We have not had the delight of having the American alternative metal heavyweights The Plot In You touring in the UK since the pandemic. Before the release of one album ‘Swan Song’ and two EP’s with a third on the way, the world had drastically changed for the band from Hancock County, Ohio. Not only has drummer Michael Cooper joined the lineup, but the band have gained a following big enough to sell out their UK and EU tour with time to spare. At Manchester’s Academy 2, it is time to take in the atmosphere alongside stateside friends Invent Animate and UK posthardcore openers Acres. Acres are a relatively new band, releasing their first album ‘Lonely World’ just after The Plot In You were last in the UK. After taking a little while for the crowd to warm up and get acquainted with the Portsmouth metallers, they began to run through their tracks with great ease. In the already packed venue, the pit opened up and swarmed as the band hit the breakdowns on some of their biggest hits, ‘My Everything’ and ‘Hold On’. Whilst their new release ‘Lost’ was a magnificent addition to the setlist. A great start to the evening and a warm introduction to the band. Texan posthardcore quintet Invent Animate have had an interesting trajectory in the last few years. A new vocalist Marcus Vik, alongside signing to label UNFD has propelled the band into a stunning new era crowned with their 2023 album ‘Heavener’. Breaking new ground, this set was a stark contrast to their last UK support tour with ERRA because the band only played songs from this new album. So depending on whether you like the band's old sound, your experience of this set may have been tainted. The band were very enthusiastic about only playing new songs. Overall, it was still a great set regardless, so not a total leap into the unknown. Their on stage presence was energetic and matched the pace of the audience. The interaction with the crowd was crazy, splitting the room in two from the stage to the sound desk as they asked for a second wall of death. Celestially cladded in all white and interlacing their songs with cerebral ambient sound, this new era of Invent Animate was an evolution. We’re looking forward to where the elevation of their new sound takes them. The Plot In You came on to the stage in an explosive start, with red confetti pooling into the audience after an almighty scream from vocalist Landon Tewers, signalling the start of their opening song, ‘Don’t Look Away’. High intensity continued with ‘Divide’ but the tempo was brought down with ‘All That I Can Give’. It’s worth mentioning that in this set all of the tracks from the bands two new EP’s were played, with their new release ‘Been Here Before’, marking the beginning of a third in this golden trilogy of EP’s. The band’s new sound did not feel out of place, compared to their earlier discography. ‘THE ONE YOU LOVED’, a single off of fan favourite album ‘Dispose’ allowed the audience to open up as metalcore became heavy dancefloor pop. A palette cleanser for the heavy trio that came afterwards in ‘Crows’, ‘Paradigm’ and new track ‘Been Here Before’, forcing the pit to close up and come together with each of the band's damaging breakdowns. ‘Enemy’ , the climax of these high-intensity songs, was a standout highlight. The contrast between the sleek understated verses gave moments for the crowd to throw themselves into the pit in unison. ‘Closure’ followed suit slowing the audience down into a much needed break of ferocity. A moment of lamentation followed with ‘Left Behind’ The band left the stage for an encore and as Guitarist Josh Childress gave the opening notes to ‘DISPOSABLE FIX’ the whole crowd knew what was coming. Making sure they get as many crowd surfers down as possible, the band put everything they had into their finale, finishing on the emotive ‘FEEL NOTHING’. Words: Amber Brooks Photos: Izzy Scott

As we get the skeletons out of the closet for halloween, we find ourselves back again with an old friend. Balance And Composure have released their first record in eight years, and it truly is an album we thought we would never get. In keeping with the spooky theme it's called ‘with you in spirit’. We got an early haunt from the band in July as they played the UK for the first time in ten years, including a London show and a warm welcome at Outbreak - where they had to reschedule their slot for 11am the morning after they were originally meant to play, but still received a glorious welcome. When a band comes back after a long time, how much can we hope for them to live up to our expectations? Recently with bands like Linkin Park and Oasis making their long-awaited comebacks that we know won't be entirely the same, but we still will feel a sense of nostalgia. With age, comes a time of reflection. At the fourth record from the Pennsylvania post-hardcore outfit, we may have lost the summer sun from 2016’s ‘Light We Made’. The band’s new approach is darker, in contention with the longer nights we are now facing heading into October. ‘with you in future'’s new sound feels like rawness and weathering of time has added to its value, pushing the overdrive for it to linger within the boundaries of grunge. There is no doubt that this is a path we have travelled before. Jon Simmonds' vocals are as familiar as kicking up fall leaves. Catharsis and longing still take centre stage, with lyrics that crush and make you feel something. As with anything that takes a lot of thought, the construction of the songs are complex, at times layering compassionate vocals with twinkly guitars and percussion forms the heartbeat of the song; faint but keeping everything alive. ‘Restless’ may feel like an introduction filled with accountability stating "nobody knows where I’ve been", but it's cut deep for the first song on the record. With ‘Ain’t it Sweet’ feeling fully awake, with its fast paced attitude, it pushes the song to a point of frustration, until ‘Any Means’ crosses that line and plummets like a comedown. These songs feel sporadic, full of dynamic guitar parts and beautifully chaotic attempts to salvage the album’s natural rhythm. Like memory or thought, these songs can meander and take on narratives of their own in a way that always is meaningful or needed. Whilst ‘Cross To Bear’ sinks heavy waves of overwhelming guitar parts, it feels entirely raw. Impressive pre-choruses are the standout of this track giving immense depth to the track. ‘Believe The Hype’ feels the most out of place within this record, the lyrics are desperate, showing another side to the record where optimism fades and desperation takes over. It’s a song that builds into a wall of noise, up until ‘Lead Foot’ takes over. Another lull to the album’s narrative, again it takes its time to have a much-needed period of reflection. The record now hits a point of regular rhythm and uses it to drive it forward. ‘Sorrow Machine’ ironically feels like the first point of optimism for the track, which elevates the band’s sound, now in a major key. ‘A Little Of Myself’ returns itself to the Balance And Composure we love: apologetic, needing reassurance but undeniably human. ‘Closer to God’ is the highlight of this record. The fullness of the track with its uplifting choruses and wandering guitar make this a delight to listen to. It compliments the band’s final track, the eponymous ‘With You In Spirit’, perfectly to make for a bright and much needed conclusion. Balance And Composure have reached a point of reconciliation with themselves and their direction as a band, to the point where they have created something beautifully tactile. Without looking to much into how we got here, it does feel like this album is a reconciliation of where they have been for the past eight years, a retelling that may have gotten a little lost in the middle, but its strength lies in its ending. A return of a very talented act that are very well-respected in the post-hardcore landscape, and we are very thrilled to have them back. 'with you in spirit' is released on October 4th via Records. Words: Amber Brooks Photos: Balance And Composure

As the nights grow longer, Sólstafir emerge from the shadows with a follow-up album to 2020’s 'Endless Twilight of Codependent Love'. The band, who's name translates to 'crepuscular rays' in Icelandic (referring to sunlight piercing through dark clouds at dusk), have gone back to their pioneering roots with their upcoming opus 'Hin helga kvöl' (The Holy Suffering). Recently announced to be signing with Century Media Records, they perform an expansion rather than a reinvention after over 20 years of leading the Icelandic scene and performing across the globe. Known for their atmospheric and heartfelt sound, we can tell from the first notes that this offering comes from the depth of their souls. The album opens with 'Hún andar', which was the second single to come out ahead of the album’s release. It loses no time taking us into a dark and heavy universe, and with its ethereal sound and chant it sets the scene, painting a vivid picture of Iceland’s scenery with just a few notes before transitioning into a deep guitar melody. We can already hear the masterful drum rhythm by Hallgrímur Jón Hallgrímsson, that balances the melody to bring depth to the song without being overwhelming. We oscillate between life and death throughout the track which feels like a reverent lament. Lead singer Aðalbjörn Tryggvason expressed that this piece, which translates to ‘She Breaths’, "... is an obituary to a living person whom [he] love[s] very much, but the mind is gone due to mental illness and drug abuse.” This ode of love and pain will seep into your bones until the last note. Next comes the title track and first single, 'Hin helga kvöl', which is nothing short of a war cry. It also carries some faint whiffs of the band’s black metal roots with catchy guitar breakdowns and even heavier drums, whilst being amazingly frenetic, with aggressive vocals that throw us into a marching chant. These explosive parts are then followed by a deeper, more emotional chant, that evoke the sense of a renewal or even rebirth. When asked about the meaning behind this lead track, guitarist/vocalist Aðalbjörn Tryggvason said “It is a song about dying. It is about the realisation that you will die sooner than later and consciously witnessing the end of your own world. It is one’s own personal idea of Ragnarök - or Armageddon. What happens afterwards? Are we reborn or are we simply food for the worms…”. We arrive on a grand finish, making us feel as if there is an afterlight we have earned it. This is no other than a beacon of hope shining through the heaviest of times. We come back to 'Blakkrakki' which is a shorter track, but one full of suspense. It carries an uncertainty that ties in with the previous track, making us wonder where we now stand. It takes a turn with a more post metal orchestration that's both new and yet also familiar, displaying the strong identity of Sólstafir and its ability to adapt and overcome. The song sticks with you with its layered composition, and its lingering guitar parts. These qualities carry on in 'Sálumessa', with a languishing guitar rhythm and repeated drum segments, that feel as if they’re pulling the fabric of time. It takes the road of a more pained ballad, without the doom stylings of previous songs, and builds into a powerful mid section. Being the longest song on the opus, it positions itself as a melancholic and haunting anthem which will keep you in a chokehold for over 7 minutes. With 'Vor ás' we enter a more post metal and experimental part of the saga. It carries the legacy of the previous pieces while adding back new elements, such as backing vocals, for the first time towards the end of the chorus. It continues honouring their roots and reintroducing them by bringing in a feel and heaviness that evoke their second album 'Masterpiece of Bitterness'. 'Freygátan', on the other hand, brings a piano led start with an emphasis on voice and ambient sounds. These gentle touches make “Grýla” even more impactful as it hits. It's almost a punk song in its approach, with a very gritty singing and instrumentation that keeps us on our toes. 'Nú mun ljósið deyja' takes over with a bang in a very fast paced black metal track that leaves the listener breathless. As we reach the end, it's impossible to know which way the record will go after the excellent variety we've been treated to so far. The final call 'Kuml' begins with a chant and ambient sound which brings us full circle as it takes after the first track. However, just as it feels safe to assume the track is understood, comes a long instrumental bringing out a saxophone that will leave you stunned. The echo chants that come in afterwards feel like the moment the band look across their shoulders at the rest of the album in memory, as if wrapping up the album by looking back across it all. 'Hin helga kvöl' is not an album, but the sound of a poetic Edda that should be integrated and passed over as the old tales were. Each story is unique and brings something old, something new and all the emotions in between, so make sure not to miss the landing of this Icelandic magic. 'Hin helga kvöl' will be released on November 8th via Century Media Records. Catch the band on the UK leg of their tour at these dates: 20.11.24 - Concorde 2, Brighton 21.11.24 - Club Academy, Manchester 23.11.24 - Queen Margaret Union, Glasgow 24.11.24 - Electric Brixton, London Words: Lysandre Pons Photos: Sólstafir

When it comes to fusion rock, the line between creating a full and hearty masterpiece that’s packed with jaw-dropping genre-bending segments and making a pile of scattered mess is very thin. It’s what makes fusion rock either so beautiful or so woeful, but when it comes to Swedish fusion rock band Goat and their latest, self-titled, project, they've shown that they most certainly know how to produce the former. Not much is known about the Swedish alternative group - we don’t even know the definite number of members within the band. However, even upon the first listen it’s impossible to ignore the group's chemistry, which is not only at the forefront of their sound but also firmly found hand in hand with the talent of each member. The album doesn’t even feel like a project in places, devolving almost into a jam between friends from all different genres and walks of life, united by a love of music. Throughout their new album, Goat have displayed how good music is far more than just a few sound waves that vibrate nicely when they hit our ears; they’ve shown us that real music has a feeling to it; it has a soul, it has character. This is made especially evident no more than halfway through the first song on the album as the mind-altering samples wash over you like a sort of psychedelic which is swiftly followed by a guitar and keyboard solo which sound almost intertwined, it's through the song ‘One More Death’ that we realise that this is not just any old intro track, but a gateway into their vast and palpable musical world. The term 'palpable' is not used loosely here, as moments on this album utilise a plethora of instrumentals and styles of play that, when fused together, will have you feeling on the verge of overwhelmed. There are moments in each song where instruments really have their opportunity to shine such as the horns and woodwind on ‘Goatbrain’ which provide off a relaxed but thick jazz fusion, the thin but heavily distorted guitar tone on ‘Dollar Bill’, which when mixed with some wah gives off a furious growl similar to that of an exotic big cat, or the use of bongos mixed with the keyboard and guitar in ‘Frisco Beaver', which make for an absolutely monstrous fusion track. But it’s not all fast-pace and guns blazing on this album - tracks such as ‘Fool’s Journey’ and ‘The All Is One’ are two of their more relaxed tracks, and they each offer a nice calming and chill vibe in their own way. On the one hand, ‘Fool’s Journey’ uses what sounds like a bamboo flute, as well as some classical piano and incredibly soft drums to create a soothing oriental vibe, all to construct the perfect environment for your brain to switch off and allow the music to take control. Yet with ‘The All Is One’, the use of birds as an audio sample paired with the acoustic guitar gives off a very warm energy; one that can be compared to listening to music around a campfire with friends, and what makes it ever better is the echoed guitar seeping into the mix, adding a sense of nostalgia and closure to the project. It’s as if Goat are saying a near goodbye with this track, before they swiftly kick into the outro track, ‘Ouroboros’. While the instrumental ability displayed on this album is nothing short of pure instrumental prowess, it almost has to be in order to support the vocals at points as they can occasionally come across as strained or shrill. Granted, the beauty of a band (particularly one spanning so many genres and instruments) is that if one member sounds lacking in any way, the others members can fill up that space and make the album sound more full, but when you have a group that's so diverse in sound and all these different sounds are being hurled at you in unison, it’s often up to the vocalist to provide that cherry on top. Unfortunately on this album, it just doesn’t have that lead vocalist quality in some songs, and the vocals often get trumped by the guitars or keyboards instead. Don’t be mistaken, it doesn’t feel like the singer is an accessory that could be done without on this album, simply just that there's more potential to be unlocked. If you’re a fan of fusion rock then this likely going to be for you - alternatively, if you’ve never listened to it before and need an album to break the ice, then this could also well be for you. Goat have really hit the nail on the head of what makes a good fusion rock album by combining multiple elements from instruments spanning across genres to make an album that is hearty, yet not overbearing. While in places the vocals do sound slightly lacking, we can confidently say that whether you’re in the mood for something that sounds kick ass and has a sense of swagger about it like ‘One More Death’ and ‘Frisco Beaver’ or something more relaxing such as ‘Fool's Journey’ or ‘The All is One’, these guys have you covered. 'Goat' will be released on October 11th via Rocket Recordings. Words: Alex Walden Photos: Goat

There’s something great about a reasonably sized punk venue, the intimacy and cosiness of it all makes you feel as if you’re doing your bit to support the local scene by doing no more than just entering the place. Naturally it felt fitting to see Newcastle’s own punk quartet Fast Blood open up in support of Toronto hardcore legends Fucked Up for a night of perfectly-orchestrated chaotic energy, however as the night progressed, the cracks did start to appear both on stage and in the mix for both bands. Fast Blood’s most recent project, Sunny Blunts can only be described as the audial version of a massive punch square in the face, therefore it felt fitting to have the group open so suddenly and aggressively as they did Usually it’s a very bold play to start off your show with no intro and just to dive straight on into it but for Fast Blood, this bold play ended up paying off. It’s never easy being the first act on but with music so rapid and intense, they did a damn good job at setting the pace for the night within the first few songs. Despite this, ultimately it wasn’t enough to cover up the group's shortcomings of the night. After announcing that they were still feeling pretty rough after a heavy night on the town the night before, it all became clear just how shattered they really were. In areas of Gone for Good and Pulling Teeth the vocals came up a little flat which naturally began to trickle down to the instrumentals as they began to sound almost naked as they were missing the extra bit of grit from the vocals. It suddenly became clear that this energy was pulled out as more of a last-ditch effort to push through the final show rather than to rile up the crowd. Despite making note of how surprising the amount of energy from opening act Fast blood was straight from the go, they couldn’t hold a candle to Toronto Natives Fucked Up due to the theatrics of vocalist Damien Abraham. The defining factor of what makes a good frontman in a hardcore band is their ability to essentially control the crowd; there are countless frontmen and women in hardcore groups who’ve been gifted with the superpower that allows them to switch into the superhuman version of themselves but what separates Abraham from the rest is how when he steps on stage, he almost becomes possessed by his microphone. As each song starts, you can see him stare at his microphone with a look of horror and helplessness as if it beckons him closer until it consumes him like an evil spirit and he lets out a set of absolutely walloping bellows for the next 2-3 minutes. Abraham doesn’t make music in Fucked Up, Fucked Up makes Damien Abraham and man is it a spectacle to see live. From throwing and catching his mic like a lasso, wrapping the cable around his face and even performing with water battles stuck to his face to look like some form of weird, recycled gas mask. It’s very evident that Abraham loves his job. While Abraham does an excellent job of getting the blood pumping, unfortunately it was pretty much the only stellar part of the night as in terms of sound, the concert was a muddy, unintelligible mess. Don’t be mistaken it had its moments, Bassist Sandy Miranda had an amazing tone which cut through the monitors incredibly as well as guitarist Mike Haliechuk who had an amazing solo to round off the show but other than that, it was impossible to distinguish anything else throughout the entire night. Aside from Abrahams little speeches in-between songs, roughly 3 lyrics in total were actually intelligible that night which is fine for a die-hard fan, but for someone who discovered them that night, they aren’t going to have a clue what songs they actually heard if they want to listen to them again. Ultimately, it was a night of ill health and muddy audio quality for Fucked Up and Fast Blood, between the raging hangovers and borderline unintelligible audio quality it’s easy to argue that these bands aren’t worth it, however the personalities of both groups make it so that even despite the flaws, you never really focus on them. The moment that vocalist Abigail Barlow lets out a scream or that Damien Abraham sticks another bottle to his face or pours it all over himself, it suddenly all fades away. You’re simply left in awe at the spectacle of it all. Words- Alex Walden Photos- Adam Lang

As Delilah Bon’s headline tour heads towards the home straight by the time it reaches Manchester’s own Deaf Institute, it brings with it a new found weight and brevity in the wake of the rights of women across the world. With the American election reaching its landmark conclusion, the importance of protecting body autonomy was put on the line for the first time since the historic turn of Roe V Wade, the abolition of the constitutionalised right to abortion in the US. More than ever, this tour has never felt so important or so inspiring. Supporting Delilah was Tillie. A Georgia native who uses soft-rock and pop to speak her mind. Clad in a Harajuku-style suit, she was the perfect warm-up for the show, speaking words of advocacy for queer and women’s rights. Most of her songs encouraged her to speak about why she wrote them or her incoming UK headline tour in 2025. With a welcoming response from the crowd, she provided insight into the realities of growing up in a southern US state. Whilst the sound mixing made it hard to understand her lyrics during her song, the energy from the set was cheery and calming. From what we could hear, her vocals were on point, as she (and her drummer) pushed through her set with ease. Tillie had a great stage presence which really made the set go quickly. Delilah starts her set with a phone call from Harry Dick, which she later details as an amalgamation of right-wing men, usually from America, who actively criticise her music on the internet. Accompanied with her girls Ruena and Hela, she gets herself on stage for her explosive opener ‘Brat’ (and no… not the Charli XCX version) She seems to confront Harry head on with ‘Grown Ass Men’ which is a track about normalising masculine stereotypes with women. She then dedicated ‘Chiquitita’ to all the older women who should have divorced their husbands. ‘I Don’t Listen To You’ was a crowd pleaser, with most of the crowd loudly chanting the lyrics. Delilah vocally was impressive, rapping quickly with such clarity in the lyrics. ‘Bad Attitude’ -in the same vein- warmed up the crowd immensely, giving the opportunity to bring the energy, as a bubble gun started from the centre of the pit A massive credit to Ruena and Hela for their performance, as they added so much depth to the set, as well as hyping up the crowd, with Ruena playing bass during some of the songs. When they performed as other characters, in vaudeville outfits with baseball bats for ‘Clown’, which as a deeper cut for Delilah went down immensely well with the crowd, they enhanced the atmosphere of the song. When they came out as policemen, torches shining and booking members of the crowd for ‘Freak Alert’, they wore skirts with dildos on them and threw a giant inflatable phallus around. Inevitably, the pair were celebrated by Delilah in ‘My Girls’. ‘The Internet’, a standout track from Delilah’s ‘Evil Hate Filled Female’ album is next. LGBT+ flags were raised in tribute to queer solidarity. Making sure queer people have a voice is an important part of Delilah’s music (as discussed in our latest magazine issue!) and feature heavily in her lyrics. She makes sure everyone feels welcomed at her shows, with Safe Gigs For Women in attendance. Her heartfelt song ‘War On Women’ is dedicated to transgender women before she performs it. Bassist Ruena holds up her bass, showing the words “We will not be silenced” on the back. The live shows also highlight all the immense work that goes into Delilah Bon, as she has made the outfits and her backdrop by herself. All the songs are created and produced independently without a label. Also massive shout out Delilah Bon’s mum who mans the merch stall and does social media for her daughter before and during her set. This tour is a labour of love. Delilah finishes off her set with an ‘angry’ section of her shows. ‘I Wish a Bitch Would’, a song that incited a riot in France, was one of the loudest songs of the night. When Delilah Bon was asked to respond to this landmark decision of Roe V. Wade, she turned to songwriting and with impassioned rage by crafting ‘Dead Men Don’t Rape’, the self proclaimed “most important song of her career”. The outcome was nothing short of a Delilah Bon phenomenon, with her listeners using the song as a way to channel their emotions and let it speak on the impassion of their own bodies. At her shows, this has become a spectacle of solidarity, loud and confrontational. ‘Evil Hate Filled Female’ follows, with her final song ‘Maverick’ an impassioned song about self confidence is last, channelling all the aggressive energy into something deeply positive. Words: Amber Brooks Photos: Lizzie Jones

Mallavora, a four-piece alt-metal band from the heart of Bristol, are taking strides for both their own unique sound and in the fight for accessibility within the industry. Their brand new album ‘Echoes’ explores the disjointed emotions and experiences that often come with identity issues, chronic illness, disability and neurodivergence in the form of four raw tracks. From Mallavora’s earlier releases to the present; ‘Echoes’ continues a strong showcase to who they are and what we should expect when listening. With lyrics that speak from the depths of the soul to topics that everyone can relate to no matter what background and a no bigotry attitude- we are obsessed with this EP. The first track ‘It’s Not Enough’ sets the scene for the whole release. Strong lead guitar starts us off from Larry Sobieraj which surrounds the entire track, whilst lead singer Jessica Douek’s vocals swap effortlessly between singing and her powerhouse screams that truly command our attention. Layered with bass from Ellis James and drums from Jack Pederson, the sound for the quartet is complete. The track tells us about a recurring nightmare of falling endlessly, the ground figuratively and literally opening up to absorb us whole. ‘Skin’ delves into the feeling of being different to everyone else and yet staying defiant against the forced conformity of society, and instead staying unique to yourself. “I will not obey” screams Jessica, through multiple layers of sound to provide the feeling of fighting a battle and coming out on top. It reminds us of always being true to yourself no matter what other people might think or believe of you, because the only person who can define who you are is just that: yourself. The third track ‘Vultures’ follows similar themes that are seen throughout the EP of a deep-rooted feeling of not belonging. It seems woven both into the lyrics, crafted by Jessica Douek, and the music, the instrumentals written by guitarist Larry Sobieraj, both of whom articulate in their own ways the experiences of chronic illness and the many things they have had to live with whilst mourning their pasts - yet these deeply personal struggles have now been transformed into art that is unapologetic and fiercely bold. ‘Echoes’ wraps up the release nicely, with backing vocals and a softer lead that contrasts with the other tracks we have heard so far. It demonstrates the variety, willingness and confidence that Mallavora have to try different styles in order to not stagnate. Of course they still manage to sneak some of the Mallavora signature screams in towards the end, but they've left it a while in order to provide maximum punch. The band have also announced an intimate EP release show on the release date, the 20th of November, at Signature Brew in Haggerston, London which promises to be accessible to all. Mallavora have already shared access plans for this including: wheelchair accessibility, BSL interpreted performances, lyric sheets, no strobe lighting, sensory kits, a seated area, masks available at the door and a 15 minute break in the headline set. The industry needs to be more accessible than it currently is; we all know it. Every type of person, body and ability should be able to come out to see live gigs, perform and enjoy themselves without putting themselves in pain to do so. Mallavora are paving the way out of necessity for their audience and themselves, and we all need to be celebrating this. Altogether, the ‘Echoes’ EP, and the care taken for its release show, showcases and highlights so much of the message that Mallavora stand for: being yourself in spite of everything, and we couldn’t agree more. 'Echoes' will be released on November 20th via Marshall Records. Words: Tyler Whiting Photo: GLK Media

In the last few years, the UK has seen its metalcore and hardcore scenes blossom massively, with some of the best ever releases in both subgenres coming recently, and with its popularity still growing consistently. Guildford is a real hub of this, and Polar have built themselves up twice now in the city, having recently reformed around founding member and vocalist Adam Woodford; Polar brace themselves to unleash their latest project into the world, ‘Five Arrows’. With a blend of metallic ferocity and that hardcore grit only found in the UK scene, as well as a fresh perspective, we jump in head first. Pulling no punches and giving you a taste right away of what’s to come, ‘Five Arrows’ opens with ‘We Won’t Sleep’, a classic hardcore beatdown accompanied with bone rattling bass. This track sends a very clear message; Polar are back and they mean business. With a chorus worthy of massive chants, this cements itself early on as an anthem you’ll be hearing sang by crowds across concerts and festival circuits in summers to come, and as an incredibly strong album opener, the ferocity and energy it delivers feels like a rallying cry to fans new and old. ‘Unkillable’ quickly follows without missing a second to rest, ramping the energy up further and further, hitting you hard and fast with punishing tempo shifts. The whole track feels like a blend between hardcore riffs from bands like Guilt Trip and the early bouncy, heavy industrial sounds from The Prodigy - with a combination like that it's hard not to imagine being in the epicentre of the pit when the track drops. ‘A New Mentality’ is the third track and comfortably one of the standouts off of ‘Five Arrows’. Not only does it deliver a polished and crunchy instrumental metalcore sound, but the lyrics are just as impactful, which speak to the real destructive power of change - a theme prevalent throughout the entire album. The staying power of the track is something special too, ‘A New Mentality’ is likely to stay nested deep within your head long after the album has finished. Thrashing our way to the halfway mark, we’re hit with ‘All Hail The Tyrant’, another standout track and one that features a relentless flow of guttural and vocal intensity as Polar bring the first half to a close. ‘Swimming With Sharks’ ushers in the second half and, though slightly down tempo compared to the first half, it is no less as effective as they embrace a more metalcore sound for the remainder of the album and bring more attention and emphasis towards the brutally honest and authentic lyricism featured. The album wraps up with the very aptly named ‘Closing Curtain’, a powerful and poetic track that stands as a clear message to the effects of change and moving forward into a fresh chapter. Raw and unapologetic from start to finish, it’s clear that Polar has a lot to say with ‘Five Arrows’, and it is delivered with the perfect blend of crushing breakdowns and emotionally charged vocals, leaving a lasting impression even after the first listen. This is up there with Polar's best material across their whole career as a band, both before and after reforming, and stands as a testament to the excellence of not only the band, but to the UK scene as a whole. 'Five Arrows' is essential listening for fans of the band, and anyone who enjoys UK metalcore. ‘Five Arrows’ will be released on November 22nd via Arising Empire. Words: Arcadia Craven Photo: Pete Ray

Sydney-based female fronted alt-rock band RedHook are back with their second album. Following on from their first LP last year, 'Postcard From A Living Hell', ‘Mutation’ adds eleven songs to their discography, all mixed by James Paul Wisner, who is known for his work with Underøath and Paramore amongst others. Frontwoman Emmy Mack states “RedHook has always felt like a bit of a misfit. A lot of people don't quite 'get' us. But we didn't make this record for those people. We made it for the ones like us. The misfits, the outliers, the weirdos", but there's already a lot of hype around this album, with plenty of it coming from fans the band won over with their debut, so the band have clearly managed to find plenty of us weirdos already! With that said, let's dig into the album and see what they've got to look forward to. Kicking off the album with a bang we have two of the singles off of the album, 'Pyromaniac' followed by ‘Break Up With’, which showcase Mack’s vocals from the get-go, along with a pair of catchy riffs and choruses. Following this is 'Hexxx' featuring Vana, which has a heavier feel to it, not least due to the two female vocalists perfectly complimenting each other across the length of the song. Next up is a particular highlight off the album - 'Dr Frankenstein' feat. Holding Absence. The song starts with Mack’s vocals before Holding Absence’s Lucas Woodland joins on the second chorus and their voices merge together seamlessly. The track deals with a toxic love story, using the metaphor of Frankenstein's monster to examine it from both sides in a vulnerable moment of introspection. Then we have ‘Bomb.com’ and ‘Hot Tub’ which again, are full of catchy beats and choruses made to sing along to. However, at this point you can notice the album feels a little repetitive at points, where some songs do feel quite similar to others, and there's not always as much distinction between songs as you might like. Following on from this though is 'Cannibal' featuring Alpha Wolf, which differentiates itself by having the heaviest vocals on the album. As the track breaks down, we hear screams from Alpha Wolf combined with a heavy bassline, which keeps it feeling dark and almost claustrophobic, especially in comparison with earlier songs on 'Mutation'. ‘Hurt Like Hell’ and ‘Party Zombie’ are up next as we approach the end of the album. Both have very catchy drumbeats with heavy breakdowns, before the vocals lift back up towards the end of the songs to let them finish with an uplifting tone. We then arrive at the penultimate track ‘Scream 2’, which feels very heavily influenced by Ice Nine Kills, even going as far as using the same kind of naming convention as them! Finally, the album ends on ‘Tourist’ which portrays the bandmembers' storytelling skills through their lyrics. The tracks tells of a toxic relationship, but with a motivational and uplifting feel. Mack sings “Now I’m waving bon voyage to all your bullshit”, which is likely going to resonate with plenty of people listening. RedHook have delivered a great set of tunes on 'Mutation'. This album is definitely a ramp up from their debut, and whilst it doesn’t contain as many dark, deep themes as their previous LP did, that is not to say that this album hasn’t broached new ground for the band and taken them forward. From the iconic collaborations which feature, to Mack’s captivating vocals, the band are paving their own way to stardom. 'Mutation' will be released on November 22nd via Adventure Cat Records. Words: Amy Watson Photos: RedHook

After Smoke Clears is a four piece metal band from South London consisting of Nick Hurford on vocals, Kiran Solanki on guitar, Aaron Dohnt on bass and David Cau on drums. After originally making themselves known as a technical, groove metal band with their 2020 debut 'Edification', the band have exploded back onto the scene with a much heavier and darker sound in this new eight song LP. Opening the release is ‘Status Game’, featuring Diesect’s Damien Bigara, and it kickstarts the album with not only a plethora of heavy screams, but also a welcome hint of nu-metal. Up next is 'Serenity' featuring Jimmy Dahmer of Asleep At The Helm, which has the most clean vocals of any song on the LP. The contrast of emotion between the clean vocals and the intensity of the screams is captivating, and the combination of their new-found heaviness along with Bigara’s cleaner sound makes for a very powerful, almost Beartooth-esque sound. We then find ourselves on ‘Chase The Sun’ combining a heavy bassline with layered screams and growled vocals throughout. Next up comes the second single to be released off the album, ‘Animal’, which features Confessions Of A Traitor frontman Stephen MacConville who compliments the track perfectly, blending together his vocals with Hurford's for a potent mix of vocal styles and sounds. Track five, ‘Fractured’, portrays the most emotion on the album. The clean vocals of the choruses and screaming of the verses seem to harmonize rather than take separate roles alongside each other within this track, which makes for a powerful listening experience and will enrapture any fans of 2010's metalcore. Next up is ‘Unintelligent’, which was the first released single of the album and also the heaviest in terms of pure riffage. However, around the 1:20 mark the track breaks down and showcases a nu-metal-esque rap element which was entirely unexpected, but no less enjoyable for that shock factor. As we approach the last two tracks on the album, ‘Echoes’ and ‘Daze’ continue to give us that metalcore goodness full of heavy drum lines and thick, coiling guitar riffs, paired with plenty of screams. This album is definitely a ramp up for the band compared to their debut, and stands out across the board as having improvements all over. The dark synth and metalcore overtones of this LP keeps the listener engrossed, simultaneously confirming that they are a band to watch out for, most certainly for any lovers of metalcore. 'Intentions' will be released independently on November 19th. Words: Amy Watson Photo: Aaron Dohnt

Linkin Park is a band that needs no introduction. A behemoth of the alternative and nu-metal scene, they are arguably one of the biggest bands of the 21st century. Their music has not only won multiple awards, but many tracks also shine a spotlight on mental health issues and personal problems and social issues. When lead singer Chester Bennington passed away in 2017, the band announced a hiatus that many fans thought would be the end of their discography. It wasn’t until seven years later, this September, that Linkin Park reformed. Now with Emily Armstrong taking up the vocalist mantle, and Colin Brittain replacing drummer Rob Bourdon. Armstrong, previously most known as lead singer and rhythm guitarist of rock band Dead Sara, has taken to the project with passion. Though both she and the band have made a point to state that her inclusion, and the band's return to music, is not an attempt to replace Bennington. Just a collaboration formed naturally over time. The reception from fans has been mostly positive, with many just happy to hear from the band again. Though some have doubted the decision. Announced alongside this lineup change was ‘From Zero’. The first project to come out of the new Linkin Park lineup and, as a result, an album with a point to prove. The response to this release would shape if fans continued to support the band, or if the loss of their lead singer was too much to overcome. ‘From Zero’ opens with a re-introduction. We hear Armstrong saying “from zero, like from nothing?” before cutting into ‘The Emptiness Machine’. The album and introduction are an intentional reference by co-lead vocalist and rapper of the group Mike Shinoda to a previous project before Linkin Park. In an interview Shinoda stated, “Before Linkin Park, our first band name was Xero…Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life.” The use of voice messages to open the album, and between songs such as in the outro of ‘Over Each Other’ and ‘Two Faced’ also adds a casual conversational tone to the production of the tracks that just feels fun. As the first real song on the album ‘The Emptiness Machine’ has a lot to carry, and yet it packs a confident punch. Between Shinoda and Amrstrong’s vocals, the familiar quintessentially Linkin Park sound, and the rest of the band’s ability to create a strong soundscape it’s a song that makes you want to scream along with the lyrics: “Let you cut me open just to watch me bleed Gave up who I am for who you wanted me to be Don't know why I'm hopin' for what I won't receive Fallin' for the promise of the emptiness machine” The song is a cry to action, and one of the strongest on the album. The next track, ‘Cut the Bridge’ is equally engaging, though the bits that stand out the most are the full-band backing vocals and Shinoda’s segments. The chorus, while good, is not the most interesting area compared to other tracks that utilise Armstrong’s voice better. Still ‘Cut the Bridge’ feels cohesive. It’s a decent segway between ‘The Emptiness Machine’ and ‘Heavy is the Crown’. ‘Heavy is the Crown’ is another of the strongest tracks on the album. It definitely feels like one of the most classically-Linkin Park songs on the project between the rap, screaming and strong instrumental backing. If anything the only room for improvement would be bringing the screaming in earlier, instead of getting through two choruses first, as the song notably improves after the drop. ‘Heavy is the Crown’ has also been included in the Arcane Season 2 soundtrack, and was allegedly inspired by the character of Caitlyn Kiramman. The track was also chosen as the official anthem of the 2024 League of Legends World Championship, and performed at the Finals Opening Ceremony. Watching clips of the performance, it’s clear to see why. The song sounds electric in a live performance setting. ‘Over Each Other’ is by comparison a more melancholy track, with a stronger focus on Armstong’s vocals compared to the previous three tracks in a way that makes you appreciate the notable subduedness of the rest of the band. This centralising of Arsmtrong’s vocals allows the narrative to take centre stage, a passionate reflection on a toxic relationship. ‘Casualty’ immediately breaks this sombre tone by bringing back the drums; the introduction of Colin Brittain can really be felt here alongside the contributions of DJ Joe Hahn, lead guitarist Brad Delson and bassist Dave Farrel. There is not much to add, it’s a good song to scream to, more suited to a pit than a regular playlist. Given its placement in the overall album, it feels more like an interlude than a stand-alone track. ‘Overflow’, oddly enough, feels like it would also do well on the Arcane soundtrack. Again, the tone is reflective, sandwiching the screaming of ‘Casualty’ between two of the most softer tracks of the album in a way that feels almost cathartic. With lyrics such as ”Turnin' from a whitе sky /To a black hole /Turnin' from the sunlight / To a shadow / I know I can't make it stop / I know I'm out of control” the song feels like it would not be out of place on several of their older albums. ‘Two Faced’ is another song that feels familiar, despite being brand new, with direct references to ‘One Step Closer’ in the line “That's when I figured out where it led / Beginnin' to realise that you put me over the edge”. The band feels completely in sync in a way that just works, even down to the voice message at the end of “we’re all on the same page right now”. ‘Stained’ in comparison is unremarkable compared to the rest of the album. There’s nothing wrong with it, but not much right either. While ‘IGYEIH’ or 'I Gave You Everything I Have' feels a lot stronger, sonically and due to its ties to the rest of the discography. Opening with a sample of ‘Step Up’ from ‘Hybrid Theory’, and making references to ‘In The End’ through the clock imagery. The range within the track alone is impressive. Finally, ‘From Zero’ ends on ‘Good Things Go’. As a parting track this is more reflective, hinting on themes of grief and regret while talking about isolation and depression. The sombreness of this track, combined with the two vocal leads sharing the chorus, feels correct. And ends the project on a collaborative note that ties into the emotional struggles of the band’s renewal without feeling contrived or inappropriate. It ends with: ”Only you could save me from my lack of self-control / And I won't make excuses for the pain I caused us both / So thank you for always standing by me even though / Sometimes bad things take the place where good things go.” If ‘From Zero’ sets the path for the band's future, then the Linkin Park legacy is in good hands. While not every track is an instant hit, there is a clear foundation and a definite through line between ‘From Zero’ and classics such as ‘Hybrid Theory’, ‘Minutes to Midnight’ and ‘Meteora’. It’s a strong return to form for the band, with a few immediate new favourites, despite the occasional rough edges. Words: Q Cummins

Sepultura have decided to call it quits, again. When the last of the Cavalera brothers departed in 2006, many considered Sepultura over, carving a brutal trail of classic albums in their wake; including Arise (1991), Chaos A.D. (1993), and Roots (1996). The current incarnation of Derrick Green on vocals, Andreas Kisser on guitar, Paulo Jr. on bass, and their now former drummer Eloy Casagrande enjoyed many a tour season in the United Kingdom. But now it’s curtains - for real this time (or so they say), and it is truly better to burn out than to fade away. They even brought along a few friends for the funeral. Touching stuff. A cold Tuesday night at the Evertim Apollo, gaps fill quickly in the standing zone and the seats become filled out. The crowd waits hungrily, eyes primed upon the stage. They are quickly satiated by Philly metalcore jammers (and Out of Rage Album of the Year 2023 winners…) JESUS PIECE, fresh off of their sophomore album, who offer up a delicious slam-burger of a set. They break out with Tunnel Vision, a complete aural assault that gets heads on a swivel. The lyrics are muddied by the sheer brutality of vocalist Aaron Heard, but the entire Apollo seems to wholeheartedly agree with his passionate arguments, supplemented by more chugs than a model railway. Yet as the first opener, as quickly as it began, it ends – leaving behind a sense of longing. The die has only just been cast before bonafide Floridian death metal giants OBITUARY arrive for some more carnage. Redneck Stomp is a call to arms, every ear trained for old-school death metal at the bar outside hears the iconic opening riff and answers the call back in kind. To the band’s credit, they have always been consistently good with their energy. The set has a great variety from their many album outputs, and the old-heads seem delighted by it. What you see is what you get; good grooves and gnarly vocals that never let up. Chopped in Half/Turned Inside Out is a highlight. Sadly they never did seem to get more than a few die-harders off the ground, and their set feels like it was cut short. But, like all great mailmen, they came, delivered, and left. While this is primarily a final bow to this particular Sepultura incarnation in old blighty, this does have the air of a co-headliner show. There is a very good reason why one band on the poster shares the font size of the headliner themselves, and that is because JINJER have come onstage and are tearing the stage to pieces. The only real way to report on Jinjer’s set is as if you are a poor Japanese newscaster watching Godzilla wipe out Tokyo from a distance. This was truly the Ukrainian outfit’s time to shine, as they have the crowd eating out of the palm of their hand. Singer Tatiana Shmayluk’s hair flickers wildly to the dissonant riffs and the crowd begins to boil like some hot metal-stew. Shockingly their workhorse single Pisces is absent from the set, favouring instead to close on Rogue from their as yet unreleased new album. Technically phenomenal and electrifying, the night seems to have reached its high point. We are off to a good start here; three bands that have transformed the tired post-work London crowd into a fighting force ready for war, several shirts are already off and the tension in the room is palpable. After a crowd rendition of War Pigs and an if-you-know-you-know rendition of Polícia by Titãs, the intro rolls slowly, and then they arrive - SEPULTURA. They burst out of the gate with a three-song assault of Refuse/Resist, Territory, and Slave New World. Guitarist Andreas Kisser seems to have found his true church as he beams at the mosh-pit, while Derrick is sweating profusely and delivering a solid vocal performance. For a second, we were back in the blood and fire of '93. But like a wheel caught in mud, the energy sputtered as they segued into Means to an End from their latest album Quadra, and suddenly the magic dimmed. It is disappointing, yet endemic of Sepultura as they have been for the last decade; with a few exceptions like Kairos, the energy just isn’t there for the band’s later offerings. The same happened at their Bloodstock 2023 set, and their show at Electric Brixton in 2022. Another big factor was the noticeable absence of former drummer Eloy Casagrande, whose mad chops at Brixton had brought chaos before he ultimately left for nü pastures within Slipknot. It all feels slower, somehow, (yet there were some grooves that had the crowd tapping their feet like Fred Astaire). Nostalgia in the form of Kaiowas follows, featuring “all the Sepultura family and friends” uniting on drums and a shortened version of their wonderful Orgasmatron cover, then it was back to the classics. The now completely shirtless pit-warriors set upon each other once more with Troops of Doom, Inner Self, and finally Arise, and in a blaze of glory it is over once more. The encore of Ratamahatta and Roots followed, a monster of a finale with Greyson Nekrutman, newcomer and former Suicidal Tendencies drummer, beating out a preamble on the kit. He was solid, no doubt, but against Eloy and Igor Cavalera, he had some pretty big, mud-encrusted boots to fill, and the effort of it showed, almost painfully. And just like that, in a savage blaze, it was over. The band bows and the crowd roars in approval, yet a final question remains; what is the future of this band? Anyone who is aware of the toxic relationship between the Calaveras and this Sepultura know deep within their gut that this is not the end of the story, and that they have many rounds still left in the chamber. Those with doubts about this should consider that we are living in a bizzarro-future where Zombie bands are on the loose; Linkin Park are headlining shows and Pantera is playing at festivals. How and when this future Sepultura should rise from the grave is not known, but if history has taught us anything, it’s that it's hard to keep a good band down. Words: Kiarash Golshani