February 14th, 2025. For some people, today is about celebrating Valentine’s Day and spending time with your partner, but for the 200 or so individuals filling out the Pink Room at Manchester’s YES bar for Dune Rats’ headline show, tonight is about beer, weed, and the sweet, distorted sound of Australian garage punk. Starting off the show are Brighton based duo Snake Eyes, and they immediately have the crowd hooked. Having only formed in 2020, the band have an impressive number of absolute hits to their name. ‘no one is truly cool’, off their most recent EP ‘health’, was an instant crowd pleaser, and everyone who had shown up early to catch the band became instant fans. Snake Eyes will be appearing at a couple of shows on You Me At Six’s farewell tour, so be sure to catch them at these upcoming gigs! Dune Rats start their set with what is easily their most iconic song: ‘Scott Green’, not giving the crowd even a second to process them getting on stage before frontman Danny Beus begins the scratchy vocals of “At a party, who’s Scott Green?” (Get it??), sending the already hyped up crowd absolutely crazy. After finishing 'Scott Green', the band immediately rip into 'Be Like You', off their latest album. It's a fun, bouncy track that really sets the mood for the rest of the night. This is the band’s first time back in the UK since the release of their latest album; ‘If It Sucks, Turn It Up’ (which does just about anything BUT suck). Having last been here on a short run of shows supporting Don Broco, as well as playing 2000 Trees festival last summer. It’s exciting to see Dunies on their own headline tour, and the unique energy they get to bring along to that. A track notably missing from the setlist is their cover of The Angels' 1977 song, ‘Am I Ever Gonna See Your Face Again?’. Originally recorded for Triple J’s Like A Version, it’s become an essential part of their discography, and it's a shame not to get to hear the cover this time around. But the band more than make up for it with the rest of the set. Their latest single, a collaboration with FIDLAR, 'Dead, Rich or In Jail', is a exciting return to their heavier sound, and a wonderful addition to their new setlist. Finishing off with two classics, 'Dalai Lama' and ‘Bullshit’, the crowd's energy has reached it's absolute peak. We have crowd surfers making their way onstage and diving right back into the crowd, and just about everyone in the small attic can be heard screaming along to "Dalai Lama, big banana, marijuana!". It must have sounded very strange to the bar-goers downstairs. Dune Rats utterly rattled the YES Pink Room, and we can only hope to see the Aussie trio back in the UK as soon as possible. Words and Photos: Izzy Scott

Originating from the beautiful community of Catalonia, Spain, Ankor have been making enormous waves in the alternative music scene since mid 2003, with their band members being just 13-years-old at the time. Fast forward to 2025 with five incredible albums under their belt, the band are blessing ears everywhere with their ‘Shoganai’ tour spanning across major cities in the UK and Europe, including The Underworld in Camden, London, a venue famous for its world-renowned list of previous artists that have graced their stage, and Ankor are no exception. Ankor’s stage presence is second to none and the band have made one thing abundantly clear, they are here to mosh and you better be too. The band set the tone of the night stunningly with support from Conquer Divide, an American rock band formed in 2013 who certainly know how to demand a thriving circle pit, and Seven Blood, an up-and-coming Emo Metal band from Germany who started creating music in 2023, and are now stomping their way into the big leagues with their stellar performances. Seven Blood stepped out onto The Underworld’s stage with lead singer Azaria Nasiri commanding the energy of the room to unspeakable levels with a few of their top hits to date, including the tracks ‘Monsters’ and ‘Killing from the inside’, and from this striking performance, they left the stage confident that they had gained more than a few brand new fans that night. Conquer Divide followed very shortly after, bursting onto the stage and right into the action with their track ‘Atonement’, beginning with energizing screams from lead singer Kiarely Castillo and insanely intricate riffs from guitarist Isabel Johnson. The band demanded circle pits left, right and centre to complement their vigorous performance which shook the very foundations of the building itself. The band then made their way through their most recent album ‘Slow Burn’, released in 2023, showcasing their innate talent and their drive to make every fan in the audience scream along with them. After thirty minutes of tense anticipation following Conquer Divide, Ankor announced their arrival with an incredible light show and each member coming into view and showing off their insane skills one by one, and lead singer Jessie Williams boasting her talented vocals as soon as she graced the stage. The energy escalated at unfathomable speeds as smoke and lights filled the stage at the very beginning of the first track from their new album ‘Shoganai’, named ‘The World Is a Cruel Place… And It Is Also Very Beautiful’, a predominantly instrumental number that set the tone of the rest of the show phenomenally and left the audience in anticipation for which tracks their eardrums were going to be blasted with next. The band then leaped straight into the depths of their new album with the tracks ‘Venom’ and ‘Stereo’, two that are far into the album but strike with breathtaking vocals and astonishing instrumentals nonetheless. Ankor began bounding around the place, not just using the stage but rather commanding the stage as if they had been there their entire lives. The fans created enormous circle pits on the floor, as if to respect the masters of metal at work. However, the moshing was only just beginning, as Ankor demanded the fans carry on the roof-shattering energy for their next track ‘The Legend Of Charles The Giant’, which is one of their most intense tracks to date with guttural screams from lead singer Jessie Williams that cover at least 80% of the song and her voice being so versatile that she has the power to leap between singing and screaming as if she was flicking a light switch. With such high energy, comes a brief change of pace, and that is exactly what went down with the bands next track ‘Nebula’, a slower-paced love song from their previous album ‘White Dragon’, and the rare spectacle of a sea of metalheads swaying their arms through the air was really a sight to behold. As the band delved deeper into their brand new album, the fans reaction was second to none, with a packed out floor that would give a claustrophobe nightmares and circle pits emerging from each and every corner of the room, especially with their newest track ‘Prisoner’, that gives each and every metal band that came before them a run for their money. Ankor split between singing and screaming effortlessly during their remaining tracks, ending with the title track of the album ‘Shoganai’, which gifted fans with the chance to rage one last time before going back to their homes with only the memory of this spectacular performance from a band who can command a room through the power of music so effortlessly. Words: Becca Wheeler Photos: Amy Smyth

Los Campesinos took to the Troxy for the first night of their ‘Valentine’s 2-Night Stand’, with unique setlists, commemorative wristbands and an extra special performance in tow. Opening for them, there was Goat Girl, this odd three piece blessed the Troxy audience with their socio-poltical post punk style. They had such a unique way of playing these slow tunes that envelop you into an atmosphere of light synths, chime-y guitar chords and and plenty of fills that were downright impressive – they all sonically were intwined by the singers impressive vocal range, singing lows that were far from the angelic highs that singer Clottie Cream was knocking out the park. Their vibrance, demeanour and uniqueness was perfect way to calmly ready the audience for what was to come. The lights went down in Troxy as red filled the room from the backlights on stage, a short intro track played then the veteran 7-piece entered the stage to thunderous applause and cheers. Opening with the live debut of ‘The Coin-Op Guillotine’ the band wasted no time setting in stone how much these nights mean to the band their fans, exercising their prestige with an extra bass and strings section to add extra oomph to all their music played that night. Playing their newest album ‘All Hell’ in full there were plenty of other live debuts to be had making this show a proper treat for the fans, I was honestly amazed by how much music they played with a 28 song setlist, this was every die hard fans wildest dream. The energy in the vocals from singer Gareth Paisey were unmatched, he not only gave it his all in this regard he also pumped the crowd with his interaction and sheer devotion to the music; this was only elevated by the rest of the band all chiming in for the group’s folky sounding choruses; this mixed with the upbeat indie pop made for a very fun performance. Something I always appreciate as a punter is a band that devote themselves to playing the music completely live and organically, with a total of ten musicians on stage it was clear that no computer or backing track had any part of this night – every single instrument at this bands arsenal made for a performance that will forever stick. The fact it took place on valentine’s day only added to this fact – the love in the air was strong with couples singing to each-other solo fans bonding with strangers over a shared love of this band, and with them going for a good few years now Los Campesinos attract and audience of varied age but definitely a shared love, with plenty of affection being shared around to people of every walk of life, and Out Of Rage can only ever be proud of bands representing and accommodating for everyone; bringing a couple hours of peace and escapism through live music. If you have the chance to grab tickets to ever see this band I highly recommend, you may have missed a special one-off collection of shows with the ‘Valentines 2-Night Stand’ but we can comfortably assume they’ll be back for their fans in this way again sometime soon. Words and photos: Ben Blissett

Oakland outfit SPY call back to 90's punk and hardcore on their latest EP 'Seen Enough', venting their frustrations with shady politicians and fake friends alike across 10 full-on minutes. The EP wears its heart on its sleeve, discussing society's continued descent with diminishing hope for course correction, whilst taking as much influence from Bad Brains and Dead Kennedy's as they do Ceremony. Opening with lead single 'On the Brink', it is remarkable to hear the sheer volume of structure present in these very short tracks. Intentional tempo changes atop the bouncy hardcore sound that characterises this EP move quickly into the funky-sounding 'Stay in Your Lane'. Between this and second single 'Dim', these tracks are made to validate the listener in those moments when they meet someone who needs to just drop the act. 'Stay in Your Lane' is the particular highlight with its four to the floor lead and easy hook. The latter half of this EP is its prime: 'Overlord' gives a more dance-punk vibe to open the floor up for fans, whilst 'Quit the Act' is easily the standout moment of the project. It is another example of the clear structure that SPY have managed to fit into each tiny track time, and its direct callout lyrics are a satisfying scream for the angry or discontented. However, with 'Quit the Act' being the EP closer, the rampant finish does leave the listener asking for more. Overall, this EP has a bit of everything we like about 90s punk heavyweights, like Rancid and Pennywise. The six tracks are varied both between each other and within themselves, which speaks to the technical talent of the quintet, while the choice to record live and straight to tape adds to the old school feel and maintains the DIY energy of this project. However, the amount of guitar distortion to transition between tracks is an assault to the ears - every track either begins or ends with it (often both), and tarnishes otherwise high quality hardcore by leaving the listener with the wrong type of headache. As SPY gear up for a US tour and a festival run in the summer, we can’t wait to hear 'Seen Enough' in the pit, but hopefully they’ll find a few more ways to transition tracks. 'Seen Enough' will be released on 21th February 2025 via Closed Casket Activities. Words: Julia Brunton Photo: Naida Lindberg

Since their formation in 2019, Cross Bringer have carved out a space for themselves in the underground extreme music scene. Their 2020 debut album 'The Signs of Spiritual Delusion' introduced listeners to their unrelenting mix of screamo, blackened hardcore, and post-metal while diving deeper into themes of transformation, inner conflict, and spiritual unrest. With their second album 'Healismus Aeternus', Cross Bringer are pushing their sound even further into the depths of chaos and introspection. With the band spread across different corners of the world—Belgium, Russia, the USA, and Cyprus, Cross Bringer have overcome significant logistical challenges to create a new addition to their catalogue that feels both raw and meticulously crafted. Rather than sticking to a single genre, 'Healismus Aeternus' thrives on unpredictability. One moment, the band delivers breakneck drumming and frantic guitar work; the next, they plunge into eerie, slow-burning passages that feel almost meditative. Their ability to shift between blistering speed, atmospheric tension, and haunting melodies makes this album an unpredictable yet cohesive experience, and feels like a dark fairy tale being woven into the listener's own ears. ‘Desolation Hypnosis’ - the opening track and lead single - is a relentless mix between a foreboding ambient build up, speedy riffs, and screams, that immediately sets the tone for the rest of the album, balancing aggression with hypnotic melodies. ‘Metamorphosis’ is another stand out track that embodies change, moving fluidly between chaotic intensity and eerie calm - while ‘Structural Imbalance’ is a perfect representation of the album’s musical themes, fluctuating between crushing heaviness and moments of reflection. The band’s diverse lineup brings a unique dynamic to the table, making them one of the most interesting bands on the scene. The layered guitars, frantic yet precise drumming, and emotionally charged vocals create an overwhelming yet cathartic listening experience. Recorded across multiple countries, the album is a testament to the band’s dedication and ability to overcome distance in order to create something truly special. 'Healismus Aeternus' isn’t just a collection of songs, it’s an intense and immersive experience. Cross Bringer has crafted an album that feels both personal and universal - the layered guitars, frantic yet precise drumming, and emotionally charged vocals create an overwhelming but intensley gratifying listening experience. Whether you’re drawn in by the sheer intensity or the introspective moments, each track keeps you engaged and engrossed in the band's storytelling through their music. 'Healismus Aeternus' will be released on February 21st 2025 via Consouling Sounds and Silent Pendulum Records. Words: Arcadia Craven Photos: Cross Bringer

Having impressive festivals under their belt like Bloodstock Open Air and UK Tech-Fest, To Obey a Tyrant have become a force to be reckoned with in the UK deathcore scene. Sharing the familiar symphonic and devastating sounds of their debut album ‘Omnimalevolent’ back in 2022, their upcoming EP ‘Frigore Inferni’ offers a more sinister take on their signature style with darker, intensified vocals and an eerie, battlefield-ready atmosphere. ‘Frigore Inferni’ - meaning ‘Freezing Hell’ in Latin - is brutal, dark and cohesive. It tells the story of two enigmatic beings plunging the Earth into a frozen, icy apocalypse, and the cruelty that ensues. It features no shortage of creative breakdowns, unrelenting heavy beats and dramatic riffs, offering exactly what deathcore fans crave. It begins with ‘I, Apollyon’, which is an eerie introduction. Starting with grand brass melodies and a dramatic choir before being suddenly struck with Brandon’s intense squeals, it successfully sets the tone for the rest of the journey as something epic. Towards the middle of this song, the pace is slowed down, and layered vocals combining shrill shrieks and guttural growls makes this feel like a conversation between the two entities. This intensity tapers off, leading us gently into ‘Obsidian Sol’. There are large changes in tempo throughout this track, making it very expressive but a little hard to figure out where it’s going at times. To keep us on track, there is a regal melody on guitar in the back, and it culminates in a sharp final slide-up before a sudden stop. Next, ‘Dawnbreaker’ offers a pitstop, with a downtempo beat almost reminiscent of elements of other deathcore bands such as Left Behind or Barrier. However, in stark contrast to this, the screams are the most impressive and impactful, and perfectly punctuate the measured rhythm. This is then followed by ‘Frigore Inferni’, the title track. It embraces a dark and orchestral tone, and continues on from the same slow tempo as the previous track. The intensity is built slowly and gradually, creating the sense that we’re reaching the height of this EP, which is apt for the position of this song in the tracklist. With choral voices ringing out right before a dramatic breakdown, it is safe to say that this is exactly what we come to this band for. ‘Prince Ov Death’ features a repetitive melody, with satisfying trills in the background building anticipation. A powerful, mid-track breakdown combined with the unyielding shrieks keep the energy high to lead us seamlessly into the finale, and what a finale it is! ‘Winter’s Rite’, is a rapid and dramatic conclusion to the EP, holding no punches and getting straight down to business. The track is full of the fast tremolo picking that is typical of the genre, as well as shrieks layered with a choir in the back. All of this put together creates a cinematic sound and a cathartic feel to the song. The breakdowns feel the most dramatic in this song, creating an ominous sense of finality. An ascending sequence of notes, culminating in a slow and reflective piano piece, delivers a rounded and satisfying ending akin to a sonic manifestation of death. This excellent EP feels right at home amongst the rest of their discography, highlighting their talent for storytelling through music. Those of you that are fans of brutal vocals as well as an intense listening experience but haven’t delved into this band yet should not give this a miss. Admirers of their previous work are also in luck, as it provides an intensified evolution of their sound. If they keep releasing epic narratives like this, To Obey a Tyrant has an exciting future within the blackened and symphonic deathcore scene waiting for them, and we hope to catch them on tour soon. 'Frigore Inferni' will be released on February 21st via Seek and Strike Records. Words: Chloe Sodeau Photos: To Obey A Tyrant

Killswitch Engage have long stood as one of metalcore’s defining acts, carefully honing a sound that balances intensity and melody with an unmatched emotional core. With 'This Consequence', their ninth studio album, the Massachusetts heavyweights have reaffirmed their legacy while embracing fresh energy and renewed focus. On this new record, KsE don’t just remind us why they’re metalcore pioneers, they prove they still have more to say, and they’re saying it louder than ever. Unlike their previous records, which were often written remotely, 'This Consequence' was crafted with the entire band in the same room, creating a sense of immediacy and cohesion. This unified approach is reflected in every track, with the band’s vision and direction feeling more aligned than ever. The result is an album brimming with chemistry and consistency, reminiscent of the classic Killswitch Engage sound but with a fresh, modern twist that many heavyweight bands seem to miss the mark on. Few bands manage to refine their signature sound without losing their edge, but KsE have once again evolved without compromise. From the moment ‘Abandon Us’ kicks in, it’s abundantly clear that 'This Consequence' is a force to be reckoned with. A drum-driven intro gives way to a relentless attack of razor-sharp riffs and Jesse Leach’s signature mix of guttural screams and soaring cleans. It’s the perfect opener, setting the tone for an album that leaves no prisoners. ‘Discordant Nation’ follows, offering a politically charged anthem that captures the band’s ability to channel real-world frustrations into cathartic heaviness. The interplay between Adam Dutkiewicz and Joel Stroetzel’s guitars is on full display, and the two work together flawlessly, weaving tight harmonies with punishing chugs. Lead single ‘Forever Aligned’ leans into the band’s signature formula, utilising ferocious verses contrasted with a huge, emotive chorus. Although this approach can sometimes feel overused, Killswitch Engage executes it with such conviction that it still feels new and fresh. Similarly, ‘I Believe’ serves as the album’s introspective moment, with Leach reflecting on resilience and hope in the face of adversity. 'This Consequence' isn’t just a collection of songs; it’s a battle cry, a moment of reckoning, and a testament to the power of melody and aggression in perfect harmony. While these tracks showcase everything Killswitch Engage do best and explain why they are so highly regarded, it’s the album’s closing moments that truly steal the show. For all of 'This Consequence’s strengths, ‘Requiem’ is the track that lingers the longest. A slightly calmer introduction sets the stage for a perfect eruption of aggression. It encapsulates everything the band has mastered over the years, a feat that many bands struggle to replicate with such skill and finesse. A song like ‘Requiem’ doesn’t just close an album, it cements its place in the band’s legacy. ‘My Curse’ may have once set the standard, but ‘Requiem’ strikes a key balance between extreme raw vocals and polished melodies that is both darker and heavier, yet more refined. The opening passage is haunting, gradually layering in instrumentation before exploding into an unforgettable, riff-driven assault. Leach delivers one of his strongest performances on the album here, seamlessly transitioning between his most feral screams and some of the catchiest vocal lines the band has written in years. The chorus is infectious yet crushing, lingering in your mind long after the album closes. If ‘My Curse’ was the anthem that defined a generation of metalcore fans, ‘Requiem’ is the track that will define this era of Killswitch Engage. It’s a song built for both die-hard fans and newcomers alike, destined to become a modern staple in their live set. From a production standpoint, 'This Consequence' is razor-sharp. Dutkiewicz ensures every element shines without sacrificing the band’s raw edge, a challenging feat in a genre where dynamic sound is often sacrificed for compression and volume. The guitars are massive, the drums punch hard, and the vocals cut through with both clarity and grit. Where so many modern metalcore albums fall victim to lifeless overproduction, 'This Consequence' thrives on its raw, dynamic mix - proof that bigger isn’t always better. Lyrically they've also upheld themselves in fine fashion. The album feels like both a personal reckoning for the band and a wider social commentary, which is a very thin tightrope to walk but they've managed it very successfully. Themes of awakening, defiance, and perseverance run throughout, making for one of the band’s most thematically cohesive records in years. While Killswitch Engage have never truly faltered, 'This Consequence' feels like a definitive statement that not only honors their past but also pushes their sound- and the entire metalcore genre- forward. The riffs hit harder, the melodies soar higher, and the intensity is more palpable than ever. With ‘Requiem,’ they may have crafted one of the strongest songs of their career. By embracing older mixing and mastering techniques, KsE inject life and energy into their sound, delivering an album that doesn’t just sound heavy; it feels heavy. KsE's ninth effort also sparks hope that more metalcore bands will embrace older mixing and mastering techniques, and reintroduce dynamic range into their studio tracks. With 'This Consequence', Killswitch Engage prove once again why they remain at the forefront of metalcore. It’s a record brimming with energy, passion, and some of their best songwriting to date. ‘Requiem’ is the clear standout, a modern classic in the making, while the rest of the album delivers everything fans could hope for: aggression, melody, and a renewed sense of purpose. If 'Disarm the Descent' was their comeback, and 'Atonement' was their refinement, then 'This Consequence' is their reawakening, and it’s one hell of a ride that we’re excited to be a part of. 'This Consequence' will be released on February 21st 2025 via Metal Blade Records. Words: Vee Richardson Photos: Killswitch Engage

The first thing that comes to mind when you press play on Church Tongue's second EP, 'You'll Know It Was Me', is going to be something along the lines of "Jesus CHRIST that's heavy!". Caught in the caustic sweet spot that's nestled between Knocked Loose, God Complex, No Cure and Burner, Church Tongue have conjured up an unholy abomination that takes all the best bits of metallic hardcore, black metal, and death metal, before pumping them into six songs all about the most obvious topic in the world for a band like this - love? 'You'll Know It Was Me' is more than just an incredibly potent distillation of a new face in hardcore's big leagues - it's also a collection of songs that focuses on the above theme of love, in all manner of different ways. As guitarist Nicko Calderon explains; “Mike [Sugars, vocalist] wanted to write about the different kinds of love and the different ways that you can love - for example, loving yourself enough to end a toxic friendship, or loving yourself enough to become sober. And the very last song is quite literally a love song for him and his wife, about how if he dies before her, he will haunt her forever.” Opening the EP is the rather aptly named 'Heart Of Darkness'. With plenty of the modern metallic hardcore sound we know and love, Sugars has plenty of space to project howls atop the ballistics programme of instrumentals underneath his vocals. Track two flows in a similar vein, with 'One Hand Wrapped Around The Sun' taking barely a minute and a half to rend the flesh from your face and leave you looking like a certain bunch of box opening scumbags from an Indiana Jones movie. Two of the three features on the release come as a one-two punch, with tracks three and four both containing some extra help. The first of the two is 'When It Betrays' which features Colin Young, who not only drums for God's Hate but also does vocals for Twitching Tongues. Church Tongue gave Young total freedom to write all his own lyrics for his vocal parts, and what returned in the post included a line from Twitching Tongues’ 'Feed Your Disease'.“When he sent his part over,” reminisces Calderon, “and we heard and read the 'Feed Your Disease' line, we just couldn’t believe that he was gracing us with it. We’ve been fans of God’s Hate and Twitching Tongues for a long time, and actually took a lot of inspiration from Twitching Tongues with this EP, so we didn’t feel worthy. We feel like it should go to somebody more deserving. But we are very thankful for it.” Track four, 'The Fury Of Love', also has some back up in the vocal department, with Initiate's Crystal Pak lending a hand with her own abrasive screams above the pinnacle of the crescendo within the track. With black metal moments abound here, there's plenty to latch onto - whether you're here for pure brutality or for technicality. The only complaint here would be to give us more - those last seconds with Pak's vocals are all too good to last for such a short time! Lead single 'Bury Me (One Thousand Times) makes its entrance at the penultimate spot on the track list, and does its damnedest to make it impossible to forget exactly where it is. The bruising breakdown, icy riffs, acidic screaming and even the brief lulls all come together into a devastating combination of music that is as apocalyptic in its heaviness as it is enticing in its draw to headbang. The last track is, as stated by Calderon, a love song about Sugars haunting his wife if he dies first. Featuring the third and final guest of the EP, the title track brings George Clarke of Deafheaven into the fold. Sugars' repeated bellows of "You'll know it was me" ring out and burrow to the very pit of your stomach, before Clarke's unearthly voice joins the fray. Already an atmospheric and eery song that's full of weight, his coiling shrieks and vampiric screams open the gates to an onslaught of aggression and heaviness. The duo's vocals trade sonic blows across each eardrum, fighting a war for dominance where the only casualty is your hearing. As the song fades out, the pervading feeling is that of surviving an artillery attack or the passing of some eldritch being. 'You'll Know It Was Me' is a sensational effort across the board. The riffs and breakdowns hit like trucks, the EP is a lyrically potent piece throughout, every beat of the drums has been thought out in order to provide maximum power, every howl and grimace rings through your ears, and the all features are all different and all stunningly good. Are we listening to EP of the year already? The jury is out, but the odds are good - and if they show up on Out Of Rage's end of year list then 'You'll Know It Was Me' who put them there. 'You'll Know It Was Me' will be released on February 14th 2025 via Pure Noise Records. Words: Jake Longhurst Photos: Church Tongue

After a series of strong singles, Nashville based punk trio Winona Fighter are about to release their highly anticipated debut album ‘My Apologies To The Chef’ following their 2022 debut EP ‘Father Figure’, which earned them a dedicated fan base thanks to its energetic, pop-punk sound. Fronted by the electric multi-instrumentalist Coco Kinnon with Dan Fuson on lead guitar and Austin Luther on bass, the band are on a mission to create punk music that is accessible and accepting to all music lovers that are willing to listen. Recent single ‘Attention’ provides an insight into what is expected by their fans to be an impressive debut album from the Nashville punks. This is the band's most political song to date, which Kinnon has said is about issues she personally finds important. Its high energy, pop-punk sound provided an introduction for what should be expected to come from the rest of the album. Upon pressing play, it’s evident this album will be a hit amongst pop-punk fans everywhere, with the opening track ‘JUMPERCABLES’ featuring catchy guitar riffs from the get go. If you're a sucker for a catchy pop punk guitar riff, then this album provides plenty. Aside from the perfect mosh pit riffs and drums, the album tackles themes of mental health and politics providing an outlet to sing, or scream, out your anger. The interplay between the vocals and the rhythmic guitar playing feature prominently throughout the album, especially on tracks like 'Subaru' and 'I Think You Should Leave'. Each one embodies the brilliant pop-punkers sound fully, tackling the listener head on with a forceful upbeat sensibility that's full of joy and vigour. Powerful songs like ‘HAMMS IN A GLASS’ and ‘I'M IN THE MARKET TO PLEASE NO ONE’ provide excellent breakdowns and incredible vocals from lead Coco Kinnon, who possesses the most perfect pop punk voice. The strength that flows through every song on the album makes it incredibly hard to single out any songs, they all bring pure pop punk perfection to the table. If you are a fan of bands like Paramore and Neck Deep, then there is no doubt this album will be making your playlists. Finisher 'DON'T WALLOW' hits all the hallmarks of a classic pop punk album closer, with a more wistful feel that hits those autumnal vibes right in the sweet spot. With grooving bass lines, singalong choruses, wall-of-sound guitars, it's got everything you'd need out of a proper 2006 emo revival band who can and should thrive in the modern alternative era. Ultimately, the album is full of everything that makes pop punk great - excellent guitar riffs, strong vocals, drums that could have you bouncing for days and extremely catchy choruses. The band will be embarking on a US tour in March with their UK debut scheduled for Slam Dunk festival this year. If you are a fan of pop-punk, then this album is worth a listen. Who knows, maybe Winona Fighter could be your new favourite band! ‘My Apologies To The Chef’ will be released on February 14th via Rise Records. Words: Olivia Hermans Photos: Winona Fighter

Once upon a time, humans and gods talked. Their medium was a plant. This plant is mentioned in some of the oldest texts in the world, and is itself revered as a god. Soma (or Haoma, if you’re feeling Persian about it) allowed human beings to visualise themselves enthroned among these ethereal beings. It was a stargate from the real to the un-real, micro to the macro. Thought to be extinct now, the plant supposedly granted immortality and virility. The sacred text the Rig Veda raves about it like a five-star Yelp review from the dawn of consciousness: “We have drunk the Soma; we have become immortal; we have gone to the light; we have found the gods.” Human beings tripping on Soma quite literally changed the fabric of the entire world as we know it. If there was any soundtrack to that so sacred of communions, then it is 'Abur', the sophomore album by Belgian psychonauts Pothamus. Based in Mechelen, Belgium – a home to polyphonic music for at least 600 years – around 10 years ago Mattias M. Van Hulle, Michael Lombarts and Sam Coussens banded together to form this musical project. Named for the Greek word for water (which you may recognise from words such as Hippopotamus), the group has been trudging the musical desert for many a year. Their first album, 'Raya', was released during the height of lockdown, and delivered a brilliantly tact droning soundtrack to a world gone by. Now with 'Abur', Pothamus seeks to combine the worlds of “eastern philosophy and western esotericism into a unique ontology” – a lot of disciplines shoved into one sentence. Does 'Abur' deliver? Does it heck. With more pulse than a lentil soup and more drone than a no-fly zone, this album is a voyage into futurist sonic-ritualism. Time to tune in and trip out. Diving head-first into this album’s buttery pool of warm resonance is certainly an experience. The moment the album is turned on the listener is enveloped in what can only be described as an audio sandstorm. With the first track 'Zhikarta', the sleeper has awakened. Seven minutes of pulse-pounding and layered synth-struments with mantric vocals as company. They wail like the winds on Arrakis as the drums continue pounding out a ritual circle – the bass covered in fuzz, resplendent. Much credit is due here to Chiaran Verheyden who headed the production for cultivating something that's half Advaitic Songs by Om and half Hans Zimmer’s DUNE soundtrack on a raucous mescaline bender. The second track 'Ravus' bursts through with urgency. This is a war-song. The vocals are harsh, death-metal growls that penetrate the thick atmosphere. Ferocious bass once again resonates with sound and fury. Believe it or not, this song also features a classic breakdown, with the drums coming together to rouse what feels like a legion of warriors buried beneath the silts. With the whir of the Surpeti (an ancient Indian mantra-box that hums out a dull melody to be chanted to), 'De-varium' begins. This one feels similar to a Wardruna offering, wrapped in mystery. A mere three minutes, it is a temporary reprieve. Until the storm named 'Savartuum Avur' arises into a ritual circle. The circle slowly expands through conservative usage of drums. Until, like the Trinity explosion, it upsurges into madness. An impenetrable wall of sound to make Phil Spector fall to his knees. The next track 'Ykavus' acts as another breather – featuring more of the impressively utilised Surpeti. It is a low hum, a soft guiding hand to the last quarter of the album. It ultimately crescendos into the final track, 'Abur'. This is a fifteen minute odyssey into the realm of the immaculate, with soft and harsh melodies interspersing with that same musical mastery that underpins the rest of the album. It is an out-of-body album closer not produced with such majesty since Gojira’s 'The Way of All Flesh'. In a similar way, the music evaporates, and leaves you wondering what your own name was before you hit play. 'Abur' is balanced like a ritual knife, for it is sharp on both edges. Its heavy moments are heavier because of the spaces in between - those rare, vital breaths before the next plunge into the maelstrom. It doesn’t exhaust you; it raises you up. You do not feel encumbered, but more virile than before. It’s a sonic Soma, a mind-altering concoction wrapped in distortion. What Pothamus has done here is achieved something transcendental yet earthly. The perfect soundtrack to lounge around your pad and contemplate the meaning of life. But, it feels like a cop-out to describe just how much this album sounds like one giant cosmic onion that unravels into a perfect mandala. The reality is that you have to be in the correct frame of mind to experience music such as this. If you are to venture into this album, know that it is one best enjoyed mindfully. If you release yourself and tune yourself to its frequency, you will be able to view what Pothamus is trying to achieve. Like 'Raya' before it, this album is an excellent addition to the growing repertoire of not only Pothamus but also to the scene in general. Relentless and determined envelope-pushing is just what this genre needs right now - the future isn’t just bright; it’s extraordinary. 'Abur' will be released on February 14th 2025 via Pelagic Records. Words: Kiarash Golshani Photos: Céline Gladiné

Sometimes we all ask ourselves, why do we seek out new music? Finding bands like Fell Omen provides a very quick answer to that question. When an artist experiments with their methods and pushes boundaries, creating something unique in the process, it’s a feast for the ears. ‘Invaded By a Dark Spirit’ is exactly that and more as Spider of Pnyx, the creator of the project, dives into medieval themed black metal, using a variation of instruments all played by himself across every track. The guitar powered ‘Don’t Go Hollow, You Have Steel’ is certainly a great introduction to the album, as Spider of Pnyx shows us some insanely good riffs, drum work and screams, which are the only vocals on the first track of the album. The energy of this track takes you right into a moshpit and makes sure you don’t want to leave any time soon. The same goes for the second track, ‘Dungeon Metal Punks Besieging Digital Castles’, except the track starts off not-so-traditionally with hurdy-gurdy, an instrument we would love to hear more of in metal music, as it pairs very well with the genre with it’s own unique and distinctive sound, that creates a wonderful atmosphere within the song. The third song, ‘Upon The Cliff, In Castle Stormveil’, is not as energetic as the first two, but it does feel very well-written and comes across as a story as much as a song. The track gives the listener a small break before ‘Warrior Jar’ storms in and picks up the pace again in a fairly typical punk fashion, before ‘Forlorn Knights and Strange Flasks’ both get the reins off with some outstanding drum performances. Listening through, the throne for our favourite song goes to title track ‘Invaded By a Dark Spirit'. The combination of acoustics, electric guitars and drums melds together into a glorious amalgamation of uncomfortable sound, which seems to be one of Spider of Pnyx’s greatest strengths. The final track on the album, ‘In the Poison Swamp’, is also the shortest one, but will give you chills from the first second. The melodies are bounding with energy, but in some way feel like a farewell, albeit perhaps not a very long one. The album is a great showcase of Spider of Pnyx’s head-bowing talent and absolutely strengthens his well deserved reputation. It's mind-blowing to think that all the instruments and vocals were produced by a single person. Fell Omen as a whole is an outstanding project, that grabs you within the first seconds of the first track and is going to hold onto you until the dying seconds of 'Invaded By A Dark Spirit', and you're going to love it. ‘Invaded By A Dark Spirit’ will be released on 14th February via True Cult Records. Words: Katerina Stepanikova Photos: Fell Omen

Swedish post-metal project Novarupta is releasing their final album 'Astral Sands'. More of a collaborative art project than a traditional band, Novarupta has completed their four-album journey with this exceptional conceptual work. Multi-instrumentalist and creator of Novarupta, Alex Stjernfeldt, masterfully guides the musical journey with inspired collaborations including the beautiful string arrangements by Johannes Björk on 'Endless Sun' and vocals by Fireside's Kristofer Aström on 'The Bullet Shines Before Impact'. The album is introduced with the instrumental track ‘Ensamstående Enastående’ (roughly translated from Swedish as 'Single Outstanding'), which instantly sets the stage for the album. The immediate echoing guitar melody creating a haunting and emotional atmosphere that sets the stage for the album well. The rich and resonant combined with the distant, percussive drums creates an ominous and intense mood. Concluding with distorted, slashing guitar, foreshadowing the album's heavier elements, gives a glimpse into whats in store. The drums evoke a similarity to 'Clubbed to Death' by Kurayamino Variation (from The Matrix). 'Seven Collides' (featuring guitarist/vocalist Jonas Mattsson) opens with a gut-punch guitar intro, its echoing reverb reminiscent of Queens of the Stone Age. Thrash percussion builds anticipation before the drums and vocals explode into the mix. The song's 90s alternative vibe - think Nirvana meets Oasis - is undeniable. Mattsson's gritty, whiny vocals drive the track, intertwining with the echoing guitars through simple yet effective melodies. A tense bridge, featuring a low growl and relentless tom roll, builds to a brooding urgency. The grunge-inspired vocals soar, even if the crashing cymbal occasionally overwhelms. The Alice In Chains-esque vocal harmonies in the break are a standout. Featuring guest vocals from Fireside’s Kristofer Aström, 'The Bullet Shines Before Impact' is a truly captivating experience. The nuanced drumming, particularly the hi- hat, immediately grabs the listener's attention. The softer vocals and slower tempo create a sense of vulnerability. The layered echoes in the chorus are a masterclass in dynamics, adding emotional weight. The lyrics explore the depths of hopelessness, a feeling reinforced by the haunting electronic textures that precede the second chorus. In the chorus, the drums' understated power allows the layered vocals to resonate, deepening the track's foreboding and hopeless atmosphere. The outro is a powerful moment, with the distorted reverberating guitars reaching peak intensity. 'Endless Joy' (featuring Per Stålberg and Johannes Björk) begins with a captivating blend of cello, harmonica, and ethereal air sounds, creating a unique sonic landscape. A delicate violin melody emerges, intertwining with the constant trill of the guitar. The sudden, powerful entrance of the drums and vocals is striking. The vocals are delivered with a raw, angry intensity, fueled by the track's driving rhythm, and the recurring dialogue between guitar and cello adds a layer of beauty and complexity. The guitar melody, though simpler, is effective in maintaining the album's thematic thread. The extended instrumental break is a highlight, showcasing the drums' dynamic performance. The guitar panning during this section is masterful, creating a truly immersive listening experience. Close listening reveals subtle yet effective vibrato in the vocals. The ending is particularly intriguing, with the distorted guitar fading out to leave the cello and violin in the forefront. Featuring Greenleaf vocalist Arvid Hällagård, ‘Terraforming Celestial Bodies’ brings foreboding guitars and drums, establishing a powerful chord and drum beat combination. While the vocals aren't as immediately punchy as on previous tracks, they effectively contribute to the album's overall theme, delivering poignant lyrics filled with shouts of woe and desperation. Though perhaps less impactful initially, the song still conveys a clear message and ultimately satisfies. 'Breathe Breathe,' featuring Misery Loves Co. vocalist Patrik Wirén, offers a different style while remaining thematically consistent. The unexpected blend of Pet Shop Boys and Tears for Fears influences creates a surprisingly effective sound. The foreboding, grunge-infused soundscape is enhanced by intriguing vocals and electronics, with the guitar riff interplay during the break being particularly noteworthy. 'Cosmographia' features echoing guitars, Matrix-esque drums, and standout clean vocals by Fabian Brusk-Jahn. A subtle tambourine adds a cool and unique accent to this track. The fittingly titled finale ‘Now We Are Here (At The Inevitable End)’, showcases interesting vocal effects and thick, chunky distorted guitar riffs interspersed between the verses. The halfway chorus is a definite highlight featuring funky bass (Martin Wegeland) that shines through. Desperate breaths punctuate the vocal lines, subtly yet powerfully reinforcing the song's nihilistic theme. The awesome singing and shouts, filled with desperate anger and urgency, provide an excellent and powerful conclusion to an excellent album. In its entirety, this album is an inspired journey through the portal that Stjernfeldt has created. The combined creative influences, artistic collaborations and unique vision that make up 'Astral Sands' is the legacy Novarupta will leave behind. 'Astral Sands' will be released on February 14th 2025 via Suicide Records. Words: Katherine Russell Photos: Novarupta