Mallavora, a four-piece alt-metal band from the heart of Bristol, are taking strides for both their own unique sound and in the fight for accessibility within the industry. Their brand new album ‘Echoes’ explores the disjointed emotions and experiences that often come with identity issues, chronic illness, disability and neurodivergence in the form of four raw tracks. From Mallavora’s earlier releases to the present; ‘Echoes’ continues a strong showcase to who they are and what we should expect when listening. With lyrics that speak from the depths of the soul to topics that everyone can relate to no matter what background and a no bigotry attitude- we are obsessed with this EP. The first track ‘It’s Not Enough’ sets the scene for the whole release. Strong lead guitar starts us off from Larry Sobieraj which surrounds the entire track, whilst lead singer Jessica Douek’s vocals swap effortlessly between singing and her powerhouse screams that truly command our attention. Layered with bass from Ellis James and drums from Jack Pederson, the sound for the quartet is complete. The track tells us about a recurring nightmare of falling endlessly, the ground figuratively and literally opening up to absorb us whole. ‘Skin’ delves into the feeling of being different to everyone else and yet staying defiant against the forced conformity of society, and instead staying unique to yourself. “I will not obey” screams Jessica, through multiple layers of sound to provide the feeling of fighting a battle and coming out on top. It reminds us of always being true to yourself no matter what other people might think or believe of you, because the only person who can define who you are is just that: yourself. The third track ‘Vultures’ follows similar themes that are seen throughout the EP of a deep-rooted feeling of not belonging. It seems woven both into the lyrics, crafted by Jessica Douek, and the music, the instrumentals written by guitarist Larry Sobieraj, both of whom articulate in their own ways the experiences of chronic illness and the many things they have had to live with whilst mourning their pasts - yet these deeply personal struggles have now been transformed into art that is unapologetic and fiercely bold. ‘Echoes’ wraps up the release nicely, with backing vocals and a softer lead that contrasts with the other tracks we have heard so far. It demonstrates the variety, willingness and confidence that Mallavora have to try different styles in order to not stagnate. Of course they still manage to sneak some of the Mallavora signature screams in towards the end, but they've left it a while in order to provide maximum punch. The band have also announced an intimate EP release show on the release date, the 20th of November, at Signature Brew in Haggerston, London which promises to be accessible to all. Mallavora have already shared access plans for this including: wheelchair accessibility, BSL interpreted performances, lyric sheets, no strobe lighting, sensory kits, a seated area, masks available at the door and a 15 minute break in the headline set. The industry needs to be more accessible than it currently is; we all know it. Every type of person, body and ability should be able to come out to see live gigs, perform and enjoy themselves without putting themselves in pain to do so. Mallavora are paving the way out of necessity for their audience and themselves, and we all need to be celebrating this. Altogether, the ‘Echoes’ EP, and the care taken for its release show, showcases and highlights so much of the message that Mallavora stand for: being yourself in spite of everything, and we couldn’t agree more. 'Echoes' will be released on November 20th via Marshall Records. Words: Tyler Whiting Photo: GLK Media

In the last few years, the UK has seen its metalcore and hardcore scenes blossom massively, with some of the best ever releases in both subgenres coming recently, and with its popularity still growing consistently. Guildford is a real hub of this, and Polar have built themselves up twice now in the city, having recently reformed around founding member and vocalist Adam Woodford; Polar brace themselves to unleash their latest project into the world, ‘Five Arrows’. With a blend of metallic ferocity and that hardcore grit only found in the UK scene, as well as a fresh perspective, we jump in head first. Pulling no punches and giving you a taste right away of what’s to come, ‘Five Arrows’ opens with ‘We Won’t Sleep’, a classic hardcore beatdown accompanied with bone rattling bass. This track sends a very clear message; Polar are back and they mean business. With a chorus worthy of massive chants, this cements itself early on as an anthem you’ll be hearing sang by crowds across concerts and festival circuits in summers to come, and as an incredibly strong album opener, the ferocity and energy it delivers feels like a rallying cry to fans new and old. ‘Unkillable’ quickly follows without missing a second to rest, ramping the energy up further and further, hitting you hard and fast with punishing tempo shifts. The whole track feels like a blend between hardcore riffs from bands like Guilt Trip and the early bouncy, heavy industrial sounds from The Prodigy - with a combination like that it's hard not to imagine being in the epicentre of the pit when the track drops. ‘A New Mentality’ is the third track and comfortably one of the standouts off of ‘Five Arrows’. Not only does it deliver a polished and crunchy instrumental metalcore sound, but the lyrics are just as impactful, which speak to the real destructive power of change - a theme prevalent throughout the entire album. The staying power of the track is something special too, ‘A New Mentality’ is likely to stay nested deep within your head long after the album has finished. Thrashing our way to the halfway mark, we’re hit with ‘All Hail The Tyrant’, another standout track and one that features a relentless flow of guttural and vocal intensity as Polar bring the first half to a close. ‘Swimming With Sharks’ ushers in the second half and, though slightly down tempo compared to the first half, it is no less as effective as they embrace a more metalcore sound for the remainder of the album and bring more attention and emphasis towards the brutally honest and authentic lyricism featured. The album wraps up with the very aptly named ‘Closing Curtain’, a powerful and poetic track that stands as a clear message to the effects of change and moving forward into a fresh chapter. Raw and unapologetic from start to finish, it’s clear that Polar has a lot to say with ‘Five Arrows’, and it is delivered with the perfect blend of crushing breakdowns and emotionally charged vocals, leaving a lasting impression even after the first listen. This is up there with Polar's best material across their whole career as a band, both before and after reforming, and stands as a testament to the excellence of not only the band, but to the UK scene as a whole. 'Five Arrows' is essential listening for fans of the band, and anyone who enjoys UK metalcore. ‘Five Arrows’ will be released on November 22nd via Arising Empire. Words: Arcadia Craven Photo: Pete Ray

Sydney-based female fronted alt-rock band RedHook are back with their second album. Following on from their first LP last year, 'Postcard From A Living Hell', ‘Mutation’ adds eleven songs to their discography, all mixed by James Paul Wisner, who is known for his work with Underøath and Paramore amongst others. Frontwoman Emmy Mack states “RedHook has always felt like a bit of a misfit. A lot of people don't quite 'get' us. But we didn't make this record for those people. We made it for the ones like us. The misfits, the outliers, the weirdos", but there's already a lot of hype around this album, with plenty of it coming from fans the band won over with their debut, so the band have clearly managed to find plenty of us weirdos already! With that said, let's dig into the album and see what they've got to look forward to. Kicking off the album with a bang we have two of the singles off of the album, 'Pyromaniac' followed by ‘Break Up With’, which showcase Mack’s vocals from the get-go, along with a pair of catchy riffs and choruses. Following this is 'Hexxx' featuring Vana, which has a heavier feel to it, not least due to the two female vocalists perfectly complimenting each other across the length of the song. Next up is a particular highlight off the album - 'Dr Frankenstein' feat. Holding Absence. The song starts with Mack’s vocals before Holding Absence’s Lucas Woodland joins on the second chorus and their voices merge together seamlessly. The track deals with a toxic love story, using the metaphor of Frankenstein's monster to examine it from both sides in a vulnerable moment of introspection. Then we have ‘Bomb.com’ and ‘Hot Tub’ which again, are full of catchy beats and choruses made to sing along to. However, at this point you can notice the album feels a little repetitive at points, where some songs do feel quite similar to others, and there's not always as much distinction between songs as you might like. Following on from this though is 'Cannibal' featuring Alpha Wolf, which differentiates itself by having the heaviest vocals on the album. As the track breaks down, we hear screams from Alpha Wolf combined with a heavy bassline, which keeps it feeling dark and almost claustrophobic, especially in comparison with earlier songs on 'Mutation'. ‘Hurt Like Hell’ and ‘Party Zombie’ are up next as we approach the end of the album. Both have very catchy drumbeats with heavy breakdowns, before the vocals lift back up towards the end of the songs to let them finish with an uplifting tone. We then arrive at the penultimate track ‘Scream 2’, which feels very heavily influenced by Ice Nine Kills, even going as far as using the same kind of naming convention as them! Finally, the album ends on ‘Tourist’ which portrays the bandmembers' storytelling skills through their lyrics. The tracks tells of a toxic relationship, but with a motivational and uplifting feel. Mack sings “Now I’m waving bon voyage to all your bullshit”, which is likely going to resonate with plenty of people listening. RedHook have delivered a great set of tunes on 'Mutation'. This album is definitely a ramp up from their debut, and whilst it doesn’t contain as many dark, deep themes as their previous LP did, that is not to say that this album hasn’t broached new ground for the band and taken them forward. From the iconic collaborations which feature, to Mack’s captivating vocals, the band are paving their own way to stardom. 'Mutation' will be released on November 22nd via Adventure Cat Records. Words: Amy Watson Photos: RedHook

After Smoke Clears is a four piece metal band from South London consisting of Nick Hurford on vocals, Kiran Solanki on guitar, Aaron Dohnt on bass and David Cau on drums. After originally making themselves known as a technical, groove metal band with their 2020 debut 'Edification', the band have exploded back onto the scene with a much heavier and darker sound in this new eight song LP. Opening the release is ‘Status Game’, featuring Diesect’s Damien Bigara, and it kickstarts the album with not only a plethora of heavy screams, but also a welcome hint of nu-metal. Up next is 'Serenity' featuring Jimmy Dahmer of Asleep At The Helm, which has the most clean vocals of any song on the LP. The contrast of emotion between the clean vocals and the intensity of the screams is captivating, and the combination of their new-found heaviness along with Bigara’s cleaner sound makes for a very powerful, almost Beartooth-esque sound. We then find ourselves on ‘Chase The Sun’ combining a heavy bassline with layered screams and growled vocals throughout. Next up comes the second single to be released off the album, ‘Animal’, which features Confessions Of A Traitor frontman Stephen MacConville who compliments the track perfectly, blending together his vocals with Hurford's for a potent mix of vocal styles and sounds. Track five, ‘Fractured’, portrays the most emotion on the album. The clean vocals of the choruses and screaming of the verses seem to harmonize rather than take separate roles alongside each other within this track, which makes for a powerful listening experience and will enrapture any fans of 2010's metalcore. Next up is ‘Unintelligent’, which was the first released single of the album and also the heaviest in terms of pure riffage. However, around the 1:20 mark the track breaks down and showcases a nu-metal-esque rap element which was entirely unexpected, but no less enjoyable for that shock factor. As we approach the last two tracks on the album, ‘Echoes’ and ‘Daze’ continue to give us that metalcore goodness full of heavy drum lines and thick, coiling guitar riffs, paired with plenty of screams. This album is definitely a ramp up for the band compared to their debut, and stands out across the board as having improvements all over. The dark synth and metalcore overtones of this LP keeps the listener engrossed, simultaneously confirming that they are a band to watch out for, most certainly for any lovers of metalcore. 'Intentions' will be released independently on November 19th. Words: Amy Watson Photo: Aaron Dohnt

Linkin Park is a band that needs no introduction. A behemoth of the alternative and nu-metal scene, they are arguably one of the biggest bands of the 21st century. Their music has not only won multiple awards, but many tracks also shine a spotlight on mental health issues and personal problems and social issues. When lead singer Chester Bennington passed away in 2017, the band announced a hiatus that many fans thought would be the end of their discography. It wasn’t until seven years later, this September, that Linkin Park reformed. Now with Emily Armstrong taking up the vocalist mantle, and Colin Brittain replacing drummer Rob Bourdon. Armstrong, previously most known as lead singer and rhythm guitarist of rock band Dead Sara, has taken to the project with passion. Though both she and the band have made a point to state that her inclusion, and the band's return to music, is not an attempt to replace Bennington. Just a collaboration formed naturally over time. The reception from fans has been mostly positive, with many just happy to hear from the band again. Though some have doubted the decision. Announced alongside this lineup change was ‘From Zero’. The first project to come out of the new Linkin Park lineup and, as a result, an album with a point to prove. The response to this release would shape if fans continued to support the band, or if the loss of their lead singer was too much to overcome. ‘From Zero’ opens with a re-introduction. We hear Armstrong saying “from zero, like from nothing?” before cutting into ‘The Emptiness Machine’. The album and introduction are an intentional reference by co-lead vocalist and rapper of the group Mike Shinoda to a previous project before Linkin Park. In an interview Shinoda stated, “Before Linkin Park, our first band name was Xero…Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life.” The use of voice messages to open the album, and between songs such as in the outro of ‘Over Each Other’ and ‘Two Faced’ also adds a casual conversational tone to the production of the tracks that just feels fun. As the first real song on the album ‘The Emptiness Machine’ has a lot to carry, and yet it packs a confident punch. Between Shinoda and Amrstrong’s vocals, the familiar quintessentially Linkin Park sound, and the rest of the band’s ability to create a strong soundscape it’s a song that makes you want to scream along with the lyrics: “Let you cut me open just to watch me bleed Gave up who I am for who you wanted me to be Don't know why I'm hopin' for what I won't receive Fallin' for the promise of the emptiness machine” The song is a cry to action, and one of the strongest on the album. The next track, ‘Cut the Bridge’ is equally engaging, though the bits that stand out the most are the full-band backing vocals and Shinoda’s segments. The chorus, while good, is not the most interesting area compared to other tracks that utilise Armstrong’s voice better. Still ‘Cut the Bridge’ feels cohesive. It’s a decent segway between ‘The Emptiness Machine’ and ‘Heavy is the Crown’. ‘Heavy is the Crown’ is another of the strongest tracks on the album. It definitely feels like one of the most classically-Linkin Park songs on the project between the rap, screaming and strong instrumental backing. If anything the only room for improvement would be bringing the screaming in earlier, instead of getting through two choruses first, as the song notably improves after the drop. ‘Heavy is the Crown’ has also been included in the Arcane Season 2 soundtrack, and was allegedly inspired by the character of Caitlyn Kiramman. The track was also chosen as the official anthem of the 2024 League of Legends World Championship, and performed at the Finals Opening Ceremony. Watching clips of the performance, it’s clear to see why. The song sounds electric in a live performance setting. ‘Over Each Other’ is by comparison a more melancholy track, with a stronger focus on Armstong’s vocals compared to the previous three tracks in a way that makes you appreciate the notable subduedness of the rest of the band. This centralising of Arsmtrong’s vocals allows the narrative to take centre stage, a passionate reflection on a toxic relationship. ‘Casualty’ immediately breaks this sombre tone by bringing back the drums; the introduction of Colin Brittain can really be felt here alongside the contributions of DJ Joe Hahn, lead guitarist Brad Delson and bassist Dave Farrel. There is not much to add, it’s a good song to scream to, more suited to a pit than a regular playlist. Given its placement in the overall album, it feels more like an interlude than a stand-alone track. ‘Overflow’, oddly enough, feels like it would also do well on the Arcane soundtrack. Again, the tone is reflective, sandwiching the screaming of ‘Casualty’ between two of the most softer tracks of the album in a way that feels almost cathartic. With lyrics such as ”Turnin' from a whitе sky /To a black hole /Turnin' from the sunlight / To a shadow / I know I can't make it stop / I know I'm out of control” the song feels like it would not be out of place on several of their older albums. ‘Two Faced’ is another song that feels familiar, despite being brand new, with direct references to ‘One Step Closer’ in the line “That's when I figured out where it led / Beginnin' to realise that you put me over the edge”. The band feels completely in sync in a way that just works, even down to the voice message at the end of “we’re all on the same page right now”. ‘Stained’ in comparison is unremarkable compared to the rest of the album. There’s nothing wrong with it, but not much right either. While ‘IGYEIH’ or 'I Gave You Everything I Have' feels a lot stronger, sonically and due to its ties to the rest of the discography. Opening with a sample of ‘Step Up’ from ‘Hybrid Theory’, and making references to ‘In The End’ through the clock imagery. The range within the track alone is impressive. Finally, ‘From Zero’ ends on ‘Good Things Go’. As a parting track this is more reflective, hinting on themes of grief and regret while talking about isolation and depression. The sombreness of this track, combined with the two vocal leads sharing the chorus, feels correct. And ends the project on a collaborative note that ties into the emotional struggles of the band’s renewal without feeling contrived or inappropriate. It ends with: ”Only you could save me from my lack of self-control / And I won't make excuses for the pain I caused us both / So thank you for always standing by me even though / Sometimes bad things take the place where good things go.” If ‘From Zero’ sets the path for the band's future, then the Linkin Park legacy is in good hands. While not every track is an instant hit, there is a clear foundation and a definite through line between ‘From Zero’ and classics such as ‘Hybrid Theory’, ‘Minutes to Midnight’ and ‘Meteora’. It’s a strong return to form for the band, with a few immediate new favourites, despite the occasional rough edges. Words: Q Cummins

Sepultura have decided to call it quits, again. When the last of the Cavalera brothers departed in 2006, many considered Sepultura over, carving a brutal trail of classic albums in their wake; including Arise (1991), Chaos A.D. (1993), and Roots (1996). The current incarnation of Derrick Green on vocals, Andreas Kisser on guitar, Paulo Jr. on bass, and their now former drummer Eloy Casagrande enjoyed many a tour season in the United Kingdom. But now it’s curtains - for real this time (or so they say), and it is truly better to burn out than to fade away. They even brought along a few friends for the funeral. Touching stuff. A cold Tuesday night at the Evertim Apollo, gaps fill quickly in the standing zone and the seats become filled out. The crowd waits hungrily, eyes primed upon the stage. They are quickly satiated by Philly metalcore jammers (and Out of Rage Album of the Year 2023 winners…) JESUS PIECE, fresh off of their sophomore album, who offer up a delicious slam-burger of a set. They break out with Tunnel Vision, a complete aural assault that gets heads on a swivel. The lyrics are muddied by the sheer brutality of vocalist Aaron Heard, but the entire Apollo seems to wholeheartedly agree with his passionate arguments, supplemented by more chugs than a model railway. Yet as the first opener, as quickly as it began, it ends – leaving behind a sense of longing. The die has only just been cast before bonafide Floridian death metal giants OBITUARY arrive for some more carnage. Redneck Stomp is a call to arms, every ear trained for old-school death metal at the bar outside hears the iconic opening riff and answers the call back in kind. To the band’s credit, they have always been consistently good with their energy. The set has a great variety from their many album outputs, and the old-heads seem delighted by it. What you see is what you get; good grooves and gnarly vocals that never let up. Chopped in Half/Turned Inside Out is a highlight. Sadly they never did seem to get more than a few die-harders off the ground, and their set feels like it was cut short. But, like all great mailmen, they came, delivered, and left. While this is primarily a final bow to this particular Sepultura incarnation in old blighty, this does have the air of a co-headliner show. There is a very good reason why one band on the poster shares the font size of the headliner themselves, and that is because JINJER have come onstage and are tearing the stage to pieces. The only real way to report on Jinjer’s set is as if you are a poor Japanese newscaster watching Godzilla wipe out Tokyo from a distance. This was truly the Ukrainian outfit’s time to shine, as they have the crowd eating out of the palm of their hand. Singer Tatiana Shmayluk’s hair flickers wildly to the dissonant riffs and the crowd begins to boil like some hot metal-stew. Shockingly their workhorse single Pisces is absent from the set, favouring instead to close on Rogue from their as yet unreleased new album. Technically phenomenal and electrifying, the night seems to have reached its high point. We are off to a good start here; three bands that have transformed the tired post-work London crowd into a fighting force ready for war, several shirts are already off and the tension in the room is palpable. After a crowd rendition of War Pigs and an if-you-know-you-know rendition of Polícia by Titãs, the intro rolls slowly, and then they arrive - SEPULTURA. They burst out of the gate with a three-song assault of Refuse/Resist, Territory, and Slave New World. Guitarist Andreas Kisser seems to have found his true church as he beams at the mosh-pit, while Derrick is sweating profusely and delivering a solid vocal performance. For a second, we were back in the blood and fire of '93. But like a wheel caught in mud, the energy sputtered as they segued into Means to an End from their latest album Quadra, and suddenly the magic dimmed. It is disappointing, yet endemic of Sepultura as they have been for the last decade; with a few exceptions like Kairos, the energy just isn’t there for the band’s later offerings. The same happened at their Bloodstock 2023 set, and their show at Electric Brixton in 2022. Another big factor was the noticeable absence of former drummer Eloy Casagrande, whose mad chops at Brixton had brought chaos before he ultimately left for nü pastures within Slipknot. It all feels slower, somehow, (yet there were some grooves that had the crowd tapping their feet like Fred Astaire). Nostalgia in the form of Kaiowas follows, featuring “all the Sepultura family and friends” uniting on drums and a shortened version of their wonderful Orgasmatron cover, then it was back to the classics. The now completely shirtless pit-warriors set upon each other once more with Troops of Doom, Inner Self, and finally Arise, and in a blaze of glory it is over once more. The encore of Ratamahatta and Roots followed, a monster of a finale with Greyson Nekrutman, newcomer and former Suicidal Tendencies drummer, beating out a preamble on the kit. He was solid, no doubt, but against Eloy and Igor Cavalera, he had some pretty big, mud-encrusted boots to fill, and the effort of it showed, almost painfully. And just like that, in a savage blaze, it was over. The band bows and the crowd roars in approval, yet a final question remains; what is the future of this band? Anyone who is aware of the toxic relationship between the Calaveras and this Sepultura know deep within their gut that this is not the end of the story, and that they have many rounds still left in the chamber. Those with doubts about this should consider that we are living in a bizzarro-future where Zombie bands are on the loose; Linkin Park are headlining shows and Pantera is playing at festivals. How and when this future Sepultura should rise from the grave is not known, but if history has taught us anything, it’s that it's hard to keep a good band down. Words: Kiarash Golshani

Alt metal purveyors, SOiL, are touring the UK throughout November for the first time since 2019, for a 9-day stint, performing an ‘All SCARS set’ for the first time, featuring songs exclusively from their 2001 hit album ‘Scars’, their major label debut that afforded them their first taste of mainstream success. Sales of the album were bolstered by the popular singles ‘Halo’ and ‘Unreal’, both achieving rewarding exposure time on MTV. Their efforts to this point earned them the Metal Edge magazine - Readers’ Choice Award for ‘Next Big Thing’. The band hail from Chicago, Illinois and formed in 1997. They have racked up over 2 million album sales worldwide, and tonight, at the midway point of their tour, they entertain a hedonistic crowd at the 2,000-capacity venue Rock City, in Nottingham’s city centre, winner of Kerrang! magazine's Venue of the Year for ten consecutive years. Supporting SOiL where 3 superb nu metal acts: The Union Underground, Nonpoint, and Hed P.E., who did not disappoint at all. First up, The Union Underground, formed in 1996 and based out of San Antonio, Texas, who started the night with a bang. They set a blistering pace, high energy from the start! Performing selections from their hit debut ‘An Education In Rebellion’ including the songs ‘South Texas Death Ride’ and ‘Killing The Fly’, as well as the classic ‘Across The Nation’, their finale, and a song adopted by ‘World Wrestling Entertainment’ as the theme their RAW brand until October 2006. The crowd went crazy for this, and singer/ frontman Bryan Scott was in fine voice. Next up; Nonpoint, who formed in 1997, are from Fort Lauderdale, Florida. They began with ‘Breaking Skin’ and with dreads flying they vehemently maintained the pace and intensity, helping prepare the way for the headliners. Final song to finish their set was ‘Bullet With A Name’ a fan favourite. Preceding the headlining heavyweights, the third band take to the stage, Hed P.E., typeset as (həd)p.e., formed in 1994 and hail from Huntington Beach, California. The crowd were loving it, and with the buzz now at a high point; this band do a sterling job of sustaining it with their genre-melding style of ‘G-Punk’ / ‘rapcore’, incorporating elements of gangsta rap, punk rock, and reggae. With the venue now filled by a crowd in a state of eager anticipation, it’s time for the main act to witness the adoration. SOiL came on with all guns blazing, and tore into their first number, ‘Breaking Me Down’ which promoted some serious head banging, arm waving, and jumping around, with the high-spirited revellers in visible chorus and some manically bouncing off each other. After playing ‘Inside’, singer Ryan McCombs professed that he really liked the lyrics, they reminded him of what life would be like without the amazing fans they have amassed over the years and went on to announce that Nottingham had never let them down. Towards the end of the set the closing strains of ‘Black 7’ rang out to merge with the beginning of their best-known hit ‘Halo’ and crowd participation is now spiking in readiness for what they are about to receive. After a short break they returned for 2 encores, the first, Black Betty, originally performed in 1939 by Lead Belly, but this rendition more akin to Ram Jams 1977 rocked-up version, a difficult fit it might be said, but performed in their own inimitable style, they successfully made it their own, and the crowd loved it. The show ended with ‘Pride’, from their 2004 ‘Redefine’ album. Words and photos: Kieran Atkinson

Lake Malice didn’t just perform; they transformed the atmosphere. They took to the stage greeted by an initially sluggish Wednesday night crowd, and by the time they left that stage, the room was electrified, a feat in itself for any band. They played as though the room was full and still managed to make it feel intimate. Despite an eight-song opening slot, Lake Malice brought the intensity of a full headlining gig, captivating the audience and making every moment feel like it was crafted specifically for them. The band’s connection to the crowd was undeniable, with many of the audience members having followed them throughout this tour. A standout moment came with the explosive drum solo introducing their track “Mitsuko.” This solo brought the energy in the room to its highest point of the set, showcasing the raw power and skill of Emily Ainger, and setting up the heavy riffs and intense atmosphere that “Mitsuko” brings. Highlights of the setlist included “Stop the Party” and “Black Turbine,” powerful showcases of the band’s talents and of Alice’s impressive vocal range. She moved seamlessly from guttural screams to haunting melodies, infusing each song with emotion and intensity that left the crowd wanting more. These songs exemplify Lake Malice’s ability to blend aggression and melody, creating moments that resonate long after the show. One song that could have been added to the set was “Power Game”. However, wanting to hear it live is simply a personal wish, and the set didn’t lack anything without it, a testament to just how engaging their entire repertoire is. Lake Malice is a band that truly connects with their fans. The genuine love between the band and their supporters was evident in every interaction, shared grin, and chant from the audience. They turned what could have been a routine show into a memorable, charged experience, leaving everyone in awe of their electrifying sound and raw talent. For any fan of alt-metal, or any fan of great music in general, looking for a live show that resonates with passion and energy, Lake Malice have proven that they’re a band to keep on your radar. Blackout Problems delivered a level of energy unmatched by any gig in recent years. They opened with the first three tracks from their latest album, “RIOT”, setting a tone of intensity and purpose. Opening with “DNA” was a brilliant choice, capturing the crowd’s attention and immediately giving a taste of the passion and emotion that would define the rest of the set. Every track felt like a complete experience, but standout songs “TROUBLE,” “MURDERER,” and “GERMANY, GERMANY” made a powerful impact. That said, calling them standouts feels almost unfair, as each song brought something unique and resonated deeply with the audience. The gig itself was more than just a set of songs; it felt like a carefully curated piece of performance art. The band’s pure passion and commitment were clearly visible, turning each moment into something meaningful that will stay with their fans. Vocalist Mario was especially magnetic, unafraid to dive into the crowd to build connection and energy. At one point, he climbed on top of a flight case in the middle of the audience, adding a thrilling, immersive layer to the show. Later, during their final few songs, he joined the crowd again, bringing a deeply personal touch that bridged the gap between band and fans. The decision to include two acoustic tracks, “STASH” and “ONATRAIN,” mid-set added a refreshing touch and balanced the pace of the show. These quieter moments allowed for a breath of reflection, showing a different side of Blackout Problems and drawing the audience even closer. The entire gig felt like being with family. It’s rare to experience that level of connection at a show, and Blackout Problems delivered it with ease, sincerity and passion. They left the crowd uplifted and connected, a feeling that fans would undoubtedly love to experience again. With this tour, Lake Malice and Blackout Problems are quickly establishing themselves as a dynamic force within the alt-metal scene. Both bands bring relentless energy to the stage, each with their unique style, but when they share a lineup, the synergy is undeniable. Their performances, whether solo or together, are marked by an intensity that few can match, pushing the boundaries of heavy music and leaving audiences absolutely exhilarated. A true highlight was their collaborative performance of “Quicker than Death,” which was nothing short of phenomenal. Both bands moved and interacted on stage as though they were one, seamlessly blending their energy and presence. The result was a powerful display of musical chemistry, showing how they amplify each other’s strengths, bouncing off each other to create a fully immersive experience for the crowd. Not only do Lake Malice and Blackout Problems complement each other, but they elevate the live experience, making any show they both perform a must-see event. Their ability to connect deeply with their audiences and deliver electrifying, unforgettable performances sets them apart as powerful forces in today’s musical landscape. It takes something remarkable to make a small, mid-week gig feel unforgettable, yet both Lake Malice and Blackout Problems achieved that and beyond. Their passion, connection, and undeniable chemistry brought a unique magic to the night that few bands can pull off. Both bands left a lasting impact, earning themselves a well-deserved spot as regular features on this reviewer’s playlists. Words: Vee Richardson Photos: Libby Percival

Full Of Hell are known for the fear-inducing sound of their grinding, abrasive music. Andrew Nolan is known for his crushing industrial signature. Together, they have created the album 'Scraping The Divine' in what can only be described as a massive display of heretical sound production. With a variety of styles displayed prominently at varying points across the LP, both artists have got plenty of fingerprints on the project and even in their least influential moments, still display notable creative direction throughout. The LP acts less like a collection of songs, and more like one undulating piece of eerily unsettling noise with some nice dividing lines to better organise the screeches, howls, and shrieks that pierce the incessant, driving machinations of the audio below. The first few songs allow the music to unfold and evolve, with opener 'Gradual Timeslip' flowing into 'Heat Death From the Pyre' and lead single 'Burdened by Solar Mass', introducing the music of the album with three aggression-fuelled explosions of energy and volume. With blast beats, violent noise, machinery and ragged guitars, it's a pretty violent way to kick the album off. The group slow things down somewhat on second and last single 'Sphere of Saturn', as well as fifth track 'Hemlock Gnosis' and sixth track 'Blessed Anathema'. Bringing in a little of the hiphop influence from Andrew Nolan, there's a notable synth undercurrent that builds a heavier, choking atmosphere within the tumultuous fog of noise that pervades the record. Getting over halfway with track seven 'Facing the Divide', we slip a little back to the abrasion of the first few songs but still staying with this more industrial tempo and hiphop influence, each meeting a nice halfway point before continuing. Track eight 'Approaching the Monolith' shows of Full Of Hell's musical forte most keenly of all the songs here, with a 1:29 run length and a devastatingly heavy grindcore sound, with just a hint of Nolan's synths and production. Afterwards comes 'Extinguished Glow', that lets the atmosphere of unease really take over once more and 'Common Miracles' does nothing to deter its juggernaut of discomfort. The penultimate song on the album, 'Irradiated Sands', lets the groups collective urge for droning noise to come to the fore, and relatively allows for a calm before the storm of final song 'Paralytic Lineage'. The track stays with the sense of unease that had been previously fostered, before slowly working up for a crescendo finish to the LP that also flows right back in where we started, to let the years most caustic release feel like one neverending ode to the worthlessness of humanity, our tiny place in existence, and the insignificance of said existence within the universe. Such a nihilistic record needs the music to back it up, and of course this record absolutely has that. Full Of Hell and Andrew Nolan's partnership has been fruitful indeed, with a truly unholy effort coming to life from their calloused hands. 'Scraping The Divine' is a monument to the futility of humanity and our place in the wider universe, and stands as a sonic equivalent of any misanthropy that could be mustered up during the listen. Words: Jake Longhurst Photo: Jake Ballah

As time passes, making something new becomes increasingly challenging and keeping an overfed and overstimulated audience of listeners even more. However, going back to your roots is one way to do it, and Sergeant Thunderhoof spared no effort with their 5th studio album, 'The Ghost of Badon Hill', and have gone the extra mile by taking us on a journey through time. This new opus is a folklore-inspired concept album set in the 4th century AD, and more precisely during Somerset’s famous Battle of Badon. After their last acclaimed album ‘This Sceptred Veil’, the Somerset quintet comes back with the promise of a six track tale charged in epically raw emotion and Arthurian mysticism. The curtain opens on 'Badon' which sets our scene. From the first note, it builds an atmospheric and nature-oriented vision of a battlefield with air flowing, creating the calm before the storm. The band comes in as our bards telling the tale. Soon, the flare of marching drums compromises the peace, to remind us that this is a pre-battle lament. We can feel the intensity and anticipation through its huge chorus with a heartbeat-like rhythm and a deeply powerful sound. It is emotional and ritualistic, a masterful display of unity and resonance. We transition into 'Blood Moon', the album’s leading single. It loses no time in surprising us with some different vocals, as Daniel Flitcroft does a display of strength with gritty and powerful vocals giving a glimpse of his range. The track has an impactful progressive metal quality with its amplified guitar-driven sound, power chords and dissonance. Jim Camp’s dense bass and Darren Ashman’s drums remind us that we are stepping into the action and progressing in the story. 'The Orb Of Octavia' gains more ground with a Tool-like orchestration, lower and slower but rhythmic and precise nonetheless. The low-pitched vocals feel suspended in time, as if we are floating through a battlefield and able to look around at all that is happening around the band and listener. It builds up into a heavier sound which perfectly brings us on to the next song on the album. We enter 'Salvation For The Soul' with Darren Ashman’s drums taking the lead, feeling full of power and bombast. As we’re making our way towards the end already, this track feels like a renewal of strength, an encouragement or rallying cry by a fellow soldier. This is used as a stepping stone for Flitcroft’s lyrical musings, showing his wide range once more from high to low pitch. It ends on a ferocious note, a call to arms to make our way furtther into the listening experience. The pain of the battle is felt throughout 'Sentinel' with a thicker, doom metal inspired sound. Its slower tempos, repetitive rhythms and low-tuned guitars build a feeling of dread that leaves us biting our nails for the last song. The addition of the piano at the end creates an unexpected softness, uncertainty and vulnerability that allows for some introspection on the rest of the album, before our final charge. The 45 minute long adventure comes to an end with 'Beyond The Hill'. Opening on a resonating bass, we heed its last call and warning. This almost eleven minute long conclusion takes us back through everything that we've listened through, with distortion and a lot of tempo variations. As the song fades, you can hear the sound of birds making their way back to cycle right back to the natural opening of the album, and showing the futility of battle, as nature will return right after we're done fighting. 'The Ghost of Badon Hill' is story-rich, textured and immersive. It grabs us in from the first note and does not let go. Sergeant Thunderhoof have accomplished a total victory with this masterful piece of music, that will captivate you from beginning to end. There will not be another release like this, so come release day make sure you've blocked out an hour to fully absorb everything on display here - and don't forget to join them in battle to hear it all live too! 'The Ghost of Badon Hill' will be released on November 15th via Pale Wizard Records. Their next battlefields will be: November 22nd - Saltbox, Nottingham November 23rd - Corporation, Sheffield January 31st - Planet Desert Rock Weekend, Las Vegas March 1st - Glastonbury Calling, Glastonbury March 13th - Hard Rock Hell Festival, Yarmouth Words: Lysandre Pons Photos: Sergeant Thunderhoof

HollowKin, a powerful new metal quintet from Bath, are poised to unleash their debut EP ‘Confessions & Failures’. Formed only at the end of 2023, the band has already crafted a collection of gripping tracks with a sound that merges heavy riffs and dissonant lyrics. This EP marks a significant milestone in their journey as they explore the intricate themes that shape their sound and storytelling. Setting the tone for the EP, opening track ‘Tomorrow at Dawn’ brings an unsettling arrangement of echoing notes paired with a distorted voice recording, leaving a feeling of unease. It acts as a warning that phases the listener into the journey they are about to embark on with the EP. HollowKin then introduce ‘A Pilgrimage’, which wastes no time jumping straight into the choppy riffs and hard-hitting vocals. Featuring melancholic verses akin to those on Bring Me The Horizon’s ‘Don’t Go,’ it’s hard not to feel the gravity of the song when there are lyrics as emotive and poignant as “I rest my head on an epitaph which lays unread.” Continuing the EP’s poignant message, ‘Leech’ not only showcases the band’s musical stamina with the intro but also churns out a head-banging groove before the first verse even kicks in! The track is fuelled by pain and anger, which is most keenly felt in lines like “You take from those who need it more, to fill your aching hands with gold”. Full of screams filled with raw emotion, and a final chorus that is elevated when the melody shifts, this song acts as an unfiltered release of despair that can and should be listened to on repeat. ‘Devil In Your Garden’ has a deceivingly chilled intro before the EP picks up the pace with layered vocals, dynamic guitar and bass lines, and tension-building sound effects. Imagery-defying lyrics pair with more reflective sections like “it took this pain for me to know that serpents can still have space to grow” help to tell the story that even amidst the struggle, there is potential. The track finishes up with an energetic breakdown and panned guitar parts during the bridge that scratch an auditory itch when wearing headphones. Wrapping up with ‘In Heresy’ which seems to sound larger upon every subsequent listen, using brutally descriptive verses to build depth all the way to the chorus, creating a massive, anthemic sound. When listeners take in the second half of the song, it’s hard not to feel as though they are watching a live performance, confronted by a driving kick drum, and layered backing vocals that resemble a stadium singing. This makes it the perfect track to conclude the EP. HollowKin have delivered a relentless and formidable EP with ‘Confessions & Failures’ that follows a path of hurt, anger, observation, and growth. Each track builds upon the last, weaving a narrative that resonates deeply with the listener, creating a world where vulnerability meets raw intensity. With masterful instrumentation and thought-provoking lyrics, HollowKin have invited listeners to confront their own confessions and failures. 'Confessions & Failures' will be released on November 15th. Words: Beth Oakley Photos: HollowKin

Emos and queers of all ages flocked to the Leeds University student union on Tuesday for the penultimate date of Noahfinnce’s current UK tour. Backed up by American rocker Taylor Acorn and recent scene explosion South Arcade, Finnce has deftly created a safe space for the queer and the neurodivergent alike, with moving scenes of the youth of both groups a standout feature of this evening of pop rock. The entry into Leeds Stylus was an unexpected farce: the doors did not open until 7:20, with South Arcade due to be on at 7:30, and after then it took at least an additional 20 minutes to get into the venue. South Arcade began their set at 7:45, now 15 minutes behind schedule, with the line still stretching around the corner. This was uncharacteristic for the venue as voiced by attendees, with odd quirks such as being separated for a search despite not having a bag and tickets being scanned twice, with workers scanning both down the line and at the door. Despite this, when the show got going there were no hitches and an immaculate energy within the venue. South Arcade came out to their intro and lead with Danger, which had hit Tiktok by storm in the last few months and for good reason. South Arcade brought the energy and lived up to their self proclaimed mission of warming the crowd up for the next two acts- they operated in sync and with a boatload of personality and band chemistry, and looked to be loving every second. They treated the crowd to new single Moth Kids, then followed up with unreleased track 2005, which went down a storm with the pit who by this point had electrified and seemed to like this the most. By the time the set closed the buzz they made could be classed as mission complete. Next up was Taylor Acorn joined by her two piece band and clad in some gorgeous leather flare pants. The guitarist brought dance moves akin to Frank Iero in his MCR Revenge era days, but overall Acorn gave us a more subdued and older performance compared to the battery pack that was South Arcade. Treating us to the underlyingly-toxic I Think I’m in Love and a break for an acoustic track that moved the crowd, then two songs from the end came personal favourite and title track from her most recent album Certified Depressive. Though South Arcade brought out more energy, a lone group of friends managed to start the first pit of the night at Taylor Acorn’s closing track, and we thank them for their service. Finally, headliner Noahfinnce began his intro, utilising the staging of multiple TVs identical to those on his debut album, where the channels were flicked through for a variety of programming before bursting onstage for his opening number. He and his band were electric and moved around each other as if they were jamming in the garage, interweaved with some exemplary crowd control and participation. The smiles on Noah’s face emanated ‘I can’t believe this is my life’, coupled with the ADHD-bounding around the stage that makes him made to be a rockstar. The talks with the crowd were some of the highlights of the set, from the quips of wishing he had been in his high school burn book because he doesn’t want to be left out to the back and forth about being emo, culminating in him convincing the crowd to turn to the individual to their left and screaming in their face, finishing off with “let’s get ready to cry!” as he started to play. A similar chuckle was the queer line of questioning, with Stylus being its quietest when asked if there were any straight people in the room. was not just Noah who had plans in store, with a fan printing and distributing purple stars to concertgoers to be held over torchlights during emotional track Asthma Attack- he had tried to joke his way out of the emotion by saying he doesn’t play this song on a ukulele anymore because they’re “cringe and gay” and turning it into a crowd chant, but as the stars entered the sky a genuine surprise and appreciation crossed his face as he realised what Stylus was treating him to. The setlist was a healthy variety of tracks from his debut album and older releases from his previous EPs. Tracks such as headcase and the aforementioned Asthma attack were both popular and resonant with a crowd populated with the queer and neurodiverse community that made up Stylus on Tuesday night, while title track Growing Up On The Internet went down a storm (even if the remix of the sound of dial up and reconnecting internet was lost on some of the younger members). The energy never stopped on the stage, and by the closing track a pit was coaxed once again with someone in a wrestling mask running straight towards it. The main takeaway from this show was the immaculate energy that surrounded the Stylus. Everyone was friendly and trading excitement for the download announcement that came in the middle of the evening, respectful to the staff despite the delays and the beautiful mix of grown up gender diverse people and gender diverse kids donned in flags with their parents behind them made for an emotional sight. Another beautiful moment came ⅔ into the set where on the balcony a mother and her two kids were headbanging in unison- they seemed to be there for the eldest, but were enjoying live music as a family. Witnessing the comfort of the next generation was moving; the space felt safe and supportive, and when leaving the venue the importance of openly queer and neurodiverse musicians resonated deep within. Words: Julia Brunton Photos: Izzy Scott