Denmark's Neckbreakker are becoming one of underground death metal's most talked about names. Having fairly recently been signed to Nuclear Blast Records, they're now just a few days away from not only their label debut, but their full debut album, 'Within The Viscera'. With a gritty picture of chained hands on the cover, it doesn't instantly look like a stereotypical death metal album, lacking the usual trappings of blood, gore, fire, and indeed viscera, but do not be fooled - it sounds as heavy as anything you could ask for. Mixing influences and sounds from the obvious forefathers of the genre, a la Death and Morbid Angel, with more modern influences and styles in the vein of modern hardcore, brutal death metal, and some technical portions that have a slight tinge of Cryptopsy to them, the band have a healthy volume of ingredients in their bubbling cauldron of sound. They're a nice bridge between a few different areas of the genre, but ultimately sit closest to the modern death metal sound that we've come to recognise over the last five years - and their nine song debut album is an excellent addition to the genre. Opener 'Horizon Of Spikes' shifts into gear quickly and without a hitch, working to warm up your ears (and likely legs, shoulders, neck, and vocal chords) by way of its aggressive guitar work, incessant drums, and pained gutturals. Walking down the path more followed for death metal bands of late, they've also included a feisty breakdown at the back end of the track to whet the appetites of any hardcore lovers who've happened to venture this direction. Guitarists Joakim Kaspersen and Johan Lundvig have their work cut out for them on this single, but they don't let a single second go to waste in a potent introduction to the band's sound. Next up comes 'Putrefied Body Fluid' which starts with a riff that could get someone in a neck brace headbanging, and keeps the energy high all throughout - with some particular highlights coming by way of some very enjoyable guitar work and pummelling drums at the end of the song that make for addictive listening. Lead single 'Shackled To A Corpse' follows, and as anyone who's heard it already can testify, it is an absolute rager of a song. The five piece have given it the kind of caustic atmosphere usually found on Venus or in undersea volcanic vents, and it turns the edges of your mouth down into an approving grimace without hesitation. Marking a brief shift in sound and song titling comes 'Nephilim', a slower and more deliberate intro belies what lies ahead. The band launch into an old school chug before the vocals kick in over a rampaging instrumental section, complete with proper death metal guitar fills and runs. The drums are, yet again, absolutely unstoppable - Anton Bregendorf has clearly had his Weetabix - and the solo cuts in with extreme satisfaction guaranteed, to finish the song ahead of 'Purgatory Rites', which uses more foul riffing and ludicrous drumming. Track six, 'Unholy Inquisition', is the longest song on the group's debut by some length, being over a minute longer than the two closest competitors. With more than enough in the song to make for a whole track before it reaches the gurn-inducing halftime section, this is the best possible example of the phrase 'it's a marathon, not a sprint'. Bring your Lucozade. This is backed up by 'Absorption', which hits like a train and, at almost five and a half minutes long, won't let up for quite some time. This may be the most outright aggressive we hear vocalist Cristoffer Kofoed across the LP, and most definitely features some of the best howls we've yet heard. The second to last moment of malice found here is 'SILO', a romping, stomping, circle pit creator. There are plenty enough grooves and riffs here for the whole album, and they're all backed up by the string slinging of bassist Sebastian Knoblauch, who underpins things with a crushingly heavy bottom end that will do serious damage to speakers and inattentive crowd members at a show. Finally, we're eye-to-eye with the finale - the third and final single on the album, 'Face-Splitting Madness'. This song feels utterly perfect for the finisher, with its venomous sound that takes just a slight shift from the majority of the album and keeps things fresh enough to reach the breakdown with a whole new lease of life. The unsettling guitar that plays out the finish is a fine way to wrap up proceedings, making for a very strong end to a very strong debut. A heady mix of modern and old school death metal, Neckbreakker’s debut album is ready to do exactly what their band name suggests. 'Within The Viscera' is a stellar debut, with the only hint of the bands inexperience showing through the relative lack of variation across the LP, but that likely won't be at all a problem for any fans of rip-your-face-off aggressive death metal. Ripping between head-spinning riffs and brutal chugs, the Danes are ready to make their very deserved way into the collective awareness of death metal fans across Europe and the world. 'Within The Viscera' will be released on December 6th via Nuclear Blast Records. Words: Jake Longhurst Photo: Malene Vinge Jakobsen

As the lights dimmed in Manchester’s New Century Hall, the energy was almost palpable as fans flocked to the barricade in excitement to see another night of symphonic metal courtesy of the Netherland’s own, Delain. However, this wasn’t just any old gig as this tour marked the debut of the Dutch quintet’s newest editions, vocalist Diana Leah and bassist Ludovico Cioffi, who were set to make their Mancunian debut tonight. Despite this though, the excitement of it all was shattered by a widespread feeling of confusion as the opening act, Damian Wilson sauntered up on stage with his... acoustic guitar. You’re probably thinking right now “an acoustic guitar...But Delain are a metal band?” and believe me, so was the rest of the crowd. From the moment he uttered his first sentence “My name’s Damian Wilson and I live in a van!” and began to play his first song, you could almost hear the people's eyes squint and eyebrows crunch together as everyone began to think “is this seriously the warmup act?” Being an opening act is never easy but being an opening act for a band that is a completely different genre to you, now that’s just unfair, but believe it or not, Damian Wilson took on the challenge like a true champion and with his intimate acoustic numbers, stand-up anecdotes and witty charm, he won over the crowd like it was nothing. It was towards the end of his initial set that a member of the stage crew shuffled to the front to inform Wilson that the second opening act, Stone Broken, couldn’t make their set due to Vocalist/Guitarist Rich Moss falling ill and that it was up to him to keep the crowd happy for another 20 completely improvised minutes. Considering that not only was there a fair number of Stone Broken fans in the audience, but that the rest of his set was completely improvised, Damian Wilson can confidently say that he did a good day's work as a warm up act that night as by the end of his set the crowd couldn’t stop talking about what a tremendous show he had put on despite all the odds that were stacked against him. Being an opening act is hard enough; it takes real stones to win over a crowd that isn’t there for you but to do essentially two acoustic sets, one being completely improvised, opening for a symphonic metal band and to have the crowd love you by the end of it. That takes some real talent, and Damian Wilson showed that night that he’s definitely got it. As the lights dimmed, eager anticipation swept across the crowd as all the members of Delain bar Diana Leah walked up on stage to set up. It was as if they themselves knew Leah’s vocals were going to be critically judged by everyone throughout the night, hence why they decided to open with a song that sounded like the most definitive opening track of all time, The Cold. The gradual building of instrumentals sounds like if a metal song was fused with a fantasy movie soundtrack which did a tremendous job of building anticipation of Leah’s entrance. As she strutted on stage to effortlessly bash out a few oldies to get the crowd going, it was clear that Leah was in her element. She sounded strong and prominent yet never as if she was straining herself to give it her all. The way she effortlessly knocked down single after single within the group's discography, you couldn't tell that these tracks technically weren’t hers; however, she wasn’t done just yet. As the band ventured into their more recent tracks, any doubt in the group's capability was swiftly shut off with their performance of The Reaping. (https://youtu.be/wC2d18Fxe4o?si=aP2g7491paoGPYnu) (link to music vid of The Reaping) There’s something amazing about how the melodies of Delain’s latest EP translate so seamlessly into a live setting. Considering that it was released only 2 weeks before the show (meaning that most of the audience didn’t know the lyrics to sing along) The Reaping showcases just how catchy Delain’s latest tracks are. With keyboard and guitar riffs that are so punchy and addictive, when you pair them with excellent strobe lighting and an absolute visual masterclass in headbanging from both Leah and Cioffi, you find yourself anticipating the verse more than the chorus just for that thick guitar riff to come crashing through the monitors. Despite not every song holding the same amount of pure aggression within its melodies, Delain has ensured that this isn’t an issue for them. See, what symphonic metal lacks in ferocity and emotion it makes up for in refinery and excellence and Delian’s live shows are a prime example of this. Between the various illuminating instruments to match the equally erratic light shows or the beautifully mixed instrumentals that provide a carefully crafted base for Diana Leah to elevate her vocals to heights that really pierce through your soul whenever there’s a key change (Aswell as bringing back the crowd favorite, Damian Wilson for Your Body Is a Battleground, a very nice touch indeed). These guys know how to curate and put on a headlining act which feels fierce and powerful yet also refined and elegant. Words: Alex Walden

Japan's heavy hitters HANABIE. are back at it again with this late in the year release ‘Bucchigiri Tokyo’. Over the last few years HANABIE. have become an international success, with music videos including ‘我甘党 (WE LOVE SWEETS)' gaining 2 million views, and the music video for 'Pardon Me, I Have To Go Now' amassing over 10 million views across YouTube and TikTok. A number of notable influencers in the scene have reacted to these videos, giving them an even wider audience to the point of them selling out London venue The Underworld and playing Download this year, in what was an extremely well-received second stage set. Something interesting about the band is that not only does lead vocalist Yukina cover vocal duties, but shares them round with the rest of the band - namely Matsuri (guitar), Hettsu (bass), and Chika (drums). Whilst not such a common sight across most scenes, this is actually quite a common theme in the Japanese metalcore scene! Going into this EP, if you're not fluent in Japanese you're going to struggle to understand most of the lyrics being sung by all four members, but that doesn't take away from the fun that this EP will provide. The band also lean very heavily into the kawaii culture that is so well-known for its Japanese origin, but don't let their cutesy aesthetics and music videos fool you, these four certainly know how to get down low and have plenty of songs to mosh to, as well as a number of riffs heavy enough to get a crowd swinging. Digging our way into the beginning of the EP, we first reach title track ‘Bucchigiri Tokyo’, kicking things off with a mix of hard-hitting and melodic vocals that is a real ear-worm with a killer breakdown. Following that is one of two singles, ‘Metamorphose’, and it's one you're sure to nod your head along to, with Chika's rhythmic patterns making for a hypnotic rhythm that'll have even the most unforgiving of necks bobbing in time. ‘OTAKU Lovely Densetsu’ comes next - this song feels a little different to the rest of the EP, as frankly this single could belong in a video game, due in no small part to the array of electronic elements dotted throughout the song. The fourth track ‘GAMBLER’ is the longest track of the six, at three and a half minutes long, and is also the most guitar-heavy of them all, raging into another great breakdown that is certain to bring a smile to your face. ‘Ito Okashi My Type’ has a nice mix of vocals from across the band that will make you want to get spinning round a high-energy moshpit, at the exact same time as singing along to a perfect combination of their regular vocals and some faster rapped lyrics. ‘Bonus Guilty Time’ finishes things off, and whilst it may be the shortest song on the EP, that doesn't stop it from being just as much of a banger as the rest of the EP. This one has a sound that will surely lend itself to Bring Me The Horizon comparisons, and also has vocals by drummer Chika in one of her less regular additions to the vocal side of things. Overall this is a very enjoyable EP to have at the end of the year. Each song could very easily be the opening for an anime, with some brilliantly wacky riffing and an excellently worked clash of sounds that would sound bizarre almost anywhere else, but works perfectly here. HANABIE. are sure to get bigger and bigger, and we can't wait to see what it is that the band put out next. ‘Bucchigiri Tokyo’ will be released on December 4th via Sony Music. Words: Lucas Grayson Photos: HANABIE.

Amongst the fabric of modern metal, few bands are held with such high regard by their fans as Fit For An Autopsy. The group have gotten better and better, with their last two albums credited as some of the best in each year they were released, and their most recent release, ‘The Nothing That Is’, continuing the trend of phenomenal work by the group. After dropping such a hot release, it was of course time for a trip around the UK, and with an all-star lineup joining them to keep the pits full, one hell of a night awaited. The first of those all-stars on the bill was the almighty Heriot, one of the UK’s best and brightest metal bands. Coming off of the September release of their stunningly good debut album ‘Devoured By The Mouth Of Hell’, they’re now in the enviable position of taking a slew of phenomenal songs on a UK and European tour with a group of excellent artists. However, for those who were thinking that the openers aren’t worth your time - best think again. Heriot’s set was apocalyptically heavy, taking all the sounds of an infernal pit and throwing them into your face as if your mere existence is an insult to them. They had all the heft of a planetary collision, and could quite easily have been headlining the event with the sheer ability displayed all set. Opening with ‘Foul Void’ and ‘Enter The Flesh’ kickstarted their unholy half an hour with a vengeance, and closer ‘Demure’ was a viciously potent finish to one of the best live sets this year. Whilst they did have one hell of a show to follow, Washington DC’s Darkest Hour gave out as good as they got with a melodeath/metalcore show in the vein of the very best of Trivium. Having also released an album this year, with ‘Perpetual Terminal’ coming out in February, there was a torrent of new music on offer this evening which suited Darkest Hour just fine. Playing a six song set with four songs off of ‘Perpetual Terminal’, the crowd lapped up the new material as readily as the old - old favourite ‘With A Thousand Words To Say But One’ went down a treat right before the newly-released finale ‘Goddess of War, Give Me Something to Die For’ whipped up an enormous round of applause, as well as a fair bit of energy within the crowd too, getting a number of runners and moshers moving. Playing third on the night was our tour headliner, Fit For An Autopsy. On a tour to support their latest release ‘The Nothing That Is’, the North American bruisers fit four new tracks into their crushing setlist - opener ‘Lower Purpose’, highlight of the set ‘Red Horizon’, the frenetic ‘Saviour Of None / Ashes Of All’ and penultimate song ‘Hostage’. However, they were far from the only brilliant songs played as plenty of songs featured from 2022’s ‘Oh What The Future Holds’, and there was a potent duo of ‘Warfare’ and the title track off of ‘The Sea of Tragic Beasts’. With a set filled with riffs, breakdowns, and gutturals, they rose above the crowd of London’s Electric Brixton like a wave of power and energy, full of rage directed at injustice and violence, further cementing their status as a prime live act. Finally came the co-headliners for the night, the UK’s Sylosis. Their metalcore riffage complements the style of Darkest Hour earlier in the night, whilst their technical breakdowns fit nicely with Fit For An Autopsy’s brutality, and their slower moments echo the sludgy aggression of Heriot. With a twelve song set like Fit For An Autopsy before them, they ran through a career-spanning setlist going from the old - 2008’s ‘Teras’ and ‘Conclusion of an Age’ - to the new - 2024’s ‘The Path’, including a decimating guest feature from Heriot’s Debbie Gough - and running the gamut of everything in between. Of course, bangers like ‘Calcified’ and ‘I Sever’ were as popular as you’d expect, but every song was received with a chorus of whoops and cheers, which kept the energy high for the entire set. For the rest of the tour they’re acting as the main support, but to see them headline such a venue with such a brilliant supporting lineup was a bizarrely proud moment. Every single moment of live music on the night was phenomenal, with a litany of memorable moments that will take their time to be forgotten - however, opening bands don’t often show up the entire touring bill in the way that Heriot did. The performance of a lifetime somehow upstaged three much more experienced bands and made them the stars of the night, in a manner that did warrant this second mention. That said, the audience looked like they could’ve gone for a repeat of the whole night before getting bored, and there was not a single face that didn’t have a grin plastered across it as the venue emptied out. Words: Jake Longhurst Photos: Sarah Farooque

Underground metal enthusiasts have a reason to celebrate with the release of Chaos Reigns’ ‘Sweet Violence’, a bold and innovative six-track EP that cements the band’s place as a rising force in the hardcore scene. While their influences—most notably The Dillinger Escape Plan—are clear, Chaos Reigns have carved out their own sound, blending technical proficiency, dynamic vocals, and an unrelenting energy that commands the attention of the UK metal scene. Opening with ’False Gods’, the EP launches straight into a barrage of swaggering guitar chords and intricate rhythms, setting a frenetic yet polished tone that runs through the release. This track strikes a balance between chaos and control, featuring a memorable chorus that lays the groundwork for the sonic journey ahead. The pace quickens with ‘Graveyard Shift’, a dissonant and unpredictable song filled with panic-inducing riffs and unconventional transitions. These two tracks highlight the band’s ability to balance technical precision with a raw, visceral edge. ‘Violent Delights’ and ‘Snakes & Branches’ lean more towards the controlled side of vocals and showcase a more structured approach without sacrificing the unpredictability that defines the EP. Meanwhile, Both tracks feature accessible and easy to listen to grooves, interjected with the unhinged, chaotic riffs that fans have come to love from Chaos Reigns, making this a perfect EP for both veteran hardcore fans and those new to the genre. The EP reaches its climax with ‘Sins of Success’, a track that draws on all the band’s strengths, combining intricate rhythms, ferocious riffs, and an emotional intensity that builds to an unforgettable final minute. The closer, ‘The Lotus King’, shifts focus, offering a more expansive and melodic experience. Featuring a haunting vocal duet with Mikey Chapman of Mallory Knox, this track slows the tempo and brings the EP to a dramatic and emotionally charged conclusion. A key strength of ‘Sweet Violence’ is its flawless production, which ensures every element, whether it’s the intricate guitar work, dynamic vocals, or driving rhythm section, is captured with clarity and impact. Jason Heightman’s vocal range is particularly noteworthy, effortlessly transitioning between guttural screams and melodic passages, all delivered with confidence and a subtle British edge. Beyond the technical brilliance, what makes ’Sweet Violence’ stand out is its ability to blend chaos with structure, aggression with melody, and technicality with emotional resonance. The EP feels like more than the sum of its parts, showcasing a band that is unafraid to push boundaries and experiment within their genre. With ‘Sweet Violence’, Chaos Reigns have not only delivered an explosive and innovative record but also established themselves as one of the most exciting bands in modern hardcore. Their fusion of musical precision and hardcore punk energy is fresh, ambitious, and utterly captivating. We believe ‘Sweet Violence’ is a must-listen, and it positions Chaos Reigns as a band to watch in the years to come. Words: Vee Richardson Photos: Chaos Reigns

Thrash metal has long been the embodiment of speed, aggression, and unrelenting energy, standing as a defiant pillar within the heavy metal world. Rooted in blistering riffs, breakneck tempos, and a visceral attitude, the genre continues to evolve while remaining true to its rebellious core. In this tradition comes Disposable, a formidable thrash metal outfit hailing from Edinburgh, Scotland. Disposable delivers music with an intensity that rivals the genre's greats, blending old-school ferocity with a modern edge. Their latest effort, the upcoming album ‘It’s Blood That Trickles Down’, is a raw and unapologetic message against the injustice and corrupt powers found not just in the UK but around the globe. Before we even begin listening, the album catches our attention immediately and we’re drawn to the album cover designed by the band themselves, depicting various anthropomorphic figures of power looming over a board game while the people playing gamble their lives and possessions away. It’s a powerful image and message slating those in power, and gives a clear indication of the theme this album will dive deeper into. ‘It’s Blood That Trickles Down’ starts off with a short intro track ‘40 Guns’ and, although less than a minute in length, it's a raw and punchy opener cut with snippets from US news on the state of gun control in the US. It’s fast, angry and unapologetic and entirely unwilling to break stride, as it seamlessly transitions into the next track ‘Snakes on Ladders’, a relentless thrash track blending speed with meaty breakdowns and a razor sharp vocal delivery. As we continue down the album's relentless path, each new track feels like an assault of speed and aggression that takes us back to the golden age of thrash with a very welcome modern edge. We reach the halfway mark with ‘Figured Out’, a protest against the ongoing war in Palestine, as the rapid instruments and harsh vocals fade out to be replaced with a call for freedom - a short but powerful track that stands out to stick with you as the album continues into the next track, ‘Complicit’. It's a hard hitting track on the repercussions of the Conservative government in the UK which delivers some of the strongest and most visceral vocals and breakdowns of the whole album. Finally, at the end of the album we are met with the closing track ‘Tough Guy’, Disposable's very own take on the Beastie Boys track. With Disposable's raw unfiltered sound, it transforms this already iconic track in new and fresh ways - no easy feat for a track nearly 30 years old - making it the perfect finish to this powerful and personal statement to the affairs around the world we all share. Full of unflinching aggression from start to finish and raw razor sharp musicianship, ‘It’s Blood That Trickles Down’ is more than just a trash metal album; it’s a powerful political statement delivered with unfiltered rage and emotion. Tackling the pervasive threats of fascism, inequality and war on a global scale, Disposable channels their fury and own beliefs into a rallying cry for peace, freedom and justice. This is not just an album for headbangers and the pit lovers among us, but an album for anyone who values the power of music as a force for change. In a genre that is defined by its defiance, Disposable is a band to watch who are already standing out in the crowd and demanding to be heard. ‘It’s Blood That Trickles Down’ will be released independently on November 30th. Words: Arcadia Craven

The ‘Here To Stay’ tour arrives at Birmingham's Asylum for the 13th date of its 15 show European tour. This purpose-built venue focuses on rock/metal/alternative music genres and boasts a sound system that uses, they say, ‘the same gear that Metallica use’. First up, a gentle introduction to the show with an acoustic set from London based alt rock artist - Less Than Hollow, formed in 2021, and on this occasion ‘unplugged’. Formed in 2021, and usually supported by his talented band mates, Adam Jerome decided to go solo, and does a sterling job filling the venue with an amazingly full band sound with just his acoustic guitar and vocals, truly a top performer, and a stunned crowd reciprocated warmly with their involvement and visible praise. An excellent cover of Bon Jovi’s ‘It’s My Life’, highlighted further Jerome’s ability to create a big, big, sound. The act has previously supported such heavy weights as Sleep Token, FOZZY, and Puddle of Mudd. Next up, Dovecage, a female fronted pop punk quartet hailing from Charlotte, North Carolina, formed in 2020. This tour brings them to the UK for the first time, and although the crowd didn’t seem to know who they were, or what to expect, their confusion soon waned, and they let the band know that what they were laying down, was being warmly received. They profess their musical influences to come from the likes of Paramore, Foo fighters, and Blink-182, and have adopted the tagline ‘Underground Music For Our Generation’ to succinctly communicate their brand message. They began with ‘Bittersweet Goodbye’ immediately pumping energy into the crowd and promoting their engagement. Lead singer Kiara looked good and projected her presence well. They flawlessly performed their set featuring all 5 songs from their up-coming self-titled EP and will have gleaned from their reception by the crowd that they will be welcomed back. The penultimate performance of the evening is proffered by what is usually a trio, but presents here tonight as a quartet, of hard rockers formed in 2017- Killakoi, another band coming from Charlotte, North Carolina, experiencing their first UK tour. This tight knit group, forming strong bonds as childhood friends, are no strangers to playing sold out shows and enjoy an ever-growing fan base. They claim their influences come from grunge, metal, pop, and active rock, and put them all to good use in delivering an exciting, highly energetic performance. Lead vocalist Jordan Mattacchione delivers a superb vocal style and bellowed out deep but tuneful lyrics with aplomb, with the grunge element of their repertoire being most prevalent. Their song writing abilities are impressive with ’Better Off Dead’ and ‘Not For Nothing’ having a powerful and truly anthemic feel that takes you there. Their cover of Korn’s ‘Here To Stay’ was evidently a most welcome addition to the set and the headbangers where attending to duty in force! If the headliners weren’t waiting in the wings, the crowd may well have fiercely demanded more! Then finally... Lansdowne. Formed in 2006, an alt metal quintet from Boston, USA. Moments before the band take the stage, their pre-recorded introduction begins. Powerful sounding music with fast resonating drums and bass strings, injected with urgent sounding chanting from a male choir; if you can imagine. This suddenly gives way to a lone, fast-paced,180 bpm ticking synth beat, overdubbed with a well enunciated English female accent saying - “Welcome to the Lansdowne experience. You have waited patiently, and you are all looking very sexy out there in the crowd. Are you ready?” The band emerge and the guitarist begins playing along with the tempo of the synth beat that is still chugging away in the background. The drummer explodes into action and the band are rocking! Kicking it off with ‘Conquer them all’. These heavily built men exude an almost intimidating presence with their angry defiant stamping and lunging, visually complementing the awesome energy in their music, and they maintained this through the whole of the set. They ploughed into their songs with very little talking, it was a serious hard-hitting performance with their hit song ‘Burn Brighter’ and ‘Here To Stay’ off their new EP. The crowd loved it, singing and moving, reflecting the energy back at the stage. All support acts were now in the crowd, supporting and enjoying the headliners. Awesome! Words and Photos by Kieran Atkinson

An album release of landmark proportions - Sheffield post-hardcore outfit Hidden Mothers signify their arrival proper on to the British heavy music scene with their first album ‘Erosion / Avulsion’. A highly anticipated debut, prophesied by their aggressive and abrasive performances at Mangata and ArcTanGent. The band are another spoke to the great wheel of Church Road Records, which already churns the ever-flowing stream of emerging UK metal talent. Whilst it feels we have already heard so much about Hidden Mothers - with festival appearances at 2000Trees and Reality Unfolds already announced for next year - ‘Erosion / Avulsion’ is the defining moment for the band, taking meaningful influences from Deafheaven, Holy Fawn and Converge. The album has winds of great change, which charter each single’s direction into deep waters of emotion. There are moments of challenge with imbued war cries full of emotion, but also sections that heal and become empowering points of reflection. Like a hero’s tale, it has an unmistakable charm and resilience that is truly captivating. We arrive on the shores of ‘Erosion / Avulsion’ with as much conviction and clarion as the invading Vikings at the Battle of Maldon, empowered by a black metal outburst where everything is on the line. As much as it seems like an impenetrable outer shell, we get to know the deep inner workings of Hidden Mothers as ‘Defanged’ progresses. Swelling choruses with driving guitars akin to Black Peaks overtake this power and channel it into deep indulgent vocals. With ‘Death Curl’, we see the nature of these two sounds meld and compete, championed by the cascading vocalists - one with harsh shrieks, and the other richer sung tones - as the song builds in pace and emotion. Climaxing in an absolutely ferocious breakdown signified by a truly terrifying joint scream, the instruments take over with dexterity and ease. This becomes a point of tension for both sides to have their spectacular moment. A change in pace follows on ‘Still Sickness’. Bordering on Ben Howard-esque indie, it serves as a refreshing moment of clarity, finishing with those same anguished screams. However, this outburst does not feel the same as before, but rather provides a greater understanding to the listener about the feelings found within the album. It pushes itself quite nicely into ‘Caton Green’ a two-and-a-half minute interlude of calm. ‘The Grey’ is another moment of tension, less ferocious than before, but still with a lot to prove. Fast cyclical drums carry this song, with lingering clean guitar to push it along. Vocals appear lower in the mix, complimenting the overall sound as an instrument in itself. Finishing on a climax, this moment of turmoil feels slightly repetitive, but it is still a fascinating listen. When the first chord of ‘Grandfather’ makes a statement, it is a real moment of triumph in the album. Bardic, full of backstory and captivating, it grounds the album in a moment of power. Whilst it may just be a vocalist and a guitar, its simplicity gives it contrast to the rest of the album. During the eleventh hour, Hidden Mother adds ‘Violet Sun’ to the mix. Full of suspense, it uses its abrasive power to fully immerse the listener in the moment. Vocals and damaging bursts of instrumentation unite to truly make this a spectacle. Heading into the final track ‘Haze’, this nicely ties the album up into a moment of comfort, holding you after the catastrophe. As an album charged with a lot of electrifying emotion, this vulnerability is satisfying and fulfilling. That is, before there is a real moment of positive action, with fast plunging guitars that choose to feel compromise. Euphoric reflection seems to churn up the direction of the album with fast build ups and emotional drops that really give this album life. Hidden Mothers - this is a truly defining body of work. With the tenacity and power to put them on the map, it is a strong statement of what emotions the band can conjure up. Whilst the song's structure of soft then heavy may feel repetitive - like the light into the darkness - it's an absolutely thrilling listen, that is made to be listened to the entire way through as an album. Shining through the record time and time again, it's the vocals that give it pace and punctuation, weaving their anguish and pain into a time-honoured Church Road Records style of using your instruments to truly immerse the listener in the moment. Hidden Mothers are ones to watch and are sure to grow within the ecosystem of what makes British post-hardcore truly special. Words: Amber Brooks Photo: Matthew Barsby

North-West duo Lynskey are serving chaos-core realness in their 3rd EP 'here, this is for you', by combining markers of heavy genres from metalcore to hardcore punk. Full of tongue-in-cheek lyrics from B Murray and Saul Gerrard, and sprinkled with raw honesty, if this is the example of their sound to a tee then it's well worth the listen. The album opens with 'KiCKiT', jump-scaring the listener with the opening riff and some rap singing reminiscent of the nu metal in the middle of its resurgence, but settles into a surround-sound punk style that gets the head bopping. Though its components sound a little blocky, they come into their stride as ‘You Got the Scatterbrain, Perk’ starts playing. Offering more emo conventions with its beautiful melody and heartfelt lyrics, it sounds like a blend of 'You Brought Me Your Bullets, I Gave you My Love' and 'Three Cheers for Sweet Revenge' by My Chemical Romance, then finishes with a faultless breakdown. Don’t worry B, the blegh is not too much. Next song up is 'Something Somewhere Else in 5_4', carrying on the emo vibe with a metalcore sound sprinkled in. Lynskey has created a sound that is fast paced while having a slowed down melody which is impressive in of itself, but after this the listener is treated to highlight: 'Keanu'. This song is the easy standout of 'here, this is for you' - it feels like a gift on listening. B shows off their vocals in the first half when detailing their growing feelings for critically acclaimed actor Keanu Reeves in an unexpectedly meta and nuanced commentary of parasocial relationships. The lyrics cover how feelings grow for an actor when they appear in multiple movies of interest, metadiscussion of the fear of the referee hearing your reference in your work, and finishes with a gold star outro ripe for throwing things to. The closing track is the chaotic 'm-m-m-METAL', which mixes Deftones-style riffs and bouncy electric beats to offer the listener some frenetic energy in the closing track. It contains a certified bar in the line "I’m talking shit and yet I’m frightened", but the outro is a little slow and blocky in comparison to the rest and falls down in comparison somewhat, bar the very last few bars with its ‘sprint’ motif. 'Keanu' could well have been a better closer, but this does not at all take away from the quality of the project overall, and provides yet another perspective on the Lynskey sound. 'here, this is for you' is a brilliant consolidation of sound for Lynskey, showing off the fact that B and Saul are clearly able to use different subgenres in a cohesive way, that is satisfying to the ear. Bouncy and full of personality, we can only hope to catch Lynskey on tour in the near future. 'here, this is for you' will be released on November 29th via Society Of Losers Records. Words: Julia Brunton Photo: El Atkinson

Packed into the smaller basement room of the O2 Institute 2 in Birmingham, after waiting outside in the snow and slowly feeling the warmth seeping back into the skin. With people pressed tightly together in a completely full room and trailing up staircases, anticipation thrums in the air. For Chrissy Costanza, a chance to debut her brand new EP ‘VII’ as a solo artist, and for VOILÀ to showcase ‘Glass Half Empty’ which is their third double album. The Spin the Bottle tour is nothing short of a success, with all of its UK dates already sold out, it truly is one of the hottest tickets in town. A prerecorded voice silences the crowd, 3 rounds have been created to warm up our “singing voices”. Each round consists of snippets from 3 songs, each a classic that most if not all of us know. It certainly does the trick of getting us ready and excited for the main show to start, featuring some classic emo, punk and rock from the likes of Fall Out Boy, Panic! At The Disco and many more. Whispers of magic and mysterious forces, alluding to the supernatural transfix our focus as Chrissy and VOILÀ take to the stage. It’s an unusual style of show with both headliners taking charge for the first song, titled ‘Caught It’. All three performers jump around and engage with the audience, then the stage is handed over to VOILÀ for the next three songs to kick off. VOILÀ's energy is intoxicating, it’s impossible to not be wrapped up in it and in turn feed the same energy back. The smaller venue is perfect for that exclusivity intimate concert vibe the duo work so well with. Confidence oozes from the two, which in turn only encourages the audience- we are allowed to let loose tonight. We spoke to a fan of VOILÀ before the show, the community of fans lovingly referred to as “the magicians”, and we can see what they mean when they assured us this would be a great gig. Chrissy explodes back to the stage, twirling, jumping and encouraging all to join her in singing along. It’s clear all of our artists enjoy working together, Chrissy and VOILÀ; made up of Luke Eisner and Gus Ross have collaborated on songs before and both on their new EP and Album. The tour is no different with Luke joining Chrissy during her time on stage, the two collaborated on her new EP together, it’s only fair he is invited to share the stage. Chrissy is a natural performer, known for being the lead singer in Against The Current, it’s great to see her breaking her own boundaries with a solo tour. Her sound is a mix of Rock/Indie and Alternative but she saves space for the slower softer songs too, which in true modern day fashion are light by phone torches in a slow ripple across the crowd. One feature of the Spin The Bottle tour is the chance to spin the wheel, which picks an audience member to join Chrissy and VOILÀ on stage each night. The wheel has a variety of songs written in each section which when the lucky audience member spins and the arrow lands on is what is played next. Our show landed on ‘ Misery Business’ originally by Paramore, which Chrissy made her own spin on and backed by the harmonies of the crowd. The mix of high energy later on in the evening from VOILÀ and then in contrast the slower but still just as powerful songs from Chrissy give the evening a well rounded feel. We have been able to explore a range of different genres and styles, and witness firsthand how much this tour means to both of our headliners. We love the new sounds both Chrissy and VOILÀ are developing and hope to hear many more songs in collaboration together in the future. The Spin The Bottle tour continues its sold out gigs with the last UK date in London and then onto Europe, and is sure to keep asking audiences “Do you believe in magic?” Words and Photos: Tyler Whiting

When it comes to bands that throw every metal genre into their sound, Cane Hill and supports The Gloom In The Corner are some of the best out there. In Manchester’s Rebellion, we were treated to high intensity energy, staggeringly brutal breakdowns and some melodic mastery. The Gloom In The Corner are a band that won’t let anything get in their way. Hailing from Melbourne Australia, the band came a long way to play for a U.K. crowd and no technical difficulties were going to stop them shaking the room. Having their laptop crash on them one song in gave the band an unexpected gap to fill. This gave them a perfect chance to bring out the famous Australian humour and a little merch plug to help fund a new laptop which would be less likely to interrupt their set. By the words of vocalist Mikey Arthur “it’s not a Gloom show unless something goes very wrong” but the Manchester date of the tour was the first for laptop issues. When the technical issues were resolved the band went right back into tearing the roof off the place as if nothing had happened. All the members were tight, sounding great moving quickly in between crushing breakdowns and melodic choruses. Admittedly they were a great choice to support Cane Hill. Their new song The Jericho Protocol also went down well with the crowd. We are expecting big things with their future. When vocalist Elijah Witt graced the stage to open the Cane Hill set he greeted the crowd with the words “what’s going on, we’re Oasis” much to the amusement of the audience. Then Guitarist Elijah James Barnett then ripped into the crushing opening riff “The Midnight Sun”. The band have come over to the U.K. to give live debuts to songs from their album “a piece of me i never let you find.” which was released at the start of November. Cane Hill have expressed their fondness of U.K. crowds, with Elijah Witt stating that they want to bring their new music to the U.K. before anywhere else because as a band it’s where they most enjoy playing. The set was naturally focused heavily on the new record playing 7 songs- but this didn’t mean to say they also played songs from all previous albums. It was a perfect blend of all eras of the band's sound which pleased fans new and old alike. The band have flawless chemistry with each other from years of playing together and it really shows just how connected they are throughout every song. Even in the time between songs when Elijah Witt was talking to the crowd, he timed it perfectly to give the rest of the band time to retune their instruments and lead right into the next song. The band were very active on stage and the crowd matched the intensity with bodies and limbs flying all over in the mosh pit. The lack of barrier was taken advantage of by a crowd members who surfed onto stage to belt out a scream alongside the vocalist before hopping back down into the mosh pit. Energetic movements of the band even went as far as a mic stand being unintentionally knocked over mere inches away from guitarist Elijah James Barnett and nearly hitting him. As well as guitar James serves as backing vocals in the live shows- mostly during choruses- but the volume of the crowd singing along came close to drowning him out. The audience was very invested in the set which was most evident when the band engaged the crowd by asking them to wave their arms in the air and the room was a sea of hands moving perfectly in unison. Closing the set on the song “Time Bomb” from their debut EP Cane Hill finished out a high octane night of metal and sent the crowd home very happy. Words: Alex Long Photos: Libby Percival

Dutch Synphonic Metal superstars Within Temptation and German metalcore band Annisokay for headed to the OVO Arena Wembley for an unforgettable night of music. Taking the stage first, Annisokay delivered a solid 45-minute set, drawing in the audience with their amazing stage presence. From the very start, it was clear that this band wasn’t here to simply warm up the crowd—they were here to leave an impression, and certainly did on me! Tracks like 'Human' and 'Like A Parasite' personally stood out, showcasing their ability to balance heavy breakdowns with clean and lovely vocals. The LED screens displaying fitting loops of graphics really just complimented their set perfectly, enhancing the atmosphere more than your bog standard “band-on-stage-with-in- house-lighting” A big standout moment for me came during their performance of 'Get Your Shit Together', when the crowd’s flashlights illuminated the arena. It looked like a mesmerising sea of twinkling lights. Though the audience was relatively static for most of the set, Annisokay's charismatic energy, mainly during their cover of Linkin Park’s 'One Step Closer', managed to draw some movement and engagement which was great to see. The absolute highlight of their set was undoubtedly when Within Temptation's VERY OWN Sharon den Adel joined them for a guest spot on 'Like a Parasite', elevating an already mind-blowing vocal performance. Annisokay proved themselves as worthy openers, blending strong basslines, dynamic breakdowns, and polished vocals to prime the audience for what was to come. By the time Within Temptation took the stage at 9:00 PM, the atmosphere in the arena had shifted. The crowd, initially reclusive,fully exploded with some of the loudest cheers as the band emerged amidst a haze of CO2 jets. Sharon den Adel, adorned in a striking headpiece and a stunning ballgown-like dress, commanded attention as she took her place on a platform high above the rest of the band. The stage design was nothing short of breathtaking, with LED screens displaying gothic imagery of burning churches, graveyards, and blood-splattered cathedrals. Chandeliers hung from above, adding an elegant touch to the dark, dramatic atmosphere which was only spotted after a few songs once my eyes had finally stopped fixating on the screens behind. From the very first note, Within Temptation delivered a crash course in live performance. Sharon’s vocals were as clean and powerful as ever, cutting through the mix with clarity and elegance, the sound in the venue overall was 10/10. The band was joined by Ukrainian musician Alex Yarmak during 'A Fool’s Parade', for a powerful moment on stage and a warm tribute for the Ukrainian people in his country’s conflict. Nightwish’s Tarja Turunen also accompanied the band as a guest vocalist for sensational performances of the songs 'The Promise', 'I Feel Immortal' and 'Paradise (What About Us)'. Seeing these 2 legendary female metal vocalists on stage simultaneously was truly delightful. The setlist was a journey through the band’s remarkable discography, which has only grown stronger with time. Fans sang along and headbanged in unison, particularly during anthems like 'The Reckoning' and 'Paradise (What About Us?)'. Though the crowd’s energy dipped at moments becoming almost completely static, it eventually surged back during the eighth song of the night, reigniting the wonderful atmosphere Sharon and the rest of the band had intended. A particularly heartfelt moment came when Sharon spoke about freedom and individuality, encouraging the audience to “be proud of who you are.” This message resonated deeply, not just with myself but with everyone in that arena. From the intricate guitar solos to the stank-face-worthy drumlines, everything felt perfectly balanced. The visuals, music, and Sharon’s stage presence combined to create a performance that felt less like a concert and more like a cinematic experience that I would happily relive. Within Temptation has a discography that many bands would envy, and they proved once again why they’re considered one of the greatest symphonic metal acts of their era. Not a single song felt like filler, and their ability to hold the audience in the palm of their hand was brilliant to witness firsthand. The OvO Arena became beaming with life from the second it opened its doors to the fans eager to get inside. Everyone from all ages were overjoyed to be there, you could see it in their faces. From Annisokay’s feisty opening act to Within Temptation’s transcending headlining set, the evening was a real victory for metal fans! Both bands showcased the power of live music to transport, unite, and inspire. If you ever get the chance to see Within Temptation live, take it. Few bands deliver such a stunning blend of music, visuals, and emotion. Words: Leah Cox Photos: Lorna Leahy