cover listen is difficult. Many of these tracks suffer from structural issues, be it the aforementioned mismatched tempos, the messy transitions between parts of songs, or its main structural crime of simply running on. 'We Can’t Go Home' is the first count on this charge, with the last part of this track sounding like the ending thrice before closing out. It darts between Bass’ signature rock sound and piano interludes, giving the song more of a mashup feeling than of an original song of its own. Lyrics throughout pad out this charge, with the great hook of "you can go to hell but you can’t go home" in 'We Can’t go Home' lost in the sea of full-sentence bars that feel more like a diary entry put to music rather than a song written to record. A lot of these tracks are half-great too: the bridge in 'Goodnight Goodnight' is great if you can get past the clunky first half, and the beat behind 'New Graves' is borderline perfection, whilst its lyrics are some of the lowlights of the album. 'If I Had a Name’s overall issue, though, is the sameness; this is a 12 track album made up of three to four songs, each written and performed to varying degrees of success. The nursery rhyme motif was rampant and did not work most of the time, and the same can be said with the chronic use of the piano slowdown which would seemingly appear every time Bass felt he had 16-32 bars to fill or wanted to drive home that this part of the piece was serious or sad. This makes it a difficult project to praise and critique because the elements that work in one song fall flat when used again, leaving us feeling frustrated when looking back on it. Recommending this album based on prior listening then becomes difficult, as it feels like a critique on the artists that would come to mind - again, not that this album is terrible, just not quite where it needed to be for release, which for a project that Bass has been working on for as long as he has feels like a cruel comment. If you like themes of faith, fairytale motifs and…pianos? Then this will be the project for you. Score: 5/10 'I Had A Name' will be released on February 28th 2025. Words: Julia Brunton Photo: Sanjay Parikh