Illinois' Molder have not held back on their love of all things dead, decaying, decomposing and otherwise damp - and their no-bones adoration holds true right through third album 'Catastrophic Reconfiguration'. The album is fit to bursting with innards, necrotic tissue, blood, pus, reanimation and everything else you'd expect, as well as a suitably slimy album cover, designed and painted by Mexican oil painter Julian Felipe Mora Ibañez who, it's fair to say, has absolutely nailed the brief for a gory, gooey, grotty death metal album cover. But, whilst it looks like a great death metal album, in the spirit of Louis Walsh it must be asked, does it sound like a great death metal album? This can be addressed almost immediately: if you like 90's death metal then it is without a doubt a great death metal album. From the opening title track right through to the finale 'Nothing Left To Ooze' (possible contender for song title of the year), the riffs are cavernous, the gutturals are thick and choking, the basslines are enormous and the drums are incessant. Everything on this album feels specifically placed to ensure maximum death metal-iness in a tight, sharp package, which is exactly what the band were aiming for. As put by vocalist Aaron Pantke, "We simply wanted a shorter, nastier, and more professional sounding record than what we've done before.” The band achieved that and then some, with an LP that sits under 35 minutes across ten songs and never once gives you room to breathe, for fear of inhaling the stench of some rotten corpse. The record is a sonic evolution for the band in some ways though, as whilst it's still recognisably a Molder record, they've brought in guitarist Carlos Santini (who, it turns out, is not actually a smaller version of the famed guitarist Carlos Santana) to join the writing process for the first time. This has provided a rounder, more dynamic sound to the recording that shows through on relistens as well as the first time round, and helps keep the guitars meshed tightly to everything else. The recording process was also a new one for the band, as most of the tracking was done in the band's basements, in hopes of a more vigorous element being found in the music - and in this they have succeeded! Recording engineer Matt Aguilar has his fingerprints all over the record, and Greg Wilkinson (of Autopsy fame)'s mixing and mastering allows the newfound energy and freneticism to really show through. Each song feels, rather than a disparate piece of writing or a part of one continuous whole, like a facet of a greater collection. The album flows brilliantly, and whilst there isn't masses of change throughout the album, the feel of each song is unique enough to allow for recognisability, whilst never straying from the Molder path. From the stomping riffs that open 'Overdue Burial' and the glacially heavy intro on 'Bursted Innards', to the pounding aggression with which Pantke spits what resembles the chorus of 'Frothing' and the echoing, needly solo that ups the tempo on 'Corpse Copulation', it all fits into one big, rabid, death metal package. Over the last few years, genre-blending has become almost the norm in metal's underground, largely for the better. However, when bands can get into a groove as slick as the one Molder are in here then sticking firmly within the wheelhouse of death metal is thoroughly encouraged. If they're even halfway likely to spew out any more excellent releases of similar heaviness and bile-coveredness, then we must preserve them at all costs. 'Catastrophic Reconfiguration' will be released on November 8th via Prosthetic Records. Words: Jake Longhurst Photo: Alex Ford

Newport’s award-winning metal reggae rockers Skindred grace Hull’s Asylum with the first of their latest run of shows dubbed the ‘Smile (Again)’ tour. This 1000 capacity nightclub and live music venue has played host to the likes of Primal Scream, Enter Shikari, and Gary Numan. The band once again offer up their genre-traversing version of heavy metal and infectious energy for endorsement by another horde of thrilled and devoted fans. Very likely a jaw dropping experience for those encountering this musical phenomenon for the first time. The band love to shine a light on new and emerging talent and of the many acts chosen to support them on this Autumns tour, tonight it’s the turn of Motions and As December Falls, both highly energetic and acting as fitting accompaniments, and both were thoroughly enjoyed. First up, the Teesside metal outfit: Motions, fronted by Jonny Grant, delivered their heavy, dark and melodic brand of serious groove driven metal, enhanced by a well-balanced mix of strings, synth and female vocals. They rampaged through their set with angst-ridden vigour and did not disappoint. Next up were the mighty As December Falls, from Nottingham with their refreshing brand of alt metal and pop punk, featuring the striking voice of lead singer Bethany Curtis, and rendering an altogether jauntier, less serious vibe with an impressive stage presence. They won Best UK Breakthrough Artist at the Heavy Music Awards in 2023 and it's very clear as to why. Audience anticipation is high as the lights dim and the familiar strains of ‘The Imperial March’ from Star Wars, can be heard as the bands usual entrance music. They take to the stage with flamboyant frontman Benji Webbe appearing last. As the roar of the crowd subsides, Webbe begins playfully whipping the crowd into a state of excitement with his rallying banter, accompanied by subdued, laid back guitar sounds distorted by a pedal effect. Webbe yells out a countdown, “1, 2… 1,2,3,4”, then suddenly, boom! A simultaneous burst of heavy cymbals, percussion, and piercing flickering bright light, and the crowd begin jumping, head banging, and arm waving frantically as the sound of the band in full flow washes over them, many engaging in the time-honoured practice called the Newport helicopter, a ritual devised by Webbe and rolled out for the first time during their 2011 appearance at Download Festival. It involves removing your shirt, holding it aloft by one end and rapidly swinging it around, helicopter style. Webbe admits he wasn’t sure his idea would take off, but professes, “people loved it!”. Webbe, forever the showman, engaged in multiple costume changes throughout the show and looked resplendent in his eccentric attire. To further enhance the theatrics, he gambols around the stage: hopping, skipping, and jumping, while frequently approaching the front to gesture and flex towards the crowd with hip hop style four finger salutes and the like, making sure he addresses the width and depth of the venue as he points. The frontman’s impressive array of vocal techniques perfectly align with the many different styles of music performed. With their straight metal renditions, he either uses a Jamaican rap vocal style, or is equally adept at delivering an impressive well-rounded rock singing voice with vibrato. For a few seconds they played a dancehall style of reggae with Webbe effortlessly adopting a toasting style of vocal delivery. He stands out as a clever and accomplished vocal impersonator in his own right. The mélange of genres proffered here blend together perfectly, and often mid song, adding a new dimension of aural intrigue and excitement to the more discerning ear. The electronic percussion and synths deployed when delivering ‘Hip Hop’ and ‘Dubstep’ styles with prominent sub bass used for earth shattering effect. These constant ingenious style changes come naturally according to drummer Arya Goggin and pose no major challenges, they are assisted and guided by Webbe’s vocal style of the moment in helping the band slip into a particular playing style and rhythm. These are the unique and endearing qualities that intrigue and fascinate the listener and help recruit new conscripts to their already healthy and exponentially rising fanbase. Skindred's formula of style melding, affords them critical acclamation from diverse musical awards bodies, winning both Kerrang and MOBO awards, among others, for 'Devotion' and ‘Best Alternative Music Act’ respectively. A typically outstanding performance then from the inimitable Skindred, with the crowd left visually and aurally treated, wanting more, and very likely to return. Words and Photos: Kieran Atkinson

Both bands on the bill revering the antithesis to overnight success, tonight witnessed the collision of Italian gothic metal and Finnish violent pop. It was an eagerly anticipated supporting slot from Blind Channel ahead of their hiatus which cemented an energetically disparate foundation for the night. They indulge their sound with cheeky boy band feel, tempering with some strategic hip-hop laced nu-metal wonder. From the stomping-electro number DEADZONE to the slicker-than-slick XOXO, they’re injecting confidence in our bones and we’re finding the antidote in jumping around— unsurprisingly, many fans in the venue were here solely for Blind Channel, leaving promptly after. Whilst the smoke machines may have obscured most of our view of our support act, the rush of bodies to the front for our headliner didn’t help much either. Despite their Download appearance, the band are sorely sought after as a live act. The jagged juggernaut of Blood, Sweat, Tears perfectly encapsulates the unrestrained darkness at the heart of what Lacuna Coil represent. As an opener, it’s a sonically charged compilation of Andrea Ferro’s guttural snarls juxtaposed magnificently with the precise nuance of Cristina Scabbia’s soaring vocals. Vocals which undeniably, dominatingly deserve all the praise and flowers she deserves: every note is hit and held exceptionally clear, whilst the run and range of Scabbia’s voice is unbelievably consistent. Flanked by projected imagery and videos to accompany each song; armed with a nineteen song setlist artillery, this sense of consistency is scaled upwards into a fiery bluster of surround sound symphonies. Recent material Reckless and Apocalypse are ascendant, uniting anthems of this new-age, nu-metal-esque band. Their near thirty year run as a band has seen their sound evolve from the traditional gothic metal grandiose, a medley run-through of tracks from their reconstructed Comalies XX album showcasing this with beautiful regard. They garner just as much vitality in the mosh pit as our oldest track on offer, Our Truth—and the truth of tonight's show is passion. Passion is the underlying thread of their musicality. Perhaps that’s the Italian stereotype speaking for itself, yet every track boils over with unadulterated, appreciative passion for what this scene means; it’s a sentiment reflective in the wide-eyed smiles of both the performers and the pit. With raised fists, synchronised clapping, and acoustic call-backs, there’s the feeling that Lacuna Coil are so finely tuned into their audience that is only tangible in these grassroot venues. “Music is therapy,” Cristina takes a moment amongst all the noise to connect with the audience. “With this night, I want you to inhale all the positive energy and bring it back home with you until the next time Lacuna Coil are in town!” 'Now Or Never' seemed to become a pivotal point at which Ferro’s microphone was actually turned on—we jest, but whether by the grace of their sound technicians or a second wind of breath, Andrea was loud. Spitting heavily, snarls in full force to rival that of the bass, he became your sole focus on that stage. Strobe lighting hammering their silhouettes into our retinas, 'My Demons' was a true crescendo of the band’s strengths: kickdrum going ten to the dozen and a sonically empowered guitar solo, we’re enraptured with the noise reverberating around the venue. Their new album 'Sleepless Empire' may not be releasing until Valentines Day, yet they lovingly bestow upon us singles Hosting The Shadow, In The Meantime and Never Dawn. It’s a testament to the band that they’re consistently at the top of their game and have a fan base who’re consistently tuned into their sound. Chants of ‘Bloodstock! Bloodstock!’ are well received, Cristina agreeing: “Bloodstock? Fuck yeah, we’ll see you at Bloodstock!”. It seems we just can’t get enough. Lacuna Coil are a band unafraid to be a hauntingly familiar medley to the soundtracks of our lives. There’s an intriguing harshness and emotional depth to their musicality that we can all relate to, and with their infamously featured Depeche Mode cover curating a singalong, they urge that whilst you should Enjoy 'The Silence', you should also enjoy the music. Words: Talia Robinson Photos: Dan Ayres

Defences’ third and latest release, ‘Shadowlight,’ marks an exciting step in the band’s journey, their debut with Long Branch Records. Formed in Hertfordshire, UK, Defences blend atmospheric soundscapes with fierce, gripping riffs, creating a space where tension meets release. With each track echoing themes of personal challenges and resilience, the album invites listeners to fully immerse themselves - especially through headphones, where its layered production delivers a truly cinematic experience. The album opens with ‘The Curse,’ which evolves from an eerie, resonant synth into a powerful drop, expressing the relentless stress of facing life’s battles. Whispered wording in the bridge showcases the exhaustion of repetitive struggles, “we work so hard just to get left in the dark, just to do it all over again”. This notion of endurance underpins much of the album, drawing the audience deeper with each song. In ‘Gold In The Dark,’ Defences confront their trauma head-on. This isn’t just a song; it’s a reckoning with the burdens that many bear. “Did I deserve this? Am I worthless?” screams keyboardist and vocalist William Young through layers of sound, making ‘Gold In The Dark’ feel like a visceral confrontation of self-doubt. The track’s intense build-ups and punishing breakdown mirror the chaos of battling these dark thoughts. 'Perish' wastes no time. One breath, one rasped word: “Perish”. Then, everything erupts - gritty riffs, ethereal vocals, and a thunderstorm of sound. Featuring lines like “I'm thinking it's time I made friends with my shadow”, the song explores accepting inner demons and healing, while panning effects add mesmerizing depth, creating a vivid aural landscape. ‘Ego(Maniac)’ is dynamic and fast-paced, propelling listeners forward with snapping drums and vibrant keys, before closing with a sombre piano and static crackle that lingers. The line, “no escape, I’m making you take a look in the mirror”, adds to the intensity of the mood, leaving a haunting sense of unease. In contrast, ‘Silence & The Sound’ explores growth, with tranquil verses and a chorus that opens like a breath of fresh air. Imagery of colours changing with the setting sun and birds singing at the end offer a serene moment of calm, reinforcing the album’s message of finding beauty and inspiration in difficult moments. With powerful lyrics about dealing with change, ‘Breathe It In’ moves into acceptance, rising through pulsating synths to the cathartic line, “just gotta breathe it in”. It’s a journey of release, portraying the dual strength of both letting go and holding on. ‘Inspirit’ shifts into a more serene, ambient soundscape that captures the essence of loss and grief. With hard-hitting phrases like “the space you left feels so heavy,” that reflect on pain and recovery, reminding listeners that “time will heal.” This beautiful piece resonates deeply, inviting contemplation and solace in the face of sorrow. The struggle of striving without reaching the finish line is vividly portrayed in ‘The Almost’, underscored by the compelling line, “don’t want a lifetime of living in the almost”. The song expresses frustration in a “perpetual race”, and features an electrifying breakdown, before shifting back to a driving bass, encapsulating the difficulties faced with the tenacious pursuit of success. With melodic guitar riffs and lyrics reflecting life’s fleeting moments, 'Greatness' is a powerful reminder that “nothing is permanent”. A dissonant second verse creates a feeling of restlessness, building to the bold line, “this too shall pass, live for now, can’t get it back”, encouraging embracing the present. The track’s flowing outro echoes “get it back”, which leaves a lasting sense of hope. The entire album has been building up to the final track, navigating a path of life’s difficulties, overcoming challenges, and personal development. ‘Shadowlight’ beautifully embodies this evolution, exploring the transition from comfort in darkness to an embrace of the light. It illustrates the profound experience of shedding self-doubt and achieving comfort in personal identity, and declaring, “I’m done hiding from my own shadow”. Defences have crafted a rollercoaster of sound with their album ‘Shadowlight’, which stands as a testament to their artistic growth and resilience. The seamless transition between ambient reflection and dominant riffs creates an immersive experience that concludes with an empowering message. Defences not only deliver a compelling collection of songs but also invite listeners to join them on a journey of transformation, making ‘Shadowlight’ an album that lingers long after the final notes fade away. 'Shadowlight' will be released on November 8th via Long Branch Records. You can catch Defences at their album release show on November 9th at the Camden Assembly in London! Words: Beth Oakley Photo: Fordtography

Fresh off their sold-out UK and EU tour, American alternative metal band The Plot In You have graced our ears yet again with the third continuation of their EP release, 'Vol. 3'. Formed in 2010, the band has accumulated resounding support across the world, and with another headline tour of the US about to begin, there was never any doubt that we were in for a treat of alternative music excellence. Starting off is the band's lead single 'Been Here Before'. Released in early August, the track paved the way for fans to get excited about the next era of The Plot In You. Drummer Michael Cooper wastes no time in opening up the song with his heavy rhythmic stylings of chaotic early 2000s punk nostalgia. The melody, reminiscent of early Bring Me The Horizon, contrasts with the gritty, meaningful lyrics sung by vocalist Landon Tewers. Tewers’ voice is powerful and raspy, yet harmonious when the song reaches its climax around the one-minute forty mark. Tewers' vocal range showcases the singer's professional ability and contributes to the band's success as heavyweights leading the future of alternative music. Meeting us in the middle is 'Pretend' a track that further displays the band's signature polished production sound. This song allows the bass and guitar to shine through and shows off the band's ability to work harmoniously. The deep bass swells played by bassist Ethan Yonder shine through multiple times, creating a perfect head-banging rhythm and a strong backbone for the track. Alongside this come the fast shreds of guitarist John Childress. Childress’s shreds vary wildly, from being enormously prominent to lulling down when needed, echoing Tewers' vocals, and yet again presenting that signature sound. Both then round out the song in spectacularly heavy fashion. Following the pattern of previous volumes, The Plot In You’s final track 'Spare Me' is a heavy screamo masterclass. Tewers showcases healthy heavy vocals throughout at various depths, whilst a number of angelic glitchy interjections and a piano finish allow you to revel in Tewers' talent. Childress mirrors the vocals on his guitar, emphasizing the emotion and depth of this standout track. The build-up towards the end and the piano finish round out the EP perfectly, leaving you speechless at what is ‘Vol 3’. The Plot In You has been an interesting band to follow, especially in the past few years. The band has released a constant stream of great music, differing slightly in sound each time whilst still staying true to the band. Their versatility is a part of the reason they are quickly becoming leading players in the rock scene of the 2020's. You never know what they might release, but you do know that it will be a polished anthem every time. We can’t ever predict what's coming next, but if they continue with this uphill climb we will be listening. 'Vol. 3' will be released on November 8th via Fearless Records. Words: Kira Lashmar Photos: The Plot In You

Fresh off the plane with their brand-new album, coming all the way from Sacramento, California, the deathcore three-piece Saltwound introduces 'The Temptation of Pain'. Comprising of vocals, guitar and bass, these guys hold their own as if they were a full 5 piece. From their full-length album in 2022 ‘Vol 2: DESPAIR’, it's abundantly clear that they have upped their game - and even if you're not a fan of deathcore, it might be worth succumbing to 'The Temptation of Pain' and giving this a spin. Starting off with ‘We all Burn’, the growling noise from the deep-toned bass with a mix of vocals kicking it off gives you an instant taste of how this album is going to progress throughout, and track two ‘Blight’ leads straight in with the bark which is a staple of any deathcore track worth its salt. The band really up the ante for movement and fall into a two stepping tempo that's a guarantee to get people going, before bringing in some real distortion on the vocals at around the 1 minute 30 mark of this song, changing tack on the original direction of the song to broaden the scope they've covered thus far. Track three ‘Empty From The Start’ starts out the sonic equivalent of a bottomless pit, with some djent sounds impacting the mood, before the tempo increases in tandem to where a massive circle pit will likely start to take shape - before falling away again at the end, letting it all go again. The transition into track four, ‘Circle The Drain’, makes for a more pit-ready track from the off, as grimy vocals precede a satisfying riff, that's going to get fists flung into the air and bodies launching around the dancefloor. Going into the fifth track, we reach the title track, which is a violent explosion of emotion filtered through an explosion of brutal sound, bound to carve open a wall of death. Track 6 ‘Hollow’ features a robotic sounding voice that briefly gives the listener time to cool down, before more meaty growls decimate any moment of calm and the hardcore influences get their chance to shine. Track 7 ‘Walking The Blade’ was one of the singles for the album, and gave fans a feel of what to expect across the release, which luckily it did perfectly. The screech that starts the song off parades into the track, and creates a tense atmosphere almost like that of watching a tightrope walker tread along a razor. ‘The Righteous Hand’ track 8, has a distorted feel from the offset, and goes straight into the deathcore we've come to know from Saltwound. Coming towards the end, track 9 ‘Ensnared’ gets even darker, creating twinges and bringing the hairs up along your arms and neck. It manages to foster a feeling not unlike if someone was creeping down your neck, and shows the vocalist spiralling down whilst explaining their selfishness over things within their life. Finishing on Track 10 ‘Severance’, there's no slowing down here as the song is chock full of brutality from the get-go, giving some earthquaking moments before reaching the breakdown that somehow gets lower and lower and lower, to finally pummel you into sonic submission. Saltwound have shown their hunger and thirst for pain on this album, and simultaneously proved that their hard work has paid off in this new era of their sound. 'The Temptation of Pain' shows a brand new side to the band and addresses some tough subject matter to boot, in a record that'll no doubt please fans of deathcore. It's not going to reshape the genre, but it's stretched the envelope and will incite many moshpits to come, which is more than enough for now! ‘The Temptation of Pain’ will be released on November 1st via Sharptone Records. Words: Ciara Hicks-Evans Photos: Saltwound

Sweden's contributions to the music industry are plenty - from ABBA to Ghost, if there's one thing the Swedes do well it is music. Hailing from the idyllic town of Arvika; Tribulation burst onto the scene in 2005 displaying their unique take on the goth rock genre by blending it with death metal, to become the modern maestros of their genre by haunting and captivating their fans with every new album they've conjured up. Now, after the success of their award-winning 2021 album ‘Where The Gloom Becomes Sound’, they’re ready to take on the scene once more with their upcoming sixth studio album ‘Sub Rosa In Æternum’. Much like their previous albums, ‘Sub Rosa In Æternum’ delves into the depths and experiments with new and old sounds alike, all paired with Johanne Andersson's eerie vocals. The album has the kind of ominous presence you'd expect from old school horror movies, and even the album's cover, though stylistically simple, is effective in giving fans a taste of what awaits them beyond, stepping into the psychedelic art deco world of horror that is ‘Sub Rosa In Æternum’ Opening this macabre journey is ‘The Unrelenting Choir’, a short but ominous opening with low, bass heavy instrumentals reminiscent of what you would find among British goth rock and its quintessential sound. After this brief but effective opener we are led straight into the second track ‘Tainted Skies’ with a seamless transition from the doom and darkness into a catchy 70s riff where you’re transported into the midst of a Hammer horror flick, but instead of looking for escape we found ourselves further sucked into the band's flow as we traverse deeper still. Not breaking their stride the album continues with the two most classic gothic rock tracks on the album - ‘Saturn Coming Down’, and ‘Hungry Skies’. Both hauntingly beautiful with heavy influence and reminders of other goth rock icons; Sisters of Mercy, both tracks plunge listeners into a shadowy soundscape where melancholy meets melody and had us imagining dancing the night away in an 80s goth club as we are brought to the midway point of the album. The second half kicks off in a far more punchy fashion, with ‘Drink the Love of God’ taking you from classic Hammer horror movies to the evocative era of horror movies such as The Lost Boys, this theme prevails right up until the curtain call of the album. We close this journey through the many eras of gothic culture and horror with ‘Poison Pages’, circling back to the dark tone and doomy instrumentals of the beginning, giving the album as a whole a feeling of a never ending cycle a labyrinth of darkness and shadows, enchanting its listener to replay it over and over again. Utilising an evocative blend of brooding lyrics and chilling guitar riffs, ‘Sub Rosa In Æternum’ may well be Tribulation's finest project yet - an unmissable and unique dive into the genre as they prove exactly why they are the masters of goth metal. This album draws you into its shadowy clutches and into a world where darkness feels like home sweet home. ‘Sub Rosa In Æternum’ will be released on November 1st via Century Media Records. Words: Arcadia Craven Photos: Tribulation

‘Vertebrate’ is the debut EP from the up-and-coming self described ‘doom pop’ group Every Hell, hailing from Brighton and featuring former members of bands such as Black Peaks, Memory Of Elephants and Broker. This six track release showcases a promising debut for the fourpiece, with a gritty rawness that leaves you eager to discover what heights Every Hell will go to with such solid beginnings. ‘Vertebrate’ is an interesting and impactful listen, with standout singles already out such as gloomy, riff-spangled track ‘The Watcher’. For a debut EP, ‘Vertebrate’ sonically cements Every Hell in their own unique genre, definitively shaped by each members prior experiences in their former bands to create something new in its own right. Even more impressively, ‘Vertebrate’ was recorded “organically” according to bassist Andrew Gosden, rather than being “sat in front of a computer editing the best bits of 30,000 takes to make the song 'perfect’”, offering a refreshing change to many new releases polished to perfection, and it shows throughout the EP. ‘Vertebrate’ is the sound of a band who are already fully realised in their creativity and can only go up from here. Opening track ‘Bad Cop’ is a headfirst dive lyrically into “fighting for attention in your family”, with vocalist Will Gardner re-imagining “the conflict and difficulty of having young kids as two gunslingers in the wild west in a deserted town". The anguish of the themes set out by Gardner is clear throughout the whole of ‘Bad Cop’, making for a solid opening track to the EP, the emotions of the track also spilling over into the next song, ‘Freaking Out’, with a high intensity all over every aspect of the song. Track three, ‘Ghost’, is a prime example of the ‘doom’ side of the term doom pop, the instrumentals mixing with Will Gardner’s gritty vocals and creating a sense of unease throughout the almost six minute track. ‘Ghost’ feels like it was made to be experienced alongside a horror film for how well it encapsulates the feeling of disaster, and the slower, more contemplative tone helps nurture those emotions throughout the song. Towards the middle of ‘Vertebrate’, Every Hell take a slower pace but lose none of the EP’s rawness and heaviness with ‘The Watcher’, before ramping up the energy again in final tracks ‘Revery’ and ‘Another Killer’. ‘Another Killer’ brings the EP to a close kicking and screaming, with four minutes of remarkably adrenaline filled drums, riffs and vocals, leaving us just barely sated, almost frothing at the mouth for the chance to have more music to hear from Every Hell already. It seems clear that while ‘Vertebrate’ is just the beginning for Every Hell, it’s an EP that’s packed from start to finish with creativity and adrenaline from every member. For Every Hell to take these six tracks, record them in one take and leave the studio with an EP this cohesive shows that they’re truly a band to watch for, and their rip-roaring sound and energy can only steer them in the right direction if 'Vertebrate' is any indication. Words: Kassian Wynne Photos: Every Hell

Danish band Lifesick have been tirelessly crafting misanthropic music in Copenhagen’s underground for a decade now, and their death metal influenced brand of metallic hardcore has gradually earnt them more and more fans within metals elite. At the beginning of this year they played with Cabal on their UK tour and have since been mentioned far and wide by UK hardcore fans, so their fourth full-length is coming at the perfect time to propel them into hardcore's mainstream - so is ‘Loved By None, Hated By All’ going to be the next big release in hardcore? Opening the album is the song ‘Death Wish’, which is a pummelling introduction to the bands sound. Their metallic hardcore style fits plenty of aggression and menace into every riff, beat and growl and the first song on the album is a prime place to display all this. Mixing in two-step pacing for the verses and a filthy half time breakdown towards the end of the track, there are no pulled punches on ‘Death Wish’. The second track on the LP is called ‘Peace Through Superior Firepower’ and represents this concept very well. Lifesick assault the listeners ears with blast beats, growls, false harmonics and some truly delightful squeals, alongside a Neanderthalian breakdown that is likely to cause dentists real problems with underbites becoming more frequent everywhere the band tour. ‘Double Cross’ follows up with more aggression, and condenses plenty of visceral anger into less than two minutes of fight music style hardcore, that’s sure to please plenty of fans of the genre. ‘Hollow Treats’ feels like a more death metal inclined track relative to Lifesick’s hardcore roots, with a real 90’s feel to it - a feature that’s becoming increasingly common in death metal worldwide. It’s the third longest song on the release, just over four minutes, and the band make good use of this time with a melancholy, subtly menacing guitar outro that pairs an acoustic with a solemn electric solo. As we approach halfway, ‘Legacy of Misery’ rises to greet us and carries on the death metal inclination of the previous track, although notably including some rather Kublai Khan-esque guitar usage. As another long track, four seconds longer than ‘Hollow Treats’, there’s plenty of time for the band to get into the thick of the music and slow things down for another very 90’s midsection, before breaking things down to the end of the track. Side B begins with ‘Poems Of My Funeral’ and it follows in the same footsteps as the last two tracks, barring some of the more obvious death metal tropes. This style, whilst fun, starts to become predictable at this point, so is greatly benefitted by ‘Liquid Courage’ bringing more hardcore back into proceedings - even if the breakdown does begin with another stereotypical death metal guitar squeal. There’s more hardcore brought to the table with semi title track ‘Loved By None’ as Lifesick get the track going at a high tempo that doesn’t break till the lead up to the heaviest breakdown of the album so far. This is the most ‘pure’ hardcore song on the release and is a riotously enjoyable two minutes or so. Track nine, ‘The Mourning March’, is abysmally heavy to the point that it feels like someone is scratching at the inside of your head with a crowbar. Whilst working brilliantly as its own song, it’s almost better as a lead-up to the final track on the album ‘Straight Jacket’, which is the longest song here by some length at five and a half minutes long. The approximately half-hour long album is wrapped up by this cataclysmic piece of music, with multiple breakdowns that ooze with malice and riffs that cut with a razor edge. The fade out from the riff at the end works as one final homage to 90’s death metal, before an unnerving outro finally puts ‘Loved By None, Hated By All’ to rest. Lifesick have clearly put blood, sweat and tears into this record and it shows - this is their most accomplished and mature release to date, showcasing their influences well but never letting them intrude too far on their modus operandi. With the exception of some mildly repetitive moments in the middle of the album, this is a seriously strong piece of death-metallic hardcore output from a band who have prepared themselves for global recognition, and might well be on their way to garnering exactly that. ‘Loved By None, Hated By All’ is a spittle-flecked call to arms that shouldn’t be ignored by anyone who enjoys their music paired with spin kicks and stage diving. 'Loved By None, Hated By All' will be released on November 1st via Metal Blade Records. Words: Jake Longhurst Photo: Allan Kristiansen

After an eight year absence, former Tiles guitarist Chris Herin has come back with his debut solo LP - 'Hiding In Plain Sight'. The album acts as a eulogy to his father, whilst telling the story of his battle with Alzheimer's, that all of us who have seen our loved ones lost to Alzheimer's can resonate with; the love for a father from his son is woven through each verse as Herin revisits his father’s last decade with us. Herin has collated an impressive array of musicians to join him on this project, with the likes of Peter Frampton, Alex Lifeson, members of Porcupine Tree and Jethro Tull, and many more, all pitching in to create this emotional ride. The first half of this album contains the majority of the prog rock influence, with opener 'Warning Signs' offering double layered guitar solos and memorable riffs to draw a listener in, followed by 'The Darkest Hour' which strikes a balance between classical riffs and classical instruments. The stand out track in this section would be track four, 'The Heart of You', a beautiful ballad where Chris discusses living for his father and being his memory, where he doesn’t allow the man his disease had made him overtake the man he knows him to be. The throat catches as Herin makes these promises over an upbeat backing track, finished by a driving guitar solo. The second half of this project draws more on a country rock sound, matched with the angst of the time frame that Herin is discussing. There is a tonal shift from the joys of the past to the reality of the present, and the feeling of it ‘getting real’ resonates from sixth track 'Second Ending' as it moves between lyrics such as "hidden memories, silent dignitaries" and emotive violin and electric guitar solos. The highlight track is the penultimate 'Slow to Crumble', in a classic pairing of upbeat country rock sounds with raw lyrics about building one's own emotional defenses high enough that no one can see you suffer. The flute player on these tracks is a welcome addition and their contributions were much appreciated by the ear, while the rest of the soundscape makes this song a good fit for any dive bar or beginning of rock night playlist. It must be said, however, that this album is guitar music. The majority of tracks have guitar outros lasting for 30-1m30s, and time that could have been spent adding complexity to some of the lyric writing appears to have been focused on these guitar efforts. Though conceding that as a guitar player Herin will feel the most confident in this space, as he is now a one man show there is only so much time you should dedicate to the area in which you feel the most comfort. Fade outs were also chronically overused, with nine out of eleven tracks utilising this method of transition; utilising harder cuts in the outros would’ve added some welcome breaks to the formulas of many tracks that began to be repetitive in their structure, and could’ve been incorporated into the fragmented nature of the subject matter. Perhaps controversially, eighth track 'Safe House (Isolation)' stands out as the lowlight of the project - Chris appears to be doing his best Bowie impression, but ultimately falls down, with almost high concept lyrics and the track failing to crescendo over its 3:42 runtime. It feels cruel to say, knowing the subject matter, but making this a shorter interlude would’ve made it a much easier listen. Overall, this debut project from Herin is a piece that will resonate with those that have walked the road of Alzheimer’s with their loved one, containing a strong balance between the prog and country rock elements that will have any avid guitar lover reaching for their instrument. The prog rock and country rock influences are woven deep into this album; the sonic energy of this project is one of searching through bustling markets and crowds to find someone using only a picture in your wallet. The tears often welled when listening to this album, despite the pitfalls, and tracks such as 'The Heart of You' and 'Slow to Crumble' offered welcome insight not oft heard of this life experience. 'Hiding In Plain Sight' will be released on November 1st via The Lasers Edge. Words: Julia Brunton Photos: Herin

Emerging from the industrial depths of Manchester comes the no-nonsense black metal band Burial, who are known for their unflinching embrace of the raw, frostbitten sound that defined the second wave of black metal, Burial have honed their craft into a force of atmospheric malevolence, and now they return with their latest offering ‘Rejoice In Sin’, a record that will plunge the listener into the heart of darkness. With this new album, they explore themes of blasphemy, inner torment and the goat worshipping origins of the black metal subgenre as we take this descent into the icy void together. We kick off with their title track ‘Rejoice In Sin’ with its immediately punchy riffs and vocals courtesy of lead vocalist Derek Carley that cut through the mix like a blade through fog. The track blends icy melodies with dark and atmospheric riffs perfectly, and is very reminiscent of black metal icons Darkthrone, evoking the spirit of the early 90s black metal scene incredibly effectively. Not losing stride, we are immediately thrown into the next track ‘Wretched Is This Life’, which keeps the punchy fast paced vibe but with grittier, doomier riffs, and a relentless barrage of blast beats that wouldn't offer a moment of reprieve, even if you did want it. As we make our way deeper into this cold and desolate land Burial have crafted for us, we reach the halfway mark with ‘The Wolfskin’, a brutal wall of sound where riffs delve deep into the raw, savage and aggressive tones that many black metal fans know and love, and bring to mind Immortal and their grim and frostbitten sound. ‘Let Darkness Reign’ ushers in the second half of the record and is easily one of the standout tracks on the entire album. The blend of fast-paced and majestic instrumentals, paired with a vocal delivery that sounds like an anguished cry from the abyss, makes this a true no-nonsense track and lets the listener know they aren’t letting up in this second half. ‘Putrid Grave’ is another standout title taking a slight departure from the atmospheric and gritty tone the album had initially offered us, to deliver a crunchy punk and black metal hybrid resulting in a relentless yet melodic assault on the senses that leaves you hungry for more. We close the album with ‘Black Metal Cunt’, a short but effective closing track that pulls no punches, making sure it cements itself in your memory just as much as any previous track and pays homage to the genre’s roots, while also having a slightly absurd and joking charm to it lyrically. As the final riff fades leaves the listener feeling as if they have traversed many different aspects of the genre, with each track offering something new. ‘Rejoice in Sin’ stands out as a powerful statement from Burial, showcasing their ability to channel black metal’s raw, icy essence while not being afraid to push their interpretation of the genre forward. The blend of chilling atmosphere and relentless aggression offers a certain authenticity you would only previously hear during the 90s with the second wave of black metal bands who emerged throughout the generation, blending the chaos of blast beats with haunting frostbitten passages that linger with you long after the final track fades. For fans of the genre, this album offers an homage to black metal legends and its grim roots while adding Burials fresh and sinister vision, and carries the torch for the genre without compromising the bands own musical vision and originality. ‘Rejoice In Sin’ will be released on November 1st via Apocalyptic Witchcraft. Words: Arcadia Craven Photo: Rock The Lense

To the uninitiated, VOLA may seem mysterious. The term 'prog metal' being used to describe their genre leaves much to the imagination, and simultaneously provides space for the creative variety in their discography. This is something the band have come to embrace, though drummer Adam Janzi states that sometimes living up to the desire to embrace constant change can put pressure on the creative process - "There is always the pressure of continuing to climb the mountain… But I try to avoid pressure and stress around things that cannot be changed. Embracing change and whatever new chapters may wait around the corner is a way to make life more easy and enjoyable.” Their fourth and latest album ‘Friend Of A Phantom’ touches on the most timeless elements of the early 2000s rock sound. Its tales of wolves, ghosts, mannequins and more are perfectly timed to the album’s November 1st release, giving the listener a new world of mystery and allure to explore just as the post-Halloween blues are hitting. But when it comes to sticking around for the afterparty, the project struggles with significance. The album opens with the strongest song on the project - a collaboration between the band and Anders Fridén, frontman and vocalist of Swedish death metal band In Flames. The song came about after the band met Fridén while playing in Los Angeles. For the first minute of the song, a guitar riff takes centre stage, before the chorus kicks in and the tone gets more melodic. Both vocalists complement each other in their juxtaposition, with a good mix of lighter tones from Mygind and harder edge provided by Fridén. ‘Cannibal’ paints a picture of hunger and terror through its lyrics, “You summoned a Cannibal / You summoned an underfed animal”. It calls to a sense of desperation and pure need, yet the sound itself is overflowing in energy, particularly when it comes to the chorus. The rest of the album is full of similar thematic highs and lows. Notably there are no other collaborations, though the band have said that many musical influences made themselves heard in the creative process, primarily Metallica’s ‘Enter Sandman’ and Meshuggah. Unfortunately, while these artists have an undeniably distinctive sound, the same can’t be said for the rest of ‘Friend Of A Phantom’. ‘Break my lying tongue’ starts similarly, though this time utilising a higher pitched rhythm before the break, but only in the last ten seconds do we hear a depth of lower register that would add to the severity of emotion depicted in the lyrics. ‘We Will Not Disband’ has a similar issue of failing to touch on any extremity, staying well within its lane despite lyrics suggesting strong feelings. In comparison ‘Glass Mannequin’ leans into a more pensive tone, reflecting on ideas of fragility, destruction and loss. Its slower tempo and softer vocals work well with the lyrics “I don't wanna throw this glass javelin / I don’t want to watch it fly / I don’t want to break my glass mannequin / Once again”, particularly in the sections where whisper-like backing vocals are overlaid for effect. ‘Bleed out’ brings a more upbeat tone through its instrumental, while staying true to the band’s soft vocal sound. Its use of occasional growl-like whisper tones implies a depth and edge that is never truly met by the chorus to its fullest potential. There is certainly an interesting soundscape being built during the verses, yet when it comes to the chorus these interesting and experimental edges are flattened into something less exciting. By the time ‘Paper Wolf’’ starts playing, there are elements of the album that feel predictable. Each song starts the same way and adheres to the same general structure. There is some definitely interesting imagery, but musically not much sets this apart from the previous five songs. And points for wordplay have to be deducted when the chorus hinges on “You better watch out, the wolf is coming, save your soul / you better watch out, the wolf is coming, dig a hole”. In contrast ‘I don’t know how we got here’ does bring an interesting and unique sound for the first 30 seconds, with an almost videogame like haunting refrain that is repeated throughout. But in this case, it is the lyricism that lets the band down. It is difficult to enjoy the sound when distracted by multiple storylines such as “the birthday card flew into space / The red balloons cold and disgraced” that fail to form a clear narrative. The song title feels a fitting description to the experience of trying to form an opinion on the track itself. Finally, ‘Hollow Kid’ feels like a return to the energy of ‘Cannibal’ and brings the album back up. It sounds like a quintessential metal song, reviving the listener from the uncertainty of ‘I don’t know how we got here’, and putting the project back on track. There’s nothing much to say here, it’s got a solid instrumental, drums and guitar take centre stage, with some great vocals. While ‘Tray’ returns to the more melancholy, reflecting on the album’s key themes of grief, loss and need. When discussing the process of making the album, the band made it clear that their previous album ‘Witness’ held a lot of weight. Janzi stated "We have had the time to internalise ‘Witness’ and let its aftermath sink in, which has shaped how we approached ‘Friend Of A Phantom.’ Our personal tastes have changed, the way we approach our instruments and songwriting has changed, our lives have changed, time has passed, and adventures have been had." While it is understandable to feel a need to shift and innovate further after such seminal album - ‘Witness’ has taken VOLA on two US tours, their first Canadian tour and a successful tour of South America- this creative push feels somewhat misguided in nature. In defining themselves outside of ‘Witness’ it feels as though instead of going further into the future VOLA have taken a wrong turn. ‘Friend Of A Phantom’ is not necessarily a bad album, and even has moments of greatness, but it fails to present a fully finished product. It would fit seamlessly on any number of metal playlists, but large portions lack the depth to truly stand out in the scene. It has its good elements, but by trying to accomplish too many things at once, elements end up cancelling and flattening each other out. It is an album that likely has to be heard live to fully comprehend and enjoy to the greatest extent possible. ‘Friend Of A Phantom’ releases November 1st via Mascot Records. VOLA are also on tour across Europe and the UK from the same date to the 30th of November. Words: Q Cummins Photos: VOLA