If you’re looking for a cinematic soundtrack to motivate and launch you into the new year, Exiled Hope and Steel Forge have come together to deliver the answer for you with a six track long melodeath EP full of worldbuilding. The release follows a story built by Exiled Hope that centres on protagonist Hope who's undertaking a journey through the underworld - all represented perfectly through the ups and downs of the music, with each song representing a different part of her journey. Soloist Sofia Frasz of Exiled Hope uses this EP to collaborate with the band Steel Forge in order to explore new genres she hasn't been able to before. Through this process, she has managed to perfectly blend the two bands, keeping the essence of them both very present in each song. The EP starts off strong with ‘A Light In The Darkness’ which blends folk influences as well as a unique song structure to create a truly cinematic sound, full of adventure and drama. Sofia's guttural vocals play a big part in this song, with brutal lyrics written by Danny Hell, the lead vocalist of Steel Forge. The next two songs - ‘The Calling’ and ‘Fate’s Design’ - carry on this story. One particular section we enjoyed is the monumental guitar solo in the last half of ‘Fate’s Design’, accompanied by a bass heavy breakdown making for what feels like a grand climax for the character. ‘The Calling’ contrasts excellently by being much heavier, with the guitar riff having an almost nostalgic sound, reminiscent of a boss fight in a fantasy game. ‘Beyond The Veil’ gives room for a break on the EP, where Sofia flaunts her impressive vocal range. The song ends on a haunting blend of layered vocals, enough to give the listener chills. The strengths of this song contrast heavily with the rest of those present, with a much more symphonic, nigh orchestral feel to things. This is our standout track on the EP, with its seven minute plus runtime being more than worthwhile! The last full song on the EP ‘Approaching Resurrection’ picks back up and leads to a tremendous climax with a fast paced, riff heavy number. The finale, ‘Epilogue’, is a complete instrumental, full of orchestral rhythms that guide you through this two-minute journey. Though short, it leaves a great impression and begs the question of where is this character going to go next? All in all, this EP is an impressive display of an array of talents coming together, both in genre and structure; the music is experimental and exciting, always keeping the listener on their toes. Fans of melodeath, black metal and doom metal are sure to enjoy the story of this EP. The genre-bending blend can fabricate fantastical imagery, and even if you haven't followed either band before it will transport you right into the creator's story. As for the future of these two acts, Exiled Hope’s next album ‘Apocrypha’ is due to release on April 11th, so be sure to keep an ear out for that! 'Realm Of The Exiled' will be released independently on January 10th. Words: Amy Smyth Photos: Me

Debuting with their EP ‘Panorama’, the French six-piece Hanry return with an incredible glimpse into their future on ‘Disruption’. With their last EP being recorded and released by themselves, this EP marks the first time they have collaborated; working with Pelagic Record in Berlin to deliver an EP that sets the gold standard for ambient electronic rock. This EP feels like a train journey from a dark, dank cyberpunk city to vast fields covered in snow; it's an album that would go hand in hand with any time you’ve felt like staring out the window lost in thought, contemplating, looking back on memories and life. The structure of this release is definitely short but sweet, with a four track run that only totals to about 20 minutes worth of time, but the blending of each track, and their complimentary nature, make for quite the journey in the bands sound. Not only that, but it also shows a wondrous mastery of the sort of ambient rock they’ve displayed on this record, which is incredibly impressive for such a compact listen. The synths on the EP are perfectly balanced in the mix, whilst the subtle guitar and soft drums only pick up for beautiful crescendos of electronica that sound both familiar yet still so fresh. Looking back on ‘Panorama’, this EP seems to show a very promising next release for this band, with this one feeling like a new beginning and acting as a beautiful transition into something new. This notion is also reflected sonically with the darker, more sombre notes towards the beginning that progress into a much higher pitched and hopeful sound at the end that will captivate the listener, leaving them wanting more. Each of the four tracks on the EP compliments the next, and makes for a glorious listen. The real centre of the aforementioned hopeful feel is the final song ‘Intermission’ which takes the notes higher in a way that will make you feel like floating - it is simply beautiful. With 'Disruption', the members of Hanry have come together to create something transcendental and ethereal in its essence - this is the kind of EP that can be left on with eyes closed, ears open, and thoughts left to drift. In only twenty minutes they have proven themselves more than worthy of our attention and yours, and will be kept firmly on our radar for their next release. If you like getting lost in music and thought, this EP is absolutely perfect. 'Disruption' will be released on January 10th via Pelagic Records. Words: Ben Blissett Photo: Mathis Le Mounier

Formed in 2023 by Ben Karas (Thank You Scientist, Windfaerer), Slaughtersun emerged as a powerful new force in the death metal scene. After years of musical experimentation, Karas brought together an impressive lineup, including Cody McCorry (Thank You Scientist), Jason Quinones (Tombstoner), and Justin Hillman (Cranial Damage). Drawing influence from death metal giants like Gorguts, Death, Cannibal Corpse, and At The Gates, the band’s sound blends technical precision with intense power. Slaughtersun's debut single, 'Fall of the Firmament', dropped in late 2023, followed by tracks like 'Relentless Thelemic', 'Ready Cell Awaits', and 'Black Marrow'. Each release shows the band’s commitment to creating sounds that merge traditional death metal brutality with a few twists. Their new EP 'Black Marrow' continues in this path, offering a raw and relentless listening experience for those ready to dive into something intense. If you're looking for something that pushes the boundaries of death metal while staying true to its roots, Slaughtersun might be worth adding to your playlist. The opening track, 'Unearthly Propaganda', is a powerful instrumental that's just over 30 seconds long. Its obscure and mysterious sound slyly pulls you in, building tension and bracing you for what's to come. That sense of anticipation explodes with 'Fall of the Firmament', the EP’s lead single and a defining moment for the band. With its intricate riffs and driving rhythm, the track balances sheer aggression with technical finesse. With its fierce lyrics, the song evokes a world on the brink of collapse, the fall of men, and destruction. Justin Hillman’s vocals, or “unearthly wails,” as the band calls them, add another layer of intensity, amplifying the song's impact. Following the explosive energy of 'Fall of the Firmament' 'Relentless Thelemic' continues to build on Slaughtersun's intense sound but with a shift in lyrical focus and atmosphere. Where the former embraced apocalyptic imagery, 'Relentless Thelemic' delves into even darker themes. The song’s lyrics are steeped in ritualistic language and spiritual conflict, with references to sacred rites and a sense of rebellion. There’s an undeniable heaviness to the track, both musically and emotionally. The song maintains its fierce momentum, with Jason Quinones’ drumming that highlights the track's urgency. Meanwhile, Cody McCorry’s bass provides a grounding force, ensuring that even in the song’s most intense moments there is a sense of power and depth, while Ben Karas’ electric violin work adds layers of complexity. 'Ready Cell Awaits' takes the listener on a haunting journey into the realms of spiritual unrest, with its dark lyrics and intense instrumental build-up. The track is dense and heavy, with the drumming keeping up an ominous rhythm that mirrors the lyrical themes, whilst the bass and violin pull the track ever forward. Everything is tied together by the brilliant vocals that make for an immersive track that moves from brooding reflection to fierce emotional release, showing Slaughtersun's ability to create both depth and aggression in one compelling package. 'Black Marrow' stands as the EP’s hallmark. With its pounding rhythm and great intensity it embodies the raw, unrelenting force of SLAUGHTERSUN’s sound. The track weaves together mind-blowingly harsh riffs, guttural vocals and powerful drumming to create an atmosphere that makes the listener experience tension and excitement. The song’s musical composition, while being clearly rooted in death metal’s brutality, shows a level of complexity that sets it apart. With its frantic energy, sharp transitions and thunderous rhythm section, the title track is a very fitting climax to the main body of the EP. The EP’s final track, 'Relentless Thelemic (Frightbox Live Session)', offers a raw, unfiltered experience that stands in contrast to the polished studio recordings. This live version showcases Slaughtersun's fierce energy in its purest form, capturing the intensity of a performance that’s both urgent and visceral. While keeping the complexity and aggression of the studio version, the live setting adds a spontaneous, gritty immediacy that reveals the band’s deep connection with their music, revealing the true spirit of Slaughtersun's sound. Slaughtersun is a band unafraid to push the boundaries of death metal whilst simultaneously honouring its roots. This EP marks the beginning of their journey and, while it’s only the start, it’s clear that Slaughtersun is already carving out a distinct presence in the death metal scene. With each track pushing boundaries and showcasing their potential, 'Black Marrow' is a bold statement, and it’s easy to imagine that as they continue to evolve they will refine their craft even further. 'Black Marrow' will be released on January 10th. Words: Mell Cestra Photos: Slaughtersun

Canada’s own symphonic death metal band Ex Deo are finally returning with a new EP ‘Year of the Four Emperors’, four years after their last album. The successful project, founded by the frontman of Kataklysm Maurizio Iacono who is diving back into his roots, follows the vision of telling the history of the Roman Empire, and this time round is focusing on the chaotic events of AD 69. Each of the four songs on the album is named after one of four emperors, who ruled over the Roman Empire in AD 69, starting off with Emperor Galba, which is also the longest track. Followed up by the rise and fall of Otho, Vitellius and Vespasian, Iacono’s vocals, complimented by guitarists Jean-François Dagenais and Stéphane Barbe, bassist Dano Apekian and drummer James Payne, are delivering the major historic moments in a unique, yet sometimes almost intimidating form. As we can tell throughout the EP, and specifically in the first track, the band plays a lot with the narrative - making the music more melodic and sometimes symphonic in the spoken word verses, and going straight into heavier sounds whenever there is action. The second and third songs are heavier in their nature, but still retain the melodic sensibilities of earlier, and the last song consists primarily of screams and heavy tones, recounting the events of Vespasian’s acquisition of the throne. The highlight track on this project is the opener, with its usage of ancient instruments such as the lituus, the curved war-trumpet, whenever Otho is calling out for Galba’s head. Paired with the vocals and modern instruments, it's incredibly pleasing to the ear and takes the listener right into the heart of the events. The EP is a strong return for the group, as the band continues to tell the stories of the Ancient Rome whilst pushing their own boundaries within music further. The usage of different melodies really gives their music life, and the work put into this project is spectacular and certainly delivers an excellent experience, with a mixture of sounds that is going to leave the listener longing for more. ‘Year of the Four Emperors’ will be released on January 10th via Reigning Phoenix Music. Words: Katerina Stepanikova Photo: Ex Deo

We sat down with Defences to discuss their latest album, ‘Shadowlight', where the warmth of their honest insights revealed it as a true labour of love. Released on November 8th 2024, the album represents a pivotal point in the band’s evolution, exploring themes of self-acceptance and the trials of personal growth. The conversation began with a nod to the album's inception, which stemmed from a moment of serendipity during their writing sessions. Following their second album, guitarist Calum explains “we'd essentially written another album's worth of material that felt like a bridge to the next thing.” He continues "because of the vibe and the different feel to it, we all thought, hang on, this is a lot closer to what we want to be doing—like, our sound." This was the starting point for ‘Shadowlight', a record that would take the band on an emotional rollercoaster, reflecting both their individual and collective experiences. As we dive into the album, it becomes clear that the journey isn’t merely linear. ‘The Curse’ opens the record with a weighty introspection that sets the tone for what’s to come. “I think it just felt like the perfect introduction into what we were doing,” lead singer, Cherry details, “the riff comes in quite hard, so it gets people going straight away.” This powerful opening not only captures the essence of the album, but also invites listeners to embark on a transformative emotional journey. Transitioning into ‘Gold in the Dark,’ listeners are greeted with a sense of hope amidst despair. The lyrics serve as a testament to the resilience found within vulnerability. “I’d come across this quote about finding the gold in the dark and finding positives within all of the negativity that you're dealing with,” Cherry explains. “There's this sentiment of being trapped, of being driven by habit rather than necessarily by active conscious decisions” adds Calum. This balance between darkness and light, and the process of finding yourself, become recurring themes throughout ‘Shadowlight' to underscore the album’s exploration of the human experience. For ‘Ego (Maniac),’ “you get a little bit of the shadow self's perspective, which is kind of cool,” Cherry reveals, “it's the only track on the album that does that.” Calum adds, “I see this one as the Disney villain introduction song for Shadow Cherry.” This approach not only enriches the lyrics but also enhances the sharp, driving instrumentation, which perfectly matches the song’s message and offers a fresh perspective by shining a light on the darker versions of ourselves. Among the standout tracks are ‘Perish’ and ‘Breathe It In,’ which explore the complexity of navigating emotions. ‘Perish’ presents an unflinching acknowledgement of darker feelings, delivering a moment of raw honesty that many listeners will find relatable. “You can't separate yourself from it, so you have to accept and embrace it” Cherry outlines. Acting as a next step in this personal growth journey, we find ‘Breathe It In’ which emerges as an anthem of resilience. “'Perish' is about the acknowledgement and then 'Breathe It In' is about that self-acceptance” Cherry adds, emphasizing the importance of finding peace amidst struggle. Meanwhile, ‘Silence & the Sound’ takes a more reflective turn, seamlessly blending the past and present in a way only Defences could pull off. Cherry shared some insight into its production, “I spent a lot of time walking to a field near my house and would do a lot of self-reflection. I started talking to myself and having profound conversations about life, so I started recording voice notes.” Those notes found their way into the final track, woven into the soundscape to enhance its emotional depth. “It’s like a musical onomatopoeia” says Calum, reflecting on the song’s ending “you're transported to that field with Cherry, there are none of these voices all you can hear is the outside and birds.” The result is a track that’s intimate yet expansive, perfectly capturing the essence of the album's themes. As the album progresses, the poignant ‘Inspirit’ takes centre stage, resonating deeply with the band’s experiences. Inspired by their journeys through grief, the track captures an intimacy that feels both raw and transformative. "There's no symbolism, there's no analogy or parable, it's just us singing to the people that we've lost," Calum explains, noting that the minimal instrumentation was a deliberate choice to preserve the song’s vulnerability. “The decision to build into nothing [for the ending] is quite reflective of the topic matter,” he says, echoing the poetic symmetry in their music. ‘The Almost’ and ’Greatness’ follow, creating a dynamic exploration of self-perception and achievement. ‘The Almost’ reflects on the feeling of being caught in limbo, while ‘Greatness’ critiques the societal pressures to succeed. Cherry describes ‘The Almost’ as being in this state of limbo, "It’s a little like the Upside Down from Stranger Things, where you're neither here nor there," she continues, "the beauty about being in that place is it gives you the ability to see both sides clearly.” Then comes ‘Greatness,’ adding another layer to this concept, Calum states “it’s essentially a similar message to 'The Almost', but it's coming at it from a different angle.” He continues to point out the irony in the title, stating “it's the greatness that you were all meant for. It's what should have been rather than what could have been.” Together, these tracks reveal the complexity of ambition and the importance of self-acceptance. The title track, ‘Shadowlight,’ serves as a powerful conclusion, encapsulating the entire journey. Cherry reveals that the lyrics were penned early in the process, predicting her own personal growth. “It was kind of a bit of an attempt at foreshadowing or manifestation,” she explains. As the final track unfolds, it ties together the album’s themes of resolution and acceptance. Calum describes ‘Shadowlight’ as the “end credits” song of the album, a fitting conclusion that encapsulates both closure and hope. He regards Cherry’s performance as one of her strongest, amplifying the song’s emotional impact. Defences have created an album that transcends individual struggles, offering a shared exploration of resilience and self-discovery. “I consider ‘Shadowlight’ to be this space in between,” says Cherry, “you know who you were and who you want to be and you’re in the middle.” The dynamic contrasts between stripped-down arrangements and rich, layered compositions amplify the emotional spectrum of the human experience. In a world where, far too often, priorities necessitate superficiality and haste, the album ‘Shadowlight’ resonates as a heartfelt reminder to pause, reflect, and embrace the journey of becoming. It challenges listeners to confront their shadows while reaching for the light, making it an essential addition to any music lover’s collection. Words: Beth Oakley Photos: Fordtography

After a bumper year of alternative gigs, Islington’s Garage played host to yet another outstanding lineup of crushingly heavy status, in the form of a brutal one-two from headliners Eyehategod and the single support act Goatwhore. The headliners are purveyors of the very finest of punishing sludge metal, and have influenced everyone from Crowbar to Lamb Of God, whereas the supports mix a few different sounds from black metal to thrash into a feverishly fast concoction that is mighty popular within the undercurrent of the scene. As they continue on their tour of the UK, a stop in London gave us the opportunity to check in on both bands in the flesh. Arriving into the venue as Goatwhore’s unholy serenade began, their black metal tirade was fast, frenetic, and full of fire. Their set included a number of tracks from their 2022 album ‘Angels Hung from the Arches of Heaven’, along with classics like ‘Apocalyptic Havoc’ and ‘Alchemy Of The Black Sun Cult’. Whilst they were one of just two bands, and had a lot of time to fill, Goatwhore never gave anything less than their very best and filled the room with a visceral, grim enjoyment. Kicking off with the simple line “I’ve got bad news, we’re Eyehategod!”, the NOLA heroes sludged it up to 11 for the duration of their excellent set. The red lighting, that will no doubt have upset every photographer in the building, pervaded for the whole set and bathed them in a rusty colour reminiscent of their seminal album ‘Take As Needed for Pain’. With a very healthy eighteen song setlist, the headliners showed off just how heavy they really can be in a pummelling assault of the senses. Starting off with an onstage jam, the icons gave their intro before letting their instruments ring out and gradually build in volume as they set off with a rendition of ‘Lack of Almost Everything’ into ‘Masters of Legalized Confusion’. The one-two off of ‘Dopesick’ had the crowd baying for blood, which of course the band didn’t hesitate to help with. Tracks like ‘30$ Bag’, ‘New Orleans is the New Vietnam’, ‘High Risk Trigger’ and of course the famously controversy-courting ‘Sister Fucker (Pt. I)’ had the Garage in a chaotic harmony of moshing, headbanging, and deeply appreciative swaying back and forth from front to back. Finishing the show with ‘Every Thing, Every Day’, the band bid everyone farewell and let the frantic crowd dissipate into the cold London night, safe in the knowledge that the capital was full of sludge once again. Words: Jake Longhurst

PATRIARKH’s return with an 8 track sermon 'ПРОРОК ИЛИЯ' (Prophet Ilja) to tell listeners the story of their hometown and the religious sects within it, utilising the best of black metal and the best of Eastern European folk to build an eerie doomsday vibe. The album opens with lead vocalist Bartłomiej Krysiuk beginning service with spoken word on the backdrop of frantic writing behind him, then introduces the choral backing in track 2 that will be a mainstay in this project. The harmony of hardcore vocals with the choir featured throughout cultivates the feeling of watching a metal show in a cathedral, a feeling developed through the introduction of the female vocalist to the soundscape. Speaking German or Polish is not a requirement to enjoy the narrative structure of this project, which is a concept album covering the lifetime of the prophet Ilja and his work in an orthodox religious sect in PATRIARKH’s native Podlasie. The incorporation of traditional folk instruments adds to the worldbuilding within this album, and when tied together with the dark metal and religious elements places a listener well into the context of which the story in the album takes place. The structure of the project is like a dark fairy tale, with a slow build to 3rd act crescendo makes for an engaging cover-to-cover listen, putting sound to a descent into religious paranoia that becomes more apparent as the spoken word becomes erratic and the sound of fire is mixed into the background of an already ethereal soundscape. The highlight tracks on this project are track 6 and 7, with track 6 offering a change of pace and swapping to a more pagan style of folk rather than the orthodox catholic that has been the inspiration in the previous songs. The female vocalist returns for another gorgeous harmony and some welcome classic guitar elements. In contrast, track 7 gives the feelings of the last service and party before the battle starts, offering the false climax that must have accompanied soldiers of old celebrating as if it would be their last. The 3rd act guitar coupled with a strict and fast double bass drum line and off beat snare captivated the ears and made one ready to go to war, albeit with a prolonged outro. The main issue with this album was a habit of bloated track lengths. PATRIARKH could have made good use of interludes and act breaks especially within the concept; each of the elements that they wished to utilise were used in every track and often given a full minute dedicated to the introduction of each, where the ability to choose elements and allow some to fall into the background without introduction could have made for a more interesting auditory experience. Adding to this, the everything-all-at-once approach meant that many of the songs had a jelly-like structure, where a whole track had a set structure but the change from one section of a track to the next was a delayed discovery rather than a clear transition. This was also in part due to the mix not favouring one vocal or instrument over another throughout the project which, when done across the whole album, makes a complex soundscape somewhat flat on listening. Overall, 'ПРОРОК ИЛИЯ' is a solid return for PATRIARKH, encompassing a very strong concept and engaging story that has transcended its language to warn of the rising fear and paranoia that can come with strict religious conviction. 'ПРОРОК ИЛИЯ' comes out on January 3rd via Napalm records. Words: Julia Brunton Photo: Jacek Jaca Wisniewsky

Well well well - Out Of Rage has officially made it into 2025! Happy New Year! We're so glad to have been doing this for over a year now, and can't wait to see how the year progresses for us. With that in mind, there's plenty of awesome shows set to blow your socks off this month that you should be well aware of. On January 7th, Dark Funeral's first European headline tour in eight years will steamroll London. The black metallers aren't kidding when they say it's going to be their biggest production tour to date, as they're also bringing along some seriously big names to support them, with Italy's Fleshgod Apocalypse acting as the main support act, whilst Ex Deo and Kami no Ikari will be opening the show. For a night of pure heaviness, this isn't one to miss! There's plenty more extreme metal to doll out, as Insomnium are also heading out across Europe and are starting off in London as well! The Finnish blackened melodeath group are playing their acclaimed album 'Shadows of the Dying Sun' in its entirety, and will also have their original lineup back together on stage! They'll be joined by Omnium Gatherum in London, who are going to play 'Beyond' in full, which is looking like a night to remember. Here's a special one for us - Reality Unfolds Festival was the first festival we covered as a publication, and we're beyond excited for this year's edition! The lineup is as mouthwateringly good as expected, with WristMeetRazor headlining on Friday 17th amongst their first ever UK appearances, Stormo headlining Saturday 18th after 16 years away from the UK, and Stormo making the trip from Italy after six long years gone to headline on Sunday 19th. Aside from them, there's a slew of our favourite bands playing - Hidden Mothers, Shooting Daggers, Vicarage, Hour Of Reprisal and so many more. The New Cross Inn will be blown to smithereens after this one, so don't miss it. Speaking of WristMeetRazor's first ever UK appearances, they are indeed running a tour as well as playing Reality Unfolds, so the US metalcore/screamo maniacs will be playing nine times total around the UK. Taking Long Goodbye around for the first four shows in Brighton, London, Leeds and Glasgow, they'll then be taking Divine Hatred for the last five and visiting Newcastle, Manchester, Sheffield, Bristol and Southampton before they leave for likely far too long. Don't miss them! Across the same week and a half as the last tour, Better Lovers will also be crossing the pond and playing a few of their reliably brilliant sets around old Blighty. Playing in Bristol, London, Manchester, Glasgow, Newcastle, Leeds and Birmingham, the Puciato-fronted fivepiece are dragging the amazing pair of Frontierer and Greyhaven with them for what will no doubt be a night of pure mayhem. Silent Planet will also be visiting around the same time in the back third of the month, when they travel across to play a string of six shows after visiting us with Polaris early last year. Playing Bristol, Glasgow, Leeds, Birmingham, London and Manchester, they're taking 'Superbloom' all across the UK, and will be joined by Like Moths To Flames, Vexed, and Avoid, to make up an excellent four band bill. Of course Neck Deep are back again, they're never gone for too long, and the Welshmen are bringing a three band lineup that's going to be one of the best of 2025, when The Wonder Years and One Step Closer both support them. Playing in Birmingham, Manchester, Glasgow, Newcastle, Nottingham, Bristol, and Swansea, it's more refreshing than expected to see a band tour without playing in London. Cattle Decapitation will also be making their return to British shores in January, bringing the Terrasitic Reconquest tour to Birmingham, Glasgow, London, Bristol, Manchester and Southampton. The madcap extreme metallers aren't alone in this, and have the stellar support of Shadow Of Intent, Revocation, and Vulvodynia to carry them around between the end of January and the beginning of February. On the final day of the month, Leprous will be playing the only UK show on their world tour in London, as they perform an exclusive Evening With show supporting their latest album 'Melodies Of Atonement'. The Norwegians played an incredible real-time fan request only set at RADAR festival last year, and after that stunning success it's likely that this London show will be another momentous night of music. We're also highlighting the Bullet For My Valentine and Trivium coheadline tour. Two modern metal behemoths playing their iconic 20 year old albums on the same tour? Pinch me, I must be dreaming! The mighty Orbit Culture will be opening proceedings across six nights and five different UK arenas, playing twice in Cardiff and once in Glasgow, Manchester, Birmingham and London. This will be sensational, so don't skip out! Finally, the first round of Metal 2 The Masses will be kicking off ASAP across a slew of towns and cities around the UK. This is an amazing initiative to get involved in, and will give thousands of local bands the opportunity to play to a healthy audience, and potentially even get all the way to Bloodstock Festival! Supporting small bands is essential, so we would encourage that as much as any of these shows, if not more so. Get down and support your local! To round off, thanks for reading Out Of Rage - here's to a brilliant 2025 for us and for you, we can't wait to see what's in store. Words: Jake Longhurst Cover Photo: Kayleigh Fryer (Pupil Slicer, Reality Unfolds 2024)

We've had our brat summers, our hardcore-tumns, and plenty of shows - but more than those, we've had a mindblowing number of brilliant albums released this year! From Kendrick Lamar's unannounced 'GNX', to the sensational Magdalena Bay's LP 'Imaginal Disk', and One Step Closer's glorious 'All You Embrace'. However, none of those three gems quite made it into our top twenty, but there is not much room to breathe for all the quality on display below. Our Christmas present to you has finally arrived - here is the official Out Of Rage top twenty albums of the year. Heriot - Devoured by the Mouth of Hell Medieval mosh-lords Heriot gave us the pleasure of their debut album this year. ‘Devoured By The Mouth Of Hell’ returns us to the dark fantasy that the blackened metalcore mob has cultivated over the past few years, with its already iconic abrasive sound. Aggressively brutal guitar tones and banshee-like shrieks take precedence amongst the few shining moments of tranquillity. Few debuts have ever hit this hard, and it is the undeniable promise that this album is overflowing with that provides the first entry on our list - AB Boundaries - Death Is A Little More Boundaries latest album is a powerful metalcore masterpiece. The album offers soaring melodies, violent breakdowns, and intensely personal lyrics that explore themes of loss, wrath, and death while fusing the raw aggressiveness of early 2000s metalcore with current production. Songs like 'Scars On A Soul' and 'Turning Hate Into Rage' stand out for their constant energy and dynamic changes. Matt Honeycutt, Lochie Keogh, and Marcus Vik provide depth and diversity as guest features. This album has cemented Boundaries' position within the genre, featuring a band at the height of their abilities - LJ DWINGLE - Volume 2 DWINGLE's 'Volume 2' has come in hard after their previous release ‘Volume 1 Remastered’. With the eight songs combining for a total of 30 minutes, there's a number of highlights across the record - none more so than ‘GATORAID’. It's full of wild vocal ranges and janky riffs, in a perfect distillation of everything that's great about 'Volume 2'. This album is an easy listen and a great diving in point for someone wanting to expand their taste heavier music - CH-E Joey Valence & Brae - No Hands ‘NO HANDS’, the highly anticipated successor to last years ‘Punk Tactics’, doubles down on Joey Valence & Brae’s signature blend of '90s-inspired hip-hop with a smattering of punk influence. A riotous release that features Ayesha Erotica, Danny Brown, Z-Trip, and Terror Reid, every moment of 'NO HANDS' is high-octane and packed with infectious energy. The duo hit the ground running in style throughout the album’s 45-minute runtime - the standout tracks ‘BUSSIT’, ‘PACKAPUNCH’ (Ft. Danny Brown), ‘THE BADDEST (BADDER)’ (Ft. Ayesha Erotica), and ‘CAN’T STOP NOW’ offer the perfect blend of raw nostalgia with a modern twist, making 'NO HANDS' an unforgettable trip that's well worth embarking on - AH I Don't Know How But They Found Me - GLOOMDIVISION I Don't Know How But They Found Me are back and as better as ever as a solo project, with their latest second studio album ‘GLOOMDIVISION’ released February 2024 by front man and vocalist Dallon Weekes. This indie/pop/rock album glows with a thrilling variety of different genres and instruments within each song. From guitars to synths, each song on the tracklist is full of instrumentation and are all displayed with their own sense of uniqueness and contrast, coming together to make the album very special. It's full of upbeat groove, and could be spun for hours on end - ML Graphic Nature - Who Are You When No One Is Watching? Graphic Nature’s ‘Who Are You When No One Is Watching?’ is a brilliant addition to their discography, blending hardcore, and industrial influences into a brutal 13 track album. Songs like ’Blinded’ and ‘To The Grave’ hit with ferocity, pairing ear-crushing riffs with eerie electronic atmospheres. The album’s raw intensity mirrors the introspection of its lyrics, exploring identity and self-doubt with fierce honesty. The band’s innovative use of texture and dynamics creates moments of both chaos and clarity, making for a captivating listen and a true non-skipper of an album. Graphic Nature have crafted an album that not only delivers gut-punching heaviness but also pushes the boundaries of modern heavy music - VR Cane Hill - a piece of me i never let you find. Cane Hill have only gotten better and better with each release, a trend that has continued with 2024's ‘a piece of me i never let you find.’ With an eminent soundscape that has something for everyone, this is perfect modern metalcore, and one of the releases of the year. There are no skips at all - just hard hitting riffs, a vocal range to envy, and songs full of raw emotion. The lyrics are full of emotion, and with such a powerful vocal performance it's a phenomenal pairing. This album could be talked about for years to come, and the highlights in particular sear themselves into the memory - most notably, ‘I Always Knew We Where Doomed’, ’Fade’, and ‘Permanence In Sleep’. An unforgettable release without a doubt - LG Delilah Bon - Evil, Hate Filled Female Delilah Bon’s latest album is unapologetically bold and a fierce, electrifying statement. With a potent blend of hip hop, nu-metal, riot grrrl and attitude, Delilah tackles themes of empowerment, defiance and social critique. The production is gritty yet polished, fully complimenting the sharp lyrics. Songs like 'Maverick' and 'The Internet' stand out for their intensity and creativity. This album has carved out a space for Delilah in the scene and we are likely to see her grow a loyal and dedicated fanbase from here - LJ SOFT PLAY - Heavy Jelly Loud, brash, energetic and in your face. SOFT PLAY make their return to the scene with a new name - but don't be disheartened if you “don't like change”, ‘Punk’s Dead’ kicks down the illusion that SOFT PLAY are changing anything other than their name and the UK punk scene. Heavy, dirty, grooves and endlessly quotable lyricism are paired with whimsical journeys through the John Wick films (‘John Wick’), the dangers of an overfull pedal bin (‘Bin Juice Disaster’) and selfie dependent gym culture (‘Mirror Muscles’) before breaking hearts with the sincerely beautiful ‘Everything and Nothing’. Punk’s not dead and SOFT PLAY will be fighting to keep it that way - DS Scene Queen - Hot Singles In Your Area Scene Queen is making room for hyperfemininity and sexuality to be a focal point for some much-needed conversations within the metal community, where, despite the apparent lack of rules and regulations, there has been too much conservative attitude since its inception. Taking inspiration from 2000s internet culture, ‘Hot Singles In Your Area’ continues the exploration of rage, sexuality and comedic interludes started on 'Bimbocore' with an equally positive message weaved through a musical mix of girly pop and gritty hardcore. Somewhere in a venn diagram of Ke$ha, Bloodhound Gang and Spiritbox you’ll find Scene Queen and the Bimbo-Beta-Pi initiative holding female/non-binary mosh pits and putting the industry on notice to do better or get out the way - DS Raised By Owls - Vol 3: The Satirical Verses Raised By Owls brought their signature comedic grindcore chaos this year with ‘Vol. 3: (The Satirical Verses)’, delivering unending brutality and witty satire. From the absurdly catchy ‘Robert Zombie’, to the chaotic genius of ‘Altars of Sadness’, the album blends breakneck riffs, guttural growls, and hilariously bizarre lyrics. Their quintessentially British humour is as unapologetically absurd as ever, poking fun at both pop culture and everyday life. Beneath the laughs, the musicianship is impressively tight, proving Raised By Owls are far more than a novelty act. With this album, they solidify their reputation as masters of extreme comedy metal - VR SeeYouSpaceCowboy - Coup De Grâce Mixing the best of post-hardcore and metalcore with a little bit of lounge jazz and pop/indie rhythm and melody, SeeYouSpaceCowboy have created one of the most fascinating and brilliant records of the year. With breakdowns and jazz croons alike found across ‘Coup De Grâce’, it’s a conceptual masterpiece full of phenomenal moments and amazing songs. ‘Silhouettes In Motion’ is a contender for song of the year, and ‘To The Dance Floor For Shelter’ is a glorious idea made good, with even more added by Spiritbox’s own Courtney LaPlante. Queercore is doing better than ever, and SeeYouSpaceCowboy are a huge part of why - JL Speed - Only One Mode One life. One attitude. Speed’s ‘Only One Mode’ is a triumphant release, blasting the Sydney hardcore outfit into the mainstream. A record devoted to the underground community they have been cultivating for the last decade, the LP is a mosh sandwich of beefy breakdowns and the hottest riff sauce. It stands as testament to Speed’s diehard mentality, one that is not defined by lifestyle but by being ambassadors who preach authenticity and acceptance for anyone who wants to be a part of the scene. When vocalist Jem Siow incorporated his flute - his livelihood, as a flute teacher for the last decade - into a hardcore song, it created one of the most memorable sounds alternative music had this year - AB While She Sleeps - SELF HELL While She Sleeps’ ‘SELF HELL’ is an ambitious and genre-defying album. Blending metalcore with industrial and electronic influences, the band crafts anthems that are both aggressive and introspective. Tracks like ‘SELF HELL’ and ‘LEAVE ME ALONE’ walk a thin line between heaviness and radio-ready hooks, while ’DOWN’ delivers relentless energy. The album tackles themes of mental health and societal struggles with pure honesty, offering a cathartic and relatable experience. This release has not only reassured While She Sleeps’ position as innovators within the metalcore scene, but has also pushed their sound into bold, exciting new territory for the band - whilst still retaining elements that fans know and love - VR Bilmuri - American Motorsports The incredible Bilmuri with their album like no other; 'AMERICAN MOTORSPORTS'. This album brings a no-skip joy throughout, the sort of music to be played on a warm summer’s day with friends. Chugging guitars and an atmospheric feel make this an album destined for your emo and head-banging playlists, whilst strategically placed saxophone solos bring listeners to the midwest and evoke a sense of wonder and euphoria within the overall feel. This album also brings a country feel with its twangy vocals, bringing the sound right together. Songs like 'SPINNIN’ YOU AROUND' and 'BLINDSIDED' showcase this to a tee, which are finished with insane breakdowns to get you hooked on every single track from start to finish! - EP Fever 333 - Darker White Community, charity and change. These are the core principles Fever 333 were formed around, and recently change has been at the forefront. With an almost entirely new lineup, Jason Aalon Butler adds the star-studded crew of April Kae (Imanigold), Brandon Davis (Vanna/INSPIRIT) and Thomas Pridgen (Trash Talk/The Mars Volta) into an absolute powerhouse quartet of inimitable styles and incredible collaboration. ‘NEW WEST ORDER’ gives an autobiographical tour of the journey to this album and seamlessly blends “punk rock hits with a little rap twist”, setting the stage for ‘Darker White’ to take aim at injustice and intolerance. Inspired galvanizing lyrics were a given. but paired with infectious grooves on 'NEGLIGENCE / BULL & A BULLET’, cranking up the west coast hip hop vibes with ‘TOURIST / MOB MUSIC PT2’ and bringing the heavy riffs and emotive screams throughout ‘HIGHER POWER / MURDERER’, 'NEW WEST ORDER' provides us with the anthems for righteous anger that will be forever cemented as the soundtrack to community, charity and change - DS Charli xcx - brat 'brat' as an album finally made Charli xcx culturally go through a full '360' degree turn. She has gone from making underground 'club classics' like 'Vroom Vroom', to making sure everyone would 'talk talk' about her all summer long. The album stands as an impressive work of music, everything Charli xcx has been working at creating over the past 10 years seems to have become a cohesive work. The production is fantastic, the beats are catchy yet if I talk about the album itself too long, 'I might say something stupid'. The album is such a cultural milestone for 2024, if you looked at where Charli was before 2024 you would think 'girl, so confusing'. She even shut down Times Square to perform in the big 'apple'. 'brat' summer was everywhere, 'I think about it all the time'. In these '365' days, 'brat' stands out as one of the biggest pop culture phenomena - the album is more than an album of the year, it IS the year - WF Frank Carter and the Rattlesnakes - Dark Rainbow A record comprised of love, change, and reminiscing, ‘Dark Rainbow’ is the curveball we didn’t expect but have fallen in love with. Frank Carter and the Rattlesnakes were best known for their gritty punk rock energy, so to release a record that’s got as much piano and crooning as this was entirely out of left field, yet it acts as a perfect, and beautiful, epitaph on this chapter of the band's career. ‘Superstar’ is the sexiest song of the year, ‘Man Of The Hour’ deals with being seen as someone you aren’t, and the gorgeous title track is a poignant message of care. On what could be the band’s last studio album, we’ve been gifted a piece of music that loves us as much as we do it, and will stand as a testament to the passage of time giving us all a chance to change and evolve. Thank you Rattlesnakes, for all you’ve given us - JL Poppy - Negative Spaces It’s been a big year for Poppy, nominated again for Grammy consideration after “Suffocate” with Knocked Loose, and cementing herself fully into the metal world with 'Negative Spaces'. The album flip-flops between circle pits one moment and girlytwirling the next, incorporating all the playful femininity we’ve come to love and expect from Poppy, while pushing a more serious hardcore edge. Each track serves a different energy, with 'crystallized' offering a more trancey synth pop to juxtapose the machine-gun fire heavy drums and screams of 'they’re all around us'. The album’s lead track 'new way out' was well chosen, becoming an anthemic song of the summer for 2024. It’s arguably the strongest track among a set of real heavy-hitters with producer, ex-Bring Me The Horizon’s Jordan Fish, weaving anger, rage, and melodic riffs all throughout the album’s 42-minute runtime. 'Negative Spaces' is cathartic and eternally replayable, more than earning its second place spot on our AOTY list - ES Knocked Loose - You Won't Go Before You're Supposed To When vocalist Brian Garris took a precarious plane journey during an increasingly unsettling storm, the title of metallic hardcore heavyweights Knocked Loose's next album came from the prophetic words of an the older lady that soothed his troubles throughout his flight. 'You Won't Go Before You're Supposed To' is a record that defies god and tests faith - all in under thirty minutes. With harrowing screams, gunshot snares and gritty gut-wrenching riffs, the album signifies an abrasively daring new era for the Kentucky five-piece, with damagingly gorgeous symbolism that pierces straight into the heart of the American South. Released in May, Knocked Loose's ability to cleave away the old flesh from the heavy music scene has provided them a uniquely devastating sound - one that deservedly champions them for next generation of metalheads. In a live setting, the band's ferocity has garnered them Grammy nominations and mainstream TV performances platforming metallic-tasting fury for the unsuspecting public. With their reggaeton-imbued breakdown and grotesque cries into the void during their standout track ‘Suffocation’ with Poppy, it earned one of the most engrossingly brutal moments of our scene this year. As voted for by our entire team, and in agreement with so many of you, 2024 was the year of Knocked Loose - AB These were all selected as part of an open entry long list submission (for OOR contributors), which were then whittled down to a shortlist of 40, and those were then voted on by the contributors to create our final twenty. Writers: Amber Brooks, Amy Hannah, Ciara Hicks-Evans, Danny Sanders, Emily Perry, Erin Strom, Jake Longhurst, Lizzie Jones, Lucas Grayson, Mikaela Long, Vee Richardson, William Freeman Editor: Jake Longhurst Cover Photo: Nic Howells - SeeYouSpaceCowboy Voters: OOR Contributors

2024 has been a bumper year of EP's, with some of the best we've heard in years! Across the entire scope of alt and heavy music we've seen a litany of phenomenal releases, with some debuts pushing the boundaries of music and some late career gems, from bands of all sizes - an honourable mention must go to the band flat (@flat.dchc on Instagram) from Washington DC, whose demo wasn't quite inside our top twenty but deserves a shout out for punching so far above their weight! With that one mention though, we'll lead into the main juice of our article - the Rage Network's top twenty EP's of 2024. Let's get into it! Пять Сантиметров В Секунду (Five Centimetres A Second) - Тлеть (Look) Despite the first minute of the EP doing its best to not show off the heaviness of the release, this might be one of the most accomplished EP’s on this list - which is even more impressive seeing it come on Пять Сантиметров В Секунду’s debut release! Mixing in facets of hardcore, slam, death metal, techno, nu metal and metalcore, it’s a multi genre explosion of sound. There are moments reminiscent of Bad Omens, others of Knocked Loose, and even some of Party Cannon, in the chaotically brilliant 17 minutes that make up this phenomenal debut EP by Пять Сантиметров В Секунду - JL Paledusk - Palehell Japan’s finest experimental metalheads Paledusk return for their new Pale Hell EP. Brimming with energetic cyber sounds and extreme unpredictability, they bring something completely unique to the alternative music scene. Working with Bring Me The Horizon on a sample for the Brit legends' latest release 'POST HUMAN: NeX GEn', they rip apart the constructs of nu-metal, electronica and j-rock to provide a new fantastic act that is incredibly exciting to get behind - AB Killing of a Sacred Deer - Killing Of A Sacred Deer Killing of a Sacred Deer have, in the space of 14 minutes, managed to recreate the atmosphere of hell. Songs like ‘Mangled Flesh Cathedral’ evoke the unbridled, incendiary rage of the most brutal slam, grindcore and hardcore going, and the features from Cauldron, Serration and World Of Pleasure provide a slight twist on the already potent formula that only serves to make this self-titled debut into even more of a landmark release. Killing of a Sacred Deer haven’t pulled a single punch - every riff, every breakdown, every divebomb pulls your mouth into a grimace that will last for far longer than the lean runtime on display - JL Chaos Reigns - Sweet Violence Chaos Reigns’ newest EP ‘Sweet Violence’ is a powerful introduction to the band’s dynamic sound. Tracks like ‘Graveyard Shift’ and ‘The Lotus King’ weave together crushing breakdowns, soaring clean vocals, and emotional lyrics that explore themes of inner struggle and perseverance. The balance between melody and heaviness is brilliantly handled, offering moments of reflection alongside sheer aggression. The production is polished without losing the raw, almost DIY edge that makes their music hit so hard. With ‘Sweet Violence’, Chaos Reigns have begun to build a strong foundation for their future, proving they are a band with passion, potential, and a huge future ahead of them - VR Chubby and the Gang - Cocaine Sunday Chubby and the Gang’s ‘Cocaine Sunday’ captures the raw energy of punk and the swagger of rock ‘n’ roll in a tightly packed 12 minute EP. Tracks like ‘The Bonnie Banks’ and ‘To Be Young’ showcase the band’s ability to take a typical British indie sound and combine it with punk charged lyrics to create something uniquely them. The release radiates both chaos and charm, making it a wild yet heartfelt ride. Chubby and the Gang manage to channel the spirit of classic punk while crafting something that feels fresh and relevant. ’Cocaine Sunday’ is a high-energy, unrelenting showcase of the band’s infectious sound - VR Mirar - Mare The word ‘instrumental’ truly doesn’t hold the weight it should most of the time. Mirar might have remedied that situation with their blindingly heavy EP ‘Mare’. The claustrophobic, industrial terror they evoke across half an hour's worth of caustic, abrasive music. In the same way a vengeful god could cause fear and awe simultaneously, this EP creates contrasting emotions that work to both scare and impress the listener in equal measure. Finale ‘Cauchemar’ might just be the most accurate soundtrack to the apocalypse we’ve ever had recorded, and even the soft piano outro doesn’t take away from its devastating power - JL Agriculture - Living Is Easy Black metal so often just a nihilistic outburst of vitriol - but Agriculture has taken the typically negative genre and created one of the most beautifully affirming statements of life to date with it. ‘Living Is Easy’ is a gorgeous, heart-wrenching, Deafheaven-esque release about the beauty of living and being alive. The title track in particular is seven minutes of lush emotion that can and will bring you to tears. It’s the sonic equivalent of a final goodbye to your loved one yet knowing you’ll see them again one day, or the last boat crossing the horizon under a beautiful sunset. Agriculture are modern metal masters - JL BIG ASS TRUCK - BIG ASS DEMO Get your two stepping boots on, it’s slightly silly hardcore time. BIG ASS TRUCK’s ‘BIG ASS DEMO’ is a five song, 12 minute example of how much fun it can be to just let loose and throw some arms around. With 12 CC’s of fuck you injected into the bands engine, they’ve released an EP that any modern hardcore fan should be able to put on and start grinning to immediately - JL GEL - Persona Rage never sounded so good. American hardcore rockers GEL prescribe to a diet of relentless, fast-paced punk with their new EP 'Persona'. The record solidifies the band’s constantly aggressive sound with vocalist Sami Kaiser’s unapologetic growls and guitarist Maison Nave’s remarkable ferocity. Calling all greebos straight into the pit, GEL provide the power as one of the best hardcore acts in the scene - AB Mallavora - Echoes Mallavora’s Echoes is a compelling EP that seamlessly blends alternative rock with metal influences. The title track, ‘Echoes’, begins with hauntingly delicate melodies before erupting into a thunderous finale, while ‘Vultures’ layers powerful grooves with dynamic, soaring vocals. Each song is layered with intent, tackling tough themes of resilience, loss, and hope. The EP’s tight production highlights the band’s intricate musicianship, capturing their passion and energy. Mallavora’s thoughtful lyrics and emotive delivery make ‘Echoes’ a standout, and honestly, severely underrated, release for the UK scene this year, solidifying their place as rising stars in the heavy music scene. With this release, they’ve set a high bar for what’s to come - VR No Cure - I Hope I Die Here Combining the groove of traditional hardcore with the aggression and tone of modern metallic hardcore, No Cure have brought out a behemoth of heaviness in their twenty minute long release ‘I Hope I Die Here’. The pulverising project begins with ‘Hang Me From The Bible Belt’ and doesn’t let up for even a second until the very end of eighth song ‘Warcry’, with particular highlights coming in third and fourth with ‘Forced Coagulation’ and ‘The Basement Beneath The Fountain’. The southern moshers are in for an enormous 2025 if they can keep this up - JL Bodysnatcher - Vile Conduct A rising name in the deathcore scene coming off of a great run supporting Spite, Bodysnatcher's newest EP 'Vile Conduct' is a brutal, unapologetic display of the bands power and future. Whilst all six tracks delivering crushing breakdowns, sharp riffs and emotionally charged lyrics, songs such as 'Human Disdain' and 'Infested' stand out for their energy - seamlessly blending the intensity of deathcore with hardcore's ferocity. 'Vile Conduct' showcases Bodysnatcher's ability to channel rage and pain into into a cathartic listening experience, that leaves a lasting impression on fans - LJ EVERGARDEN - In Light Released in January to far too little fanfare, EVERGARDEN started the year with an absolute bang. In just four songs, they explore the extremes of their oeuvre and the apocalyptic trudging wall of sound that has come to define the black metal/shoegaze scene whilst also delivering ethereal melodies and cutting emotional vocals through their almost overwhelming layering of blasting drums, sweeping guitars and guttural growls. 'In Light' is the soundtrack to an apocalypse happening just outside the window - it gives a sense of serenity and comfort amongst the chaos and delivers an emotionally cathartic experience, and we simply cannot wait to see what this dynamic duo has in store next - DS House Of Protection - Galore A warm welcome goes out to newcomers House Of Protection, producing their second EP this year in ‘Galore’. Coming from a wealth of experience with Fever 333, Night Verses and The Chariot as landmarks in dynamic duo’s Stephen Harrison and Aric Improta’s journey, their new project House Of Protection has strong foundations, and a seasoned capability to turn every song they produce into something phenomenally catchy. The band is captivating, capturing each mood with tight electronic elements and raw unbridled anger. A sanctuary of boundless creativity, House of Protection are at the forefront of an exciting new movement into the musical landscape of 2025 - AB HANABIE. - Bucchigiri Tokyo ‘Bucchigiri Tokyo’ is the latest release from HANABIE., bringing metalcore sounds and the Harajuku aesthetics together in a beautiful, yet unexpected marriage. The EP features all the elements that make HANABIE. who they are, with the constant contrast between clean vocals typical of Japanese idol pop and the harsh, heavy vocals that remind us that HANABIE are a metalcore band. This EP builds on HANABIE.'s previous releases, experimenting more with synthesisers and synthesised vocals, whilst keeping the spirit that gets you ready to rock and geek out at Tokyo. If you want to satisfy your inner otaku, then this EP is perfect for you - AS Footprints in the Custard - Live Laugh Lads ‘Live, Laugh, Lads’ by Footprints in the Custard brings to you 4 songs and 15 minutes 40 seconds of pure joy. ‘Oh Fuck! (You’re Gonna Make Me Party)’ is the big hit from this EP, which does exactly what the name suggests, and will leave you smiling and wanting to jump straight in the pit. The band are a right laugh, with plenty of comedy laced throughout the entire EP, and whilst they are usually up for a giggle, the song 'For The Freaks' takes a slightly less outright comedic tack. Being alternative has all too often caused us to be picked on or weeded out, but songs like these truly bring us all together into the community we've become - CH-E Vower - Apricity This first offering from post-hardcore supergroup VOWER is a masterpiece of emotional soaring vocals and instigating screams courtesy of Josh McKeown (Palm Reader). Enticing, epic and inviting soundscapes exploring very prog-metal-esque guitar pieces provided by Joe Gosney (Palm Reader / Black Peaks) and Rabeaa Masaad (Toska). All of this is supported by the colossal drum patterns and swaggering, hypnotic bass lines from Liam Kearly (Black Peaks) and Rory McLean (FrogLeap). This definitely feels like a product more than the sum of its parts with each element taking centre stage throughout the four track EP and leaving you to marvel at the scale and sincerity of the emotion, sound and excellence displayed. Apricity means the warmth of sun in winter and 'Apricity' certainly embodies and delivers that warm reminder of a sound that has been sorely missing in the scene for a while - DS Cody Frost - Anatomy If you have not listened to 'Anatomy', go and do it now. Now think - how are we supposed to accurately portray the range of genius on display? Alternative heavy takes on pop/rave-inspired anthems, grand gothic vampiric love stories that double as allegories for the do-or-die attitude that Cody embodies, and piano laden ballads with that 80s dark synth breakdown. Cody Frost has been very open in regards to their musical influences (Enter Shikari/SOFT PLAY/Gorillaz) and throughout 'Anatomy' there are definitely some touches that act as both a love letter and evolution to the genre, whatever that genre may be. It is doubtless that Cody Frost will be credited in other artists' influences sooner rather than later. This is the kind of EP which is best listened to on full blast four or five times in a row, just to appreciate every detail - DS Sylosis - The Path 'The Path', Sylosis’ latest EP, is a thrilling addition to their already stellar discography, cementing their place as modern metal pioneers. Combining melodic death metal, thrash, and a touch of metalcore, the EP showcases the band’s signature technicality and emotional depth. Across five tracks, Sylosis delivers sharp riffs, thunderous drumming, and dynamic shifts that keep listeners hooked. Josh Middleton’s vocals are exceptional, ranging from the iconic growls to soaring clean melodies, perfectly complementing the EP’s intricate arrangements. The title track, featuring Debbie Gough of Heriot, is a standout moment, adding a powerful dynamic to their sound. Tracks like 'Disavowed' and 'Soured Ground' are equally compelling, blending intensity with thoughtful composition. The polished production enhances the energy and precision of the performances, making every note hit with a purpose. 'The Path' is more than just an EP; it’s a statement of Sylosis’ unwavering excellence and artistic evolution - LJ unpeople - unpeople In a year that’s been absolutely stuffed full of excellent music, unpeople have still stood out like a beacon. Their groovy, live show ready riffs and screams are up there with the very best of the 2024 heavy music pantheon, not to mention the fact that their live performances are already stellar. Having only released one song before 2024, the lead single ‘smother’, the band were in for a big year anyway with the release of their debut project - but that didn’t account for the utter brilliance of the entire thing. It’s a self-referential piece of alt-rock/metal that speaks to the declining mental health of a generation, and runs a razor tone over a sheen of sardonic wit that’s tough to not fall in love with instantly. ‘smother’ is an instant standout for its simple yet addicting guitar line and singalong chorus, but ‘going numb’ and ‘waste’ bounce along with all the energy of a toddler drinking Red Bull, whilst ‘moon baboon’ and ‘overthinking’ have the weighty heft of stadium-sized anthems. The fact they have opened for Metallica shouldn’t surprise anyone who’s listened to this already, and it should prepare anyone who hasn’t heard them for just how spectacular this band is - and for the world beaters they will inevitably become - JL These were all selected as part of an open entry long list submission (for OOR contributors), which were then whittled down to a shortlist of 40, and those were then voted on by the contributors to create our final twenty. Writers: Amber Brooks, Atoosa Salamat, Ciara Hicks-Evans, Danny Sanders, Jake Longhurst, Vee Richardson Editor: Jake Longhurst Cover Photo: Sarah Farooque - Sylosis Voters: OOR Contributors

The Home Team hit a Home Run at Rebellion, Manchester There’s about a 66% chance that we would ‘Walk This World’ with The Home Team, and then some. From an engagement to an audience louder than life itself, this show had something for everyone. Hailing from Seattle’s bustling music scene, alongside being hugely popular on TikTok, The Home Team enticed an energetic, passionate crowd at Rebellion in Manchester. Supported by Andreas, and The City Is Ours, the crowd metaphorically ripped the roof from Rebellion. Andrés, honorary Welshman (IYKYK), opened the show with a spectacular performance leaving you wondering what genre they were playing with, alas, it turned out that Andrés can do it all. From scratch happy-hip hop to a metal-inspired finisher, Andrés knew how to wow a crowd and certainly got the party started. Bringing out the lead singer of The Home Team for ‘Casual Bender’ was a genius move in terms of getting the audience to really pay attention from the offset. Andrés laced up sheer talent, humour, and a raw passion for music so it’s not hard to see why they were invited to support The Home Team. The City Is Ours took the party to another level entirely which was surprising given they were stranded in the Netherlands less than a week before the show, having to take land, sea, and air just to make it back to the UK. With very clear inspiration from early Alexisonfire, clean vocals worthy of a Dallas Green protégé, and a frontman serving charisma by the bucketload, The City is Ours put on a show worthy of headlining their own tour. In fact, we wouldn’t be surprised to see them on the New Blood stage at Bloodstock, or at the very least, competing in Metal 2 The Masses. From the moment we stepped foot into Rebellion, the air was buzzing with excitement, so you can imagine the roaring cheers when Brian, John, Ryne, and Daniel hit the stage. Brian’s cheeky demeanour, infectious happiness, and hip shaking got the crowd riled up, whilst Ryne amped the crowd up, belting the lyrics to every song. Each member of the band displayed a remarkable degree of skill and confidence. Their sound was crisp, and every note resonated perfectly within the venue. The guitar riffs were sharp, the bass lines were deep and engaging, and the drums provided a solid backbone that drove each song forward. It’s clear that The Home Team have spent countless hours perfecting their craft, and it was incredibly impressive to witness, for it’s not often that a band can engage with an audience so seamlessly, creating an inviting atmosphere that made everyone feel part of the experience. Starting the set off strong with ‘Brag’, leading into ‘Right Through Me’, it was actually difficult to hear the lyrics as it sounded like every word sung was screamed back at them by ever-loving, passionate fans. The synergy between band members was evident as they moved seamlessly through their setlist, maintaining a high level of engagement, only heightened by the incredibly romantic Walk This World With Me which resulted in a proposal. Huge congratulations to Anna and Alex from all at Out Of Rage! One of the most impressive aspects of The Home Team’s performance was the undeniable synergy between band members, which translated to them not just playing music together but rather communicating through it. The stage interactions were fluid as they exchanged glances and energy that spoke volumes about their connection to both each other and the audience. This made each song feel like a collaborative effort rather than individual performances stitched together. For instance, during instrumental breaks, you could see them feeding off each other’s energy, which elevated the overall vibe of the gig. It’s rare to witness such harmony in a live setting, and it made for an unforgettable experience. The setlist for the evening was another highlight worth mentioning. The Home Team curated a selection of songs that not only showcased their range but also kept the audience engaged from start to finish – regardless of whether they knew the songs. For example, opening with fan favourite, ‘Brag’, immediately got everyone singing along, creating an electric atmosphere right from the beginning. As they progressed through their set, they included tracks from their latest album alongside classic hits, ensuring there was something for both new fans and long-time supporters alike. Words: Ellie Archer Photos: Libby Percival

Aussie punk three-piece The Chats touched down (…up?) in the UK for their final tour of the year, stopping off in Liverpool for a less than sober evening of rock’n’roll ragers and Australian pop-culture references that a European crowd can just about understand. Despite having quite a few UK tours under their belt by this point, this was their first ever time playing a show in Liverpool. And what a venue to do it in. Built out of an old factory and tucked away near a retail park by the River Mersey, The Invisible Wind Factory is an eclectically decorated venue that doubles as a roller disco when concerts aren’t happening. It’s a room where you can just feel how lived-in and loved it’s been over the years. It was a stacked lineup from start to finish. London punks Rifle started us off for the night, giving us a set of blisteringly angry punk rock anthems. Having only released their first EP in 2022 and a second the following year, the crowd was treated to a rare moment of getting to see a band still finding their feet. We’re excited to see what these guys do next off the back of this tour. Our second support is The Prize. Forming in 2021 in Melbourne, this five piece are also still finding their identity. It’s great to see a band of The Chats’ size uplifting up and coming bands like this. Reminiscent of bands like Amyl and the Sniffers and The Interrupters, The Prize were an absolute treat to watch live. The Chats hardly wasted any time getting started, jumping straight into ‘Nambored’ the moment they got onstage. Bassist and vocalist Eamon Sandwith was incredible to watch onstage, shouting out his lyrics as he slammed out the chuggy bass lines The Chats have become so well known for. Backed by guitarist Josh Hardy and drummer Matthew Boggis, they were an utterly unstoppable unit. Ripping through 25 songs in just under an hour, The Chats can’t write a slow song to save their lives. They couldn’t even play their already incredibly fast songs at the right speed, with ‘Smoko’ taking half the amount of time to complete live as it did on the record. And who could blame them? The energy in the room was palpable and the crowd were purely electric, it was non-stop movement across the entire floor. Things only kept picking up towards the end of the night. The crowd got treated to a cover of Kiss’s ‘Rock And Roll All Night’, which the band dedicated to people who weren’t going to work the day after the show. Immediately after this, The Chats jumped into their final song of the night, ‘Pub Feed’, a gem of a track simply about having a good pub dinner. Despite the 9,000 miles between England and Australia, there’s nothing that unites the two cultures like drinking and pub culture (as was evident by the many drunk fans stumbling out of the venue at the end of the show), and they couldn’t have picked a better song to finish on. They left the crowd on an incredible high, and we (and everyone else in the room) can’t wait to see what they get up to next. Words and Photos: Izzy Scott