The German technical death metal band Obscura have finally returned with 'A Sonication', set to release via Nuclear Blast Records. With 22 years of experience under their belts, founding member Steffen Kummerer and his bandmates – Kevin Olasz (guitars), Robin Zielhorst (bass), and James Stewart (drums) – aim to push their sound further. While the album showcases impressive musicianship and ideas, it ultimately falls short of its full potential creatively. From the outset, A Sonication attacks the listener with an onslaught of technical riffing, blast beats and Kummerer's guttural growls. Zielhorst's prominent and beautiful bass work is a consistent highlight, adding unique texture to the experience. Stewart's drumming is equally impressive, a whirlwind of precision and power creating a poignant relationship with the steady guitar work. 'Silver Linings' kicks things off with an energetic blast, showcasing the band's instrumental prowess, particularly the duelling guitar work and the powerful drumming. The most interesting components of this track is the panning of the tom rolls from the drums in the mix and the atmospheric acoustic guitar outro, hinting at a broader dynamic range. 'Evenfall' and 'In Solitude' continue the relentless assault, with the former introducing orchestral harmonies, and the latter featuring some cool echoed screams and a groovy bridge riff. 'The Prolonging' becomes a showcase for Stewart's drumming, with intricate cymbal work (particularly the use of the cymbal bell) and adds relentless rhythmic drive. However, Kummerer’s growls, while powerful, remain largely static and without much exploration. The instrumental track 'Beyond The Seventh Sun' offers a welcome respite. Acoustic guitars and soaring riffs create a captivating soundscape, showcasing the band's compositional skills beyond sheer aggression. Zielhorst's bass shines here, taking centre stage with a beautiful solo. Ultimately, this track highlights the potential for more dynamic exploration within the ensemble, a potential that's only partially realized elsewhere on the album. 'Stardust' and 'The Sun Eater' present a mixed bag. While 'The Sun Eater' injects more aggression and dynamic vocals, creating a sense of urgency and featuring some impressive guitar squeals, 'Stardust' feels somewhat lacking, with a mix that buries the vocals and any sense of musical inertia. The latter track does offer a compelling outro with distorted guitars and a poignant melody but it's not enough to fully redeem the song. Comparatively, the mix on 'The Suneater' does make a more positive impression in terms of production compared to other tracks on the album. The closing track, the titular 'A Sonication', is perhaps the most cohesive and well- structured on the album. The intro builds effectively, and the interplay between the instruments is tighter. The use of choir vocal backing adds an interesting layer, although the electronic voice effects in the bridge feel somewhat out of place. The song ends with a strong guitar solo and a fading outro, although a slightly different mix emphasizing the guitar would have made a more powerful closing statement. Overall, 'A Sonication' is an album of impressive technicality and musicianship. Obscura’s instrumental prowess is undeniable, and Zielhorst's bass work is a standout along with Stewart’s powerful drumming. However, the album suffers from a lack of dynamic range and creative exploration, particularly in the vocals and guitar work. While there are moments of brilliance in this album, something feels like it's missing, and the production falls slightly short, stopping this otherwise excellent album reaching the highest echelons of brilliance. 'A Sonication' will be released on February 7th 2025 via Nuclear Blast Records. Words: Katherine Russell Photos: Obscura

The brand new self-titled EP from Call Me Amour is on the verge of release, and it's a bold and exciting new EP that merges dark electronica with soaring, distorted guitar riffs, each delivering that truly infectious feeling of being right in the middle of a live show. Regardless of where or when you're listening, each track seems to pulse with a raw intensity that'll have you ready to bounce, signalling a fresh yet uncompromising injection of energy. From the opening moments of the EP's first track 'Happy Hell', it’s clear that Call Me Amour isn’t here to play it safe. The track’s haunting synthscapes and industrial undertones set the pace of what's to come, before crashing into a wall of atmospheric guitars and aggressive, impassioned, hard-hitting vocals. It’s an immediate, visceral introduction to the band’s sonic world that's laced with a dark and brooding energy, and breakdowns that just make you want to move. Moving swiftly onto the third track, 'Bloom' showcases a more anthemic side, with pulsating beats, glitchy electronics, and a soaring chorus that demands to be screamed back from the pit. The fusion of electronica, rock, and modern metal feels seamless, striking a perfect balance between emotional vulnerability and sheer sonic force. The EP’s standout moment, however, is 'Good Day', a track that really leans into the moody, immersive tones, building toward an explosive breakdown of crunching guitars and pulsing synths, before finally 'Where's The Chemistry?' and 'Dreams' take a more introspective turn, blending melancholic lyricism with a creeping, tension-filled instrumental that finally erupts into a cathartic and satisfying ending point to leave you wanting more. Lyrically, the band explores a range of themes and emotions, drawing particularly on feelings of resilience, inspiration, and being inspired by moments in life, with frontman HR delivering lines drenched in both angst and conviction. For those longing for a new addition to their playlists, Call Me Amour has you covered. With this EP, they're further carving out a distinct identity and proving that their fusion of industrial textures, dark electronic grit, and hard-hitting riffs is a force to be reckoned with - we look forward to seeing what else they have in store in the future. 'Call Me Amour' will release on February 7th 2025 via Circular Wave. Words: Arcadia Craven Photos: Call Me Amour

Much like the sinister government conspiracies that fuel their lyrics, F. Emasculata started as a shadowy, one-off experiment—only to mutate into something far more significant. Formed in Cornwall in 2011 by members of Rash Decision and Swansong, the project quickly grew in scope, incorporating numerous EPs, singles, and tours, including a two-week tour of the west coast of the USA in 2023. Labeling this X-Files-themed hardcore punk band as a novelty side project would be a gross oversimplification that distracts from the true artistry at play here. 'Bright Lights, Drilled Teeth' is a blistering, high-velocity assault that blends hardcore, punk, grind, and powerviolence - fueled, as always, by F. Emasculata’s deep-cut X-Files references. Kicking off with the ferocious single 'Ice', the album pulls no punches, delivering mind-altering riffs and relentless sludge that has us screaming "I want to believe." The influence of War on Women, Punch, and G.L.O.S.S. is unmistakable, but F. Emasculata carve their own path - weaponizing extraterrestrial paranoia into pure sonic fury. The album’s title is lifted directly from the lyrics of its third track, 'Duane Barry'. A blistering interpretation of the X-Files season two episode of the same name, the track ratchets tension much like the hostage situation at its core—building with an unsettling, almost claustrophobic intensity before erupting into a full-throttle assault, driven by Nat Gyll Murray’s feral vocal performance. For those who may not be familiar with their style, F. Emasculata excels at transforming specific episodes of The X-Files into intense, fully realized punk narratives. They use the show's subject matter as a foundation rather than relying on it as a crutch. Their lyrics not only reference the series; they immerse listeners in its themes, distilling the show's paranoia, dread, and chaos into something as raw and immediate as the music itself. It’s this dedication to craft that elevates them beyond mere homage. 'Bright Lights, Drilled Teeth' could have easily been a throwaway gimmick—another novelty punk record leaning too hard on its theme - but F. Emasculata prove they are much more than just an X-Files reference machine. Beneath the eerie samples and cryptic lyricism lies a hardcore band with genuine fire in their veins, delivering a raw, unrelenting assault that stands tall among the best of the genre. Their genuine talent is evident in their ability to weave paranoia and government conspiracies into ferocious, pit-ready anthems, showing a deep understanding of their subject matter and the sonic aggression needed to do it justice. If there’s a weakness here, it’s that some moments blur together in the album’s sheer intensity - there’s little room to breathe. But that’s a minor gripe in an album that thrives on its relentless energy. Whether or not you care about The X-Files, this record demands attention from fans of hardcore, punk, and powerviolence. F. Emasculata aren’t just riding on 90's sci-fi nostalgia - they’re carving out a space of their own in the underground, and 'Bright Lights, Drilled Teeth' is proof they’re a force to be reckoned with. The truth isn’t just out there - it’s tearing through your speakers at breakneck speed. F. Emasculata will be supporting the February 8th release with a launch show at Penryn's The Fish Factory art space, featuring support from Bobby Funk, Swansong, and Old Foes. The band will then embark on a four-date European tour with ThoughtSieze. 'Bright Lights, Drilled Teeth' will be released on February 8th 2025. Words: Andrew Nile Photos: F. Emasculata

American rock band New Year's Day finished off their UK tour over the weekend with a jam-packed show in Manchester. The band, accompanied by Fearless Vampire Killers and Conquer Divide, hadn’t been to the UK for five years and were keen to get back to performing for their international fans, especially to showcase music from their most recent album, "Half Black Heart," released in 2024. Fearless Vampire Killers kicked things off with a burst of energy. Coming out of Beccles, the band took the stage in striking blue shirts and bulletproof vests, ready to perform. Their set showcased their signature blend of early 2000s pop-rock, reminiscent of soundtracks from horror comedy films like "Jennifer's Body." They grabbed the crowd's attention with a heavy bass drum, followed by guitar breakdowns and the sound of their two lead vocalists. This unique dual-vocalist approach allowed for a refreshing and diverse sound, with each singer taking the lead depending on the song. A definite highlight was their electrifying performance of "Neon in the Dance Halls," a danceable rock anthem with deeply meaningful lyrics that unfolded like an immersive story. The entire band engaged the audience, getting everyone on their feet and jumping. Fearless Vampire Killers closed their set by warmly expressing their gratitude to New Year's Day and their excitement about the tour. Conquer Divide, an international band filled with girl power, took the stage next. Already a favorite with some in the audience, expectations were high, and they delivered. Their powerful presence was immediately felt, inciting mosh pits and sparking conversations with their social commentary. The band's vocal performance was captivating, incorporating echo effects that enhanced, rather than overshadowed, the impressive live vocals. Their screams were strong and controlled, while their clean singing was almost like rock and mystical meeting. Many of their songs address personal injustices, a theme conveyed through both their lyrics and their performance, leaving a lasting impression. Conquer Divide also demonstrated their professionalism when faced with technical difficulties. They used the brief intermission to connect with the crowd, sharing stories of their travels and maintaining their high energy throughout the set. New Year's Day brought the night to a close. The energized crowd, eager to see the headliners,broke out iiton cheers as the house lights went and the stage was bathed in a striking red glow. A pulsing bass built anticipation before the band members finally took the stage, and the roar of the crowd reached a high as lead singer Ash Costello made her entrance. Formed back in 2005, the band released their new album “Half Black Heart” in early 2024, featuring tracks ranging from tech metal to high-energy singalongs. This UK tour marked the first time the band had showcased this new music live, a fact they acknowledged, noting the effort and expense of the tour. Their opening track, “Vampyre,” highlighted Costello's powerful and expressive vocals, setting the stage for a promising night. In some songs, emotional delivery took precedence over perfect pitch, a deviation from the studio versions that, while noticeable, added some depth to the performance. This was further exemplified during “Shut Up.” Introduced as a song for the women in the audience, the male band members froze during the impactful verses, allowing Costello to command the stage as a powerful female rock singer. This element, a rarity in rock performances beyond the occasional headbanging, was a pleasant surprise. New Year's Day undoubtedly gained fans with their cover of Kelhani's “Gangsta.” The stage lighting, a mix of purples and greens, created a Joker-esque atmosphere, and although they only had a small space to work with, it certainly became immersive. Costello's stage presence and physicality are captivating, often mirrored but never overshadowed by her bandmates. The band also prioritized audience engagement, consistently finding ways to make the crowd feel like a part of the show, not just spectators. They expressed sincere appreciation for Manchester and everyone in attendance, even requesting the house lights be raised so they could truly see and acknowledge those who had traveled to be there. New Year's Day also experienced some technical difficulties due to the heat in the venue affecting their equipment. However, they maintained their professionalism and didn't let it diminish their energy, keeping the crowd engaged. From the high-energy pop-rock of Fearless Vampire Killers to the powerful, socially conscious Conquer Divide, the evening was a testament to the vibrant energy of the rock scene. New Year's Day capped off the night with an engaging performance, showcasing their new music and proving their connection with their fans, even overcoming technical challenges. The Manchester show served as a powerful reminder of the appeal of live music and the dedication of bands like these to their craft and their audiences. It is clear the band have grown as the years have gone by, honing in on all they have learned from the industry. Words: Kira Lashmar Photos: Izzy Scott

Approaching the venue the queue seems to never end, most of the fans seem to have arrived early to make sure they have a prime spot for an entire evening of Leprous. Entering the venue the atmosphere is electric, many people talking about how they have seen Leprous many times previous. Tonight was marketed as something different, two sets of Leprous. Prog bands often make the decision between playing less of the long songs or more of the short songs. Tonight’s format allowed the band complete freedom in their choice and fans of every era would be deeply satisfied. The band hit the stage for the first set masked in shadow created by the lighting. Opening with Silently Walking Alone the band are anything silent, they are running all over the stage and the fans feel far from alone. The band curate the energy of the room expertly with their first five songs of the night. Each played with such precision and power. Opening with a track from the most recent album followed by The Price from The Congregation shows that tonight will be a great mixture of songs. The band certainly know how to open a set. Lead singer and keyboardist Einar Solberg jokes with the crowd about how he was once voted the third best keyboardist in the world but is not the third best in the band, I think most Leprous fans would disagree with him here. His joking attitude continues when he introduces the next song as having no structure, as with all Leprous songs it is in fact deeply crafted. They start to play Forced Entry from Bilateral. The band as always plays it expertly but unfortunately after they finish, they have to take a short break. This short break is not the one intended for tonight it is in fact due to technical issues. The band return to the stage with a round of hearty round of applause from the crowd. The crowd is understanding and the band then burst into the next half of the first set. Ending on Nighttime Surprise this is when most bands would be running out of songs. Yet Leprous have only lightly scratched the surface of their catalogue. Set two starts after a short break allowing people a brief moment to digest the beauty of the first set. Set two opens with a track from the most recent album, Unfree My Soul. As with all songs played tonight it goes down well with the crowd. The highlight of this second set is when the band play Faceless. Opening with the bassist playing a tiny bass ukulele, it should be more humours but the beauty of the music almost mutes it. Towards the end of the song the band bring out a choir made of fans so they can recreate the track which featured fans from all over the world on the studio version. The biggest shock of the choir is that lead singer of Haken, Ross Jennings, is on stage without introduction and without being singled out. The fans obviously spot him as Haken and Leprous feature vast amounts of crossover appeal, both being on the proggier end of prog metal. The whole fan choir should get special praise as they absolutely smashed it out of the park. The second set ends on Slave which obviously leads the crowd not only wanting but needing more. The encore is needed to bring tonight to a close but it may have worked better being played as part of the second set proper. Atonement works well to open the encore and leads well into the final track. It isn’t a full track but is the second half The Sky is Red. The second half of the track strong enough to be played alone. This shows why Leprous is special, they sound like no one else and give a sense of relief that very few bands can. Its heavy but nothing gets lost, its prog without being nonsense, its simply Leprous. Words: Will Freeman Cover Photo: Simon Arinze

Frantic britpunk duo The Meffs have honed their craft when it comes to riling up a crowd, having supported hard rock and punk icons such as Alice Cooper and Frank Turner last year. When they announced that it was time for their first headline tour with support from post-punk four piece CARSICK, we knew we would be there. Hailing from Colchester, Essex, The Meffs formed in 2019 and since then have become a core component of their genre. Comprised only of Lily (vocalist and guitarist) and Lewis (drummer and backing vocalist), the dynamic pair are known for their political lyrics and raw, unapologetic vocals. The snug G2 in Glasgow was buzzing with anticipation as we awaited the set. When Salisbury-based CARSICK came on stage, vocalist Joe instructed the crowd to come closer and joked that they “don’t bite”. Pint in hand, much of the crowd gladly obliged after the genre-defying group launched straight into their upbeat 2021 single ‘Is What It Is’, attracting more curious onlookers as the song progressed. To get everyone even more involved and warmed up, bassist Jack H jumps down and sprints through the crowd, creating a very up-close-and-personal live music experience. At times, Joe's vocals were slightly drowned out by the band's lively instrumentation, possibly due to the venue's acoustics, but their engagement with the crowd kept the energy high. Towards the end of their vibrant set, guitarist Jack R takes a brief moment to thank everyone for ignoring the red weather warnings to be there and jokes that “whoever starts a mosh pit gets to take Tom's drum kit home”. A handful of ecstatic members of the crowd took this as a challenge and as the band played the catchy riffs of ‘Anaconda Frank’, they certainly got the mosh pit they asked for. They rounded out their set with ‘Pubwatch’, ending on a high and ensuring the crowd were ready and excited for the headlining act. Shortly after having humbly set up the stage themselves, The Meffs bounced out to the song ‘Spitfire’ by fellow Essex-band The Prodigy, which they even nodded to later in the set with a cover of their song ‘Breathe’. They immediately jumped into ‘Stamp it Out’, the leading track from their recent album; an energetic start that set the tone for the rest of the evening. Much of the setlist consisted of songs from ‘What a Life’, with one of our favourites being 'Only Human'. The reverberating guitar riffs paired with Lewis's punchy drumming created a wall of sound that could be felt throughout the entire venue. The duo also played a few tracks from their previous EP’s, such as ‘No’ and ‘Stand Up, Speak Out’. They work well in a venue of this size, with their intense stage presence easily filling the room and plenty of opportunities to engage with the audience in a more direct manner than what they may have been used to having played arenas previously. The duo also performed an unreleased track titled, ‘So Modern’. The track resembles the loud and confident sound of ‘What a Life’, with lyrics vulnerably referring to the fast-paced nature of modern-day trends in society and the difficulty of keeping up. Their continuous connection with the audience elevated the evening's sense of excitement. Before starting to play ‘Everything’s Gone’, Lily addresses the crowd. She states that she intends to walk into the centre of everyone and asks for a circle pit to be formed around her. Jumping down from the stage, she began playing the song and an excited whirlpool of people surrounded her, which gladly continued even once she’d rejoined Lewis. Rather than leaving the stage before the encore, the duo took a more theatrical approach. Lily stood, guitar hanging down with one foot atop an amp while drummer Lewis proclaimed that she had “gone into a trance” and that only the sound of screaming fans could snap her out of it. The crowd obliged, erupting into deafening cheers. This prompted the pair to launch into their encore songs of ‘Clowns’ before finishing with explosive fan-favourite, ‘Broken Britain, Broken Brains’. The Meffs and CARSICK delivered a night of unrelenting energy and memorable crowd interactions, which left the audience buzzing long after the final chord faded. Words: Chloe Sodeau Photos: Ben Blisset

As the red glow of the theatre lights opposite London’s Electric Brixton bathed the waiting metalheads in a macabre light, a storm was brewing inside the esteemed venue. One of the most crushingly heavy lineups of the year had just touched down in London Town and were collectively about to blow the place to smithereens. Cattle Decapitation were bringing their Terrasitic Reconquest tour across the pond, and they weren’t coming alone. With two bands hailing from the Northeastern USA, one from the Southwestern United States, and a fourth from South Africa, the bands on display have all taken a fairly hefty trip before getting to the Big Smoke, but the reaction provided by all in attendance shall surely have sated any desire for positivity. First up are the aforementioned South Africans, Vulvodynia. Their intro, using the opening song of The Lion King segueing into their trademark brutal slamming death metal, was a great laugh that abruptly gave way to many hundreds of necks and heads almost hypnotically nodding in time, and a healthy bundle of arms and legs flying frantically around near the front of the crowd. The combination of abominably heavy death metal with slam and beatdown elements created a monstrous live sound, and the vocalist’s demonic gutturals just added to the carnage. Their guitarists wore very contrasting onstage attire - one in a stereotypical black longsleeve, with camo trousers and long hair, whilst the other was wearing a matching watermelon patterned shirt and shorts combo. Of course, the latter was the lead guitarist and tore up his headless guitar like there was no tomorrow. Second up were Revocation, and the Boston death metal crew had a nice mix of influences, ranging from the more technical end with bands like Archspire and Cryptopsy, to the more progressive end of the genre and bands like Cynic. Gojira were a clear influence, with one or two songs in particular feeling like they could’ve been a Gojira B-side from a bit earlier on in the Grammy winners’ careers. The singer’s bright orange guitar was quite the eye-catching axe, but truly the bassist’s instrument of choice was the most fascinating up there - it had the vague outline of the head of a Beluga whale, with such a notable curved upper body as to tuck most of the way around his torso. He was also clearly having an absolute blast all set, and throughout the moshpits and fistpumping he never stopped grinning at everyone in the audience. Shadow Of Intent were the main support act on the tour, and the venue’s lighting situation reflected that almost immediately. The Connecticut symphonic deathcore crew played a blistering 55 minute set that barely gave any of the audience time to breathe, let alone the band themselves, and the lighting was just as frenetic. Bursts and flashes of purple, white, and red flew hither and thither, lighting various crowd members and band members seemingly at random, and doing their very best to look like a military demonstration of some new weapons system. The band themselves do sound quite similar to the most recent era of Lorna Shore, with plenty of crazy riffs and gutturals atop a background of violins and other string instruments creating an ominous atmosphere for all looking on. With their set never taking the time to catch a breath, it felt like the band pummelled too hard and too incessantly for everything to quite take root in our heads, but the general gist of what happened is firmly stuck there, and what happened was an incredibly heavy show full of ludicrous moments. Finally, headliners Cattle Decapitation took to the stage to a flurry of green and yellow lights, toned down a tad from the previous set. The riffs were lightning quick, the drums were reminiscent of artillery or machine gun fire, and the vocals were the same old Cattle Decapitation vocals we all know and love. With the Terrasite making an appearance (someone in a flea costume), the fun factor was also on full display. Headbanging was the order of the day, with necks being strained all set, but of course the moshers wouldn't be put to shame and they were admirable till the last. With a set that spanned multiple decades, the San Francisco crew pumped out a churning, seething hour of foam-at-the-mouth aggression and uncompromising hostility that was equally completely, wholeheartedly, and unashamedly welcoming to all who attended. With a slew of fans in the building, both new and old, Cattle Decapitation shed their anti-bovine associations and moooved us all. Words: Jake Longhurst Photos: Oliver Hayman

Pop/metal band TheCityIsOurs from London have been rising in popularity since the release of their previous album ‘Coma’, which was released in 2021 and quickly soared into the top 5 on the iTunes metal chart. Lucky for us, the band have now released their highly anticipated new album ‘Will You Still Love Me?’ which is an extremely exciting release, exploring their distinctive pop and metal sound that attracts their fans. For the first song we have ‘Shame’. It does a good job at introducing us to the different genres the band explores throughout this album, with the heavy screaming combined with the more toned down verses that have a more pop element to them. After listening to this song, we can't help but feel excited for what else is to come on this album! ‘In The Dark’ starts off with a funky beat before moving melodiously into a heavier guitar riff just as the vocals pick up and we are hit with that incredibly talented screaming we all know and love. This track bounces between those heavy riffs and vibrant beats and it is pleasing to hear, they have done this in such an unique way that you just can't help but love. Onto the extremely catchy next song ‘Hot Mess.’ The chanting of h-o-t m-e-s-s at the beginning of the track continues throughout and you can tell this is going to be a fun song to hear live. These vocals and the instruments have so much energy and they make you feel energised too, you can't help but sing or dance along to this one. ‘Sugar’ showcases the wide vocal range of the band, at first we hear clear and profound vocals before the instruments pick up and we are met with the powerful screams and growls that really bring a sense of emotion into the song while also bringing the energy up. ‘Dopamine’ starts off with a catchy riff that only intensifies throughout the song. At first we hear the metal vocals before quickly shifting into the harmonious, more softer sounding vocals. This song really stands out as there are a range of different genres to be heard here including, metal, pop and pop rock, making it an unique track. ‘Freak Like You’ has a more sweet-sounding guitar riff to start off with, it does pick up though. As we get into the chorus the passion put into this song is evident. The guitar is really pleasing to hear as well which just makes this song even more enjoyable. It is definitely a song you can't help but sing along to. ‘Work It Out (If You Let Me)’ is a beautifully written song that talks about the struggles sometimes faced within relationships. It starts off with a mellow beat but as the song goes on the instruments really pick up, creating the feeling that emotions are building. The vocals are outstanding in this one and really are something special. The rest of the album continues the same. It is impossible not to love this album and the different genres it goes through. It does an incredible job at drawing in metal fans along with the alt/pop/rock scene. Every song on this album has the same kinda vibe to it which you will enjoy if you are a fan of this music. The swift changes between the vocals was something I especially appreciated. If you are a fan of the pop/rock scene this album will not disappoint. It has everything you expect and more if you are a fan of the genre. The intense guitar riffs will shake you to your core, in a good way! 'Will You Still Love Me?' will be released on January 31st via Arising Empire. Words: Kelsey Mainwaring Photos: TheCityIsOurs

Tayne are about to serve themselves up as the absolute masters of tone and coherence, generating instantly recognisable soundscapes that blending industrial synth, thundering drums, ethereal vocals, raging guitar parts and incandescent screams. The benefit of this is that their debut album 'Love' has all the quality and production associated with a band well into the prime of their career, not one on their first official release. The downside, of course, is that it becomes impossible to listen to one song and not get lost in the music for hours or even days on end. ‘Erased’ definitely takes some cues from their previously released track ‘Niamer’, off of their 2021 EP 'Coherent', in using drums and synths to draw you into the soundscape that Tayne embodies, and setting the stage for ‘Love’ by showcasing all of the tools Tayne utilises to create a very strong opener. Easing into ‘Down’, which has a more frantic and yet soothing tone, this contrast masterfully captures the lyrics and explores the theme of lying to maintain the comfort of a relationship, as well as the internal struggles of those actions reaching the crescendo of internal conflict and musical breakdown. This is one of three tracks, at the time of writing, that has been accompanied with a music video by the wonderful Lief Johnson that details the personal story of Matt Sutton’s (Vocals/Bass) struggle with intimacy and his fathers journey to LGBTQIA+ liberation. It is a potent and powerful piece of music with stunning visuals, and we could easily spend this entire article talking solely about this one track. ‘Coherent’ expands this theme and, despite its 2021 initial release, shows the toll taken by the lyrics of ‘Down’. The addition of Rachel Aspe from Cage Fight brings another layer to the song as her vocal tone adds to the dissonance between the ethereal and the guttural. While we were already fans of the initial release, hearing this version does fill a previously imperceptible void and adds so much to this song, the duality of the screams with the lilting melodies encapsulating the toxicity of something that should be so beautiful. ‘Scars’ and ‘Cause_Worthless’ fan the spark from ‘Coherent’ into a raging symphony of Tayne's exceptional blend of noise pop and metal. Across the whole album, you notice as many musical cues and potential homages to HEALTH as you do Gary Numan, and numerous other pioneers of boundary-pushing, pop-inspired explorations into the extreme. Then slamming into ‘Fear’ we are blessed with a driving, escalating sense of power and control again - in stark contrast to the lyricism. ‘We’ fully embraces the industrial elements and generates a jarring, yet undeniably funky and infectiously groovy, bassline and melody that leads into ‘Wasted’. 'Wasted' returns us to an uneasy and enthralled state of amazement at how this trio can so effortlessly blend stadium filling riffs, videogame like synth melodies, drums heralding the apocalypse, and a voice smoother than butter. ‘In this trend’ is touted as an out of body experience of watching yourself press that self destruct button, and it definitely has the most oppressive and controlling vibe on the album. Its opening evokes an almost alarm like quality and then layers into a cathartic release of pent up rage and exasperation that I can sincerely say I have never felt such a connection to a song on a single listen in all my years. Finally ‘Nothing’ fittingly somehow feels like picking up the pieces of a shattered and spent relationship, the song evokes the same sense of guilt, of fear, of helplessness and yet sets a hard edge of hope and rejoining oneself to try again or start anew that is required after the kind of outburst from the previous track. Love is probably the most common source of inspiration for creative endeavours. Love is a staple for any genre because it's such a universal experience with such a variety of experiences. But ‘Love’ isn’t anything like what has come before. Tayne has delivered a beautiful exploration of the most human of emotions but through a lens of understanding and personal experience that could have easily turned bitter. It is a masterpiece of emotional resonance. Tayne has taken a genre that often feels like background music to an ongoing event and is pulling all the focus and attention centre stage to demand your attention way beyond the end of the album. 'Love' will be released on January 31st via MNRK Heavy and Inside Job. Words: Danny Sanders Photos: Tayne

Alt Blk Era have not been blurring, but smashing the lines between genres since the Nottingham-raised sister duo Nyrobi and Chaya Beckett-Nessam started creating music through posting covers of songs on Youtube in 2021, and with their debut album ‘Rave Immortal’, they have openly invited every fan to unleash their inner ‘nightmare upstairs neighbour’ with their press tour throughout the UK, including the iconic Pryzm in Kingston, London where many artists who have made it big in the industry start off strutting their stuff. Alt Blk Era have grabbed multiple genres, such as Metal and EDM, and have compressed them into a tameless ball, which explodes during their performances. They come equipped with a stage presence that would make even the biggest live music hater leap out of their seat, with audience engagement that exuberantly encourages every single fan to get involved in the mayhem. From the moment Nyrobi and Chaya burst onto the stage, the energy in the room shot from anticipation to roof-raising exhilaration with screams coming from every angle. Nyrobi started to bounce off the walls like a toddler on their fifth can of Monster with her high-energy attitude urging the fans to join in the excitement, whilst Chaya graced the stage with her ethereal vocals which were a blessing to eardrums everywhere. They started as they meant to go on, bursting through the crowd during their song ‘Freak Show’ and getting the adrenaline in the room pumping. They then segued sensationally into ‘Even if we're not: Solar’, one of their earliest releases, showing us that their energy has been and always will be shattering glass ceilings. The duo then introduced their debut album ‘Rave Immortal’ into the mix with a heartfelt and personal story from Nyrobi, opening up about her struggles with her disability and how the next two tracks ‘Straight To Heart’ and ‘Come On Outside’ are projects which culminate her difficult time into a piece of art. ‘Straight To Heart’ invites Chaya’s astonishing vocals to take center-stage during this track and allows the fans present to connect with the sisters on a much deeper and more vulnerable level. The band moved immediately into the opening instrumental for the second track of the album ‘Come On Outside’, which focuses on the love and support that Nyrobi received from her sister Chaya during a time when her disability was at its very worst. The two tracks gave the essence of a warm hug to anyone who has ever felt alone in their sadness, which is a part of life that the whole room could relate to judging the cheers that preceded the tracks. Through a drastic change of tone, the entire room was urged to become ‘narcissistic crazy ravers’ and match the duo’s energy for the next track ‘Upstairs Neighbours’, which is one of the highest-energy tracks to come from the debut album. With influences from genres such as EDM very apparent in these three minutes of absolute chaos, the entire room was shaking from the many feet bashing the floor. Nyrobi and Chaya related a story of how their downstairs neighbours made complaints about them creating music in their home, and this song along with the next two tracks tells that tale in a fierce and untameable way. The next two tracks ‘Come Fight Me For It’ and ‘Run Rabbit’ continue the story in a humorous way, elaborating on how the duo will continue to create and perfect their craft, regardless of anyone trying to put a stop to it. ‘Come Fight Me For It’ urges fans to unleash their inner rage with the confrontational track, with a theme of raising your fists to anyone who ever dares cross you, which humorously phases into the track ‘Run Rabbit’ which had the room wanting to sprint laps around the venue as it built the energetic force of the fans to record heights. Much to fans' elation, the next track was the iconic ‘My Drummer's Girlfriend’ which is their most popular release to date. Nyrobi and Chaya tasked the room with singing the catchy chorus alongside them, ensuring everybody knew the track word for word and all the fans could get involved in the madness, but the show, much to fans upset, came to a bittersweet end after this with the title track of the album, ‘Rave Immortal’, giving a new meaning to the phrase ‘Big finish’. This high-energy track gave fans their final chance to let loose for the evening and Alt Blk Era left the stage with the same fierce energy that they arrived with, engaging with fans surrounding them as they confidently stepped off the stage, knowing that the entire room was astonished by their performance. Alt Blk Era’s debut album ‘Rave Immortal’ was released on 24th January 2025. Words: Becca Wheeler Photos: Lizzie Jones

Since their debut album 'House Cricks' in 2016, Jaye Jayle has grown from the solo project of Young Widows guitarist Evan Patterson into a full-band force of nature, gorgeously mixing minimalist post-punk with gothic blues to create something that feels akin to sauntering through a storm cloud. As a group, they’re melancholic and raw and never afraid to experiment, and their latest release 'After Alter' (a patchwork of previous recording sessions with songs dating back to before the band’s inception) demonstrates this in full force with an album that’s simultaneously moody and utterly magnetic. We begin with ‘Father Fiction’ which starts with a sudden burst of heavy discordance and doesn’t let up from there, as Patterson explores the inherent infighting at the heart of organised religion over a cacophony of thunderous drums and dissonant guitar chords. The near-oppressive atmosphere created by this opening track continues through the next few songs, with ‘Fear Is Here’ exploring the hidden terror in everyday life and ‘A Blackout’ offering a cynical reflection of the American dream. It’s around halfway through when things start taking a turn for the experimental, with the first version of ‘Bloody Me’ (made before the band’s debut) serving as an early incarnation as Jaye Jayle’s signature style, and the following songs ‘Small Dark Voices’ and ‘HELP!’ offering us expansive, moody audioscapes that add equally atonal electronica and acoustics to the already gloomy soundscape. However, the real highlight of the album is the last track and second version of ‘Bloody Me’, which has the novelty of being cut straight into wax. This song, or more specifically this version of the song, represents not just the album as a whole - but also what Jaye Jayle stands for as an idea. On 'Exploration', the group have allowed themselves to venture into uncharted territories both as artists and in terms of the genres they play in. It’s this that helps 'After Alter' soar as an album, the embracement of creativity on all fronts. It’s not for everybody, Jaye Jayle never could be with such a melancholic tone. But then, isn’t that the joy of things? Seeing just how far that tone can stretch, especially with songs that come from across a band’s entire history? Seeing how a band can blossom from just one man’s solo project? Isn’t that what Jaye Jayle stands for? 'After Alter' will be released on January 31st via Pelagic Records. Words: Astrid Emery Photos: Jaye Jayle

From David Bowie to Sam Ryder, not forgetting a brief stop at the S Club along the way, pop music has long been obsessed with outer space. This phenomenon is perhaps unsurprising when considering the escapism from world events that it has long provided listeners with – indeed, what is more escapist than actually departing planet Earth? In many ways, HENGE are the embodiment of this cosmic ideation taken to its most extreme degree: not only do they indulge the fantasy of space travel, but they provide listeners with a pathway to it, specifically through an all-expenses paid trip to a distant planet known as Voltus B. The four-piece, who each claim to have originated in different corners of the galaxy, have spent the last 10 years regaling Earthlings with disparate stories from the known universe and beyond. 'Journey To Voltus B', their fourth album, is the most accommodating yet for its tellurian audience, providing an immersive, chronological account of the process of planet hopping, whilst simultaneously providing a cautionary tale to the people of this planet. This ambitious undertaking can only be encompassed in an equally bold musical style. Fortunately, HENGE rise to the occasion, with what they call “Cosmic Dross”: a signature sound developed and honed throughout their years of interplanetary exploration. To the human ear, it is a meeting point between indie-electronica, hyperpop, and chiptune, capturing the chaos of the cosmos with impressive precision. NOTE: In this review, I will endeavour to capture Cosmic Dross to the best of my ability. Sadly, my limitations as a human make this a nigh-on impossible task: Zpor, HENGE’s lead singer who originates from the long dead planet of Agricular, has previously explained that the genre is not definable with human language. Nevertheless, to all human readers, I hope that I can provide you with a rough understanding of the music of our intergalactic neighbours. To any off-planet beings who may come across this review, please be assured that no offence is intended in its writing, and that I approach your culture purely from a position of wonder and admiration. We join HENGE mere seconds before lift-off, as the countdown bellows over blaring synths dutifully provided by Grok, the human who initially brought his fellow bandmates to this planet. 'Ascending' is a disorienting beginning to the record, but this is absolutely necessary in order to faithfully recreate the feelings of launching into space. The barely decipherable, Daft Punk-style vocals barking out protocols evoke a feeling of powerlessness as the experienced flyers ensure that the trip goes as smoothly as possible for the first-timers onboard. Fortunately, on 'Slingshot', the rest of the crew (us, the listeners) are caught up with the proceedings. Zpor takes this opportunity to explain the mechanics of space travel, all whilst Nom’s pulsing drums leave everyone aware of the urgency with which operations must be undertaken in order to avert disaster. Fortunately for anyone experiencing travel sickness, this breakneck pace is slowed on the ambient 'Hypersleep'. Space travel is a time-consuming ordeal, and in order for the human body to withstand it, we need to be placed under a suitably deep slumber that can make a thousand light years pass by in the blink of an eye. For this reason, the reprieve is short, as we are awoken with a start on 'Descending', a predominantly bass-led instrumental soundtracking the approach to Voltus B, before 'Welcome To Voltus' familiarises listeners with their destination. In Voltus, we find a planet at a crossroads: its inhabitants have just discovered atomic power and its potential, and are engaged in vociferous debate about how to harness it. If you’ve read up to this point, it should be apparent to you that this record presents its futurism with tongue firmly in cheek. Amongst the silliness, though, is a genuinely novel use of technology. Following the conclusion of 'Welcome To Voltus', the vinyl version of 'Journey To Voltus B' utilises concentric grooves, a pressing method in which two tracks are pressed onto the same side, leaving it completely up to chance which one the needle catches. HENGE incorporate this into 'The Power of the Atom', which has two different versions concentrically pressed: the fusion version, which documents the timeline where Voltus’ people choose to use nuclear power to create clean energy; and the winter version, which explores a darker future, where nuclear power is used for war. From there, two entirely different closing tracks spawn accordingly, detailing the multiverse outcomes of the planet. 'Nuclear Fusion' is a triumphant closer, whereas 'Nuclear Winter' is a sparse, minor-key affair, accompanied by a voice detailing all of the dire environmental consequences of nuclear warfare. Call me a pessimist if you like, but I vastly prefer this iteration of the album’s end: the eeriness of the track, as Voltus’s prognosis is emotionlessly laid out so incisively, hammers home the allegory that HENGE are so obviously telling throughout this album. Clocking in at just over 27 minutes on both versions, 'Journey to Voltus B; is careful not to overstay its welcome. With a concept that is so overtly gimmicky and a sound that matches, it would be easy for both the messaging and instrumental to become overbearing and annoying if overexposed to it. HENGE seem well aware of this fact, and thus have worked to ensure that all the fat is trimmed, leaving a concise, impactful piece of work behind. Though the seemingly expansive concept belies a simplistic, well-trodden moral centre, the genuinely unique use of its medium to convey this message makes 'Journey to Voltus B' a must-listen album, especially for vinyl enthusiasts. You will struggle to find a more creative use of your turntable on any other record you buy this year. Words: Ali Glen Photos: HENGE