Finland has given the world many things; The Moomins, Nokia, Angry Birds and of course the kings of symphonic metal Apocalyptica. Since their beginning in 1993 the band have brought together the grace and complexity of classical music with some of the era's more memorable metal riffs, a combination which has resulted in them becoming legends of their genre with each release more bold and unique as the last in an attempt to continue to push the boundaries of music. Twenty Eight years since their initial release of ‘Apocalyptica Plays Metallica’ they find themselves on the road again touring alongside UK groove metal band The Raven Age on their aptly named ‘Apocalyptica Plays Metallica Vol Two’ tour to promote their latest album of the same name. The stream of fluorescent red lights flooded the venue as the evening began with London's own The Raven Age taking to the stage. The crowd eager and already full of anticipation for the show ahead greeted them with a warm applause as the bass traveled through the wide and open walls of the venue, the ideal space for the five piece to showcase their talents and catchy catalog of tracks and for Matt James to show off his impressive vocal range; fan or not you soon found yourself head banging along and being caught up in the infectious energy each member showed the entire time they were on stage. As their set continued the crowd only became more enthralled by the performance and answering their call to get involved and bring the energy. After a brief interval it was time for the main event, hidden behind a white curtain Apocalyptica made their entrance in style to an uproar of applause and cheering opening with one of what would be many of Metallica's iconic tracks Ride the Lightning which immediately commands the crowd's attention. After their grand entrance they seamlessly transitioned into Enter Sandman and the trio began to encourage the crowd to sing along and be their voices as the entire setlist was instrumental this brought a unique experience unlike any other concert bringing the fans and the band together as one to deliver a memorable show for everyone involved. As they reached the midway point of the set the band took a moment to explain why they had decided to make their latest album after so many years citing that they wanted to wait until it felt right for them. After a moment of rest they started the second half of their set with The Call of Kthulu and a touching and sensational tribute to the late, great Cliff Burton which left the feeling amongst the crowd somber and emotional as the cellos gave a whole new lease of life and meaning to the track. After their touching and respectful tribute they brought back the energy, louder, faster and harder than before with back to back hits including of course arguably Metallicas most well known hit Master of Puppets which had the whole crowd in an excited frenzy as they effortlessly blended the metal icon with their classical talents. After a show stopping display they brought the evening to a close with One a poignant track to end this trip down Metallica's history and perfectly wind down the crowd as they left. It’s safe to say Apocalyptica are masters of their craft honing their talents into something truly one of a kind and after spending an evening in their company it truly felt like a gift that kept on giving and that you never wanted to end. Words: Arcadia Craven Photos: Kieran Atkinson

Cannibal Corpse stormed the Roundhouse on the 29th September 2024, delivering a mind crushing performance that reaffirmed their legendary status in death metal. The night featured three sensational openers, Schizophrenia, Immolation, and Municipal Waste, each bringing their own brand of extreme music to warm up the crowd. Schizophrenia opened the night with an explosive performance that set the tone for the chaos to follow. The Belgian death-thrash band brought raw energy and a ferocious sound, immediately grabbing the crowd's attention with their intense riffs and blistering speed. Their blend of old-school thrash and death metal influences was on full display! With razor-sharp guitar work and punishing drums driving their set they really did win over the crowd. Despite being the first band on stage, Schizophrenia quickly got the crowd moshing, earning enthusiastic applause as they tore through their songs.. Their performance was a very powerful start to an unforgettable night at the Roundhouse Immolation brought a crushing intensity to their support slot that's for certain, delivering a powerful set filled with dark, atmospheric riffs and technical precision. Their beautiful blend of brooding death metal had the crowd fully engaged, with heads banging and pits forming to every heavy breakdown. Balancing classic tracks with newer material, Immolation’s performance was a masterclass in stellar musicianship, setting the stage perfectly for Municipal Waste who followed shortly after. Municipal Waste delivered an electrifying performance that easily had the MOST energy of all the openers. From the moment they hit the stage, the crowd erupted with excitement, chanting "Municipal Waste Is Gonna’ Fuck You Up" in unison, setting the tone for what was to come. Their mind blowingly high-octane mix of thrash and punk immediately ignited the first wave of crowd surfers… or a ‘wave of death’ as the band shouted. As fans fed off the band’s relentless energy only more chaos was to follow... The band’s infectious enthusiasm, coupled with fast, thrashing riffs and adrenaline-fueled stage presence, made their set a wild, chaotic spectacle that perfectly primed the audience for the brutality of Cannibal Corpse. The band kicked off their set with the iconic “Blood Blind,” exciting the crowd in an instant. With a setlist that spanned both fan-favourites and fresh material from their newest album, Chaos Horrific, Cannibal Corpse showcased their enduring brutality. Songs like “Hammer Smashed Face” and “Fracture and Refract” demonstrated the darker, heavier direction of their recent work, while classics such as "Fucked With A Knife" saw the crowd erupt into chaos and pure death metal joy. Vocalist George “Corpsegrinder” Fisher was in top form,wearing a T-shirt with his very own face on which read “Respect The Neck”. His guttural growls hitting hard throughout the entire performance. In a memorable moment that blended humour with the chaos previously mentioned… Someone in the crowd handed him a Build-A-Bear, which he proudly held above his head like Simba from The Lion King, earning a huge reaction from the audience. The crowd surfing was relentless, My personal favourite being a bin making its way over the heads of fans at one point and even ending up safely over the barrier just like any other surfer that night. By the end of the night, a staggering 593 crowd surfers (and 1 bin) had been caught by security, a testament to the wild energy inside the venue that was spilling out of the bands pours. Though Erik Rutan was unable to perform due to a family emergency, Cannibal Corpse didn't miss a beat. Guitarist Rob Barrett took up much of the weight, delivering intense riffs and solos with his usual precision. The band’s cohesion was impressive despite the absence of their lead guitarist, with Paul Mazurkiewicz’s drumming delivering a barrage of blast beats that kept the intensity high. Bassist Alex Webster, as always, provided a thunderous low end, driving the band’s unmistakable sound. The Roundhouse proved to be an ideal venue for the evening, with its acoustics capturing every crushing note and guttural growl. The lighting was perfectly in sync with the music’s dark themes, often bathing the crowd in blood-red hues as the band delivered their heaviest moments. The energy in the room was electric, with the crowd fully engaged from the first riff to the final note. The mosh pits were relentless, but the atmosphere remained inclusive, with a sense of camaraderie among fans, typical of Cannibal Corpse's die-hard followers. Cannibal Corpse’s performance at the Roundhouse was nothing short of extraordinary, despite the last-minute lineup change. With support from Schizophrenia, Immolation, and Municipal Waste, the night was a triumphant celebration of extreme metal. Fans were treated to both brutal intensity and moments of unexpected levity, making this a night to remember. From crowd-surfing bins to the now-famous Build-A-Bear moment, the show will be talked about for years to come. Words and Photos: Leah Cox

Faced with a two-hour set of intense music, you find yourself lost inside your own mind, entering a meditative state to reflect on everything you have ever known. Emerging on the other side, you ask yourself: Was that the most spiritual gig you've ever attended? Opening tonight is Bhutanese guitarist Tashi Dorji, armed with an acoustic guitar and an array of pedals. His roughly 35-minute set is built around three distinct pieces of music. The first two focus on his guitar, using it along with effects to build intense soundscapes. The guitar sounds like nothing you’ve ever heard before, resembling more of a distorted idea of an acoustic guitar under tension. These sounds layer on top of each other, creating dizzying pieces to get lost in. The vast space of the venue is filled with this off-kilter sound. The final piece is created entirely with pedals, taking the initial sound and distorting it to the extreme. Tashi Dorji abandons any traditional image of a live gig, putting aside the guitar and crouching on the floor, manipulating pedals. The sounds grow stranger and more unfamiliar until, lost in the sound, the short set comes to an end. Your mind is clear, and you are ready for Godspeed You! Black Emperor. Godspeed You! Black Emperor having no vocals works in their favour massively for tonight. Two band members appear on stage and start their instruments. This gradual start to the headline set eases you in letting you know what each part of the band will be offering while you can still tell them apart. Each member walks on stage directly to their instruments and starts playing gradually building the sound. They are hypnotic, drawing you in with everything they do. The visuals behind the band are almost as iconic as their live sound, being a mixture of archival footage and with some level of effects added to them. Being based on actual film rather than digital media it creates this organic compliment to the music. The film grounds you somewhere in a distorted reality and the music lets you explore that further. The band keeps on playing their music, most songs taking a similar approach of a calmer start. You can always tell at the start of songs the instruments being played. Yet as the song builds and builds everything blends into this giant tsunami of sound. Nothing stands out, it’s a singular beautiful sound. The music when it builds hits like nothing else. Everything else in your mind leaves. The music pushes itself onto you, uncompromising in everything it does. You are forced into submission the band has control over you. Each song comes at you gradually due to the calmer starts. No talking in between songs the next just eases you in until again you're trapped inside it. The band guides you to every emotion, the crowd reflecting this with people doing everything from head banging to crying. Having 8 members on stage could feel bloated but every instrument earns their place in the sound. Moments with two bass players make sense when you hear just how powerful they are. The band works as one for the music. The band say nothing when on stage they aren’t given microphones for vocals. The only level of communication given by the band till the end of the set is political messages on their amps. These speak louder than any passing comment ever could. When you aren’t lost in the music or get a quick break from being hypnotised you are faced with the band’s politics. Every choice they make is powerful. When the band leaves the stage, they leave one at a time. Each member gives a little nod or thumbs up to the audience. At any other concert this would be seen as nothing but after the 2 hours of being lost in the music everyone in the crowd thanks them for their contribution. Each member of the band is given love by the audience for guiding them tonight. Godspeed You! Black Emperor are in a very rare group of bands that you need to see live. Not because they have a giant impressive stage show or insane moshing, but they take you places that nothing but music can. They stir something in your soul. Go and see them if you have the chance, you’ll leave the gig feeling you have just had a detox of the soul. Beautiful, hypnotic and transformative. Words: Will Freeman Cover: Heather Patterson

Swiss-German melodic metal outfit Ad Infinitum chooses to elevate their sound on fourth album 'Abyss', with dreamy instrumentals that conjure images of floating the heavens and defeating Kid Icarus-style demons. Bonny’s vocals are versatile and full of passion, and each member of the quartet gets their time in the sun over the course of 10 tracks. Highlights of this album included second single 'Outer Space', which acts as an ethereal proof of concept for 'Abyss'. Combining transitional melodies with metal riffs and lyrics of embracing your own downfall, 'Outer Space' finishes with a final reprise that sends the listener freefalling towards dark healing. Another highlight include 'Aftermath', which follows 'Outer Space' on the track list and makes an explosive entrance with hardcore hooks and a good taste of Melissa Bonny’s scream - give us more! - as well as percussion by Müller that was crafted with love and perfected in its execution. The change of pace was welcome and acted to transition from act 1's repentant songs into the vengeful music of act 2; this section of the album was 'Abyss' warming up its listeners for the descent into hell that is to come. It needs to be noted that 'Abyss' has fallen into some of the common metal pitfalls: some of the lyricism is a little on the nose, the slow starts in middle-album tracks do make the album lethargic on a cover-to-cover listen. Bonny’s screaming feels underutilised throughout the project - short bridges before breakdowns left us wanting for full verses. However, the final half of this album is where it comes into its own, with ballad 'Anthem for the Broken' (though falling victim to some on the nose lyrics) successfully sending the listener spinning to the bottom of the whirlpool where they find the final highlight 'Dead End', the closing track of this project. Starting with a floor lead the listener is welcomed to hell with arms wide open, with the instrumentals bouncing and Adrian Thessenvitz’s guitar prowess getting its final hurrah. The ethereal feel from the beginning of this project is successfully transformed into dark fantasy by its closing. Overall, this album had a beautiful concept: the heavenly sound design and imagery within the lyrics paints a picture of an angel whom the listener is watching the descent of. Instant bangers such as 'Anthem for the Broken' and 'Aftermath' show off the skill of the band and are complemented by Bonny’s vocal range. Though this album does have some lag in the middle and loses a little of its nuance in its lyrics, Ad Infinitum has still created a dreamlike world ready to twist into your favourite nightmare. 'Abyss' will be released on October 11th via Napalm Records. Words: Julia Brunton Photo: Stefan Heileman

Originating from Florida, CRUCIFICTION is a new deathcore band featuring Bloodbather’s guitarist Salem Vex showing off his incredible vocals. They made their debut in May of this year with the single 'Caged For Extermination', which was co-written with Hunter Young, and they've now released their debut album of 9 songs. Starting off with an interlude called ‘The Object’ that really sets the tone for the rest of the album, it keeps things slow whilst giving us a brief feel of what the album is going to be about. The first words you hear being “It's a process that doesn't happen overnight, when you depersonalise another person and view them as just an object” and “I've done things I shouldn't have done”. Hearing this introduction really sets the mood for the upcoming tracks, making the listener expect a set of dark, heavy songs all about topics that aren't usually discussed in the music industry. ‘Will to Power’ is the first song on the album and makes a strong start. Almost immediately we're hit with heavy riffs and powerful vocals, and a litany of emotions are evident in Vex’s voice, which continues throughout the entirety of the album. Salem Vex has talked about this album, saying that it's about revenge and how good it can feel - almost immediately we can see how true these words are, on the second track ‘Endless Torture’ which is filled with all sorts of powerful, dark vocals atop melodic riffs and powerful drums. ‘The Gift’ is another amazing track and is one where the guitar really stands out, the catchy riffs alongside the heavy drum lines really make this track one hell of a listen. Along with the gritty vocals and the lyrics “I did this all for you” being repeated throughout, the instrumentation makes for a song that will stick with you long after the album is over. ‘Caged for Extermination’ opens up with high-powered, loud distorted guitars, but it's the vocals specifically that really stand out on this track. This song talks about revenge, which as Vex mentioned is a theme that persists throughout this album, and is most obvious in lyrics like “caging up my enemies and feeding them to filth”. You can clearly hear the emotion and determination in his voice, and his talented screams get across the message in brutal fashion. The next song is called ‘VHS’ and features Darius Tehrani of Spite on vocals. It's an amazing track as Vex and Darius’ vocals are perfect together; the mixture of raw, gritty and angry vocals make this a song a really enjoyable listen .Starting off with Vex’s raw screams before going into Darius’s talented distorted growls allow their differing vocal styles to shine through and lets you hear the best of them both. Their vocals are an incredible contrast to each other and work very well together. ‘Amputated Satisfaction’ begins with an incredibly catchy and melodic riff in an immaculate introduction to the song. Lyrically, this is yet another song that talks about revenge, as well as the satisfaction it could bring. The vocals in this track are really impressive, changing from low growls to sharp screams on a dime, making sure that there is no doubt that this is another impressive piece of writing and performing. Seamlessly moving onto the next song ‘The Collection’, we meet CRUCIFICTION on a fast paced death metal track, filled with snarling screams and a heavy guitar riff that can be heard throughout. The drums start off slow at first before quickly picking up tempo as the song gets faster and faster. The harsh drum beats and the brutal guitar riffs underpin everything as the vocals speed up, which bring this song together excellently. ‘Audition’ starts with a guitar riff that is very different to the rest of the tracks on the album, giving it a very clearly defined sound in comparison to the rest. This song flows really well, and like the last song it progressively becomes increases its pace - nearing the end of the song the hollow drum beats really stood out, as well as the clear guitar sound becoming more obvious as it picks up in speed, showcasing a really exciting riff. They bring the album to a close perfectly on the last track ‘No Salvation’, featuring Alex Hill of the black-metal band Melancholia. Whilst most of the album talks about revenge, this last song discusses the thought that there is no saving you from the consequences of your own actions. This song has the perfect mixture of death growls along with higher pitched screams that can be heard throughout, and it comes as no surprise that Vex and Hills’ vocals work well together. 'Will to Power' is an amazing start for CRUCIFICTION, and it does a great job portraying the bands deathcore sound. This album is a real treat if you're a fan of brutal deathcore - the dark, gritty vocals along with the heavy guitar riffs and the harsh drum beats have been interwoven wonderfully to showcase the sonic heaviness that they're so intent on displaying. This whole album has a 2000's deathcore feel, but CRUCIFICTION has done an incredible job making their sound feel separate, even whilst it draws plenty of influence from that scene. They're sure to give us plenty more great stuff, and we can't wait to see what! 'Will to Power' will be released on October 11th via Rise Records. Words: Kelsey Mainwaring Photos: CRUCIFICTION

Norway's Fixation have prepared the follow up to their 2023 debut album ‘More Subtle Than Death’ with their new EP ‘Speaking In Tongues’. After their debut garnered them the historic honour of being the first metal band to win the Breakthrough Of The Year award at the Norwegian Publishing Awards earlier this year, big things are expected. Fixation are Jonas Hansen on vocals, Martin Selen and Tobias Østerdal on guitar, drummer Ola Dønnem and Øyvind Lunde on bass. Øyvind is the group's newest member, who listeners may know from Yesterdaze and fellow band member Jones's other band Beautiful Beautiful, and was announced as such shortly after single ‘Tyrannical Miracle’ released. Starting off with the eery gradual build up with interlude ‘(grow a flower)’, we get a sense of Hansen singing about wanting to belong. This leads right into the first single ‘Random Acts Of Violence', which has a feel similar to that of Bring Me The Horizon. There's a big melodic chorus, powerful lyrics, and feelings of losing yourself or being alone. Continuing into the second interlude '{pick the petal}', we get a feel of the soundscape that holds the listeners attention all throughout the EP, but then Fixation follow up with the hard hitting track ‘Blue Skies’ - filled with powerful riffs and screams, sprinkled with a heartfelt bridge containing feelings of rage and heartbreak, this holds the title of the EP's strongest track, and even acts as the unofficial title track due to containing the lyric "speaking in tongues". Listeners will also notice upon a lookover of the lyrics of '{grow a flower}', that they are also the names of the interludes. Next up is second single and heaviest track ‘Tyrannical Miracle’, which is a real angry and melancholic journey bursting with crashing drums and a truly thought-provoking chorus - “You say question everything, well can I question you? Make us pray to your illusions. Your tyrannical miracle. Bathe in the blood of the worthy. This isn’t life like I knew it before.” - Fixation are clearly in their stride, and are a real gem from the Norwegian scene. What Fixation has done here is take their listeners on a melodic journey, which may only be 20 minutes but allows them to escape into the sound of emotional turmoil, most especially during last track 'Fever Dreaming'. 'Speaking In Tongues' is a very solid EP and a great progression from the band's debut album, proving that they still have the lightning of that LP but adding in experience, with this being their best work yet. Fixation have a strong and bright future ahead of them if this is anything to go off of! 'Speaking In Tongues' will be released on October 11th via Indie Recordings. Best Songs - Random Acts Of Violence, Blue Skies, Fever Dreaming. Words: Lucas Grayson Photo: Sebastian Ludvigsen

There is nothing quite like a hometown show. The energy from the band and the crowd just hits different on so many levels when they play on home turf. And An Evening With: Haken in London’s O2 Kentish Town certainly delivered on that front. With the show being filmed for future release Haken invited the crowd to dress up as their favourite animal matching the jungle-esque aesthetic of their most recent album ‘Fauna’ and the artwork that goes with it. Looking over the crowd there was a menagerie of creatures slotted between the standard black band shirts, sharks at the barrier, tigers running to the bar, and gorillas singing along in the crowd. Fans were treated to a double bill of Haken as they played two sets, starting with “Fauna” in full cover-to-cover. Playing an album in full is an underappreciated format for good albums and “Fauna” definitely falls into the category of good albums. The lyrically intense, vocal forward record translated very well to the live show. Considering the first single of the album ‘Nightingale’ was put out in April 2022 with the full album released in March 2023, there has been plenty of time for listeners to learn the lyrics, and they sure did! From the opening of “Taurus”, the crowd were already on side, singing back the words, and thriving in the intimate atmosphere of having a full night with Haken, especially when single band lineups are becoming less common. Haken took their time as they played through “Fauna” introducing the songs and chatting with the crowd, it was nice to be guided through the show and not feel rushed by the goal of finishing the playthrough. Sing-alongs galore accompanied Ross Jennings’ impressive lead vocals again highlighting how well-received this album was by the fans. On the third track in, ‘The Alphabet of Me’, Haken brought out Miguel Gorodi on trumpet, showing us that brass well and truly has a place in prog-rock when done as well-balanced as that. And through their first set, there were some more touching moments between songs like Jennings encouraging everyone to do “heart hands” for their self-described “heavy metal love song” ‘Lovebite’. The band stayed remarkably relaxed and were clearly having a lot of fun as they finished up the first act, despite the several hulking cameras and microphones honing in on their every word and movement. A corner of your eye reminder that the night was being filmed in its entirety for DVD. After finishing the album with the light and bouncy ‘Eyes of Ebony’ Haken closed the first of their two sets on the insane sounding ‘Crystallised’, successfully amping the crowd up for the intermission before set two began. We were promised a swift return by Jennings getting ready to leave the stage, “we promised you an evening with Haken, and that's exactly what you're gonna get, this is just the end of part 1”. With the ‘Fauna’ playthrough a huge success, round two was a chance for the hits and crowd favourites. Launching into ‘Puzzle Box’ which got the crowd moving again Haken basked in the buzz of the audience and played through a nice spread of material from their previous releases. Picking a few songs off of each album to satisfy fans of all eras and tastes, they took the chance to show off the breadth of their chops. From the heavy and operatic ‘Drowning in the Flood’ from “The Mountain” to the faster and simpler ‘The Strain’ from the later album “Virus” - complete with drums and keyboard solo which added some depth to the performance. Part 2 of An Evening With: Haken left everyone very satisfied with the gargantuan musical feast they had just experienced. But two sets just weren’t enough for Haken or the fans as they came back on stage for the third and final time of the night, Haken brought the evening with them to a close with the delightfully dynamic epic that is ‘Visions’ before heading off stage to prepare for their European leg of this tour. Writer: Kayleigh Fryer Photographer: Kayleigh Fryer

Established in Blackpool, Boston Manor’s transition from pop punk to alternative rock has been a delight to watch, with their willingness to adapt in an ever-changing music landscape ensuring that every upcoming tour brings a unique experience. This is best exemplified by their latest release, ‘Sundiver,’ that has been placed firmly at the centre of their ongoing UK run as a result of its success. Boston Manor have found themselves playing some of their biggest headline shows to date alongside their compelling supports, Trophy Eyes and Split Chain. Both acts appeal to fans of the headliner due to their fierce interpretations of punk rock and dreamo. Trophy Eyes are reminiscent of the quintet's earlier work, whereas Split Chain draws inspiration from their more recent releases. Together, the involvement of both bands makes for a compelling lineup that is sure to satisfy fans of each of the headliner’s unique eras. Illuminated in fluorescent red, the night began as Split Chain took to the stage. They immediately called upon the crowd to open a mosh pit as the opening riffs of their set reverberated throughout the O2 Ritz. While several concertgoers swiftly answered their call to action, the vast majority of the crowd had been entranced by Split Chains intriguing blend of shoegaze, grunge, and nu metal. This came not only as a result of their creative songwriting but also their remarkable live mix. Thanks to the venue's bassy sound system, their riffs felt extra punchy, allowing the five piece to create the massive soundscapes that were largely responsible for enthralling the crowd. Despite this, Split Chain still managed to generate enough movement to warm up the masses, as they included songs of an appropriate BPM to bounce too and even managed to tempt a number of crowd surfers over the barrier, something that few opening bands are capable of. Up next were Trophy Eyes, who were immediately met with thunderous applause upon making their way to the stage. It's not surprising that Boston Manor and Trophy Eyes share a number of fans, considering that pop punk was the genre in which they launched their careers. It wasn’t long before the stage began to glow blue, and fans started launching their pints into the air while passionately chanting the lyrics to their latest single, ‘Enmore.’ Thanks to a well-crafted setlist, the mosh pits continued to swirl, but those closer to the back of the venue, a number of fans were transfixed on the stage, most likely due to their impressive musicianship. Their drummer, Blake Caruso, didn’t miss a beat, managing to play several complicated fills with precision. From start to finish, Trophy Eyes had complete command over the audience, with nearly the entire venue clapping in time with the beat. Following a final interlude, it was time for the evening's headliner to make their way to the stage. Appropriately, Boston Manor opened their set with ‘Datura (Dawn),’ the same song that opens their most recent record, "Sundiver." Before long, vocalist Henry Cox had been enveloped in a haze of yellow and orange light. One of several instances in which the show's live visuals aligned with the song's title. Following this genuinely intimate and captivating introduction, the rest of the band jumped into gear for their next song, 'Container.' In the opening moments of their show, Boston Manor had the crowd hanging on their every word, and there was a palpable sense of excitement for what was still to come. After opening the live show with two tracks from Sundiver, Boston Manor made sure to include a number of hit songs from their previous releases. ‘England’s Dreaming’ seemed to go down particularly well with members of the crowd screaming back the lyrics ‘bury me’ at every given opportunity. Once the five piece had paid homage to a few of the tracks that were responsible for their success, Cox announced that they were going to play the heaviest song that they had ever written, ‘Sliding Doors.’ Henry quickly demonstrated that he could scream just as well as he can sing, quickly leading to one of the largest mosh pits of the night. Around the midpoint of their set, the opening riffs to ‘liquid’ began to bounce around the walls of the Ritz. Much to the delight of fans, John Floreani of ‘Trophy Eyes’ joined Boston Manor on stage to perform his feature live. Witnessing this collaboration live seemed to be everyone's favourite moment of the show, with Boston Manor once again demonstrating their ability to align the show's visuals with their setlist. The decision to shroud the stage in blue felt fitting given how the song features lyrics about falling out to sea. After playing crowd-pleasers new and old, Boston Manor concluded their set with arguably their best-known song, Foxglove. From the first note to the last, the crowd didn’t miss a beat, belting out every word in time with Blackpool’s rising stars. Henry Cox informed the crowd that this would be their final chance to get involved, and he certainly wasn’t disappointed. Interestingly, Boston Manor chose not to include an encore, which is strange given that they have almost become an industry standard. However, this can be viewed as one final demonstration of their willingness to evolve, and it made the final moments of their show feel all the more authentic. Words: Josh Bicknell Photos: Leah Cox

In the small Manchester venue of Gorilla on a wet and rainy night, fans were lining up right down the road ever so patiently to make their way in. Not wanting to miss a single minute of the triad of punk awaiting them. This was the night that American alt artist Mothica was making her headline debut in the northwest city. Accompanied by her friends in glam band Starbenders, Leeds-based rising stars Artio, and hundreds of dedicated fans, this was going to be a show to remember on a night no one will forget. Opening the show was Artio; one of the most exciting acts coming out of the north right now. Still riding the high of releasing their most recent EP 'Babyface', they took the stage to give the crowd a great range of hits both old and new. Playing a style dubbed as "pronouncore", the audience were positively receptive to what the four-piece were putting out. With a fun and playful back-and-forth from frontperson Rae Brazill, joking with the crowd and egging on their dancing and jumping by comparing them to their previous London attendees. The rib-poking and leg-pulling worked a charm in the venue and Artio made their waves throughout the set successfully, and there's no doubt their listening numbers boosted from that night onwards. Following their warm-up was the second support of the night. A group who have been together for just over a decade, and are finally breaking through the UK scene across the pond from their native land. This very day just so happened to be the day Starbenders released their newest material since 2023: the brand new single 'Tokyo'. They were putting on a 40-minute party for the fans and non-fans alike in the venue room and everyone was moving, grooving, jumping and jamming. Bringing back the flashy fashion of 80s glam rock with the attitude to match, frontwoman Kimi Shelter was ruling the stage; with a tambourine in grasp instead of an iron fist, and powerful vocals in place of a holler. Once the set came to its end, the room erupted in an applause that's usually saved for the grandest of main acts. A telling foreshadow of what this small band's big future is certain to look like. Mothica took the stage in a flurry of red lights and emo vibes, opening with 'The Void' and 'Mirage'. For her first headline appearance in Manchester, one would've believed she was a seasoned performer of the city: every word was being sung back to her, and everyone was dancing and swaying along so comfortably and familiarly. Obviously as someone who has been making music since 2013, and has found herself international recognition from social media success, it seemed almost expected that Mothica would have such a dedicated following outside her United States home. This was solidified when some of her better known hits such as 'buzzkill' and 'VICES' caused an uproar in the most heartwarming way. Being a sensation on and off the stage has never been so evident. Mothica is someone who plants her tongue firmly in her cheek while telling stories of her lowest moments during her teenage life. Discussing drinking alcohol, taking drugs, and hanging out with grown men as an adolescent while trying to solve her depressive bouts, she does this while slipping in some comedic timings about what she had learnt throughout this time. She leads into the artistically emotional 'forever fifteen'; a song she wrote about her suicide attempt and surviving through it. From seeing friends holding hands with tearful friends, to partners comforting their lovers with warm wrapped arms, it was a song that resonated with everyone in the room in one way or another. It takes thoughtful genius and emotional maturity to convey such a strong evocation on a scale to this size, and the magic being worked is awe-inspiring. Not a dry eye in the house, as they say. As the show winds down to a close, the moth-inspired musician pulled a move that can only be described as unexpected. After a range of promoting her original discography, she closed the night with a heavy rock rendition of Smash Mouth's 'All Star', bathed in bright green lighting in homage to its Shrek-based origins. Being her first UK headline tour, let this be the first of many and the first Manchester show of many more. Words: Jo Cosgrove Photos: Ciara Wilkinson

It was a tumultuous build up to the sophomore edition of Misery Loves Company this year; a festival that had, up until a few weeks ago, promised a day packed with twenty-four bands spread across 4 stages at 3 of Bristol’s finest inner city venues. For reasons still unknown this got drastically scaled back to just the 4 acts performing at SWX on Saturday night- and although truly gutted not to be able to see the full original line up- as the saying goes, the show must go on and if there is one thing that you can be certain of, no matter what, the Bristol alternative scene will always turn up. First on the bill are Nottingham based sisters (Nyrobi & Chaya) ALT BLK ERA. With an almost ethereal presence, floating across the stage like horror shop mannequins before assaulting those assembled with an uplifting wall of sound, melding elements of rock, rap, trap drum and bass, alt-dark pop and electronica into a genre bending sound that just works. Despite, or maybe because they are siblings, the sisters sublimely play off of each other on stage; Nyrobi is brash and in your face, delivering the majority of the rap styled vocals, whilst Chaya is more reserved yet has a steely commanding presence; acting as almost yin and yang to each other both girls harmonise their voices together magnificently. During the set they mentioned that they use songwriting as a way to help process the emotions surrounding Nyrobi’s chronic illness. Writing songs together since 2022, ALT BLK ERA’s debut album, Rave Immortal, is due for release early 2025. Tonight's show included an outing of soon to be released single ‘Come On Outside’, alongside crowd favourite ‘Straight To Heart’ and the boppy recent release ‘My Drummer's Girlfriend’. The set was rounded off with another sneak peak from the upcoming album ‘Come Fight Me For It’ which saw the middle fingers of the assembled masses raised high. Nottingham were well represented on tonight’s bill, with independent pop punk powerhouses As December Falls taking to the stage next. What followed was a flurry of high kicks, hair flicks, guitar spins and all round immaculate vibes. The largest circle pit of the night was witnessed during the aptly named ‘Carousel’ with ‘Ride’ seeing the first crowd surfers of the evening. With the twin riffs of Ande and Tim coupled with the uplifting vocals from Beth, you cannot help but have a good time at an As December Falls gig, no one agrees more than drummer Lukas who, although relegates to the darkest corner of the stage, has a constant smile on his face the entire set. If you happen to be seeing one of tonight's headliners on tour next year (but more on them later), you’ll have the chance to see As December Falls in support. The first of the co-headliners are Watford based quartet The Hunna. Their set was a swell of energy that saw the crowd at their most raucous. Before long mic stands were knocked over, t-shirts were off, bass drums were abused as organised mayhem broke out on stage, all coming to a crescendo with the hyper energetic live version of ‘Can’t Break What’s Broken’. In a change of pace from the majority of the set, a highlight had to be shortly after the opening chords to ‘She’s Casual’ rang out, the crowd took over and sang every word, with beans on, for the entire first verse. I have to say that I hadn’t given The Hunna much notice prior to tonight, but I will most definitely be taking a deep dive and searching them out for another show in the hopefully not too distant future. Many may recognise the second co-headliner as one half of ADHD social media awareness duo Rich & Rox; bringing the proceedings to an end as her onstage persona, the recently crowned breakthrough act at this year's Heavy Music Awards, RØRY. Emerging onto stage with what I think was some sort of Face-Hugger from Alien on her back it was clear that RØRY had a lot of fans crammed into SWX. As we all know RØRY has ADHD, this often leads to some over sharing as she admitted that her partner Rich had to run to the local Tescos to grab a disposable razor as she’d forgotten to shave her bikini line despite opting for some very short shorts on stage. RØRY will be heading out on a headline tour in 2025 and will be dragging the peeps from As December Falls along for the ride. RØRY acknowledges that of the 10 songs on her upcoming debut album Restoration, 9 of them are sad, a reflection of her piecing her life back together over her current 6 year journey of sobriety, exploring amongst other things, her bisexuality, the loss of her mother and her own failed attempt at suicide all sprinkled with a little bit of gallows humour. During one interlude she was able to help two fans, Kaitlyn and Becky make their relationship official, “but as I’ve got no songs about love, so here's another sad one”; queue phone lights in the air and ‘Jesus & John Lennon’. Pushing home the message to “not stop yourself from doing anything because you don't think you’re good enough”, using her own experiences as a case study that if you “just try the thing you don’t know where it will take you”, as a nearly 40 year old (happy birthday for this Friday by the way) who she thought the record industry wouldn’t give a chance RØRY is now winning awards, embarking on her own headline tour, releasing her debut album on her own record label (SADCØRE) and even being able to witness her first ever moshpit at one of her gigs (good work Bristol). Summing all of that up and bringing the night to a close, the Bristol crowd was treated to a first play of the new single ‘Sorry I’m Late’. Despite the hiccups in the build up, what was able to be put on Saturday night was a solid show, that I for one thoroughly enjoyed. Hopefully whatever issues caused this year's edition to be scaled back so much at such a late stage can be worked out in time for next year and the festival can return in 2025 at full strength; it would be a huge shame if this was the last time that we saw Misery Loves Company in Bristol. Words and photos: Simon Arinze Despite the hiccups in the build up, what was able to be put on Saturday night was a solid show, that I for one thoroughly enjoyed. Hopefully whatever issues caused this year's edition to be scaled back so much at such a late stage can be worked out in time for next year and the festival can return in 2025 at full strength; it would be a huge shame if this was the last time that we saw Misery Loves Company in Bristol. Words: Simon Arinze Photos: Simon Arinze

Lowen’s 'Do Not Go to War with the Demons of Mazandaran' stands as a profound blend of progressive doom metal and Persian mythology. The six-track album not only offers a musical journey through rich, atmospheric soundscapes but also carries a powerful social message that speaks directly to the ongoing struggles of women in Iran, tying into the Woman, Life, Freedom movement. The band’s willingness to tackle heavy subject matter through both music and narrative sets this release apart from more conventional metal albums. At the heart of the album are tracks like 'Corruption on Earth' and 'Waging War Against God', which boldly criticise the death sentences imposed on women protesting against the Islamic Republic of Iran. These songs reflect the bravery and defiance of women who are fighting for their rights and lives, adding a layer of political and cultural relevance that is deeply intertwined with the music. The album resonates as both a progressive journey and a protest, unafraid to address contemporary issues through a mythological lens. Lowen’s fusion of heavy, doom-laden riffs with Middle Eastern influences creates an atmosphere that feels both ancient and modern. While the genre itself can lean toward a slower side of metal, 'Do Not Go to War with the Demons of Mazandaran' is a dynamic record that shifts between soaring, epic moments and brooding, weighty doom sections. The band creates a carefully balanced soundscape, with atmospheric elements that build tension and allow for release in equal measure. The combination of low-end guitar riffs and intricate melodies works to transport the listener into the album’s mythological world while never straying from its metal roots. Vocalist Nina Saeidi’s performance is one of the standout elements of the record. Singing in both English and Persian, Saeidi’s powerful, multilingual delivery serves as the album’s emotional core. Her ability to seamlessly shift between languages adds a level of authenticity and depth to the band’s narrative. The blend of harsh, almost guttural vocals with moments of delicate, clean singing creates a layered and nuanced vocal performance that complements the complex instrumentation beneath. Tracks like 'May Your Ghost Drink Pure Water' and the closing song 'Ghazal For The Embrace Of Fire' showcase Lowen’s heavier side, where the riffs are at their most ferocious and the semi-blast beats drive the songs forward with a boiling intensity. These songs in particular highlight the band’s ability to blend aggression with a sense of grand scale. The intensity of these tracks contrasts sharply with the more atmospheric and melodic sections of the album, showing off the band’s versatility. 'The Seed That Dreamed of Its Own Creation' is a thought-provoking track that delves into themes of existence, self-awareness, and the interconnectedness of life. Musically, it features a blend of haunting melodies and heavy riffs, creating a dynamic atmosphere that reflects the philosophical undertones of the lyrics. The track encapsulates everything within Lowen’s signature style, combining progressive doom elements with a narrative depth that invites listeners to reflect on their own journeys of creation and purpose. Vocalist Nina Saeidi explains that the track 'Najang Bah Divhayeh Mazandaram' is a warning that serves as a pivotal point in the myth of Mazandaran, a realm in Persian mythology filled with djinn and wealth. Translated, the warning is ‘Do not go to war with the demons of Mazandaran’, the album title. This phrase warns King Kay Kavus against his ill-fated conquest. The song weaves these mythological themes into Lowen's progressive fusion of doom metal and Iranian music, enhancing the narrative with a modern poetic twist. At its core, this album is more than just a collection of songs, it is a statement. Lowen has crafted a piece of art that transcends genre boundaries and speaks to both personal and political struggles. 'Do Not Go to War...' succeeds in offering listeners a deeply immersive experience that is made up of equal parts sonic and emotional. In a year that is already filled with notable metal releases, 'Do Not Go to War with the Demons of Mazandaran' still manages to stand out not only for its innovative sound but also for its courage in addressing difficult, real-world issues. We believe this album is a bold and significant contribution to the metal scene and is a must-listen - not only for fans of progressive metal, but for anyone looking for music with depth, substance, and emotional power. Words: Vee Richardson Photos: Lowen

New York's Drug Church write music that just sounds like them. They are clearly very proud of the fact too, aiming to polish a familiar sound rather than pull some surprises out of the bag. PRUDE is an album with a distinctly cohesive feel to it, the product of a band who really understands their craft. Saying that, however, might incorrectly create the impression that this album is same-y - each of the 10 tracks has a well-defined personality and offers something new. At only 28 minutes in runtime, PRUDE is easily digestible, but an album that leaves you full and satisfied. 'Mad Care' tricks you at first, with a slow, 20-second guitar drone to open the track. It’s not long before you’re dunked straight into the deep end of full-throttle punk. The song is fast-paced and desperate, opening the album’s themes of bad choices and owning up to yourself. Vocalist Patrick Klindon’s lyrics here are blunt and unforgiving, and his brutal delivery might make you want to hang your head in shame if you weren’t headbanging. There are a couple songs that bring out Drug Church’s melodic side, with “Myopic” being one of them. It’s a song that begs you to reminisce on past mistreatment, the gift of hindsight’s glasses bringing it “all to focus”. 'Myopic', along with 'Hey Listen', work to provide PRUDE with a fine seasoning of midwest emo, through beautiful tuneful guitar melodies undercutting gruff, heartfelt vocals. The sound is confident and assertive, never dropping for a second. The lead single, 'Demolition Man', defends a well-established knack from the band for really evocative and vivid lyrics, using extended animal metaphors throughout to convey that mankind is just downright boring by comparison. It’s true - you wouldn’t catch a border collie wasting its days away in a call centre. Could you imagine fitting that tail into an office chair? The track screams of a frustration for everyday humdrum life, calling human nature into question, as if we could be so stupid as a species to fall victim to capitalism’s siren call. It’s a mundanity that we’re entrapped in just for something to do, Drug Church says, to the tune of heavy drums and a constant looping guitar riff towards the end. Thematic, one might argue. What the band does really well is marry together thick, heavy chords with a pleasing and well-timed guitar overlay. There’s somewhat of a motif, heard in 'Myopic' and 'Slide 2 Me', of guitar tones that careen over the tracks, knowing exactly where to start and end to maximise the punches they add. It speaks of a band pushing out tracks like this for over ten years, eager to refine their sound rather than to revolutionise it. Sonically, the album really does have moments of being beautiful - the tones in 'Chow' are just lovely. It lifts the album as a whole to have moments of thunderous hardcore, as well as moments such as with 'Chow' where the band’s message is conveyed a little softer and more sincere in comparison. A potentially divisive theme underpins this track: don’t pretend that you’re right all the time, and that you’re void of criticism. It’s an appeal from the band for listeners to just be authentic, because everything ages badly. The track ends with a plea: “keep your circle small, it’s how you rescue yourself”. The final two songs come as somewhat of a duo, outlining the last scenario in the album and resolving the feelings that have come with it. 'Yankee Trails' is a painfully detailed account of a friend’s struggle to kick a drug habit, taking them across the USA in that pursuit. The song lays the band’s hearts out bare on the table - and in lyrics so raw and open, sometimes it’s easy for melody and instrumentals to take a backseat. They, however, entirely hold their own, elevating the sore frankness of the lyrics to an anthem. 'Peer Review' acts as somewhat of a solvent for the emotions PRUDE has laid bare. It really demonstrates a maturity in all of these complicated feelings, with the line: “You can’t feel superior to the people you’re in it with: these are your peers, man, you’ve just gotta deal with it”. Drug Church’s lyricism is at a peak here: immediately accessible and candid, yet poetic and pointed with each word seeming specifically chosen. 'PRUDE' is most certainly an album worth listening to, and in fact is also an album that's well worth revisiting. It offers so much in every direction: the vocals, instrumentals, pure cathartic emotion, and prompts some serious introspection in its well-trodden but well-articulated themes. It’s not all deep and self-consumed, either, Drug Church have clearly had fun with this album, and it rings through upon listening. 'PRUDE' will be released on October 4th by Pure Noise Records. Words: Erin Strom Photo: Manuel Barajas