Of all the beings prowling the wilds of the northern hemisphere, none have been given greater reverence than the bear. A beast of savage majesty and atavistic gravitas, it has stalked the dreams of humankind since we first huddled around campfires and shivered under the stars. Consider the findings at Basura Cave in Savona, Italy: scientists uncovered the ancient remains of a cave bear, encircled by ritual pellets and carved stalagmites, evidence that Neanderthals may have exalted it as a guardian spirit, a deity who ruled the space between man and nature. The Sami people of Finland believed bears could understand human speech, have a language entirely of their own, and act as divine intermediaries between gods and humans. Even the word “bear” itself is a linguistic dodge – originally a Proto-Indo-European euphemism meaning “the brown one”. Born from the ancient terror that uttering its true name might summon the beast, an omen of swift and brutal destruction. Fast-forward a few thousand years to our current world, the bear has been coldly demystified. Our so-called 'kinship' with this ancient creature has been hacked apart and indexed into sterile taxonomic tables and evolutionary charts whilst we destroy their habitats, oblivious to the raw, pulsating life force that still thrums beneath nature’s surface. This is the vision rousing Einar Selvik who stands as the spiritual nervous system of Wardruna, the Norwegian dark folk ensemble that stands defiant against the soul-numbing tide of modernity. Emerging in 2003 by Einar and Gaahl (both formerly of Gorgoroth) as a method of creating new compositions with old instruments to construct raw and ritualistic soundscapes. In the present, Gaahl has vanished into legend, and Selvik remains at the helm, forging ahead with a very prolific back-catalogue including the TV series 'Vikings' and 'Assassin’s Creed: Valhalla'. 'Birna' in particular poses the question: why have we shunned our oldest god? More than merely asking, Wardruna chants, howls, and drums it into the marrow of our bones. This album, like all of Wardruna's works, defies conventional review. It does not beg to be dissected track by track; it demands immersion, flowing as a cohesive whole like an ancient river cutting through ice-bound fjords. Sure, tracks can (and will) be marked, but that misses the point entirely. This is music that will ideally be consumed in the midst of fog-laden forests or beneath a leaden sky on an early winter’s morn, when the earth breathes impurities of the ground from mist, and something ursine stalks in the heart of the woodland. The opening track, 'Hertan' (Heartbeat), sets the stage with visceral force. It crawls beneath your skin, its primal rhythm echoing the pulse of earth itself. A recurring heartbeat motif thrums throughout the entire album, securing the listener into a primal and strangely maternal force. Layered with an eclectic cacophony of primeval instruments and vocals that beckon like a dirge rising from the depths of time, it creates a cocktail of exhilaration that would have driven Norse berserkers into frenzied battle in some forgotten, blood-soaked century. By the second track, 'Birna' (She-Bear), the tempo transfigures into a more solemn melody. A lament for the hibernating bear, it feels like a funeral procession winding through a snow-draped forest, questioning whether she will ever rise again. It’s mournful, meditative, and beautifully heavy. By 'Ljos til Jord' (Light to Earth), the sensation of being enveloped by nature becomes almost overwhelming. The forest closes in and curls around as the melodies are invoked with hermetic precision. Every note, every whisper of sound is as the very order of nature itself - nothing wasted, everything in its place. By the time 'Dvaledraumar' (Dormant Dreams), a sprawling 15-minute odyssey, arrives, the self has dissolved completely. No longer a spectator – the listener becomes part of the ritual. It is a slow, entrancing plunge into icy water, evoking the shadowy grandeur of Wardruna's iconic 'Yggdrasil' album. The experience continues with 'Jord til Ljos' (Earth to Light), a personal favourite, where rain-soaked atmospheres build into an expansive, confident soundscape punctuated by throat singing. The lyrics speak of returning light, of longer days and cold rains, of waiting. And then comes 'Himmindotter' (Sky Daughter), a hymn to the ancient bears, echoing with Tolkien-like melancholy and resolve: “Show me who I was when I roamed widely, before mankind’s path turned.” It is a plea for lost dignity, a cry for the forgotten wild. 'Skuggehesten' (Shadow-Horse) abandons the bear motif in favour of a metaphor of a dark horse, complete with more whinnies than the hundred acre wood. With thunderous drums it charts the journey of a warrior overcoming darkness, emerging into light. It’s a standout - a fragment of the album as ferocious as it is ominous. Finally, the album closes with the breathy, ritualistic duo 'Tretale' (Voice of Trees) and 'Lyfjaberg' (Healing Mountain). The latter, a four-year-old composition, finally finds its place here, rustling with leaves and echoing ancient chants, as if the Ents march once more to war. By the end, the repeat button begins to look awfully tempting. Wardruna's latest ursine offering is more than just another notch in their already formidable discography, it is an audio-ritual realized with obsessive precision and atavistic reverence. Wardruna does more than resurrect a world we have forsaken – we are reminded that it never truly went away. It waits in the misty forests, in the silent, watchful eyes of creatures we no longer fear. The question is not just whether the bear will rise again, the question is whether it will forgive us when it does.The skalds are not looking to the past on 'Birna', but fixing their eyes on the future and our place within nature. Not merely an album, but a truly transformative experience that ensures 2025 is off to a roaring start. Anyone with an open mind, a love for nature, and the magic of pre-electric folk sounds must give this a try as Wardruna continues to go from triumph to triumph. ‘Birna’ releases on the 24th of January via Music For Nations/Sony. Words: Kiarash Golshani Photo: Morten Munthe

You've heard of guttural singing, but what about guttural albums? Kathryn Mohr puts us under a dark spell with upcoming release 'Waiting Room'. She not only puts into the world something from deep within, but also absorbs the environment around in a unique full circle process. The Oakland-based artist self-recorded this 11 part performance in a one month period spent in eastern Iceland. This opus was birthed in a windowless concrete room, lit with a string of multicolored light bulbs (which made their way into the album art), located inside an old fish factory in Stöðvarfjörður. However, whilst it may have been birthed in a veritable cell, this Icelandic stacking doll piece knows no borders. It opens on 'Diver', which sets the tone with an ethereal sound. From the start we can feel the world around us, without necessarily being able to identify what part we are listening to. It remains enigmatic with its crackling and atmospheric sounds at the forefront. Mohr’s softly sang voice seems untouchable, behind a veil. We can feel in it her wanders around the shoreline, recording furtive moments through sounds. 'Rated' then takes us by surprise, teaches us to expect the unexpected with its distorted and doomy feel. We are looking for something without any distinct goal in mind. The inspiration Mohr takes from horror comes through crystal clear on this unsettling piece, and it also brings both industrial and new wave elements with a dark synth underneath. The isolation of the tiny fishing village transpires, bringing about feelings of want throughout. 'Driven', the lead single of the album, is refreshing and ruminative. The strong bass seems to be guiding it, allowing more lyric-driven, clear singing to take up space. Those feelings of want becoming stronger and turning into a languid rhythm. We are in the waiting room, where time seems to expand in a hallucinogenic manner. It has a cinematic quality to it, bringing to mind a non-descript indie film about love, choices and (bad) decisions. 'Petrified' continues in the same vein with a haunted indie folk twist. The loop rhythm on the guitar, intentionally out of tune, adds to the distortion and atmosphere. Everything is slightly out of place, and just enough to make you wonder how you feel without giving anything away at first. This is enforced by her voice being sat in the background, as if drowning and losing control. We enter a surprisingly grungy track in 'Take It', its gritty vocals and levelled guitar are reminiscent of an early Pretty Reckless sound. The distant vocals echoing in our heads almost feel like voices whispering in our heads, under the chaotic umbrella of everything that's happening. We end on an out of tune guitar fading away, which brings us on perfectly into the next piece. With a very distorted riff, 'Elevator' begins. As it does, the sound of static does too, like headphones starting to break. The mix of genres fascinates just as the atmosphere does, reminding the listener in part of a Nine Inch Nails instrumental. but with a hint of punk singing. It is both hectic and languishing. When talking about this song, Mohr evokes PJ Harvey and early Hole influences, finding herself deep in reverb and dissonance. But what about the origins of the song? The artist highlights how desensitised people can be as “Young people are exposed to all sorts of media, without reason or care. It’s the same in life – you never expect what will happen next or how horrible it might be. One second you’re watching a nature documentary, the next moment autoplay is showing someone getting their arm ripped off in an elevator. The unexpectedness of horror, how it’s thrust upon you, imposed, by other people, governments, personal demons, algorithms or pure chance is shocking to me.” The logical continuation is the song 'Prove it', which presents different piano keys, all out of tune, starting off the track. The strong distortion reminds us of ice cracking, before distorted chords are tested within the song's body. We're trying to find our footing, trying to find a melody on unstable grounds, which seems to continue through 'Horizonless' in a hushed shadow under a doomy guitar. We may have found a melody, but it does not seem to have distinctive lyrics, only sounds, until they fade away. That is, until 'Cornered' shocks us awake with static and a phone ringing, before going to an automated message letting us know that the number is not attributed. The horror creeps in again, eerily similar to an old tv or radio but not quite the same, instead it may be the sound of some program happening, or recording being made. There seems to be life but we can’t be sure, as there is a clinging feel, like someone being active around the house. Despite being the second longest track on the LP, it contains no singing. That goes to show just how important atmosphere building is in Mohr’s universe. We are once again caught by surprise with 'Wheel', which has an almost Lacuna Coil-like quality in its rhythm, with some parts being almost spoken. It is in line with 'Take It', but has a very different vocal style. Here we are in a more exhausted version, singing as if it’s a last breath. But Mohr keeps trying one more time until the last song, the title track, 'Waiting Room'. The owls sing this song open, inviting what feels like a distorted organ in. There is a notable echo in the singing, summoning all the horror past to create a haunting and ethereal finale. We keep on waiting for something without being sure what. This vortex ending spirals us in drowning screams and broken records. 'Waiting Room' is a catharsis of emotions, spaces, destruction and rebuilding. It carries affection, pain and reinvention of self. It confronts the violence of the human nature, but also our ability to love. By creating a dream-like space, Mohr gives us an opportunity to question and explore for ourselves without direct threat. She pulls herself out of the waiting room to let us question it, as well as to consider what might crawl out of the shadows when there is nothing and no one to distract us. Trust us, this album is worth a listen. 'Waiting Room' will be released on January 24th via The Flenser. Words: Lysandre Pons Photo: Senny Mau

It was a big 2024 for sibling duo ALT BLK ERA that started with a steady stream of supporting slots for the likes of Tom Morello, then spending the summer on the festival circuit including Reading & Leeds and Download, and finally gearing up for the release of their debut album 'Rave Immortal' at the end of this month. After pouring through their first full-length project, we sat down with Nyrobi and Chaya to talk about evolutions in sound, working with Wheatus and where the progression of their sound heading into album one. The ALT BLK ERA sound is notoriously hard to pin: 'Rave Immortal' is a mix of heavy guitar melodies and drum and bass elements, mixed with new-wave reminiscent goth beats, and rap, singing and screaming. The evolution of this sound can be heard when progressing from their EPs to this debut effort: they muse that the evolution of their sound is linked to the evolution of their tastes. This is true for Cheya in particular, who began this project as a young teen at the point where she would be exploring her music tastes fully for the first time - from the goth of the first EP that manifested into alt-pop to the metal influences present in 'Rave Immortal'. The pair describe the album as more mature and refined - "We know what we’re doing now" says Chaya, even with the caveat of not knowing if they'll put this album into the ‘experimental’ camp that includes their earlier output by album two or three. "It's a concept album, which starts with 'Upstairs Neighbours'. I get about an hour around when my meds kick in..." where Nyrobi then explains the narrative of those neighbours running them out the house. The elder of the duo’s health problems are a prominent theme in 'Rave Immortal', with the first act of the album featuring moving synth ballads including 'Straight To Heart' and 'Come On Outside', detailing the heavy weight that Nyrobi’s health issues impose on her and her sister, who supports her struggle. The race from her neighbours in 'Run Rabbit', then, could be the power that she feels when she is able to perform and put energy into her naturally big personality. Some of the key components of the foundation of ALT BLK ERA are The Prodigy and the pairs' mum, who introduced them to the former and pushed the siblings over lockdown into making and promoting their own music. Nyrobi tells me they were watching bands perform on YouTube and "couldn't find anyone who let themselves go on stage" when mum suggested the 90s rave-rock outfit, laughing her off at first before looking them up and getting hooked. They love the "freedom" and revealed that they watch a little clip of them performing before going on stage because that's how they want to act. "I still feel like we’re learning from them": it can be heard in the thrash dance tracks such as Run Rabbit or Upstairs neighbours embody that push for freedom. As for mum, her role in the band is creative, business, and practical all in one. She acted as chauffeur and chaperone when they first started gigging, taking them to bars for shows. They’d get to these bars and the owners would discover that Chaya was underage: "they’d be like you can’t be here... we’re like - you booked us!" Mum was also ‘proofreader’ during the writing and recording process, reminding Nyrobi to pronounce the Bs in rabbit she was missing when they were recording 'Run Rabbit'. She’s also their co-manager, leaving the admin side in good hands while the duo do what they do best - grow. The growth of ALT BLK ERA was pretty quick, driven by their TikTok strategy to promote music released in the height of the pandemic. Again suggested by mum and again fought back on as "It was a dance thing…I’m not dancing" Nyrobi tells us, but once the app expanded its scope they gave it a try, to great success. They’ve built a community from their social media presence - so much so that "Everyone we know now is through music and online". They’ve built their community from the ground up, having not been involved in the heavy scene as listeners before joining as artists. They reminisce on their first gigs being a "sea of middle aged men" and that their debuts at festivals such as Glastonbury and Download were also their first time attending, but between the first regular attendees to their gigs and their online presence they found people they trust and fans that are "[their] kind of person". The future for ALT BLK ERA looks even bigger: they recently released a collaboration with rock legends Wheatus, which came about in the Download press room when they noticed a follow from the band on twitter. They texted a thank you, then got the courage to send them the finished demo of 'My Drummer’s Girlfriend' and had a “throw your phone on the bed once you’ve sent the text” moment in the form of asking them to hop onto the track. Cut to two days of recording at Spotify studios in London and the two can’t help but pour love and respect onto their name. "They just got better and better" says Nyrobi, on being in the studio for those two days - "So giving, so caring, so not selfish". Telling us how they celebrated 100k monthly streams on Spotify with them with absolute earnest, regardless of the numbers Wheatus pull, and that the experience drips from them when they’re in the studio; "you can tell they’re professionals…[they]made me want to be a better singer", 'Rave Immortal' is an eclectic, fast paced project, playing with concepts of breaking free and embracing the loudest parts of yourself thoughtfully over genre-bending beats with a drum and bass flavour. There are tracks for everyone on this album: from the indie rock of 'My Drummer’s Girlfriend' and gothic influences on 'Hunt You Down' or 'Catch Me If You Can' to the thrashy rave style tracks such as 'Upstairs Neighbours' or title track 'Rave Immortal'. To see the album in person, you can catch ALT BLK ERA on their in-store tour starting on the 24th in Bristol, or in April for their full tour from the 15th. Alternatively, you can catch their album release party January 25th at Nottingham Saltbox or January 30th at Kingston PRYZM. 'Rave Immortal' will be released on January 24th via Earache Records. Words: Julia Brunton Photos: Dean Chalkley

What can be said about this fantastic debut LP from Waldo’s Gift… It’s riveting, exciting, unique, downright impressive and that’s not even the half of it. This album is not quite like anything we've heard before, instantly slapping the listener across the face with the complex and intense riffs of ‘Candifloss’. This song is so gorgeously mixed for a debut album, and it's astonishing how well the bass, the guitar and the drums were so sonically intertwined with each other in such a kinetic manner. The entire release manages to take experimental jazz to the next level, combining it with a myriad of influences and genres, and creating something closer to post punk. It's nigh impossible not to absolutely adore the motions this album goes through - the intensity of the opener continues into the title track, which blends all this instrumentation for another punch to the throat, all the while showcasing the incredible synchronicity of this Bristolian trio. A few tracks in however, you're met with a bit of a surprise, as these three wild musicians dial it back and take the LP in quite a different direction. With some much less intense, almost laid back tunes, Waldo's Gift really sell the rest of their sound and take us back to their root, inadvertently fleshing out the sonic profile of the album as a whole in the process. If you like intense guitar riffs with crazy pinch harmonics and shreds that are able to showcase the sheer talent of their player, if you like bass that will make your subwoofer cause an earthquake, and if you like drums that are completely unique and would be a nasty day at the office for any other drummer to replicate, this LP will have you sorted. 'Malcolm's Law' will be released on January 22nd. Words: Ben Blissett Photo: Waldo's Gift

Well it always had to happen. The last day of a festival eventually rolls around, no matter what you do to pretend it won't. Luckily, when that festival is Reality Unfolds, it's not so bad because it's just a bloody brilliant day full of awesome live music! There was a healthy range of styles on display which kept it fresh and distinct from the first two days, and frankly we're already discussing who we'd like to see play at 2026's edition of this brilliant festival. Grey Market Opening the day was actually the curtain call of a little band named Grey Market, who are fronted by Theo, the brains behind Reality Unfolds. They played a half hour set with some amazing covers, eccentric moments, wonderful originals, a new song that won't ever be properly recorded, and most of all bags and bags of heart and soul. From beginning to end, the set felt like it hit everyone in the room right in the centre of the chest, and even at its most violent and careening was still an emotive display. There surely couldn't have been a more powerful way to sign off on Grey Market's time as a band than with so many friends watching them on and loving every second. Church Of The Rat From final shows to first shows, Reality Unfolds doesn't mess about. The second band on the bill was Church Of The Rat, who were debuting as a live act, and they sounded very much like a British answer to Every Time I Die and Better Lovers. Whilst the crowd wasn't so rampant for their set as you might expect from a hardcore band, that can very easily be attributed to their debutant status, and in mere months they're sure to have people diving all over the stage, accompanied by their roiling riffs and sneering snarls. Uncertainty Next up was Uncertainty, a Bristol based queer hardcore band who piled as many riffs and gruff guttural yells into their slot as physically possible. They were the first act of the day to really get some movement going, and finished their set with some serious pit action. Stage divers and crowd throwers were the order of the day, but the commando crawlers were back in fine form, and of course crowdkilling was still kept in great business by the unruly fans of this unruly (and brilliant), part balaclava'd, band. Flesh Creep Flesh Creep jumped up to play next and instantly stood out amongst the rest of the room, simply due to their singer wearing - of all things - a suit. He looked very good in it and the colour was lovely, a nice charcoal grey, and it made for a very pleasant juxtaposition within their aesthetic and sound. Speaking of their sound, they have a savage hardcore sound that fits seamlessly into the musical backdrop of their home, Birmingham, that's comprised of raucous guitars and some incredible drumming that deserves its own paragraph! They played a full set of nasty, abrasive hardcore and an awful lot of fun was had. CADY Fifth to play was the insane trio of CADY, who's emoviolence/screamo sound stood out immensely on the day for all the right reasons. Being a year and a half down the line from their most recent album, and twelve years into their time as a band, their music has become a wildly brilliant combination of heaviness, emotion, melody, deft beauty and raw anguish that sinks its teeth into you and never lets go. Another drummer shoutout is needed, because the technique and speed displayed was glorious throughout their entire set. Whilst the crowd didn't get moving during their set, no moshing or crowdkilling was needed to appreciate the brilliance of what was on offer. Hidden Mothers Sheffield's finest Hidden Mothers took to the stage next, and whilst they've been gathering a very healthy head of steam for some time - and released a spectacular debut album in November - their set at Reality Unfolds was a thing to behold. Right from the off, the ethereal post-hardcore foursome mixed some of the very best of melancholic heaviness with sparkling guitars and pounding drums, but the contrast of the sung, heartfelt moments with the brute force breakdowns gave their set an air of unspoken brilliance that is difficult to put into anything resembling words. All else that needs saying is that we implore you to go and see them live, it will do things to you. Perp Walk Going from a set to cry at to a set full of people throwing each other, Perp Walk gave us a shot of adrenaline to get the last few hours done with plenty of moshing yet. Their momentous set at Outbreak last year showed them ruling the roost on a big stage, but they haven't forgotten how to kill a small venue and promptly did just that. 'The Gavel' was a particular crowd favourite which was made abundantly clear by the sheer number of arms and legs being flailed with reckless abandon, in true Reality Unfolds fashion, to show the audience's collective appreciation for an excellent set of hardcore tunes. Shooting Daggers From one hardcore band to another, we then were greeted by Shooting Daggers and their more downtempo, punky style of hardcore. With a fuzzy sound, plenty of delay on the vocals, and loads of good vibes in tow, the trio played a very well-received set that ran through a lot of their recent debut 'Love & Rage', as well as inciting an audience wide chant of "Free, free Palestine" and standing up for queer people and identities throughout. They were slightly less hectic than Perp Walk and so managed to give everyone a moment of respite, whilst still carrying their message across brilliantly as the day neared its end. Sorcerer The penultimate band of the weekend was one that could, based purely on the merit of their aggression and stage presence, headline any hardcore festival the world over. Paris' own Sorcerer were the final fix of hardcore on a weekend full of the stuff, but they delivered every ounce we could've asked for and then carried on pouring till the glass was overflowing. The supremely dark and foreboding sound of theirs was amplified tenfold onstage, and the audience reacted in kind to become a baying mass of spinning, whirling dervishes in frenzy. For any fan of spin kicks and stage diving who wasn't sure about booking that romantic weekend to Paris, here's your new reason to get it sorted now. Stormo To cap off a stunning weekend, we look no further than Italian screamo stalwarts Stormo. The aggressive, abrasive nature of their sound mirrors hardcore very heavily, and yet the vocal delivery and rhythmic patterns keep them so distinct from it in a way that absolutely tantalised every onlooker at the New Cross Inn. The pit was kept busy, the band didn't stop moving, and towards the end the air was thick with gratitude and love. After six long years of not playing in the UK, to finally see them back was a real treat, and even more so when it came at the end of such a brilliant weekend. That's all for this year's gobsmackingly wonderful edition of Reality Unfolds! Thanks for checking out our coverage of this beautiful little corner of the UK heavy music scene, we can't wait to see more shows at the New Cross Inn and run into Theo some more, and we're already checking to see next years dates so we can book them off work. See you there! Words: Jake Longhurst Photos: Lizzie Jones

Day two at Reality Unfolds was, in many ways, very similar to day one. It was full of amazing bands playing brilliant sets, there were loads of breakdowns and filthy riffs, and my back STILL hurts. However, apart from that last one, there's a key difference - there were a ton more of them! With twelve bands on from 13:00 to 22:30, the day was jampacked with phenomenal musical ability from start to end and barely gave us a minute to breathe before we staggered out into the cold night air to get some rest. Each band also played with a Palestinian flag behind them, which was made more potent and poignant given the fact that the ceasefire has just come into effect as of this morning, hopefully putting an end to some of the horrors the Palestinian people have endured. We sadly missed both Supernova and Final Dose, due to bus issues and needing to eat respectively, but have heard that both bands played excellent sets! Please make sure to check them out as well as all the bands below whose sets we did manage to get to. Blood Gutter Our first act of the day was Blood Gutter, one of a few BN1 hardcore bands on who all had amazing support both from the crowd and each other. They played a death metal oriented brand of hardcore that was custom built for swinging fists and slamming into each other, and that - combined with their bruising energy - made them a great way to start off our day, shaking off the weariness of the day before. 'Friend Of Mine' was a particular highlight, getting everyone on their feet in seconds. AKU Straight afterwards came AKU, another one of the BN1 crew, who spat out a multitude of rough-n-ready hardcore punk songs for the excited audience. With a singer dressed like a punk Freddie Mercury and a barrelful of piss and vinegar at the ready, they put on a great show early in the day. Finishing with their song 'In Automatic', the audience bought in hard and got on, across, and off the stage plenty - far more than you'd usually see at two o'clock in the afternoon on a Saturday in January! Supera Morza Manchester's Supera Morza played the most punk-driven set of the weekend thus far, full of riffs, yells, fuzz and fun. The crowd was a lot less mobile than the first few acts, partly due to the smaller impact of hardcore on the band's sound compared to everyone else who'd played, but that didn't stop Supera Morza from tearing through their set and showing themselves off brilliantly. For fans of old school grunge, Deftones, and pure punk, there's absolutely loads to love in this exciting four piece. Vaticinal Rites Mixing up the genres of the day, Vaticinal Rites brought some good old fashioned death metal along to Reality Unfolds. Last year's death metal moment came from Ancient Rivalry and they went down a treat, and Vaticinal Rites were no different. Drawing the crowd in using their 90's style death, with a pinch of black metal thrown in too, they had plenty of moshers pacing back and forth across the New Cross Inn floor (you may be noticing a trend, Saturday featured an awful lot of crowd movement). Playing a number of songs off of their 2024 debut album 'Cascading Memories of Immortality', there is plenty more in the tank for them hopefully! Stranglehold Stranglehold played more hardcore to get us right back to where we'd been before Vaticinal Rites, and for a band who only released their first demo in late November they sounded phenomenal. Their set was fit to bursting with riffs, and had enough gruff yelling to do a remake of Full Metal Jacket with! The crowd clearly agreed, with plenty of people diving straight into the pit from the first note to the last. 'Fire Within' was a particularly great moment, with a deeply satisfying drum opener that then promptly led to yet more two-stepping and crowdkilling. No Relief No Relief were the third of the BN1 bands on the day, and whilst all three of the Brighton bands were phenomenal, No Relief took the cake for crowd participation, garnering a truly crazy level of moshpit activity and stagediving that hadn't been touched up to that point in the festival, even by Friday's most hectic set from Dry Socket. The band are currently on tour with lineup mates Broken Vow, and are nearing the end of a long European and UK leg, but somehow still had more than enough energy to tear the New Cross Inn a new one and raise the bar on everyone else yet to play. There were stage divers left right and centre, spin kicks, crawlers, everything you've ever seen in a pit and then some - even Broken Vow joining them onstage - happened during this breathtaking No Relief show. Malignant Malignant are a band from Athens, and their set was one of the most straight-up evil live shows that this writer has ever seen. The bar had been raised the set before, and they matched that and then some. Their vitriolic, pummelling metallic hardcore riled up the crowd into a baying frenzy of seething maniacs who, at moments, caused genuine fear. It was a momentous set that was truly mindboggling to watch, and showed off a band who's future is blindingly bright. 'Unrestrained' was one of the many unbelievable high points, and made for one of the best single song performances this weekend. They've said that they're hoping to return to the UK later this year for a full tour, and if they do we will be at the very front for every second of any shows we make it to! Broken Vow One of the best, and most bittersweet, sets of the weekend thus far was Broken Vow's. The American's are on their last ever tour, joined by No Relief, and the show was their fifth last ever as a band, which was made even worse by the fact that they were just so damn good. Yet more energy poured from band to crowd and crowd to band, in a set that just kept giving us everything we wanted. The singer's Reading FC shirt was a bemusingly contrasting clothing choice compared to the vicious furore that they whipped up within the room, although it must be respected that he chose to wear it on a day that Reading lost 3-1 at home to the team one place above them in the table. I'm sure that won't be remembered anywhere near as much as how well Broken Vow played, marking yet another stellar performance on a day seemingly incapable of having anything but. Bitterwood Glasgow's Bitterwood kept things fairly simple with their burly slam set, allowing the crowd to lower their IQ to single digits for most of their playing time. With 'bree's' aplenty, and riffs galore, the Scots swept the crowd away into yet more crowdkilling and two-stepping. It was slightly concerning when the frontman needed to leave the stage mid-song, about halfway through their set, and sadly this meant we didn't get to see their cover of the Beyblade theme song (all the more reason to see them again!), but when he returned he said it was "just a tactical chunder", and then proceeded to drop the back half of the set with as much excitable energy as before, and likely a happier stomach. Ringworm The final act of the day was truly something to behold. Headliners Ringworm haven't played in the UK for 16 years, so to see them finally walk onstage and rip through a collection of underground metallic hardcore classics was not only ludicrously enjoyable, but a real privilege. The audience were in absolute pandemonium, multiple times crawling up and over each other onto the stage and up the support pillar at the front just to be one of the twenty-odd people yelling into the microphone at any given moment. It might be best summed up by organiser Theo's baffled explanation of "What the FUCK just happened" as the band wrapped up their encore, with a grin plastered onto his face that likely will still be there as he reads this. Ringworm at the New Cross Inn was a set to be remembered, and will go down in Reality Unfolds history. After such a bonkers day, we've got one last set of bands ahead who are sure to blow us away as well, so stay tuned to our socials for updates on the day, and of course for our final day review! Words: Jake Longhurst Photos: Lizzie Jones

It's been a whole year since we attended our first festival as a publication, and now we're back there again! Reality Unfolds is an amazing three day event in New Cross, London, that showcases a blindingly good set of hardcore bands, screamo acts, metalcore groups, and more - as well as in it's short three years of life routinely featuring full debuts, UK debuts, debut headliners, one off shows, long-awaited returns, and even last shows! There is always something good to find at Reality Unfolds, even for the most discerning of listeners, and on the first day of the 2025 edition we caught every act to let you know what's what. Closed Hands Closed Hands kicked off the weekend with a bang - the skramz group decimated their half-hour opening slot with the efficiency of a far more seasoned band. Mixing in basslines that alternately sounded like ones from Iron Maiden's catalogue and staples of the Midwest Emo recipe book, as well as drums that ran the gamut of heavy styles, the low end of the band held immeasurable interest whilst the top end set about raining chaotic anguish onto the New Cross Inn crowd. As it was the singer's first time fronting the band alone, they mentioned they'd been pretty nervous in the week leading up to the show, but the nerves were indistinguishable from excitement as they took the 6 o'clock crowd by the scruff of the neck and dragged them about vocally until they had to finish. Walking offstage, they recieved a very well-deserved round of applause. Hour Of Reprisal Norwich's own Hour Of Reprisal set about to tear down the whole venue, with a brilliant hardcore set that alternately spoke out against right wing hardcore, the police, and also anyone who wasn't moshing hard enough. The straight edge crew had more breakdowns than a petrol car filled with diesel, and in particular the song 'Every Anti Word' had four distinct breakdowns and closer 'Failed State' featured FIVE of them, which made for an incredibly satisfying watch all in all. They're releasing an album in the near future, so any fans of slabs of sonic destruction should keep a close eye on Hour Of Reprisal. Vicarage The mighty Vicarage were on third, walking onstage at 19:30, and their modus operandi was clear - to exorcise the crowd in one obscenely heavy set. Playing through their whole November EP 'Perfect Hatred' was a particular highlight of the whole evening, as the release is crushingly good from front to back and sounded even more potent when played live. 'Be Thou Clean' was without a doubt the highlight of their whole set, with the song rippling through onlookers' bodies like a shockwave of rancid heaviness. The band are hopefully going to be touring again soon, so if you've not already seen them you'll very soon have the chance to understand why they're one of the bands on everyone's lips. Long Goodbye Metalcore crew Long Goodbye turned up the aggro mere moments after getting onto that hallowed New Cross Inn stage. The force with which they spat out their bruising tunes cannot be understated, and as the current touring support for headliners WristMeetRazor, they've been warming up for some time so were in furiously fine form on the night. Whilst their entire set was a spectacular display of brute force metalcore, their closer was a level above anything else they played - 'endlessly repairing a dying format' was another one of last night's biggest highlights, and will singlehandedly have made Long Goodbye a plethora of new fans in that crowd. Dry Socket Hailing from Portland, Oregon, the main support slot on day one came from Dry Socket. With a different tone to most of the rest of the bands playing, you might be forgiven for thinking that they got a muted reception, but the brazen American punks showed up and showed out with a pit full to the brim of two-steppers, crowdkillers, moshers and more. Their more punk based hardcore gave an injection of speed and rage to proceedings, and even had a couple of people commando crawling across the floor, which is a new one on a couple of us. Raising the roof with their high paced hardcore from beginning to end, Dry Socket have certainly gained a fan in Out Of Rage. WristMeetRazor Finally, it came time for WristMeetRazor to take the stage. The first ever published interview on Out Of Rage was with Justin, the vocalist of WristMeetRazor, so to be able to cover their second ever UK show and first UK festival show (and headline) is a big full circle moment for us! As the lights dimmed and anticipation grew, the volume turned up and Justin demanded the crowd get closer and tighter before they launched into their set. The Washington D.C. five-piece pulled out all the stops to make their caustic, industrial metalcore set a moment to remember, and they succeeded massively. Another of the big highlights of the night was them playing through the track 'Static Reckoning' off of their 2024 effort 'Degeneration', which not only went down a treat with previous fans but riled up the pit yet again for plenty more energy before they finished the night off in style. And with that, day one of Reality Unfolds was over, but we'll be back again today to see just what kind of musical decimation the genius behind Reality Unfolds, Theo Araby-K, has got in store for us all. Words: Jake Longhurst Photos: Lizzie Jones

Bands choosing to play an album in full can be a risky move for a headline tour, yet Insomnium prove how it was the right choice to celebrate Shadows of the Dying Sun. It’s a Tuesday in January; the streets of London are cold and relatively quiet. Throughout the streets an hour before the doors open, the queue of excited metalheads keeps growing for Insomnium’s only UK date this tour. The venue fills up fairly quickly after doors finally open, with the crowd ready to see the first band of the evening Omnium Gatherum play their album Beyond in full. The album works well in a live setting due to how well sequenced it already is. Each song has time to fulfill its potential. It almost comes across as odd that Omnium Gatherum is only an opening band tonight as the end of the set is satisfying in a way that only usually headline acts can come close to. The crowd are ready for the actual headliner for tonight, the first album played in full tonight was loved by all metalheads in the crowd. The crowd ready and wanting more now await Insomnium. The venue fills up further, the front now dense with metal heads on edge waiting to hear a classic album for the first time live in full. As soon as the band hit the stage they start with pure energy and passion. What’s even more impressive is that guitarist Markus Vanhala is playing in both bands tonight yet you can’t tell he just played another record in full before. The crowd take the album opener 'The Primeval Dark' well, the crowd stood in awe of what’s about to happen. People grab their friends and head bang together. As soon as they transition into 'While We Sleep' the mosh pit opens, and the crowd goes to another level of intensity. The song is arguably the most popular by Insomnium and playing it this early in the set may not work all the time but for an album tour it works brilliantly as the fans know they already love every song. The fans sing along to that iconic guitar riff while doing a mixture of jumping and headbanging. The set only just started yet the crowd is already ecstatic with the music. As Insomnium carry on playing 'Shadows of the Dying Sun' in full it’s clear how much this album means to people. The crowd is clearly emotional to finally hear many of these songs live for the first time. The band asks a few times throughout the set what the next song will be and the crowd gets more enthusiastic each time shouting out the name of the next album track. Every song gets a chance to be celebrated in a live context. The pit shows no signs of slowing down, waves of crowd surfers compliment Insomnium’s excellent stage presence. 'Ephemeral', another fan favourite, sees the crowd fully embrace the heaviness of the song with the pit growing even further. Even those not in the pit are moving along in some way to this song. When the band play the title track there's a sense of dread in the crowd that this set will be over soon. On the original release of 'Shadows of the Dying Sun' the title track is the final track, yet tonight we end the set with 'Out to the Sea', a bonus track. The band blazes through the album in full bringing the set to an end. As they leave the stage the crowd take a little time to gather their breath back as tonight they have just seen one of the best melodic death metal albums played in full. The fans still want more, chanting Insomnium over and over till the band return to the stage for a two-song encore. The band open the short encore with Lillian from their most recent album. The shredding guitars and heavy vocals instantly bring the crowd back to life, you wouldn’t be able to tell the band has briefly left the stage. Plenty of fans air guitar along to the riffs while the pit continues. The final song tonight is One for Sorrow. It’s one of the calmer songs tonight as the pit finally slows down as the moshers grab each other and wave their horns along. That brings tonight to a close. The band seem to have loved the crowd, and the crowd were happy to hear such an album played perfectly in full. Metal fans at their most wholesome. Words: Will Freeman Cover Photo: Ben Blisset

January can be an exceptionally bleak month of the year for all, with the bitterly cold temperatures and the inability to defrost a windscreen, but with Swedish quartet Sarcator’s new album ‘Swarming Angels & Flies’ dropping tomorrow, the band will be turning up the heat to unimaginable levels. With eight brand new whiplash-worthy tracks and three mind-blowing covers, ‘Swarming Angels & Flies’ will leave fans needing a neck brace by the midway point of the album. Starting off strong with ‘Burning Choir’ as their opener, Sarcator sets the tone of the album sensationally with an ear-bursting track that throws all the angst and aggression at fans that they’ve come to know and love from the band over the past six years. Full of exceptionally high-energy from Leo Buchalle's riffs on guitar and Jesper Rosen's pummelling force on drums that will leave fans foaming at the mouth. The guttural and raw vocals should definitely come with a ‘do not try this at home’ warning, with lead singer and guitarist Mateo Tervonen most likely needing some serious vocal rest after recording this first track. Next, the album transitions into ‘Comet of End Times’, the second track of the album and right off the bat, begins with a powerful and angsty guitar riff from Leo Buchalle that will have fans sprinting into the center of the pit in no time. The scream-worthy vocals from Tervonen showcase his innate talent and brags exactly what he is capable of. ‘Comet Of End Times’ is perfectly followed by the title track ‘Swarming Angels & Flies’, which hits eardrums with insane instrumentals right from the get go, inciting a feral need for fans to head-bang themselves into intensive care no matter where they are. The midway point of the album (how’s the whiplash going?) is marked sensationally with ‘The Deep Ends’ and ‘Where The Void Begins’, the latter being the longest track on the album sitting at a healthy seven minutes, where ears are blessed with guitar riffs to top all those that listeners have heard so far. Tervonen confidently shows off his spectacular vocals in these two tracks, leaving anyone who listens gasping for more and, as a noteworthy centrepoint for the album, the remaining tracks do not disappoint. Fans are in for a very welcome treat with ‘Where The Void Begins’, which makes a momentary shift in sound and builds from the very beginning, but nothing could prepare anyone for the moment the vocals kick in, nor for the insane howls they’re about to hear. As we approach the final tracks, the story comes to a monumental end with ‘Closure’ and ‘Unto Sepulchres’, two tracks which are bound to create circle pits in any and all situations. ‘Closure’ shifts the gears and launches instrumentals that not one fan knew they needed, with ear-splitting riffs which would have anyone stomping along on their dreary morning commute. This leaves us eye-to-eye with the final track, ‘Unto Sepulchres’, which perfectly defines the term ‘big finish’. If fans think they’ve heard all there is to hear by this point, Sarcator bursts out of the shadows with another trick up their sleeves, ending the story with speaker-ruining growls and finger-breaking riffs which could well be the best on the album. ‘Swarming Angels & Flies’ encapsulates rage in its finest form, and will be a blessing upon every metal fans keen ears - not to mention it's head-splitting to the point where it should come with a volume warning to anyone listening with headphones! ‘Swarming Angels & Flies’ will be released on January 17th via Century Media. Words: Becca Wheeler Photos: Sarcator

With AntiMozdeBeast's new album ‘The Alien Machine’, a new striking industrial electronic terrain has been mapped. This album stands apart from previous AntiMozdeBeast releases by taking listeners on a tense and unnerving thematic rollercoaster, that's been blended with juxtaposed adrenaline-fuelled electronic rhythms and hauntingly hypnotic beats. Combining influences from Nine Inch Nails, Skinny Puppy and Ministry, Gabriel Palacio single-handedly builds upon his signature experimentally industrialised electronic fusion and avant-garde stylistics with a texturally chaotic approach. ‘The Alien Machine’ propels listeners into a new uniquely creative and enigmatic instrumental landscape, shaped by dynamic discordant layering and retro-infused electronic tones to create a mystifying auditory labyrinth which listeners will find hard to escape.  Opener 'Antigone' sets the tone with its fast-paced ambient beat and oscillating electronic melodies. Introducing a distorted retro-video game feel that continues throughout the album, the track incorporates mysterious undertones with repetitive synths weaving throughout. It induces high-intensity unnerving emotions, that play a quintessential part to the experience of the album.  With ‘War Dance’, AntiMozdeBeast continues playing with the listener’s emotional headspace - this time using panicked rhythmic patterns, paired with discordant chords, that echo the stressed emotional state this song conjures up.  Symbolising ‘The Alien Machine’ well, ‘Sanctuary’ creates images of being caught under an alien spaceship’s beam in a dark field at night. It features layers of similar rhythmic structures spread in dynamically unique forms throughout, combining a mysterious electronic organ sprinkled with echoes and reverb. This song plays marginally with the stereo mix, weighing heavily to the right with sharp echoes on the left building upon the immersive experience. This track is a journey of discovery that steals your focus, transporting you to another world completely. ‘Poisoned’ throws a more industrial techno beat into the pot, constructing scenes of an underground German techno rave. Palacio’s choice of distorted metallic noises brings an industrial factory vibe that washes well with the fluctuation of rhythmic layers and electrifying up-tempo beat. It ultimately tells a story, but not one understood in any human language so much as one from the alien species beyond. Finalising this epic album is our highlight, ‘Ode Wise Dragon’. This calming yet ominous track features sounds akin to a wise dragon whispering messages, encoded in electronic melodies and a slow thumping beat. The colourful crashes and distorted tones build upon the atmospheric and unnerving feeling, that's exacerbated by the dynamic rise-and-falls in the featured musical elements. The crescendo produces a transcendent eery finish with a dramatic end, all to leave you wanting more. What is most poignant in this track is how it weaves into the mysterious world created by AntiMozdeBeast, jolting the listener through varying emotional states to create an adrenaline-fuelled narrative. In its entirety, ‘The Alien Machine’ introduces a more thematic layered journey through a world that AntiMozdeBeast has constructed. A wild ride through a mysterious yet stressful alien universe, with a flurry of hectic discordant tones and dark shadowy sepulchral undercurrents. Despite the tense, almost anxiety-ridden headspace the tracks take you to, it is bathed in originality and a unique creativity that would be fitting in a dark, alien-infested video game. Through the juxtaposing layered elements and the control that the music has on the emotions of the listener, this album is a wild ride to say the least. If you're looking for an other-worldly, mysterious auditory journey, then ‘The Alien Machine’ by AntiMozdeBeast is absolutely for you. 'The Alien Machine' will be released on January 17th. Words: Katherine Russell Photos: AntiMozdeBeast

Manchester's Aatma nightclub erupted into festive celebration this past weekend as the second anniversary of Seasons Beatings kicked off a full day of metal performances. Hosted by Kings of the North promotions- a promoter specializing in hardcore and beatdown- the event showcased some of Europe's most metal bands. From Belgium's ‘Clench your fists’ to Manchester's very own ‘Closed Casket’ the event was packed with across-the-board talent. The whole event was set in a traditional underground venue. A grungy, authentic atmosphere paired with the down to earth crowd created a safe space for those who were gearing up for a night of hardcore death metal, spin kicks and mosh pit madness. The day varied in style as bands began to take to the stage promoting their talent and some even announcing new music such as ‘No Witnesses’. The East Midlands band not only commanded the stage with their presence but also performed some of their most popular songs such as “Deluded”. The band used consistent and complex guitar riffs paired with versatile vocals to get the crowd going even starting off the mosh pits for the night. Despite this event showcasing bands of the same genre, all presented their own unique sound that paid homage to the underground metal bands before them. Many gave respect to each other and thanked those in attendance for keeping the genre alive. One band that showcased how unique they can be was ‘357 Homicide.’ The two-man band took on all aspects of a four-member band but split between two. The drummer Jake Gamble showed off a unique and initiative drum set up. From an imbedded sample pad to rare, shaped cymbals the band performed a multi rhythmic set showcasing the diversity in hardcore bands as the two multi performed for their whole set to great applause. Another highlight of the night was Manchester's own ‘Closed Casket’. The band performed to one of the biggest crowds in their hometown. Many bands before them showcased gratitude and great respect for them in their sets. ‘Closed Casket’ used electronic components, rap elements and social commentary. Along with traditional screamo vocals from singer Zack Booth. Paired with his rap interjections Booth brought a modern yet familiar edge to the genre proving their self-claimed title as performing “Manchester's hardest scrap music”. The band proved themselves to be a part of underground excellence and showed off their dedication to the genre despite only being formed in 2022. Seasons Beatings housed some big names one of them being ‘Bitewound’. The band known for their presence in the aggro sub-genre came to the stage with a jam-packed performance. ‘Bitewound’ announced new music, showcased new music and performed some of their biggest hits to the crowd of fans that had gathered at the foot of the stage. Implementing things from reggae influence on bass pair ups and even guitar/ drummer riff offs, the band mirrored classic metal rhythmic patterns whilst sticking true to their love for the aggro genre. Most songs were bridged with anti-establishment and social commentary allowing the band to present as their authentic selves. Another element the band homed in on was their willingness to have the crowd participated in their set. Many came up to perform vocally with the band truly portraying the bands reach and popularity in their respective fields. ‘Seasons Beatings’ has the potential to keep on growing. The community they have created will only grow with every coming year and hopefully more bands will be called up to perform. The event went back to the roots of hardcore metal music and stayed true to its underground start up keeping it alive for time to come. The event benefits both fans and bands alike. Fans get to come to a safe place to mosh out and enjoy metal music live whilst the bands perform, widen their audience and perform their years of dedication and hard work. Words: Kira Lashmar

The Orange County, CA hardcore royalty Stick To Your Guns - made up of Jesse Barnett (vocals), Andrew Rose (bass), Chris Rawson (guitar), Josh James (guitar), and Adam Galindo (drums) - have channelled unbridled catharsis on their eighth full-length record, and their SharpTone Records debut, 'Keep Planting Flowers'. Emerging in 2003, the band have raised the bar with each successive release. Having amassed over 100 million streams, they’ve built an incredible back catalogue of albums, and this one is no exception. It’s brilliant, and expertly showcases the carnage and catharsis Stick To Your Guns are known for. The LP is packed with aggression from the get go, starting off strong with 'We All Die Anyway'. It’s short and simple with not an ounce of energy being lost or wasted. Next up is 'Spineless', which came about from a writing session between Chris and Isaac from Knocked Loose during the COVID-1 pandemic. Out of that writing session came the insane opening riff, which sets the tone for the rest of the track. A key moment across the whole LP comes in the form of the anthemic lyrics “It’s all in your fucking head”, which will undoubtedly be a focal point of future STYG live sets for the crowd to scream along to. 'Permanent Dark' is said to be about the day Jesse found the light, the day he realised that everything he has accomplished would not have been possible without the love, support and guidance from others. The whole message is about how we as individuals are taught to believe we are the main characters, and our own individual lives are the most important thing, but once you realise that you have a greater connection to everything around you, you find both purpose and a reason to fight. The track has a brilliant combination of Jesse’s screams and some really high energy riffs. You can also hear the rain in this track, which is a recurring theme on this album with other natural sounds to show growth featured throughout. Bang in the middle we find the song 'Invisible Rain', which is a very classic STYG song that keeps things firmly within what they do best. The album then kicks it up to an even higher gear with 'Severed Forever'. With a galloping drum beat beneath Jesse’s guttural vocals and some seriously gnarly guitar work that's paired perfectly with the chantable chorus, it's a hell of a ride. Arriving immediately afterwards is 'More Than A Witness' which is without a doubt one of the most poignant lyrically. Providing a hard hitting message, with lyrics like “How can we look away”, this is a song for those of us who are tired of seeing the awful shit going on in the world and want to do something about it. The title track is another favourite. It has a more stripped down vibe compared to the rest of the tracks, yet still has such an incredible message. It’s about making connections, keeping going, creating, thinking and growing, no matter how hard gets. It tells us to keep checking on our loved ones, to try not to let the hurt that we carry bring us down, and to turn that into something wonderful. Who knew hardcore could be so poetic? If there’s one thing this album does, it really knows how to hit home with incredible lyrical messages. Next up is 'Eat Me Up', which was originally intended to be on 'Disobedient', but the band just couldn’t get the track to work on that release. It was clearly worth the wait, as it's made for an awesome song on this LP. Penultimate track 'Who Needs Who' is an insanely high energy track. Featuring Scott Vogel of Terror, it never relents. It’s an amazing back and forth between Jesse and Scott, “Never forget who needs who, you need us, we don’t need you”. The collaboration is incredible, and both vocalists absolutely smashed their performances on this one. Lastly comes 'H84U', which has a very nostalgic early 2000s vibe to it. It’s the perfect closer for this album, and features Connie from SeeYouSpaceCowboy who really brought her own ferocity to the track and made it that bit more intense, in a fitting finale to such a strong album. The album truly is hardcore at its finest. It showcases Stick To Your Guns' energy, as well as their ability to hit home with some hard hitting messages, and sometimes that’s just what you need. The album's central message is never going to stop being poignant, that of keeping on going no matter what - something beautiful can always come, even from pain and suffering. 'Keep Planting Flowers' will be released on January 10th via SharpTone Records. Words: Kayleigh Hadley Photo: Sarai Kelley