Tightly packed into The Garage, Magnolia Park is headlining London after completing their support on tour with Bowling For Soup. Magnolia Park are currently preparing for their newest upcoming album ‘VAMP’. There’s nothing better than screaming at the top of your lungs in a sold out room, and Magnolia Park captivates this feeling like no other. In 2018 by Tristan Torres and Freddie Criales in a staples parking lot where Tristan used to work, Magnolia Park was born. The name ‘Magnolia Park’ being inspired by the location of where Freddie broke his leg whilst riding his razor scooter. It’s clear to see Magnolia Park love to develop rich world-building music, with personal experiences and pushing against the industry that wants to impose. Magnolia Park rise above the barriers and continue to pass the ladder down to future generations. Supporting the headliner act is Defences, a 4 piece metal band from Hertfordshire in the UK, with a unique metalcore style that is a must listen to. Cherry Duesbury’s vocals are something to behold, mixed with high energy and headbanging that send her braids flying around the stage. With a scream that packs a punch and only evaluates the performance and sends the crowd into even more of an excitable flurry. Defences have a brand new album ‘Shadowlight’ which is out now. With a mix of heavier rock vs a pop-punk style, Magnolia Park have a song for every type of fan. Joshua Roberts is a vocal delight, with the energy and confidence every frontman needs. His ability to switch effortlessly between song and screaming leaves the audience in awe and the palm of his hand. Tristan Torres and Freddie Criales, both on guitar flank either side of the stage with their own confidence and adrenaline, heading towards the front of the stage intermittently to encourage the crowd further. Interaction is a highlight with this band, they understand the need to connect with fans and give back to their very loyal fanbase. A personal highlight being when guitar player Freddie Criales stepped forwards throughout the set to have his own vocal moments, long wire of microphone wrapped around his figure and guitar in turn. Flashing lights throughout and a thick layer of haze continuously pumping out helped to silhouette each member of the band. All of them command the stage and allow each other to bathe in the spotlight, no part of the stage isn’t explored. ‘Addison Rae’ was a crowd favourite, with everyone singing along to this pop-punk number. No corner of the room is not enthralled by the performance, the flashing lights drawing everyone's eyes to the stage. Cherry Duesbury from Defences joining the stage to sing ‘Animal’ with Joshua Roberts at the encore highlights Magnolia Park’s desire to uplift others. The band’s message being all about making sure next generations don’t have racial backlash in the industry is one we should all aspire to. The two only highlight and amplify each other, genuine joy and excitement feeding from the stage to and to the crowd who in turn jump, dance and rave with everyone on stage. Closing the set with fan-favourite cover of ‘I2I’, originally from Disney’s A Goofy Movie, perfectly sums up Magnolia Park’s message and signature ability to adapt to different genres. The song is a huge part of black history and inspired all of the members when they were kids to make music, it's the perfect homage to their past and still celebrating their future. Magnolia Park continues to push boundaries and break barriers with their message and music. With their awaited upcoming album ‘VAMP’ coming out April 11th, we can’t wait to see what they will bring to the table next. Words and Photos: Tyler Whiting

After having released their latest album Death & Love, pt.1, indie rock legends Circa Waves hit Nottingham with pure energy and excitement with their sold-out show at Rock City. The first support band Corella an indie quartet from Manchester, really brought the crowd to life with their classic indie sound. They walked out onto the stage with confidence and the crowd LOVED them. Even though their set was only half an hour long, they really set the mood right for the rest of the night. By their third song “Head Under Water” the crowd were clapping along and jumping to their set. They even got the crowd to sing along to their song “Lady Messiah” - A great way to warm up all of our vocals. As the excitement from Corella's set calmed down, the second support band Peace, two Brothers from Worcester truly brought peace to the venue. Despite having a technical issue with their bassist, they had to rely on a digital bass. However this didn’t stop them putting on a great show. They opened with “Lovesick” and from this moment the crowd was swaying along to the relaxing sound of guitars. They really showed us that their return was worth the wait. Circa Waves took to the stage and a flash of lights hit the stage which a roar of enthusiasm from the crowd. They went right into playing “Do You Wanna Talk” resulting in a mosh pit dominating the middle of the crowd throughout the rest of the night, and very much so encouraged by the band. The first big sing-along of the night was when the band played “Movies” as the crowd sung back the lyrics loudly and a huge mosh pit formed with lots of jumping around. I am subject to a mosh pit so was one of those audience members getting their weekly workout in those pits. The band played “Lemonade” which was nice little breather during their set and it really slowed down the crowd with them swaying, singing along and having their arms around each other. It was truly a lovely moment. However, this mini moshing break did not last long at all… Frontman Kieran Shudall said, “Shall we do a rock song for Rock City?” and within seconds a massive pit was formed in the middle of the crowd as the band started playing “Goodbye” creating chaos fuelled by excitement and energy among the crowd. After playing “Carry You Home” the band walked off the stage. The crowd shouting “one more song” filled the room with noise and anticipation waiting for the band to do their encore. Red strobe lights hit the stage as the band walked back out and a burst of energy hit the crowd as they started playing “Be Your Drug.” It wouldn’t be a Circa Waves gig if they hadn’t finished off the night with their absolute classic of a song “T-Shirt Weather” this brought so much energy to the venue with people crowd surfing, moshing and climbing onto their mates shoulders. Overall, Circa Waves delivered a memorable performance that not only highlighted their musical talent but also their ability to connect with fans on a personal level. It was a night filled with great music, lively interactions, and an unforgettable atmosphere. If you get the chance to see them live, it's definitely worth it! Words: Sita Gee Photos: Tyler Whiting

Tribulation are a Swedish death metal band that have been releasing whiplash-worthy tracks since they first released their debut album ‘The Horror’ in 2009. Since the band came to be, they have blessed their fans with seven bewildering albums filled to the brim with insane riffs and throat-scratching growls. Upon the release of their new album ‘Sub Rosa in Æternum’, the band have been introducing the masterpiece with shows all over the UK, including at The Underworld in Camden, London, with support from the phenomenal NAUT and Livgone. The venue was packed tight with biker jackets everywhere and hair long enough to pose the issue of being stepped on as the Tribulation fans eagerly awaited the band's performance. First up to build the energy of the room was NAUT, a four piece drum machine rock band from Bristol who started creating music back in 2016. It’s always a nerve-wracking ordeal to be the first support band to rock the stage, but NAUT took it in their stride and had the room roaring with applause by the not just the end, but the middle of their set. Lead vocalist Gavin Laubscher showcased his vocal talent center stage while the rest of the band certainly gave Tribulation themselves a run for their money. Next up to boss the stage was Livgone, a doom metal band from France formed in 2005, who take emotion and feeling and display it in an entirely new and eardrum-shattering light. Lead vocalist and bassist Johannes Anderson worked the guitar as if it was an extra limb and blessed fans with the exact energy that they entered the venue to feel with help from Adam Zaars and Joseph Tholl shredding their guitars and Oscar Leander slamming sticks on his drum kit. After Livgone, the agonising thirty-minute wait for Tribulation began, but the wait was made all the more worth it when the stage was changed into this eye-catching colour changing church set and Tribulation finally graced us with their presence, with all the force and fire that fans have come to know and love from this four-piece. The band started off strong with the first track from their new album ‘The Unrelenting Choir’, with stunning instrumentals which set the tone of the rest of the performance perfectly and eased fans into the madness with the way in which the track builds from gentle bass into the powerful death metal sound that Tribulation are best known amongst their fans for. Tribulation then really began the venture through their brand new album with the intense track ‘Tainted Skies’ and as the guttural growls began, so did the formation of circle pits in all four corners of the venue. Tribulation gave the fans exactly what they travelled far and wide for during this track with powerful riffs, striking vocals, and pure talent that was impossible to ignore. The band then treated us with two insanely popular tracks from their 2018 album ‘Down Below’ and the crowd went wild with pure excitement as the introduction to the track ‘Nightbound’ was played pristinely and the second blast-from-the-past track ‘The Lament’ evoked the same reaction, if not bigger judging by the roaring crowd. The finger-breaking riffs from guitarist Adam Zaars made these two tracks invigorating to hear live with the passion and dedication emitted from those strings. The new album ‘Sub Rosa in Æternum’ was dipped back into following these two tracks and fans warmed up to the new music from the band at record pace, the raucous noise and feet slamming the floor shaking the very foundations of the building, and this energy was kept throughout the entire show. A couple of tracks later and much to fans' sadness, the performance was on its last few songs, but Tribulation would never let fans go home without giving them one last performance to remember them by. The final two tracks ‘Murder in Red’ and ‘Lacrimosa’ redefined the term ‘going out with a bang’. These two powerful tracks guaranteed a parting gift of whiplash for every single fan in the room, if it didn’t already happen during this extraordinary show. Tribulation have a talent for their performances speaking to every fan present, and this one was no exception. Words: Becca Wheeler Photos: Amy Smyth

Hailing from London, Wren’s much-awaited third full-length instalment does not disappoint. Avid fans and casual listeners alike will recognise the cathartic feel of Wren from their appearances in festivals such as Damnation, Desertfest and Raw Power, spreading their emphatic sound. ‘Black Rain Falls’ encapsulates all aspects of humanity into one neatly tied package of resounding potential. The opening track ‘Flowers Of Earth’ hits the mark right off the bat. With an ambient, rhythmic build-up that crescendos into some dominant lyricism, the deep, pounding grief that underlines the album is present from the start. The drumming carries a sense of wallowing to it, exhaling emotion with every punch and hammer. Written from a place of immense anguish after the tragic suicide of the band's close friend during COVID times, the trauma expressed throughout this track (and the album as a whole) resonates with all of us in a deeply personal and profound way. The subsequent tracks persevere with this dynamic tone. The overlapping vocals in ‘Toil in The Undergrowth’ create this great cacophony of sound, audibly conversing the multifaceted layers of grief the album explores. ‘Betrayal Of The Self’ holds so much power within it due to the intensity it carries, which only brings disappointment as the vocals feel quite strangled on this track, obscuring the poignant vocals at times. ‘Cerebral Drift’, the fourth title on this album, is notably different from the others - and not just in length. The instrumental track displays the more tortuous side of grief, delving into the internal, the cerebral, the intimate. By diverging from the rest and being a distinctive break from the emphatic vocals, it becomes a meditative moment of reflection, one that we all seek and need after the hard-hitting, all-consuming grief present. 'Black Rain Falls' is truly one of the best musical explorations of grief I have ever had the privilege to listen to. Drifting from denial, to depression to acceptance, it becomes a cry for every generation having to live in this desolate world we are all born into, solidifying and conceptualising all the desperation and anguish felt into seven striking songs. ‘Black Rain Falls’ will be released on February 21st 2025 via Church Road Records. Words: Dylan Milton Photos: Wren

In the realm of experimental music, few artists blend the eerie, ethereal, and haunting as seamlessly as Maud The Moth. With her upcoming album 'The Distaff', she has crafted a spine-chilling universe where ghostly vocals float over powerful yet swirling organ melodies, pulling listeners into a darkly mesmerizing landscape. 'The Distaff' marks a striking evolution in Maud's already captivating discography. Her previous releases often found her exploring the fringes of ambient, folk, and experimental music, creating worlds that are as beautiful as they are unsettling. In 'The Distaff', she steps further into the shadows, crafting a collection of songs that delve deeper into the eerie and the emotional, but with a more refined sense of control and intensity. This album pulls listeners into a world of mystery, melancholy, and beauty, inviting us to dive into the soundscape she's woven. The opening track, 'Canto de Enramada' (translated as 'Song of a Thicket'), immediately sets the tone, enveloping the listener in the dense, earthy atmosphere of a forest or secluded garden. Maud’s voice remains the central guide, fragile yet unwavering, leading us deeper into this mysterious realm. The track lingers, like the faint memory of a dream - a moment suspended between reality and myth. As the journey continues, 'A Temple by the River' leans toward peaceful reflection, blending nature and spirituality in a harmonious way, whereas 'Burial of the Patriarchs' carries a heavier, more solemn tone, punctuated by the repeating sounds of birds. This track embodies both the physical and emotional journey through different narratives. While these two songs flow seamlessly in their production style, the placement of 'Exuvie' disrupts the otherwise fluid motion of the album, shifting the mood unexpectedly. Known for her exceptional piano skills, Maud truly shines in the nine-minute epic 'DESPEÑAPERROS'. The track blends her masterful piano work with eerie string arrangements, creating a haunting atmosphere that evokes a deep sense of fear and rage. Throughout the piece, Maud's vocals take on an almost conversational quality, vocalizing an internal conflict that resonates with the struggles many women face. The tension in her voice mirrors emotional turmoil, adding an extra layer of raw vulnerability and power to the composition. 'DESPEÑAPERROS' becomes a journey through complex emotions, where both the instrumentation and her voice work in harmony to express unspoken battles. The concluding track, 'KWISATZ HADERACH', delivers a powerful meditation on the trauma experienced by the narrators. The song evokes a sense of acceptance, grappling with the feeling of an unknown, darker identity - one that emerges in the face of what is lost in the search for true self. 'The Distaff' by Maud The Moth is a captivating exploration of identity, trauma, and emotional complexity. Through its eerie vocals, intricate piano, and atmospheric arrangements, the album creates an immersive and haunting experience. Maud’s voice, delicate yet powerful, carries the weight of the album’s themes, navigating the struggles of loss, generational conflict, and the search for self. The lush instrumentation strikes a balance between beauty and darkness, drawing listeners into a world of vulnerability and raw emotion. However, while the album excels in atmospheric and emotional depth, some tracks can feel slow-paced, lingering in their introspective moods without adding enough forward momentum. The dense layers of sound occasionally obscure the clarity of the lyrics, making it harder to connect with the narrative on a more direct level. These moments, though, are few and do not detract from the overall power of the record. 'The Distaff' solidifies Maud The Moth as a unique and compelling voice in contemporary music, offering an album that will resonate deeply with those willing to embrace its darker, introspective journey. While not always easy to digest, it is a hauntingly beautiful and thought-provoking experience that lingers long after the music fades. 'The Distaff' will be released on February 21st 2025 via The Larvarum. Words: Mia Gailey Photos: Maud The Moth

God Complex are finally making a return to the scene after their last album was released way back in 2021. Their new EP 'He Watches In Silence' is their first music back, and the band are very keen for people to hear these five songs - they've said themselves that, when recording this EP, they "deliberately avoided lengthy pre-production and allowed small variations in the recordings, to embrace the mess and chaos that sit at the heart of our sound." The EP opens with the track ‘Salt and Ash’, which was originally released at the tail end of 2024 to truly welcome everyone to their new era and establish the sound they're bringing. The song starts with a minute of haunting instrumental, creating an eerie atmospheric sound. After this minute the listener is suddenly struck with thunderous drums and screeching guitars, before getting into the real grittiness of the EP - accompanied by the impressive screams of lead vocalist Harry Rule. The next song ‘Depraved Idol’ is the title track for this EP, the band describe it as a song that explores the imagery of rebirth in the idol of the Green Man which is a folklore story, many times depicted in art and architecture as a man reborn from foliage. The song opens heavily as the two vocalists go back and forth, and no two moments of the track are the same with each new section introducing new riffs and drums. A particular highlight of ours is the breakdown around a minute in that introduces apocalyptic bass riffs, with drums that pair together with the desolate bass for a perfect headbanging beat. ‘Ba’als Trick’ follows the themes of gods and deities and how they can manipulate the mind. The songs make up reflects these exact themes, with anguished shrieks and howls perfectly encapsulating the feelings one might have after having been fooled by a divine entity, and knowing there's nothing that can be done about it. The last two songs ‘The Judge’ and ‘Flooded Lungs’ carry on with these cataclysmic themes. ‘The Judge’, although short, at only one minute in length - leaves a lasting impact, as it comes in full throttle and features intense and vigorous drum beats that we can only imagine are a full body workout for drummer James Lyon to play. The EP closes out on ‘Flooded Lungs’, which has some of the most impressive vocal moments of the collection and repetitive guitar riffs that are sure to energise and channel the pure rage of the listener, closing out with a long instrumental section perfect for any keen mosher. Any caustic blackened hardcore fan need look no further than this EP, as it combines chaos and feral animal instinct to give the listener an experience full of heavy breakdowns, fast paced fearless vocals and addictive ear pricking guitar riffs. God Complex will be touring next month, so if you'd like to catch this abrasive release in person they'll be heading out shortly! 'He Watches In Silence' will be released on February 21st 2025 via SharpTone Records. Words: Amy Smyth Photos: God Complex

Let’s not beat around the bush - UNLEASH THE ARCHERS are the best damn power metal band touring the planet right now. Objectivity be damned. Anyone who’s seen them live knows this isn’t just overexaggeration. Once this band has been witnessed in the flesh, all doubts are washed – nay – tumble dried away. Much reverence should be given to the sheer commitment and hard-work by the band to achieve the positions they are in now. And work hard they did. The group started as a one-of-a-kind mix of power with melodic technical death metal on their first two albums; “Behold the Devastation (2009)” and “Demons of the AstroWaste (2011)”. They soon changed direction, sharpening their blades and unleashing a spectacular album run of “Time Stands Still (2015)”, “Apex (2017)”, “Abyss (2020)”, and now 2024’s “Phantoma” elevating the genre in both maturity and authenticity in an age where there are more gimmicky power metal bands than ever. Now, Brittany Slayes, Scott Buchanan, Grant Truesdell, Andrew Kingsley, and Nick Miller have arrived at the Big Smoke, fresh from the battle of Bloodstock, and are ready to lay waste to the hall. They are joined by fellow power metallers Seven Kingdoms and party animals Striker to remind us what glory lurks across the pond. Back at home in Canada it is the long Family Day holiday weekend, and what a glorious family reunion it would turn out to be. Yet another bitterly cold winter night in London, though the Canadians probably consider it ‘light jacket weather’. The queue outside shivers in metal tees and battle vests, conversations flitting between setlist speculations and existential debates about if Blind Guardian peaked in the 90s. Hair colours range from pastel pinks to highlighter green. Standard fare. Soon after being motioned inside, the crowd is quickly warmed up by Westerosi outfit Seven Kingdoms still riding the wave of their EP “The Square” from last year. The hall is lit up by reds and blues, and the riffs come out like a tidal wave. Between songs, vocalist Sabrina Cruz delivers motivational messages like a power metal Tony Robbins - somewhere between a high level paladin and your best friend after three shots of tequila. The crowd eats it up, fists pumping in collective protest of all things drab and miserable. With no time to waste, the next band begins. Striker are a band that are all about impressions. Shirt sleeves? Gone. Pit Vipers? Certainly. Bicep flexing? Affirmative. Breaking in with titles such as “THUNDERDOME” and “Sucks to Suck”, If you don’t yell “hell yeah” at least three times during their set, check your pulse. Half Suicidal Tendencies, half Anthrax (with a little bit of Journey thrown in), they are a hell of a good time. And that’s the bottom line. Islington Assembly Hall is a Grade II listed building, and if you forget, the staff will remind you. No smoking, no vaping, and for the love of god, please no chewing gum. This place has survived the Blitz from the Luftwaffe and a century of wear and tear, but when Unleash the Archers take the stage, it might not survive the night. They explode onto the stage in a supernova of light and sound. On the floor, we are transformed into piranhas with blood in the water. But something is amiss. The smoke machines are going full tilt, swallowing the drummer and backdrop into oblivion, to the chagrin of the group. The rest of the band are rendered into silhouettes - ghosts in the mist - unleashing blood for blood. Regardless, it makes for an eerie and almost dreamlike atmosphere as they sally forth into “Ph4/NT0mA”. “Ghosts in the Mist” is appropriately smothered in fog, the crowd screaming every word back at them. “Green & Glass” and “Gods in Decay” then rain down like a hammer on an anvil. Phantoma isn’t just a triumph on record; it has sunk its hooks deep into the fans’ consciousness in such a short time. When the tracks from the critically acclaimed Apex appear, the audience is eager to hear the saga of The Immortal and The Matriarch. "Awakening" surges like a 10,000-volt shock. "The Matriarch" haunts and thrills. The title track has every phone torch raised to the heavens, faces beaming in jubilation. There’s not a damn frown in sight. A short interlude, then the Abyss set. The real test of their mettle. "Abyss" sees Grant Truesdell and Andrew Kingsley ripping solos so fast they’ve broken speed limits in multiple countries. "Through Stars" has Nick Miller laying down a bass groove so deep it rattles the floorboards. As for “Soulbound” and “Faster than Light”, Scott Buchanan is detonating a drum assault somewhere in the fog. The man may no longer exist in physical form, only as pure percussive force. Then, the grand finale. The song that first launched them into metal’s stratosphere all the way back in 2015; “Tonight We Ride”. Vocalist Brittany Slayes has been a hurricane all night, but here, she practically tears through the fabric of reality (with a cold!) The crowd is helplessly clutching their throats before her, still sore from screaming along, while she effortlessly belts out high notes so intense they could tremble the foundations of the earth. Something to reflect on next time you reach for that lozenge. The encore song is a tribute to the late great Stan Rogers, Nova Scotian folk musician extraordinaire, with his song “Northwest Passage” about the doomed Franklin expedition. In a moment when tensions between the U.S. and Canada simmer, it feels especially poignant. By the end of the night, Islington Assembly Hall is still standing - barely. Any hints of drear and depression are long gone, and a group of five Canadians are able to do in two hours what a therapist couldn’t do in ten years. The crowd staggers back out into the cold, hoarse, ears ringing, and adrenaline still pumping. Upon reflection, everything down to the opening band choices was perfectly balanced. The setlist was comprised of three songs from each of their more recent albums, with “Tonight We Ride” and “Northwest Passage” as additional material. Three-ish songs from each of their recent albums renders the setlist balanced and enjoyable as they pull a healthy variety of songs to play. It is always a special feeling to see a band at its zenith, but with Unleash the Archers you can never be too sure if the band has even begun to peak yet. This show was truly unmissable, if there was someone who was a stranger to the genre, this might be the best option to show them the very best of what it has to offer. The message is clear: Unleash the Archers aren’t just one of the best power metal bands in the world. They are power metal incarnate, transferring the feeling onto the listener in a thoroughly enjoyable ritual. Truly revolutionary. Words: Kiarash Golshani Photos: Simon Arinzeenjoyable ritual. Truly revolutionary.

Progressive metal titans TesseracT have long been at the forefront of the djent and prog-metal scene, continuously evolving their sound while maintaining their signature blend of intricate polyrhythms, soaring melodies, and crushing heaviness. Their latest release, ‘War of Being’, has pushed their sonic boundaries even further, delivering a conceptual and immersive experience that translates powerfully into a live setting. For their ‘War of Being Part II Tour’, they have enlisted French progressive metalcore outfit ‘Novelists’ and Australian instrumental prog trio ‘The Omnific’, a lineup that promised a night of relentless musicianship and emotional intensity. Opening the night, The Omnific showcased their unique approach to progressive metal, setting themselves apart with a lineup that features two bassists and a drummer, no guitars necessary. The Australian trio’s complex interplay of melodic tapping and heavy grooves captivated the audience, creating an atmosphere that was utterly hypnotic. Tracks like “Merlin’s Id” and “Ne Plus Ultra” demonstrated their ability to weave intricate bass melodies into heavy, groove-laden passages, while the sheer dynamic range of their set ensured that even those unfamiliar with their work were left impressed. Despite being the first act, their intricate compositions and undeniable chemistry made them a standout, proving that bass can more than hold its own at the forefront of modern progressive metal. Taking the stage next, Novelists brought a heavier, more emotionally charged energy to the night. Vocalist Camille Contréras, commanded the crowd from the moment she graced the stage with a mix of soaring cleans and raw screams, while the band’s dynamic transitions kept the audience fully engaged, making full use of all platforms. Opening with ‘Lost Cause’, the band immediately ignited the pit with crushing riffs and soaring choruses. Tracks like ‘Do You Really Wanna Know?’ and “Prisoner” balanced melody with raw heaviness, proving that Novelists are a force to be reckoned with in the modern prog-metalcore scene. As the lights dimmed and the intro to ‘Natural Disaster’ rumbled through the venue, anticipation reached its peak and the venue erupted. TesseracT have built a reputation for delivering sonically and visually immersive performances, and tonight was no exception. From the first note, they commanded the stage with an effortless blend of technical precision and raw emotional power, which was magnified further by vocalist Daniel Tompkins balancing on the barrier and immersing himself in the crowd. Following with ‘Echoes,’ the band wasted no time in locking into their signature ethereal yet crushing groove. Vocalist Daniel Tompkins seamlessly transitioned between his soaring clean vocals and guttural roars, demonstrating his incredible range and control. The interplay between Acle Kahney’s and James Monteith’s intricate guitar work created a hypnotic wall of sound, perfectly complemented by Amos Williams’ thunderous basslines. Jay Postones’ complex yet groove-laden drumming provided the perfect foundation, driving the band’s dynamic intensity forward. The middle of the set saw deep cuts from across their discography, including ‘Of Mind - Nocturne’ and the hauntingly beautiful ‘Tender’, before launching into the emotionally charged ‘Sacrifice’. Each song building in intensity and drawing the crowd deeper into their sonic world, ‘King’ and ‘Smile’ further cemented the band’s ability to balance melody with crushing heaviness. As the set progressed, ‘The Arrow’, ‘Legion’, and the monumental ‘War of Being’ showcased the sheer range of TesseracT’s sound, from atmospheric passages to devastating riffs, each moment more immersive than the last. Closing out the main set with the fan-favorite ‘Juno’, the band left the stage to thunderous applause. But the night wasn’t over yet. Returning for an encore and bringing the full crew on stage in sheer appreciation, the unmistakable opening notes of ‘Concealing Fate, Part 1: Acceptance’ sent the room into a frenzy. One of their most iconic tracks, it was a fitting way to close an evening that encapsulated everything Tesseract does best - technical brilliance, raw emotion, and a performance that transcended mere live music, becoming something truly cinematic. A fitting way to end the last UK show of their tour. TesseracT’s ‘War of Being Part II Tour’ is more than just a live show - it’s an immersive experience. With a carefully curated setlist, impeccable sound, and an awe-inspiring stage presence, the band reaffirmed their status as one of the most innovative acts in progressive metal. Supported by the phenomenal performances from Novelists and The Omnific, this was a night of musicianship at its finest, one that left Leeds with a newfound appreciation for the sheer artistry of modern prog metal.# Words: Katie Edwards Photos: Ollie Hayman

The Boulder, Colorado trio The Velveteers – fronted by the captivating Demi Demitro, accompanied by the energetic dual drummers Baby Pottersmith and Jonny Figg – have already played stadium stages alongside Guns N’ Roses and Smashing Pumpkins, following the success of their debut album. Now they've returned with their sophomore album ‘A Million Knives’ – a fierce comeback which encapsulates the band’s punk-laden sound, and offers a glimpse into the unspoken tolls of being an artist and the heartbreak caused sometimes by expectations clashing with reality. ‘All These Little Things’ kicks things off with a powerful sound that immediately draws you in and peaks your interest for the rest of the album. It is followed by ‘Suck The Cherry’ – the type of song that gets stuck in your head all day, but trust us when we say you are not going to get sick of this one too soon. The signature punk attitude and raw energy are driven by the dual drums and the guitar riffs, highlighting the lyrics perfectly. ‘Bound In Leather’ was the first song to be brought to life for this album and is distinguished by a heavy disco rhythm, that had us hitting rewind to hear our favourite part again and again. It focuses on the feeling of being trapped in your own body (“I’m an open book but I’m bound in leather”) and needing people to prove their trust to you – “You gotta prove it to me, show me that you mean what you say”. The title track ‘A Million Knives’ summarizes the general idea of the album and has a more mellow sound, with the meaningful lyrics tugging at your heartstrings as the song plays on. The last section of the album consists of more melodic songs, the transition being marked by the lead single ‘Go Fly Away’. Co-written and co-produced by Dan Auerbach and Patrick Carney of The Black Keys, the track aims to embody the need for freedom. ‘Fix Me’ has an added musical box sound which immediately makes you yearn for something long gone, a version of yourself that isn’t tangible anymore (“The sparkle that once was in my eyes, it has slowly faded away. Does it come as a surprise, or did you see it from miles away?”), ending the record with a dose of raw vulnerability. This album is a must listen as it focuses on the band’s evolution through highs and lows, while keeping their distinguished rock’n’roll sound intact. Balancing heavier songs with some more melodic ones, the overall feeling of the album comes across as vulnerable and honest, leaving the listener wanting more and eager to follow the journey of the band. Words: Iulia Furnica Photo: Jason Thomas Geering

In terms of origins and inspirations to create a piece of art, ‘Conditions III’ by Chalk might be one of the best we've ever heard. Written across the eve and aftermath of a volcanic eruption in a remote part of Iceland, the three-piece from Belfast known for their post-punk, techno and industrial guitar have brought us the finale to their trilogy of 'Conditions' EPs. With a passion for Dublin’s guitar music scene and influenced by Belfast’s dance scene, Chalk have the perfect mix of Irish post-punk. For a band who only formed in 2019, and released their very first EP without ever playing a single gig, they have had great success on the scene so far - selling out their debut hometown headline in Belfast. It’s clear to see their unique perspectives and challenges are highlighted throughout the band discography, with ‘Conditions III’ being no different. ‘Leipzig 87’ envelopes us in a soundwave of industrial noise, building layers of techno and whispering recorded speech. The track starts deathly quiet, you can hear each layer of sound being stacked on top of one another until it’s almost too much - before they're drawn back all at once, leaving us craving more. Certain beats remind the listener of a heartbeat, an intimately familiar sound but pitched differently here, feeling almost alien. The rhythmic clang of metal echoing throughout the track, mixing perfectly with the already established electronic techno beats, add more industrial elements to the track The popping and clicking ending of ‘Leipzig 87’ carries onto our next track ‘Afraid’, where you can definitely feel a distinct style which then carries through the whole EP- a testament to Chalk’s confidence in their unique approach. The layering of music slowly fading in portions, before blasting forth with an added soundscape of guitars and repeating vocals throughout the track, certainly elevates the listen and fits right in with the feeling of being on a sweaty packed dance floor or sold out gig. ‘Tell Me’ explores themes of wanting to run away and never return, along with the confusion and dissociation that comes with the feeling of needing to get away from your own dark past. Linking back to themes that were lightly explored in the previous 'Conditions' EP’s, but this is a much deeper dive into this headspace, always searching for an answer that might not ever present itself to us. The music, and in turn the music video, provide an ever-growing tension with pressure growing and building with every second, like a disaster you know is about to happen but you can’t seem to take your eyes off of. It’s executed perfectly with the visuals of a small confined car, bright red lights, and rain constantly pouring - an argument awaiting to erupt at any moment. The longest track on the release is the epic conclusion to both the EP and the trilogy: ‘Pool Scene’ is almost 5 minutes long, and spends that time feeling optimistic and hopeful, a complete contrast to the previous track. The whole piece feels lighter, following the same slow build up and adding layers of sound we have come to expect from Chalk’s approach. It feels like a deep breath of fresh air after all the intensity of ‘Tell Me’, with themes of letting go and moving forwards but still with contradictory lyrics, an internal battle we all face when uncertain in life. However, ‘Pool Scene’ feels like an homage to old wounds, battles and conflicts in the past - we would never learn how to get back up again if we haven’t first been pushed down to the ground. It’s clear they have a dedicated fanbase, and who can blame them with their themes of vibrant techno, deeper dives into tension and confusion and a successfully ambitious conclusion to their 'Conditions' EP trilogy. Chalk are currently set to embark on a string of sold out headlines across the UK, Ireland and Europe at the end of February and into early March. 'Conditions III' will be released on January 21st 2025 via Nice Swan Records. Words: Tyler Whiting Photo: Aaron Cunningham

Connecticut-based melodic hardcore outfit Anxious have been steadily carving out their unique niche in the scene since their arrival in 2016. Their 2022 debut album 'Little Green House' not only demonstrated the band's ability to infuse raw introspective energy into tracks, but also showcased a unique evolution that deeply resonates with existing fans and intrigues new listeners. This sound has evolved from their phenomenal EPs 'Carved', 'Promo 2019', and 'Never Better', marking a journey that is both exciting and promising. Hot off of their critically praised debut, Anxious are back with sophomore record 'Bambi', marking a new chapter in their evolution. On 'Bambi', Anxious build on their emo and melodic hardcore roots with shimmering alt-rock textures and more intricate vocal harmonies. This unique sound, a blend of emo and melodic hardcore, is sure to excite and intrigue their fans, who will appreciate the band's commitment to their distinct style. There are hints of Title Fight’s influence on the band scattered throughout, and the little moments of shoegazey glory pay tribute to them aptly. Vocalist Grady Allen states that 'Bambi' was a potential competitor for the band's name, found buried in an old memo on his phone. This personal discovery would eventually become the title of the band's second full-length album, adding an element of looking back toward one's beginnings, apt for an album deeply rooted in exploring themes of leaving adolescence behind and the challenges of adulthood. The album kicks off with the emotionally charged 'Never Said', its soaring chorus cutting deep against a backdrop of crashing drums. Meanwhile, 'Counting Sheep' is an instant singalong, fusing bright guitars with a driving rhythm section. This could quite easily become a firm favourite at alt nights! Elsewhere, 'I’ll be Around' slows things down with introspective lyricism and reverb-soaked chords, showcasing the band's softer side to close things out. With tracks like this, Anxious prove they’re more than just rising stars—they’re future festival headliners in the making. Anxious, you have our attention! The combination of emotional highs and lows in 'Bambi' creates a roller coaster of feelings, enabling listeners to connect their own experiences with the music. Anxious does an excellent job blending these elements by smoothly transitioning from reflective verses to powerful choruses that are sure to encourage crowd participation on their upcoming tour. Anxious have crafted a beautiful fusion of emo and melodic hardcore with 'Bambi'. The album encapsulates the complexity of growing up, where heartbreak can coexist with celebration, making it a deeply relatable soundtrack for navigating the challenges and triumphs of life. It is a portrait of the growing pains and challenges of growing into adulthood while touring relentlessly for the past few years. Previous comparisons to bands like The Wonder Years and Hot Mulligan are still valid, yet Anxious' sound has always been distinctively their own and is made even more so here. With 'Bambi', Anxious solidify themselves as one of the most vital voices in modern emo and melodic hardcore. Their ability to craft deeply personal yet anthemic songs makes this an album that will stick with listeners long after the final track fades out. Whether you’ve been following them since their early EPs or are just discovering them now, 'Bambi' proves that Anxious are a band truly coming into their own. Much like the leap from 'Never Better’s textbook, raw, melodic hardcore to 'Little Green House’s master class in pop-punk craftsmanship, 'Bambi' is a welcome and distinct evolution in Anxious’ sound. Taking elements from their entire discography and refining them down into something truly unique, it shows a marked leap in ability and maturity that still keeps hold to everything that makes the band what they are. A true tour-de-force of emotional hardcore with pop-punk influence that draws from the bands that paved their way, but is ultimately utterly unique - and definitively Anxious. Anxious will be touring heavily in support of the album, with a US run kicking off this Spring with support from Ultra Q and Stateside. 'Bambi' will be released on February 21st 2025 via Run For Cover Records. Words: Andrew Nile Photos: Anxious

The “final form” of the series is officially here, Darko US take to Instagram to promote the final piece of the 'DETHMASK' trilogy. The American duo, consisting of vocalist Tom Barber and multi-instrumentalist Josh Miller, bring to life their much awaited album 'DETHMASK 3'. Since their formation in 2020, Darko US have been treating fans to a fresh spin on death- core with a melodic, groovy undertone, and this latest instalment is no different. Offering a deeper, more intimate sound, 'DETHMASK 3' brings listeners closer to the soul of Darko US. The album opens with the one minute long song 'Introduction', which lulls you into that pre gig buzz concert-goers will know all too well. The loud, indistinct chatter as you’re waiting for the lights to go down and the band to storm on rings through your ears. You hear cheers erupt as you notice movement from backstage, you hear fans start to chant and then the distinct sound of electronic beats start up, as the “fine young gentlemen” of Darko US slam their way into your ears, bringing a “very, very, special experience". 'Mallet Pulse' promptly opens with the guttural sounds of Barbers unique vocals. Barber has crafted his own charm and many will recognise his tones, as the previous vocalist of Lorna Shore, but with Darko he brings a whole new sense of style and 'Mallet Pulse' is incredible evidence of this. With this evolution of the bands sound, comes a defined new style - electronic mixed with intense, concentrated vocals that provoke the listeners heart rate to increase. Calming, dulcet tones come next, with 'The Chain Hand' convincing listeners they are on a journey of discovery. Lulled into a new space, focusing more on the synth heavy sound Darko love to exploit to bring fans an experience of musical fullness. Reassuring you that whilst they know how to crush a heavy set of vocals, they can also push that slightly aside to let their full talents shine through, whilst keeping the listener completely engaged in the storytelling. As the album progresses, you are engaged in a battle of the self; ideas of self worth, self discovery and perhaps at the end of it all self acceptance. But in order to get there, Darko forces you to ask if you’ve ever dreamt of a better version of yourself: 'HAVE YOU EVER' is punctuated with the use of gunshots in the background, which add to the feeling of uncertainty and the idea that you don’t really know where this album is taking you. It leaves you guessing what’s coming next, but simultaneously makes you screw your face up because it’s just that good! This song also features vocals from 15 year old Caleb Douthett, vocalist for a small Michigan based aliencore band, Trashcan Murder Ride, and Keilokei of Slay Squad 111. Their features on this song come from a competition and yet do still truly enhance the song, even from small snippets of their vocals. Nearing the end, 'Gizamachi' is a short but sweet instalment, reminding you that “this is the finale”. Including the name of the album in a song is old news, yet Darko keep on reworking cliches with a fresh style, and when you hear “This is DETHMASK 3” in an ethereal, futuristic voice, you are reminded why Darko has such a solid fanbase. The steady beat conjures up emotions inside, your feel a lump form in your throat as you know you are nearing the end of this melodic expedition. This feeling only continues with the final addition 'GRIM REAPER AND A UZI' as you intrude on a conversation that brings you back to reality. Ending with a beautiful, balladic song all thanks to the hauntingly good vocals of indie artist Layzi, you know Darko US have ended the DETHMASK trilogy in the most perfect way. There is no sense that anything has been left unsaid, or missed. Darko knew exactly the direction they were taking this album, and in just 27 short minutes, the listener has been given an thorough insight into deathcore as a genre, and just how expansive that can be. Anyone who listens to this album, will be left eagerly awating whatever this incredible duo will conjure up next. Words: Emily Bancroft Photos/Videos: Darko US