Japanese alt-metal quartet SIM are finally releasing their 7th full length studio album HOOMAN AFTER ALL. Having already released three singles and receiving a great amount of love the album has been long awaited by many fans. The album has a variety of huge collaborations as well as being labelled the band's most comprehensive and energetic record to date. SIM dabble in a range of genres all centering around metalcore and ska punk but their production style from debut has been messy and genre hopping in the best way possible. Debuting in 2008 with Silence Iz Mine, the band have been grinding ever since receiving huge amounts of love across the world for the unique blends. They broke through in the scene along with the release of The Rumbling, famously one of the most iconic songs coming from the popular anime Attack On Titan. The first track on the album is FiVE TiMES DEAD (by my wallet), the first single released in April of this year. The song crashes in with a heavy intro, blasting your ears with a sonically crushing opening and setting the tone for the rest of the album. It falls more towards the metalcore realm with an energetic beat that brings in drum and bass elements and features those signature syncopated chords from the reggae genre. No two bars of the song are the same with a half time break down, the chorus is the only familiarity you’ll find in its sequence. BLiNDEYES is the next track featuring Yukina of HANABIE., a Japanese metalcore band formed in 2015. This song was also a prereleased single and was a long awaited collaboration with the two bands having a huge fanbase and sound overlap; it was only a matter of time before the two got on a track together. Third in the track list is the first of the unreleased songs in the album, greeting the fans ears for the first time, DALALA. Opening with a speeding nu-metal beat and distorted vocals and guitar to accompany before switching keys into the chorus bringing a fresh major key tone. It takes a second for the ears to adjust but SIM make it work, a bold choice that certainly pays off and just plays even further into how unique their sound is. HOLD MY BEER is the next on the roster, immediately leaning towards the ska punk side of their sound, before swerving towards an upbeat metalcore sound for the chorus. It features a guitar solo in its second half, the lyrics in that last minute are incredibly catchy as well as a perfect two stepping beat, you can practically see how much a live crowd would lap up especially that last minute of the track. Karen’s Son opens with chanting of the name Karen which would be a great way to get a crowd involved at live shows. The song reminds us a lot of the famous Stacy's Mom by Fountain of Wayne but instead uses the track as a diss, a clever counterpart to the original. It really switches up the album with that 2000’s punk rock vibe. The Sniffing Cats Ska is up next and is very much a signature track for SIM, it has everything that makes the band who they are. With its outlandish lyrics, combinations of ska, metal and punk and even large brass sections throughout the song, it’s upbeat and catchy. The brass sections are brought in collaboration with HEY-SMITH, another Japanese punk band that famously features these arrangements of trumpets in their tracks. The title track HOOMAN AFTER ALL comes half way through the album and is another signature track for SIM. It leans more towards the ska genre with smaller metal elements added into the chorus. The track and its lyrics are extremely catchy, the band chose right in making this the title of the album, you're certain to have this song crawl its way into your ears by just reading the title after listening to it. GHOST iN TOKYO opens with a public transport announcement which it then cleverly refers to through the song. The track is very jumpy with a chanting chorus, another really catchy moment in the album. This is one of our stand out tracks of the album, a song that keeps all the elements SIM love to add to their music but the sound feels less chaotic. It's definitely a track that can help introduce an individual to the band rather than throwing them in the deep end. Next on the album is ZiON which features Masato from COLDRAIN, another iconic Japanese metal band. Masato is their vocalist and adds some really powerful and soulful vocals to accompany lead vocalist MAH’s loud and mighty vocals bringing a great blend. BLACK SUBMARINE opens with those signature syncopated beats before MAH comes in with his first full rap in the album. The track has that classic hip-hop beat while having nu-metal guitars, this might be the track that crushes the most genres into one. But once again SIM make it work flawlessly, even having a metalcore breakdown with an upbeat punk chorus its blends seamlessly. FREEZE ME UP was the last prereleased track before the album's full release and is featured as an opening credits song for the new gen anime BLACK TORCH. With the huge success of The Rumbling and its millions of streams FREEZE ME UP has also opened a gateway to those that may not be into the metal scene to hear SIMs unique sound. Closing out the album is Sailing On, ending the record with an upbeat and slightly more laid back vibe. The song encapsulates a sound of hope, its lyrics encouraging you to be unapologetically yourself and “keep sailing on”. It still contains those metal elements and screams but overall brings back that 2000s punk sound. The album is loud, chaotic and full of ear worms, all in the best way. SIM are a band that are no stranger to bending the rules of what a metal band can be and this record just proves that even more. The production is flawless and the album is sure to be well received not just by domestic fans, but also those across the globe like us. The band are set to play a huge Europe tour in 2027 including multiple UK dates so if you like the sound of the album, they are definitely a great band to catch live! Score: 8/10 Hooman After All will be released on 2nd September 2026 via UNFD. Words: Amy Smyth Photos: Kohei Suzuki

ArcTanGent is a festival built for its community. For 3 days or 4 (if you’re really up for it) you will be surrounded by likeminded music fans who enjoy a good mix of everything heavy, experimental and well written. It’s a music festival where the music shines louder than anything else possibly could. Platforming many artists who wouldn’t typically get a place at a festival in the UK, the biggest strength of the festival is curation. You can enter the festival knowing no one on the line-up and leave with seeing multiple life changing sets and have some new favourite bands. Even when you aren’t finding out about new bands by seeing them, you’ll leave with a list of even more bands to check out by some of the most informed festival goers you will ever see. If festivals are seen as escapism then this festival is an escape from the every day and an escape from many of the most toxic parts of large festivals. Everyone is equal at ArcTanGent where you’ll see bands watching other bands in the crowd. The line between fan and band is blurred as many of the bands will share their love of the festival on stage. Words: Will Freeman (WF) and Zuzana Pazola (ZP) Photos: Conrad Newton PAPANGU Brazilian prog rock and avant-garde metal outfit PAPANGU delivered one of Wednesday's most culturally rich sets, drawing a packed crowd to PX3. Their sound goes far beyond conventional progressive metal, incorporating elements of jazz and Brazilian folk music into dense, unpredictable arrangements. The result was technically adventurous without losing its sense of identity, with the band's cultural influences woven into the music rather than simply used as decoration. There was a particularly compelling quality to hearing such distinctly Brazilian influences within ArcTanGent's typically genre-fluid environment. With the tent heaving and the band clearly commanding the attention of everyone inside it, PAPANGU demonstrated exactly how progressive music can be both musically challenging and deeply rooted in a sense of place and culture. (ZP) SVALBARD It seems as if the hidden theme of this year’s festival is finality. This is the last year the festival will take place at Fernhill Farm, and this is the last performance ever of post metal giants SVALBARD. As soon as the band hit the stage the emotions are already in full swing. Most of the crowd have seen SVALBARD grow through the scene, playing many small gigs until this moment of finality. The band are as tight as ever, heavy and brutal with that little something extra they always bring. The band are playing with everything they have fighting back tears. It feels in every millisecond of silence between songs that everyone may collectively flood the tent with tears. If this is the last time we ever see SVALBARD then what a truly great way to remember them, a band who always did things on their own terms and became one with the metal scene. (WF) OVERHEAD, THE ALBATROSS OVERHEAD, THE ALBATROSS brought a distinctly cinematic quality to Wednesday's Yohkai stage, blending synths, shoegaze and post-rock into a set that felt both cathartic and deeply reflective. There was an almost filmic quality to the band's sound, with the expansive instrumentation creating the sense of a soundtrack unfolding in real time. That emotional connection was particularly evident during closing track Paul Lynch, with the crowd screaming its final words back at full volume. Compared with some of the more abrasive and chaotic acts elsewhere on the ArcTanGent bill, the set was certainly on the tamer side, but that proved no hindrance to its appeal. The packed-out response and sheer warmth from the crowd made it abundantly clear why OVERHEAD, THE ALBATROSS are so beloved. (ZP) CARDIACS CARDIACS are simply one of the best bands to ever exist. Inspiring bands from across the spectrum from BLUR to FAITH NO MORE, they are one of a kind. They have long been known as your favourite musician’s favourite band and their set showcased everything they are. Bathed in theatrics and a dedication to late front man Tim Smith, the band bring you into their world. Sitting somewhere between punk, prog, chaos and demented circus music, they play everything note perfect. Midway through the set the virtuosity of the band is in full swing with Fiery Gun Hand when Kavus Torbai and Mike Vennart (ArcTanGent regular and now frontman of CARDIACS) trade solos off each other. The true climax of the set happens during Dirty Boy which has become an anthem for the band. The build of the song to the final lyrics of ‘Over and Out’ lingers in the air for two minutes of musical bliss. They truly are one of the best bands to ever do it in every incarnation and form they have taken. (WF) OTAY:ONII OTAY:ONII's Thursday performance was less a conventional gig and more an exercise in experimental performance art. Described as one of the most inquisitive and genre-defying artists of her generation, the set made a convincing case for the description, veering between moments of completely overwhelming distortion and hysterics before dropping into eerie ambience and unexpectedly gentle melodies. It was certainly not an experience designed for everyone, but its refusal to settle into anything predictable was precisely what made it so compelling. OTAY:ONII entered the crowd for both her opening and closing songs, creating an oddly intimate atmosphere despite performing inside one of the festival's largest tents. Surreal, confrontational and at times genuinely disorientating, the performance demonstrated just how far experimentation can be pushed when there is no interest in staying within conventional musical boundaries. (ZP) SIKTH The Wednesday tradition at ArcTanGent used to be a day of the best bands of the last year, and now it’s become a general day of booking fan favourites. SIKTH are a very typical band for the fest having played here before. A progressive metal band that turns up the metal to maximum with elements of mathcore thrown in for good measure, their music is a thickly dense, complicated wall of metal that will blast your face off. When you are not standing in awe of the instrumentals, you have a tough time knowing where to look with duel vocalists of the band Justin Hill and Mikee Goodman running around stage. For many there it was a nostalgia trip of a band they’ve grown up with and for others it was simply a set of great music. (WF) WITCH SORROW Being asked during the middle of the set “are you having a sinful day” sums up the metal nature of WITCH SORROW. Sonically and spiritually very old school heavy metal with a lot of doom metal influence running through their sound, they are everything great about classic metal without being stagnant. They clearly love everything metal which is evident when Serena Cherry of recently disbanded band SVALBARD briefly comes on stage to provide some metal growls. A true celebration of everything metal. (WF) BUCKET BUCKET turned PX3 into one of Thursday's sweatiest tents, bringing a DIY garage-punk energy that collided with elements of noise, hardcore and industrial music. The performance was relentlessly energetic, with the band's enthusiasm proving highly infectious as the crowd threw themselves into the chaos. From outside the tent the mosh pit looked positively punishing, while inside the sheer number of people packed into the space made getting anywhere near its centre a challenge in itself. Rather than feeling overwhelming, however, the density of the crowd only added to the atmosphere, with everyone seemingly determined to make the most of the opportunity. The combination of rawness and unfiltered energy made for a gloriously physical live show. (ZP) PSYCHONAUT PSYCHONAUT are one so ArcTanGent coded through and through. Their post metal sound and attention to musical detail is what draws so many at the festival to them, intense and intricate without being pretentious, and their live show offers a note perfect rendition of their tracks. As heavy as the music is, it isn’t for moshing it’s for taking in with the crowd headbanging in unison. The band work in blending every mood they offer which leads to songs flowing as if a stream of consciousness. You do have to be in the right mood to experience them, but if you are you’re in for a treat. (WF) TONY DANZA TAP DANCE EXTRAVAGANZA Playing their first ever UK show TONY DANZA TAP DANCE EXTRAVAGANZA brought their chaotic vibe to the festival even though a few members were unable to make the gig. Despite lacking members for the UK dates of their tour, they brought the full force of their chaotic sound. As soon as the band announced a competition to see who could crowd surf the most the entire tent complied with the request and a tsunami of bodies erupted. With so many people crowd surfing traffic jams appeared at the barrier for people to complete their journey. The band have a great sense of humour and the crowd appreciated finally having the chance to see them live. Truly one of the highlights of the festival. (WF) IGORRR IGORRR's Thursday night performance was nothing short of breathtaking. Known for combining breakcore, black and death metal, baroque and classical music, electronic production, and trip-hop into something almost impossible to categorise, the project has evolved from a solo endeavour into an extraordinarily ambitious live band. The presence of a classical vocalist only heightened the sense that something completely unique was unfolding on stage. Every element felt larger than life, with the combination of music, lighting, and atmosphere transforming the Main Stage tent into something approaching a cinematic experience. Abrupt shifts between styles somehow remained cohesive, creating moments that were simultaneously brutal and completely surreal. Their music is difficult enough to describe on record; experienced live, it became almost overwhelming in the best possible way. (ZP) CHELSEA WOLFE CHELSEA WOLFE is probably one of the more accessible headliners ArcTanGent has ever had, yet her set was truly uncompromising. A visual treat which blended well with the thick musical atmosphere she created. A blend of folk music with many dark elements and alt rock song structures, she truly is a master of her craft. The audience fell quiet during her set, not out of dislike, but so they could bask in the atmosphere of the set. Only being an hour and fifteen set it did feel like she could have gone slightly longer for a headline set, but she filled every second. Proving her connection with the metal community she brought out a member of ALCEST to provide some wonderful metal vocals. It was a true experience of the beauty of atmospheric story telling. (WF) MOKSHA MOKSHA is the new project of Sam Chetan-Welsh, best known as the guitarist of ITHACA, but this band feel almost the total opposite. Musically they sit somewhere between mid-west emo and symphonic prog complete with horns and truly beautiful vocals. A lot of the audience knew nothing about the band other than the ITHACA connection, so truly did not expect anything like this, yet the band truly captivated everyone present, opening the set instructing the audience through breath work to help bring the spiritual connection to the crowd. For a band so early in their career they feel so complete. Despite only having one single out their music already feels like something truly classic. They fit in a breath of fresh air among the heavier music of the week whilst still having excellent guitar work. (WF) CONJURER One of the most anticipated performances of the weekend, CONJURER more than lived up to expectations on the Main Stage. Often described through the overlapping labels of sludge, doom, and post-metal, the band's music is ultimately far too expansive to be contained by any single genre descriptor. Their heaviness was immense, but it was matched by an equally strong command of atmosphere, with moments of ambience and beauty woven through the crushing riffs. The set also carried an important message, with the band openly expressing their support for the trans community and affirming that trans people have always existed and always will. The declaration was met with an enormous response from the crowd, making an already powerful performance feel even more significant. CONJURER demonstrated that extreme heaviness and genuine emotional depth can coexist effortlessly. (ZP) WITCHFEVER Bringing their gothic alt rock sound to ArcTanGent proving why they keep getting bigger, WITCHFEVER always seem confident on stage as they know what they do well. Their music always sounds just as powerful live as it does in the studio. Engaging the crowd in circle pits and general shenanigans, they have a true maturity in their stage presence. The band are proud of how far they have come working hard every step of the way to build their place in the musical landscape. WITCHFEVER feel like at every stage you see them the next time will be on a much larger stage, they keep growing and you should get into them before they headline arenas. (WF) NAPALM DEATH There is very little to say about NAPALM DEATH other than they are literally NAPALM DEATH. True legends of the heavy music world unafraid to bring their anti-fascist and inclusive message wherever they play, their music is as powerful as ever and watching Barney Greenway run around on stage whilst looking like he is being chased by bees is always wonderful. As soon as he hits the stage it’s like a switch is flicked and he has every single riff travel through his body at once. They are one band that every heavy music fan will see at some point and for good reason, they are legends. Their music washes everything away leaving only a new sense of self. Very few bands hit as hard as NAPALM DEATH do, uncompromising for over 40 years. (WF) KULK KULK proved that an enormous sound does not necessarily require an enormous band, with the duo producing a genuinely colossal performance on PX3. Describing their music as an exploration of human suffering and an extension of their own relationship, the band's approach was suitably intense, combining crushing heaviness with a chaotic and deeply physical live presence. The contrast between the size of the line-up and the sheer scale of the sound was particularly impressive, with the duo filling the stage sonically despite having only two members. The crowd responded in kind, producing one of the most energetic and reactive audiences of the entire festival. KULK's performance was heavy, unpredictable and impressively controlled, demonstrating just how much impact two people can generate when every element of the performance is working at full force. (ZP) PRIMUS As Friday's headliners, PRIMUS had the unenviable task of following an entire day of genre-defying performances, but their arrival immediately turned the Main Stage into one enormous party. Few bands are as capable of making genuinely strange music feel this accessible, with their blend of metal, funk, punk, country, roots rock, and experimental psychedelia held together by Les Claypool's unmistakable bass playing and witty, often surreal storytelling. The audience's traditional cries of "Primus sucks" were met with exactly the kind of knowing enthusiasm the phrase demands, adding to an atmosphere that felt less like a headline performance and more like thousands of friends getting together to celebrate a band they all love. Beneath the humour and eccentricity was some astonishing musicianship. By the end of the set, it was difficult to imagine anyone leaving without a massive smile on their face. (ZP) MEATDRIPPER Describing themselves as a psych-sludge band, MEATDRIPPER combined the hazy qualities of psychedelic and punk rock with the crushing weight of doom and sludge. The result was a sound that felt simultaneously enormous and strangely hypnotic, built around layers of heavy instrumentation and riffs that seemed to accumulate on top of one another. The vocals added another dimension entirely, adopting an unusual, almost trance-like quality that complemented the band's heavier passages rather than simply sitting above them. There was a surprisingly strong atmospheric element to the performance, with MEATDRIPPER demonstrating that sludge can create a sense of space as effectively as it creates sheer weight. The set was a particularly effective demonstration of how psychedelic textures and crushing heaviness can coexist without either side losing its impact. (ZP) PUPIL SLICER PUPIL SLICER brought an appropriately feral conclusion to their PX3 appearance, delivering a hectic and chaotic set to a tent packed well beyond comfortable capacity. The ensuing mosh and circle pits kicked up enough dust to turn the room into a haze, but there was little sign of anyone caring as the crowd threw themselves into the chaos. Beneath the apparent disorder, however, was an impressive level of precision and planning. PUPIL SLICER's music may feel completely unhinged in the moment, but the live performance revealed just how much control is required to make that chaos work. Their DIY sensibility remained firmly intact, however, giving the set a raw and immediate quality that clearly resonated with the audience. Judging by the response, PUPIL SLICER remain very much a band with big things ahead of them. (ZP) JO QUAIL How can one of the loudest sets of the festival only be a cello with trombones? JO QUAIL brings a set of instrumental intensity that features compositions that build gradually, musically so outside of the world of metal but playing to a festival that embraces music no matter what genre. The volume of the set just washes over the crowd; the use of volume is like nothing else at the festival. Delicate cello parts that then build up complimented by percussion and six trombones, it looks like a classical concert but hits like a wall of death. Truly outstanding music and probably the best crowd to watch it in. (WF) A.A. WILLIAMS A.A. WILLIAMS brought a beautifully atmospheric closer to the Bixler stage on Saturday, delivering a performance that demonstrated just how heavy music can feel without relying on conventional abrasion or aggression. Ethereal, heart-wrenching, and often breathtakingly expansive, the set built its weight through gentleness, moments of near silence, and enormous instrumentation rather than sheer volume. Williams' vocals were consistently exceptional, carrying an extraordinary amount of power while remaining perfectly suited to the delicate passages surrounding them. Her guitar work was equally impressive, with a formidable pedalboard helping shape the vast sonic landscapes that filled the stage throughout the performance. There was something particularly fitting about experiencing such a reflective and atmospheric set towards the end of ArcTanGent's final year at Fernhill Farm. As the festival prepares to move to a new home, A.A. WILLIAMS provided a suitably poignant closing note for one of its stages. (ZP) CHAT PILE When the band aren’t playing their front man is talking about festival films, a lot of CHAT PILE’s charm comes from how earnest they are as people and in their music. The dustiest mosh pit of the week with many covering their mouths to make breathing a little easier, but this does nothing to quell the passion of the crowd. The last time they played the festival they played a lot earlier in the day and now they are high up on the main stage. ArcTanGent gets bands just at the right time and CHAT PILE feel like soon they may be too big for the festival. Their music has a groove that runs through it just enough to help people navigate the chaos - you can dance, you can mosh, but you will have to survive the dust. The band still keep their DIY roots close, but they are polished despite the stank their music has. One of the most engaging frontmen of the weekend. (WF) CULT OF LUNA AND JULIE CHRISTMAS Mariner has become one of the most legendary post metal albums of the last ten years and it felt like after CULT OF LUNA AND JULIE CHRISTMAS finished touring that would be the end of the album. Yet ten years later the album comes to life once more so even more people can experience the beauty of the project. The band members are basked in darkness lit from behind, their shadows only leading into the atmosphere of the album. Julie Christmas has been signed by festival goers so she can bring them into the performance of the album, not that you could see anything other than her silhouette on stage. The band sound pretty much note perfect to the album despite how much time has passed. The audience stand in awe of the musical perfection take place. There aren’t many festivals that would have anything like this as a headliner but ArcTanGent knows how to choose something truly special to headline. It’s fitting as an end to the festival, likely the last time this album is ever performed as the last notes to be played at Fernhill Farm ring out. Next festival will feel like a rebirth. (WF) See you at your new field in 2027, ArcTanGent!

Nothing says a gig is a hardcore gig more than a performance in an unexpected place. Tucked away in Southampton is the Edmund Kell Unitarian Church. An unassuming building from the outside, but a transformative space that is perfect for a hardcore show. The show was everything that a UK hardcore fan could dream of. It gave the reminiscing feel of a basement gig whilst showcasing talents of the present and future. With no barrier, a homemade set up of amps and cabs, and the house lights on, it was an experience for all that both played and attended. No frills, no hiding behind the grandeur of staging. Just talented performers showing an audience what the Southampton hardcore scene has to offer. Starting the evening were FULL CLIP, a band who have only just emerged on the Southampton hardcore scene. Taking to the stage for their live performance debut, the audience would never have known that this collaboration of established performers were taking to the stage together for the first time. As enthusiastic and polished as a new band can be, you could feel the energy building throughout the set and with a duo of vocals to give you a brilliant blend of sounds, there is some true promise of excellence woven through each song they played. No sooner did FULL CLIP come off stage, HYPNOTIZE had their turn. Opening with the shouts of ‘ thanks for coming home’, they truly brought the noise. For a set that was happening before it had even reached 7pm, there was a true sense of excitement as the vocalist encouraged the audience to come closer and mosh with him. With a cohesive sound, it reminds audience members that anyone can work hard to make great music. CURFEW took to the stage next. Full of angst and solid breakdowns, this band truly showed the audience why Southampton hardcore bands should be on everyone’s radars. With guttural growls and guitars that complimented the vocals brilliantly, it was the perfect signifier of why the local hardcore scene is something to be admired. The collective nature of the Southampton Hardcore (SOHC) is truly admirable. COLLECTIVE ON A DEBT seems to be capturing the scene in shows that elder generations could have only dreamed of. Each band knows the other and respects the talents that each other holds. They jump in to help each other out, support with gang vocals, and truly bring the noise to the room so that it feels electric. It’s an inspiring scene that comes together to celebrate all things hardcore. Starting the second half of the bands on the roster is CONCRETE JUNGLE. A band filled with more energy than you could ever expect from a band. From the vocalist jumping into the audience, shouting mosh steps to others, to the rest of the band holding the song down for the audience, it was an infectious energy. At one point, you had to question who was in the band and audience members jumped into the performers area, screamed down the mic, and had their own go at being a singer in a form of unity between everyone in the room. NOT WITHOUT PUNISHMENT took the main headline slot. With a sound that is jam packed with mosh opportunities, riffs galore, and growls aplenty, these Southampton hardcore up and comers are definitely ones to watch. Filling their set with solid songs, you could see that they had refined their craft and are a band on the cusp of taking the next step. Professionalism ran throughout, and even when the fire alarm went off in the building during the set (due to the sheer heat of the room - no fires present) the crowd and band came together to solidify the power of the Southampton scene. Finally the band everyone was there to see took to the stage. DESOLATED haven’t played a show like this in a long time. Guitarist Richy announced to the audience and nights like the one they were playing were something that the youth of the generation before could have only dreamed of, that the scene is something special and this show was a time to celebrate. Opening with The Beginning, this was a no holds barred show and the band played as if this was a festival headliner moment. Cramming in as many songs as possible, the first part of their set finished with The End. Ten years after the album of the same name had been released, it felt like a cathartic moment for the band. Like the end of one chapter had finished and allowed them to then treat the audience with some tracks from the newest album Finding Peace. Victims 2.0 really ramped the night up a notch with bodies flying around the room and people taking their opportunities to scream down the microphone and back at the band. Ending the set with End Of The Line and Death By My Side, DESOLATED truly showed that paying back to your roots can truly give those memories of a lifetime. With an audience filled with friends, family, and fans, it felt like a Kodak moment. But as vocalist Tony climbed atop an Orange cab during Death By My Side, audience members crowd around, screaming the lyrics back at the in a moment that truly felt like DESOLATED had made it. Whilst it wasn’t their usual gig set up these days, it truly felt like they were home. Words and photos: Laura Davies

MOVEMENTS have always been a band of contrasting ideas. Their music can sound magnificently giant while dealing with emotions that make the world feel incredibly small. For their fourth album, Happier Now, the Californian post hardcore quartet lean further into that emotion, leaning more into the confidence and melancholy of 2023’s RUCKUS!. Opening with Pulse, the scene is set for what is to come for the rest of the album. With angular riffs and layered harmonies that feel reminiscent and fresh at the same time, you feel the familiarity of a MOVEMENTS record whilst also feeling like this is a fresh take too. Jumping straight into lead single Dissolve Me as the second track, the angsty guitar riffs give audiences a catchy stand out track. Vocalist Patrick Miranda sings ‘Should I go headfirst into the concrete?’ over a background of guitars, feeling like an anthem for the lost and socially awkward. The next few songs reveal something messy, emotionally charged, and frank. Everything Is Fine has the lyrics ‘I’m so fucking anxious I could die - what a perfect illustration of my life’. Leaning into honesty and rawness that has previously been seen from bands such as REAL FRIENDS and THE DANGEROUS SUMMER. The layers that appear in the title song Happier Now show listeners that happiness isn't necessarily a destination to reach, and getting older or more successful doesn't magically quiet the thoughts that have followed you there. The maturity that comes across in this album compared to previous doesn’t take away from the fact that at the heart of this album is a post hardcore record that screams MOVEMENTS from the opening bars to the closing ones. By the time the second single Back In My Ways hits, we have met the middle of the record. The song seems on the surface to be a slow burner that has a gradual escalation to a crescendo of emotionally charged vocals and screams, feeling like a cathartic release that is going to become an anthem for the sad seasons. Live By The Sword feels like a turn in the album. The aggression fuelled lyrics with layered vocals and heavy riffs that feel full of resentment and anger. The bassline pushes this agenda alongside the lyrics that make this a standout track on the record, almost leaning into punk as opposed to post hardcore. Similarly, Everyone I’ve Ever Been feels like a song laced with determination and despair at the same time. Lyrically, this album feels like a beautiful juxtaposition. With the idea that life is happier now, blended with the uncomfortable idea that feelings can return even when they seem to be fine on the outside. The atmospheric guitars and emotional vulnerability remain throughout this record, but they're now accompanied by a stronger understanding of determination and restraint. The guitars retain the hazy, emotionally charged quality that has defined MOVEMENTS as a band, but the hooks increasingly feel designed for something much bigger. Moving towards the closing songs of Fragile Hands and Separate, it truly feels like this is an album cemented in the band's history as something poetic and honest. Fragile Hands feels like a song of hope and despair, like a last ditch attempt to reach someone that will always be just outside of a grasp, ending with a haunting play of chords. Separate feels like the defeated yet determined ending that this album needs as Miranda sings ‘I gave all of me… nothing left to see’ in an angst fuelled song that feels like the perfect closing song for this album. The conflict that runs through this album is ultimately what makes Happier Now as compelling as what it is. MOVEMENTS aren't attempting to recreate past records, nor create a brand new sound. Instead, this feels like an attempt to pull all the best parts of previous records into something altogether spectacular. They no longer sound like a band searching for an identity, they’ve worked out where their place is in the music-sphere and it’s solidly in the sweet spot of nostalgia and reminding us it’s okay not to be okay. Score: 8/10 Happier Now will be released on 4th September via Fearless Records. Words: Laura Davies Photos: Adam Alonzo

EAST EXCHANGE haven’t just exploded onto the airwaves this year, they’ve conquered their first festival season that saw them claim slots at 2000 Trees, The Great Escape, and Outbreak to name a few, gaining these laurels and further traction with less than a handful of singles drip-fed to fans over the last year. Fans need wait no longer to drink their musical fill as EAST EXCHANGE launch their debut EP torn between ties, an eagerly anticipated record of powerhouse vocals and quintessential grunge. It’s a testament to the Liverpool four-piece and lifelong friends who rightfully earned their festival season and growing acclaim from their hard graft, effusive approach to live shows and their fans, and a curated sound that pays homage to the old and new and something in between, a sound that is uniquely theirs and yet calls to their influences. torn between ties feels like a love letter to the 90s grunge that inspired them and a heartfelt text to modern rock, weaving time and genres into a sound that doesn’t fit in any box but fits snugly in your ears. Having been kicked out of their recording space and resorting to a “freezing, run-down warehouse” to find their sound and bring the vision together, torn between ties sounds entirely confident in who the band want to be and who’s influenced their journey to date. With predominantly 90s grunge laying the base foundation for them, the four-piece combine the gritty riffs of NIRVANA and steady rhythms of SMASHING PUMPKINS with solos and hooks reminiscent of SOUNDGARDEN, whilst injecting modernity with layered clean notes and crafted harmonies, emotionally wrought lyrics, powerhouse vocals and husky tones that will fill the void YOU ME AT SIX have left. Opening track unspoken. eases us into a melody that feels like it’s rising to a pinnacle of major chords, suddenly flipping the switch into a rhythm that feels granular and unflinching with minor notes underlying the increasingly darkening calls of “you’re broken”. fall. is a tale of desperation, the push/pull of trying to hold onto a love that isn’t right and won’t last, the vocals echoing as a backdrop to a climbing riff before it all comes crashing back down together. lily. isn't merely another “love song”, it's devotion, yearning, a full confession, against soaring guitars and the heartbeat of bass - it's a hair-raising melody that belongs in epic love scenes. bleed. returns to timeless grunge with filthy beats and reverbed guitar, vocalist Sonny K toeing a line between powerhouse notes and emotionally charged lyrics that roughen his voice. torn. feels like a homage to early FOO FIGHTERS and the definitive power of grunge instrumentals, riffs and beats colliding as the vocals swoop up for a heartstopping moment. Their most recently released single ghost. treads between classic and modern alternative rock, a reverbed guitar ringing out before everything crests into a wave of powerfully driven instrumentals and bitter yells of “do you know my name”, the overwhelming feeling that fills these lyrics painting a story of despair and delivered in a way that feels like Chris Cornell is back with us. The spirit of 90s grunge and alt-rock has been a feeling chased by so many desperate to recapture the vulnerability, grittiness, and strength that can only be found in anthemic rhythms, substantial hooks, and expressive words. EAST EXCHANGE embody everything we’ve been clinging to for decades and gives it fresh breath, the bittersweet sentiments and gutsy melodies a resurgence of grunge rock. Score: 9/10 torn between ties. will be released on 4th September 2026 via AWAL. Words: Julia Stark Photos: Dylan Cox

There are few bands in extreme metal with the ability to make the past feel as immediate as BEHEMOTH. With I, Scvlptor, the Polish legends revisit their roots, reshape familiar material and push into new territory, creating a release that feels less like a conventional stopgap and more like a statement of becoming. Due for release on September 4th, the opus contains eight previously unreleased tracks: seven studio recordings and one live performance. Rather than releasing a traditional studio album, we’re offered a cabinet of curiosities of sorts. It features handpicked peeks at BEHEMOTH's identity, connecting the band's formative years with the immense, uncompromising force of its present day form. The title track, I, Scvlptor, is a grandiose opener built like a centrepiece. With a slower build-up adding layers of dark atmosphere, it carries the kind of epic weight that has become synonymous with BEHEMOTH while refusing to simply repeat the formulas of the past. As Nergal explains, the song is “rooted in the tradition of monumental tracks like O Father O Satan O Sun!, Lucifer or Nieboga Czarny Xiądz, while at the same time opening a new chapter.” The song's concept is described as “a metaphor for the endless process of shaping oneself”. However, the song goes beyond nihilism, it puts an emphasis on the battle to move forward and it musically sounds like one. Horns emerge first, surrounded by distorted, dark electronics that immediately establish an eerie atmosphere. Then the drums and strings arrive, gradually laying the foundations for something increasingly heavy, as if the listener is being pulled deeper and deeper into a dark tunnel. When Nergal's voice enters, it is strong and commanding, leading an army into battle. The track repeatedly seems to widen, becoming less an individual performance and more a call for others to join the march. It reminds the listener that this is going to be more adventurous than a simple collection of archival material. Lord ov the Horizons immediately shifts gear. It surprises us with a considerably more melodic approach, driven by a gothic-sounding guitar and lyrical singing before suddenly turning into vicious black-metal screams. Vocally, this is one of the most interesting tracks on the release. It moves through a surprisingly wide range of approaches, switching between more traditional singing and harsher screams without making the transitions feel forced. The drums also alter the pace between slower parts and others that are bullet-like in speed. The guitars are also given room to shine, with solos that can be appreciated rather than simply being buried underneath the overall assault. It gives the song a dynamism that feels experimental without abandoning its roots. It declares that the band is not afraid of pushing themselves and try something different. The track has an overall well-distributed composition with enough variation to remain unpredictable, and it hints at directions the band could explore further in the future. Rise of the Blackstorm of Evil stands as the longest song and is a blast from the past. It is one of the most important pieces in terms of connecting the band's past and present. Originally written in 1992, the song reflects the influence of acts such as SAMAEL, CELTIC FROST and HELLHAMMER. This new recording keeps the original structure but gives the guitars some sophisticated polish, reworking them into two interlocking layers, while the lyrics have also been slightly revised. The difference is a much tighter and sharper performance than the one heard on The Return of the Northern Moon. Yet the song's original spirit remains intact, which is ultimately what makes the re-recording worthwhile. Its position also makes sense within this opus. After the more experimental track, this one brings the last two back together with commanding vocals and a more rhythmically varied sound, giving the release a broader sense of movement. At some points though, the voice seems to disappear slightly behind the instruments and has a harder time keeping us hooked. If Rise of the Blackstorm of Evil allows the listener to wander, In Thy Pandemaeternum grabs them by the collar and doesn't let go. Hectic and aggressive from the first seconds, it wastes no time establishing itself as arguably the heaviest track here. Everything feels extremely tight, with the guitars, drums and vocals working together as one rather than competing for attention. Despite its length, the second longest track, it somehow feels short. There is so much happening that the track seems to race past, maintaining its intensity without becoming monotonous. There is also a distinctly theatrical quality to the arrangement, particularly during the “let them feast” chant before a sharp guitar solo. It is one of those moments that would make you buy a live show ticket, crossing fingers that this makes it on the setlist. Originally featured on 1998's Pandemonic Incantations, this is the second early BEHEMOTH track to receive a revamp. The arrangement remains largely familiar, but the production makes a considerable difference. What once fought for space within the dense original mix now emerges with much greater definition. We scored a wild card with Begotten. It introduces yet another nuance to the record. Its drums and guitars almost feel like 1980s heavy and gothic metal before the song accelerates, creating a completely different atmosphere. This mixes old with new, as it was written during the sessions for The Shit Ov God but was ultimately left off the album because the band felt it didn't fit with the other material at the time. It first appeared on the Metal Hammer exclusive Vnholy Psalms and is now given a chance for a much wider scene. It still doesn't slot perfectly into this record, but it doesn't necessarily need to. It feels like a deliberate interruption, another piece of BEHEMOTH's journey that has been given a home. Its atmosphere remains dark and commanding, but the way it gets there is sufficiently different to make it one of the more intriguing inclusions. The decision to include a cover of VENOM's In League With Satan feels like not only looking at the band’s past but also its influences and roots. And that turns into one of the most memorable moments on I, Scvlptor. The drums and bass are particularly catchy, working with the guitar hand in hand, building layers of sonic violence. There is a strong unity and community feel to the song. Like it is meant to be sung collectively, gathered in some enormous hall after a battle. We can easily see this becoming a live favourite, bringing fans together. Shagrath of DIMMU BORGIR makes a guest appearance, reinforcing this gathering of forces. Where the previous song brings some of the most important influences in the studio, The Return of Darkness and Evil does it on stage. This BATHORY cover is anchored to the crowd and place, reminding everyone that the band is a force to be reckoned with live. I keeps bringing peoples together with Sakis Tolis of ROTTING CHRIST joining them live in Athens. After so much carefully controlled studio production, hearing the band in a raw and electric setting is a refresher we didn’t know we needed. Closing with a second version of Lord ov the Horizons is perhaps the most unusual choice on the record. The rough mix offers a glimpse into what happens between recording a song and arriving at the finished version. It isn't a radically different interpretation, nor does it sound like a primitive demo. Most of the key elements are already there. What changes is the balance. There is less clarity and refinement than in the final version. For some, the differences may not be substantial enough to completely justify including two versions of the same song on an eight-track release. But it does bring an interesting perspective and reflection on the album itself now that it’s almost over. It already makes it a new past to be reinvented. I, Scvlptor works because it could have been disjointed but isn’t. It is unconventional but assumed as such. Nergal describes it as “more of a compilation”, while also insisting that the fact it contains songs nobody has heard before makes it “a significant release” for the band. There are moments when the record feels voluntarily (or not) fragmented. But the contrasts are also what give it personality. Like the sculptor in the title track, BEHEMOTH are still working on themselves. They are taking familiar forms, breaking them apart, sharpening some edges, exposing others and occasionally revealing something entirely unexpected underneath. The final shape isn't necessarily the point but the act of sculpting is. Score: 7/10 I, Scvlptor will be released on 4th September 2026 via Nuclear Blast Records. Words: Lysandre Pons Photos: Grzegorz Gołębiowski

Collaborating with other artists has long been a way for respected bands to reach different audiences while fusing their respective styles to create something new, particularly through a single release. MOTIONLESS IN WHITE featuring Corey Taylor is one recent example, but it is far rarer to see two bands come together to create an album release where both bring their own identity to the table. Rarer still is a project that feels like a genuine contest between the two, with each side effectively battling it out across the record. FIRE SALE and THE CORPS have done exactly that with Split Decision. FIRE SALE are an American punk rock supergroup featuring veterans of the 1990s and 2000s punk scene. Formed in 2021 by guitarist Chris Swinney, formerly of THE ATARIS, the band recruited lead vocalist Pedro Aida, formerly of THE IRON ROSES, bassist Matt Riddle, formerly of FACE TO FACE, alongside Brad Edwards on guitar and Matt Morris on drums. Their sound is rooted in high-energy melodic punk and skate punk, blending driving guitar hooks with rich vocal harmonies while exploring difficult subjects surrounding mental health and emotional vulnerability. THE CORPS are a high-energy melodic skate punk band from Vancouver, British Columbia. Over the last decade, they have embraced the spirit of 1990s skate punk, combining driving guitars, powerful drums and infectious choruses. Their lyrics frequently explore real-world personal and societal issues through the lens of a comic-book dystopia, with a particular affection for the DC Universe. Dan Garrison on vocals and Dan Stenning on drums and vocals are the band’s two original members, with Morgan Farrell joining on lead guitar and Dave Derksen on bass in 2024. Split Decision is a four-track release, with each band contributing two songs. Two companion videos are also planned to accompany the release. The opening track comes courtesy of FIRE SALE with the intensely personal Kill The Noise. The song tackles the daily struggles associated with mental health and the challenge of overcoming them. A gnarly guitar riff opens the track and continues to echo throughout, even once the drums and vocals enter. The lyrics feel like an almost desperate cry for help, yet they are never drowned out by the instrumentation, which makes the vulnerability of the song particularly effective. A brief guitar solo provides another standout moment, with Swinney’s guitar cutting through the track before the vocal harmonies gradually drift towards the conclusion, ultimately giving the impression that the noise has finally been silenced. It is a powerful and emotionally effective opening track. FIRE SALE’s second contribution, Dies Irae, moves firmly into the 1990s skate punk territory that the band executes so well. It is the kind of song that would not feel out of place on the soundtrack to the Tony Hawk Pro Skater franchise. The track is built around an explosive and erratically brilliant bassline from Matt Riddle, while the guitars and drums provide the frantic energy that defines FIRE SALE’s sound. It is an unapologetically in-your-face track that tackles the current social and political climate. The song refuses to ignore the issues around it, and nor should it. Explosive, fast and packed with attitude, Dies Irae captures much of what makes skate punk such an enduring genre. THE CORPS step up to the amps for Imposter Syndrome, opening their side of the split without dropping the tempo FIRE SALE established. Face-melting guitar riffs rip open the track before cascading arpeggios combine with rapid-fire drums. The bass drum then drops into an almost a cappella-style break before the vocals kick in. There is a gritty quality to the production and performance that works particularly well, while the track carries echoes of the early days of THE OFFSPRING. It is the fastest song on the split, yet it never becomes messy or loses control. That frantic energy perfectly complements the subject matter, with the lyrics exploring anxiety, overthinking and the feeling of the mind rapidly becoming overloaded. The track comes full circle by ending in a similar fashion to how it began, bringing the addictive guitar work back to the forefront. It makes for a frantic but controlled introduction to THE CORPS’ contribution. The final track, Another World, switches things up with a more mid-tempo approach, and this is where THE CORPS’ individuality really flourishes. Drawing on the band’s affection for comics and superheroes, the song manages to explore the pain of missing someone and longing for somebody who remains unreachable. That combination of comic-book imagery and genuine emotional vulnerability is an impressive trait. The melody is addictive, while the guitar work and lyrical flow create an atmosphere that feels considerably more reflective than the preceding track. Combined with the meaning behind the lyrics, it is a song that should resonate with a lot of listeners. It is also worth complimenting the creative album artwork. Split Decision uses the style of an old-school boxing promotion cartoon, with both boxers lying flat on the canvas. It is a simple but effective visual representation of the concept, suggesting that both bands entered the project as competitors but leave it as equals, embracing whatever the record and its reviews bring. What is perhaps most interesting about Split Decision is that it does not always feel like a battle between two bands. In places, it barely feels like two separate bands have produced the record at all. FIRE SALE and THE CORPS have clearly gelled creatively, producing a release that feels remarkably cohesive while still allowing both bands to retain their individual identities. The balance is particularly effective. Both bring their own tempo, guitar style and lyrical themes, but there is enough common ground to make the four tracks feel connected rather than simply placed alongside one another. The result is a split that could potentially open the door to further collaboration, whether creatively or on stage. Heartfelt lyrics, 1990s-inspired rhythms, infectious guitar work and the occasional solo seemingly designed for air guitars and mosh pits - there is plenty to enjoy here. For a release built around two bands effectively stepping into the ring against one another, Split Decision ultimately proves that the biggest winner does not have to be either FIRE SALE or THE CORPS. It can be the record itself. Score: 8/10 Split Decision will be released on 4th September 2026 via Negative Progression Records. Words: David Waites Photos: Fire Sale & The Corps

It’s been almost a decade since Californian four-piece AFI has graced the UK with their presence, and sixteen years since they last embarked on a headline tour here. In that time they have released four new albums – including 2025’s synthwave and post-punk tinged Silver Bleeds the Black Sun... – signed two separate record deals and constantly evolved their sound. Now, fans pack into Birmingham’s O2 Institute to see how those sixteen years have worn on them. But first, the stage fills with thick smoke and Canadian darkwave band TR/ST emerge. Backlit for the entire set by bright stage lights, it’s impossible to catch a good glimpse at either of the mysterious figures on stage – but this shroud only adds to the atmosphere that they are creating. Their synth beats flicker between dark and pulsing, and light and airy, whilst the vocals sound dream-like and echoey. It’s exactly how you might imagine the music of some exclusive gothic nightclub in Berlin to sound – cool, intense, and dark. In between sets is where the buzz starts to drum up in the crowd. The room is packed right up into the rafters, full of fans who have waited years for this. And when the lights go dark, they erupt. The band emerges one by one - drummer Adam Carson is first, followed by bassist Hunter Burgan, and guitarist Jade Puget. Finally, vocalist Davey Havok explodes onto the stage. Adorned in a full leather outfit and sporting a handlebar moustache and wild, curly hair, Havok looks like an entirely different person than when he last graced the stage here, but his stage presence and energy easily match up to the campy 80’s rock and roll aesthetic he has adopted. He leaps straight up onto a monitor, mic stand up in the air as he leads the audience into the first track, Strength Through Suffering. Like no time has passed since their last time here, the crowd chant the lyrics feverishly and obediently, right into Girl’s Not Grey from their 2003 album Sing the Sorrow. For a band that has been around for such a long time, it’s to be expected that their playing is tight – and it is. What’s perhaps less expected is the sheer amount of energy they all seem to have. Havok bounces around to cover every inch of the stage, leaping from the podium the drums are perched on and standing on blocks to better see the fans on the balconies. Burgan and Pudget dodge his swinging microphone as they run around with their guitars, leaning out into the crowd and playing with their backs together when the mood strikes them. No one on stage is still for a single second, and that energy is easily matched by the crowd. The setlist bounces between new songs and old, including deeper cuts like Endlessly, She Said from 2006’s Decemberunderground and newer tracks from their latest album. Despite the average age of the audience appearing to be nearing the forty mark, the ‘no crowd surfing’ signs appeared to have been thoroughly ignored. Everyone seems to be having such a good time that when Havok takes a break between songs half-way through the set to let everyone know that he’s not feeling well and his voice isn’t doing the best, it’s a genuine surprise to hear. It’s hard to imagine them performing any better than this. When they leave the stage, it isn’t long before the crowd chants the same line they had chanted for their opening track as a demand for their return - “through our bleeding, we are one”. Ending on a high, it was perhaps inevitable that they would end on Miss Murder, their most popular song by a good distance – but it’s a marvel at how elevated it sounds live. Or maybe it’s just because three thousand people are singing along too. When they leave the stage, the room is still buzzing. There aren’t many things that are worth waiting sixteen years for, but for British AFI fans, this show was undoubtedly one of them. Now, all we can do is hope that it won’t be so long before they’re back again. Words: Ellen Lovell Photos: Nicola Small

There is a moment when surviving is no longer enough. For years, BEARTOOTH has made a career out of turning pain into something loud enough to shake a room. But Pure Ecstasy feels different, built like a brutal yet beautiful reckoning. This isn't simply another album about making it through the darkness. It is about standing on the other side of it, looking back at everything that almost broke you and telling people who you really are now that the fight is finally over. That makes it perhaps the most revealing album from the band yet. It stands as their sixth album and first release with Fearless Records. Across 11 tracks, we see different sides of the same person come out: ferocity and vulnerability, swagger and self-reckoning, despair and exhilaration. It is an album where hope and wreckage are allowed to coexist. And perhaps the biggest turn is that Caleb Shomo no longer sounds like he's carrying all that weight alone. The title track, Pure Ecstasy, is more of a declaration of intent than an intro. It lets you know that this isn't going to be business as usual. It begins unsuspected, with Shomo's voice showing restraint while a deep guitar slowly approaches, growing heavier and louder until the song finally blows up. The chorus hits with the force of the emotional screams, combining the crushing weight of metalcore and deathcore with an unexpectedly lyrical quality. It feels like we were holding a breath and then finally were breathing again when someone opened a door. Shomo explains the song's origins as: "Pure Ecstasy was birthed in a studio with Misha Mansoor, ridiculous loudspeakers, and the dumbest heaviest chugs we could chug." After the track was developed and produced further with Jordan Fish, the decision to make it the opener became obvious. Eyes Closed follows by being as straightforward as can be. It is a hard-hitting anthem built around punchy rhythms, thick down-tuned guitars and a chorus designed to be screamed back from a festival crowd. Yet melodic guitar lines and surprising pop vibes keep the track from becoming expected. It carries a sense of release that can be felt through like a hand outreaching the listener. Written from the ground up with Fish, the song seems to allow the band to discover and test out just how much room there is to play outside its usual boundaries. Then comes Bullshit, which feels like a merger between the old and new BEARTOOTH. It is in your face, catchy and furious with a frustration we can all relate to. The layers of voices throughout the chorus feel like we already are part of the song, singing along to it. If it may feel more familiar to long time fans, Beautiful Again shows that we should be ready to be surprised still. There is a nostalgic, almost emo feel to the track, but its greatest strength is its restraint. The melody and singing feel more fragile, carrying an emotional weight that the band's heaviest moments sometimes doesn’t allow. "Beautiful Again was the first song written during the sessions with Jordan after we wrote Free a few months prior" Shomo explains. Fish pushed him to write directly about what he was experiencing rather than hiding behind a metaphor. The result, Shomo says "perfectly depicts the duality of his headspace while writing the album. Pure joy and pure despair, nothing in between." Stadiums takes that emotional openness and turns it into something theatrical. It begins with a distorted voice and booming piano before the guitars and bass crash in. The song feels simultaneously like a confession and a declaration of intent, moving between spoken passages, enormous buildups, breakdowns and aggressive screams. There is an almost cinematic sense of movement, as though Shomo is putting both his on and off stage personalities side by side to make them one again. But the emotional centre of the record may be Free. Cracking emotions open after Shomo's public coming out, it hits even harder and allows a community to also gather around to protect that newfound freedom. The song shifts between screams and melody without ever feeling like it is manufacturing vulnerability for effect. It feels exposed. "The song is the start of the next chapter of my music and my life" Shomo says. "Free is the most honest depiction of my soul I will most likely ever make." That laid open approach comes through most strongly in the final scream. It isn't polished, it sounds raw, like someone finally allowing everything they've been holding back to come out at once. Just when the record seems to have established its emotional language, Sorry throws another curveball. It opens almost like an R&B track, with electronic beats and textures underneath. Then one enormous scream brings the rest of the band crashing into the mix. It is sassy, unapologetic and funnily sharp. It shows a version of BEARTOOTH that has stopped worrying about whether every creative decision will make sense to everyone else. Lose You to Find Me pushes that even further and makes what is likely to be the most accessible song on the opus. It combines a lot of elements we would not necessarily expect, such as a pop rock groove built around a sugary and catchy melody. But also flashes of 80s hair metal influence, a flashy guitar solo, while also sometimes feeling like a TWENTY ONE PILOTS song. Puritans might clench their pearls as it is a lot to process, but it also is easy to love if you remain open to surprises. Then You arrives and reminds everyone that the band has not gone soft one bit. Its R&B inspired opening makes the song drop even more crushing. Shomo moves rapidly between rapping, singing and screaming, while blast beats and relentless vocals propel the track into the heaviest song on the album. It is even more effective because of its contrast. Some of its heaviest breakdowns sit against some of its softest passages, making both extremes hit harder. The R&B elements periodically returning, interrupting the aggression just enough to make the next wave feel even more violent. This is the kind of song that throws a bomb into any pit. For Me by Me is comparatively languid, allowing the guitars and bass to carry much of its power. It doesn't need to to crash out to make an impression, instead showing that heaviness and meaning can be found in slowing down. And then comes I Made It. The album closer begins with what sounds like a camcorder footage, immediately giving the song a very personal and almost documentary feel. It is looking backwards while trying to understand how to proudly stand in the present. Unlike Free, where vulnerability comes wrapped with some fear and uncertainty, I Made It comes from a place of relief. The music is lighter and more playful, with a relaxed rock and pop feel. It sounds like someone who has finally been able to put down some of the weight they've been carrying. But it still doesn't pretend that reaching the other side magically erases everything that came before. There is still doubt. There is still pain in those final moments, but it is carried with hope. Pure Ecstasy is different because it’s collaborative and open. Fish's involvement brings a new dimension to the band's songwriting and production, while drummer Connor Denis plays on every track. It marks the first BEARTOOTH album where Shomo didn't perform every instrument himself. The album feels less like documenting a struggle entirely on his own and more like other people helping him work through it. So while previous BEARTOOTH records often sounded like survival, this one is more interested in what happens afterwards. And even showing that there is an afterwards to look forward to will make the world of a difference for a lot of people out there that are still struggling or having to hide. It reminds us that we are not alone and that there are things worth celebrating. That evolving does not mean losing who we were but rather starting to put fractured parts back together. This new chapter of becoming is something to look forward to taking part in with the band going on tour to share it massively through the Pure Ecstasy World Tour that kicks off September 17th in Europe. Score: 8/10 Pure Ecstasy was released on 28th August 2026 via Fearless Records. Words: Lysandre Pons Photos: Ashley Osborn

In the two weeks past, the music world has given us the shoegazey indie-rock of BEABADOOBEE, the queer emo rage of ÓMOIA, the melancholic gothic metal of LACRIMAS PROFUNDERE, and so much more. Here's what we've been listening to lately: Track of the Week: Noahfinnce - Too Sensitive In Too Sensitive, political frustration and personal vulnerability come together into one of NOAHFINNCE’s most entertaining tracks yet. Packed with a punchy, energetic pop-punk rhythm, it is the best in-your-face sound to carry the message across. Built around the familiar story of The Three Little Pigs, it uses the Big Bad Wolf as a playful symbol of the singer’s anti-MAGA stance. While dealing with humour, the song also explores with sensitivity, the feelings of isolation and disgust that many feel growing up in a divided world. It is a confident, high-energy and punchy track that surely will appeal to modern pop-punk fans! Words: Lysandre Pons Alien Chicks - Madmen Despite having played the Brixton Windmill more than any other band in the Windmill Scene (at least according to stats.fm), ALIEN CHICKS remain under many peoples’ radars. Which is a shame too, because even when gearing up for their third EP, their music sounds as fresh as ever. Madmen is the third single for it - with an immediately striking cover that presents politicians in the House of Commons as animalistic, sheep-like creatures. The lyrics are also quite direct in a similar way, with the repeated motif of “madmen run the courts, democracy doesn’t exist anymore”. At the same time, it’s fairly non-specific, which leaves you wondering how seriously the band whose previous single was a cover of MISSY ELLIOTT’s Get Ur Freak On is taking the subject. The driving force of the song, though, is the frenetic way the song moves between stripped-back instrumentation, moving at whatever pace that the bass groove allows it to, and the choruses and bridges that go wildly out of control at points. It’s great fun, and we look forward to their upcoming EP. Words: Noise Leonard Beabadoobee - Memories With less than a month now till her new album Pylon is released BEABADOOBEE has released a brand new single Memories, the 8th track on the album. With her new shoegaze direction this track makes that transition feel a little more fluid, with the song having those light airy indie compartments pieced together with layered and distorted guitars. The track is emotionally vulnerable and about wanting to make new memories with someone you admire and the musicality reflects that magical feeling. Combined with the other prereleased tracks from this album it seems we have a new great album to fit into the indie/alt rock sphere on our hands! Words: Amy Smyth downcast - brainless Never ones to back down from a fight, DOWNCAST have come out swinging with new single brainless, a track specifically singling out virtue signalling men who are "defending" women and children with public violence whilst actually doing fuck-all to protect and better their lives. An immediate onslaught of deafening, gritty guitar riffs and a demolishing drumbeat, vocalist Liam Edwards has palpable anger in his barely restrained yells of "so wave your flags across the nation" and fully lets loose with guttural roars against Ben Lucas' intensifying riffs and Jeff Bowyer's whirlwind bass, the track feeling like DOWNCAST are yelling "come and have a fucking go, then" Words: Julia Stark EIVØR - Verjugarðar / Walls EIVØR’s Verjugarðar / Walls is a beautiful, haunting lament that brings together her traditional dark folk signature sound and distorted electronics. This epic ballad explores the story of two people who have lost what once connected them, separated by walls of silence. Its central paradox, walls built to protect ourselves becoming the very obstacles that keep us apart, gives the track a deeply emotional power. EIVØR pointed out that the song took years to write before finally falling into place and that patience is felt in its carefully layered atmosphere and powerful vocal delivery. The track serves as a preview to the upcoming album Tungl, due October 16th. EIVØR will be celebrating the release with some unique shows in her native Faroe Islands as well as in Iceland in October before embarking on an extensive international tour. Words: Lysandre Pons Floor Jansen - Bring Me Silence FLOOR JANSEN steps in with a new solo direction in Bring Me Silence. Moving away from the vast symphonic metal landscapes associated with NIGHTWISH, the track leans into hard rock and heavy metal. It is driven by down-tuned guitars, thick instrumentation, hook heavy riffs and relentless energy. Her unmistakable voice soars above it all, combining power with vulnerability. The track is also very modern in its topic, as it captures the overwhelming noise and constant demands of our lives. It expresses a desperate need for silence, clarity and space to breathe, which we can all relate to. This also announces the singer’s upcoming solo album Hytress, coming out on 15 January 2027 via REVAMP Music/Warner Music. It is also confirmed to be followed by a tour in 2027 across Europe and South America. Words: Lysandre Pons Gallus - MK Des (Miss Out) Radio-friendly riffage begins Glasgow indie-punks GALLUS’ latest track, disarming enough to give Barry Dolan a bold, attention-stealing entrance with his rabble-rousing vocals. He longs for a Glasgow that no longer exists, for streets long since changed, and declares, against echoing backing vocals from Eamon Ewins that he “won't miss out” - not this time. The guitars are what really make this one stand out, constantly feeding us electrifying riffs that compose the track's skeleton. GALLUS will release their second full-length on September 25th, and we can rest assured it'll be packed to the brim with just as many livewire tunes. Words: Naomi Colliar Duff Holding Absence - Modern Life Is Lonely An intro stop-start of synths and electro-beats give way to Lucas Woodland's despairing plea "hold me close, don't leave me in the catacombs", his voice echoing into the ether on the title track from HOLDING ABSENCE's upcoming album Modern Life Is Lonely, embodying its name with desperate tones and regretful lyrics. The melancholy stays prevalent throughout as instruments begin to add weight to Woodland's sorrow, building for the second chorus with crisp beats and riffs, falling away for a juddering bridge of echoey synths before HOLDING ABSENCE crash back in like a thunderclap with tearing fry screams and earsplitting instruments, the emotion overwhelming itself into a burst of sound. Words: Julia Stark Lacrimas Profundere - Nevermore Nevermore swoops in with the melancholic and poetic flair the band has built its reputation on over the last years. With this new dark wave of gothic metal is a haunting melody with a chorus that demands to be sung along to. Its TYPE O NEGATIVE atmosphere is what inspired members to add to it when guitarist Oliver Nikols Schmid first brought its music forward. That’s when the catchy vocals brought it one step further, making it something all will be excited to take part in live. This last song to be written then becomes the second release, after O Silent Fear, ahead of the band’s upcoming album Lay Me Down O Silent Fear, expected to drop on September 25th. Words: Lysandre Pons Movements - Live by the Sword MOVEMENTS hit their fans this week with the 5th single from their upcoming album Happier Now. Live by the Sword is easily the most upbeat single yet, calling back to the sound of RUCKUS!. The song starts softly and melodic, but explodes into the chorus at the 1 minute mark and keeps that energy for the remainder of the track. The lyrics feel personal and passionate, listening makes it impossible to ignore the political state of the world right now, MOVEMENTS are sharing their feelings, aligning and relating to everyone suffering at the hands of current affairs. Happier Now will be released on September 4th and we can only expect more of this energy from MOVEMENTS in the future. Words: Kei Wells Ómoia - System Of Rights ÓMOIA unleash pure, unrestrained rage in their new single System Of Rights, deafening metalcore riffs and squeals warring to be heard over a clash of beats and Cerys Simmons powerfully relentless screams of "where the fuck are their rights?". Renowned for their inclusive lyrics and self-labelled as "Queer Emo Music", ÓMOIA show their clear horror at the injustice facing LGBTQ+ people and predominantly our Trans family having their rights stripped away and instead being placed in more danger, the track pointing out the blatant ignorance and incompetence of society that seems to think other people's anatomy is their business. Spoiler: it fucking isn't. Words: Julia Stark The Butcher Sisters - Crazy Frog We’re back to the future as THE BUTCHER SISTERS makes 2005 feel brand new. Known for making grotesque ridiculously fun, they put their own spin on Crazy Frog. Yes, the infamous AXEL F. party hit that’s bound to give everyone flashbacks. The band reshapes it with heavy guitars, aggressive vocals and pounding drums while also keeping instantly recognizable. While everything can quickly feel dark, the tracks injects a shot of serotonin. It is impossible to take it too seriously, and that is exactly the point. It is catchy, chaotic and hilarious. Words: Lysandre Pons SerpentS - Midnight Murderess Stunning, spooky, and sickeningly catchy; meet SERPENTS, slithering out of Manchester's thriving music scene. Their second single, Midnight Murderess is a fiery cocktail of Y2K-era riffage, stirred in with punchy lyrics that leave one hell of an aftertaste, sure to linger all day. If you've been looking for that missing piece of your early Halloween playlist, you've found it. But this isn't all that comes with the single release - SERPENTS will not let us know peace, dooming us forever to a life of earworm tracks burrowing into our brains and refusing to leave; the alt-rock quartet release their debut EP Let Loose & Join A Cult later this year, and we're dead excited to hear what they have in store. Words: Naomi Colliar Duff THROWN - critic Swedish Metalcore collective THROWN have stacked up another banger single this year with critic. Opening with echoing synths before dropping into an archetypal THROWN destructive beat. The track is a narrative on manufactured attempts to stay relevant through hate and online commentary, ripping into those that make their living through hate. Lead vocalist Marcus Lundqvist is unapologetically loud and vulgar with his town while the music stamps out any doubt on the band. It's hard to see how this band can ever top their last single and yet they continue to do it, every. single. time. Words: Amy Smyth Twin Atlantic - Supersweetness Ahead of getting ready to roll out on their headline tour, TWIN ATLANTIC bound back in with uplifting bop Supersweetness that focuses not just on someone they'd drive all night "to be by your side", but the heart palpitating feeling of having a new lease for life told through the words "I wanna live, not just survive". With upbeat synths and major chords lifting up Sam McTrusty's vocals, Supersweetness is as feel-good as its title suggests, a bridge of echoing vocals and strummed notes ringing out over the catchy rhythms before McTrusty leaps back in again for a final harmonised call out and prolonged vocals. Teasing fans ahead of their tour, it's easy to visualise the elated crescendo this track will no doubt trigger. Words: Julia Stark Wage War - Sweet Dreams WAGE WAR have released another single; despite only just releasing an EP in April, the band seem hungry for more. Sweet Dreams sonically pulls inspiration from all their eras they've travelled through in the past 10 years and brings together all their best parts. The choruses are powerful and metalcore driven with Cody Quinstad giving those clean melodic vocals, and then lead vocalist Briton Bond smashing through the verses bringing the distorted visceral scream. With a brand new tour ahead of them in early 2027, they'll be visiting a few UK cities in January so keep an eye out for when you could possibly hear this obliterating track live. Words: Amy Smyth Editor: Naomi Colliar Duff Photos: Various Artists

When asked how their day is going, there’s a weary pause as OLIVE VOX relive their 3am accommodation cancellation on the same day they’re due to drive 8 hours to kick off grunge legends THE TOADIES' tour. “We’re tired, but determined,” bassist Ben Reid summarises with a resolute smile. 'Determined' is certainly one way to explain how the band have catapulted upward over the last year, travelling across the US on non-stop tour support slots and resorting to sleeping in their van in a huge show of commitment. Touring is notoriously heinous no matter if you’re just starting out or a seasoned band, yet the quartet take it in their stride managing to establish early on their tight-knit friendship (vocalist Parker James and guitarist Caden Shea are brothers, but they come across as best friends) that sees them embrace the challenges of being on the road and shrug them off. Their collective friendship originated from James and Shea’s siblinghood and the childhood friendship between Shea and drummer Dayton Phillips, with Reid completing the unit through a Facebook ad. A potentially daunting task to join a trio with an established past, Reid slotted into the band as if they’d known each other their whole lives. As Phillips was still performing as the rhythm guitarist at the time and with the pressure of having to find a drummer that “we needed to get into our groove”, the group tasked Phillips with taking on the role of drummer instead and stay a quartet, like a proverbial Goldilocks figuring out what felt right. Learning through rehearsals, recordings, and live shows, Phillips took the basic knowledge he already had and has grown exponentially in skill, in turn shaping the alt-rock-punk music of OLIVE VOX. There are still rare moments he slips up in rehearsals that result in frustrated but never defeated screeches, moments that amuse the others. “I love it when he messes up, cos then I can make fun of him for it,” James jokes fondly as he pokes his friend. Their camaraderie is delightful to see when they’re taking a breather between shows, but is also evident in how they perform seamlessly on stage and how they interact with their audiences, fellow bands and touring crews. They treat every single show as if it’s the biggest night of their career, regardless of who the crowd is there to see and how many have shown up. “Obviously, it’s noticeable if you’re playing to 3,000 people than a small crowd, but we want everyone to be treated the same and have a great time,” says James. “We try to go in with no expectations and see where it goes,” adds Reid, the band then appreciatively discussing how this has paid off with returning gig-goers and a dedicated fanbase. “It’s so cool to go back, or near to, a place we’ve played before and people come up to us that we begin to recognise. It stops being an “oh that’s one of our fans, cool!”, and becomes more like seeing your friends at your shows,” says Reid, the others nodding emphatically at the sentiment. Fans are in for a memorable experience as they head out on the road for THE TOADIES immense US tour, hearing the latest tracks from upcoming EP Trace It Back - a labour of love and emotional outpouring, James admits their process can be labelled “Frankenstein-esque” and is already being utilised for their next round of unending ideas. “We have this white board that we’ll all add to,” he gestures in midair, “we all do the songwriting so we’ll write lyrics and then make it all work together. [For Trace It Back] we recorded five tracks, took some time, and then came back to record another five, then we had to decide what ones were our favourites.” Will the songs that didn’t make the cut see the light of day in the future? “We put that on our whiteboard too, if we didn’t get to use something, a riff or whatever, then we note it down so we can come back to it. It might not be the exact same, but it’ll inspire us. So yeah, it’s like Frankenstein how we put our ideas together and then actually record it, but everyone gets to try their idea.” Channelling the alt-rock bands of Orange County and their now-fixed home of Texas, OLIVE VOX are revitalising the fervour and mindset of this genre, whilst also paying homage to the hardcore scene that subtly feeds into their sound too. Already in awe of playing for alt-rock legends and seeing their fanbase grow, their dream of playing with TURNSTILE and GREEN DAY doesn’t feel like so much of a dream but more an attainable goal with each supporter they gain through their dynamic shows. As they think about their band bucket list, you can almost see the mental switch flick that their goals are almost within reach so soon into their career. Where do they hope to end up in the next few years on this trajectory? “Playing Warped Tour would be absolutely sick, or any stage like that,” James gets in first. “Touring has been great for us, but to play all these festival circuits would be something else,” Reid adds. “I’ll go one further,” tops Shea, “getting to play all across Europe!” With a chorus of yesses and animated, overlapping chatter of their future plans, we leave OLIVE VOX to a brief rest before they head off across the states, a bright hope that one day we’ll see them this side of the ocean. OLIVE VOX will release their debut EP Trace It Back on 18th September 2026 via Big Machine Rock. Words: Julia Stark Photos: Kylie Green With thanks to: Cosa Nostra PR and Olive Vox

The advent of this band was nearly a miracle. Whilst the 2000s saw bands stumbling in the dark, tripping over the weights of their own legacies and the cultural pitfalls of the new millennium, they thrived, going from strength to strength and climbing to lofty heights. Marrying southern sludge with elements of country, jazz, and a wicked groove, the band thundered onto the scene in 2004 and made many question was sludge even was. That band was, of course, MASTODON. They were Troy Sanders, Brann Dailor, Bill Kelliher, and Brent Hinds. Whilst having an incredible career after their first smash hit, the 2004 Moby Dick concept album Leviathan, from then on as they grew their career would be marked with tragedies. Few bands have had their careers so marred with loss yet have been so defined by it, and none have manage to cultivate that loss into something so distinct and irrevocably honest. Each of their albums deals with some manner of grief; 2009’s Crack the Skye was partially inspired by the loss of drummer Brann Dailor’s sister to suicide, 2011’s The Hunter was named for the loss of guitarist Brent Hinds’ brother, Brad, who died of a heart attack on a hunting trip, 2015’s Once More Round The Sun came after several losses of friends and family members, 2017’s Emperor Of Sand dealt with the bouts of cancer that had struck some members of the band’s families. The most recent offering, 2021’s Hushed and Grim came after the loss of their manager, Nick John. And in August 2025, guitarist Brent Hinds himself passed away after a motorcycle accident. It was a shocking and heartbreaking event that shook the metal world. Not only had Brent quit the band months prior (according to the band, it was by walking out during an intervention and never returning), but the relationship with his former bandmates had also become increasingly strained in the public eye. Any hope of reconciliation seemed painfully distant. Yet whatever difficulties surrounded his final months with MASTODON, they should not overshadow the immense mark Brent Hinds left on the band and on metal itself. He was a wild, wonderfully unpredictable free spirit, defined by an almost neolithic instinct and pioneering musicality that was entirely his own. It was impossible not to feel that something irreplaceable had been lost forever: that beautifully melodic guitar tone, that singular voice, and the restless creative determination behind them were gifts that could never be repeated. It was as if a quarter of MASTODON died that day, and the world would never see his like again. But Mastodon is not one man. It feels as if this new MASTODON record, Marrow Deep, then, is the band’s encomium to his spirit. Five years have passed since Hushed and Grim, which reportedly featured only two major contributions from Brent. Marrow Deep is the first album they have done completely without him. In the face of adversity, they continue on ever forward. How does it fare with the rest of their discography, and does the band still have the lightning that elevated them into the canon of metal? The opening number; Barbarians Blood, at once begins as a marriage of Emperor Of Sand and Hushed and Grim’s sound. The guest on this song is Ben Koller of CONVERGE, bandmate of Troy in Killer Be Killed. And Troy really channels his Killer Be Killed vocals here too, utilising his rough croon over the dissonant riffage and wicked skank and d-beats. It’s a forceful track, with Troy screaming at the end “ALL INSIDE I FEEL THE VOID/STARE AND FACE THE OBSTACLE/ITS SO DISGUSTING!” Balanced by Brann’s trademark melodic vocal that doesn’t venture into as much interesting territory as Troy’s. The next song continues the unrelenting pace, opening with a sample from the classic film River’s Edge of the character John (spoilers) confessing to the murder of his girlfriend, roaring “-AND I FELT SO FUCKING ALIVE!!” before exploding into the fray. MASTODON using a movie sample to open a song? What is this, Remission-era? Are they calling back to the opening of songs like Shadows That Move? We’re fully in the uncharted waters of this new period now. The titular Poisonous Weapons of this song appear to be the ugly realities of a band breakup. After a minute of carnage the mood shifts to introspective, and Brann delivers an impressive vocal performance before the little ditty of a solo begins, it is nowhere near the lofty heights of the solos of yore, but it’s something. The lyrics match the tumultuous relationship the band shared with Brent towards the end of his tenure; “Straight from the heavens/Destined to shine your light/Or deep from the bowels of hell/Sent to agonize” and “Calling your name/Holding a space/In our hearts for you” isn’t particularly subtle, especially the idea of holding space in “our” hearts. It makes for a real gut-wrenching listen. Your Ghost Again has already been released as a single to an interesting reception. The first song released by the band since Brent’s passing, it’s a prevalent reminder of the ghosts that hang heavy over this release. It was certainly solid enough to warrant faith from Mastodon fans, but others clearly could not reconcile the lack of their beloved Brent-isms, to them it was like coming home and finding all the furniture in the house gone. But guitarists Nick Johnston (who is looking more and more like a permanent addition) and Bill Kelliher seem to carry on the groove appropriately over Brann’s haunting vocal delivery of “I saw your ghost again!” Although the keyboard break and almost Dream Theater-esque breakdown may be meandering a little too far from the band’s centre. With scarcely time to breathe, Snakes for Dinner, the second single, also opens with a rager of an intro. And for a while it seems the production has rendered the album a little too homogenous for its own good. Until the heavenly vocal line hits, “WHEN YOU LEFT YOU TOOK THE MOON AND STARS!” The chorus is perhaps unintentionally a callback to the chorus of Bedazzled Fingernails. Featuring an appearance by QOTSA’s Josh Homme in his first appearance in a MASTODON song since Colony Of Birchmen, it’s yet another romp with a pugnacious temperament, one of many the album has to offer. It is certain that the keyboard solos will delight some, yet they stand in the place gigantic solos once stood, and instead come across like the substitute teacher walking into a classroom. Out Like A Lamb takes things down a notch, but admittedly not by much. This is a Brann-heavy song, with his soft vocal riding atop a bouncy rhythm whilst Troy is relegated to vocal and bridge duties. This could be a sleeper favourite for some on this record; with a strong vocal hook in the verse and the chorus, it comes across as one of the most mournful songs yet – filled to the brim with emotion. And the guitar solo here is a welcome return to some of the more spacey tones of Once More Round The Sun. A real solid entry on the album, if only it was less busy and the congested production gave some of the performances breathing room. In The Ruins is the third single, and is, surprisingly, the eye of the album’s storm; mellow, subdued, and right in the centre. The irony is that the subject matter is a hurricane, and details the experience Troy had with Hurricane Helene in 2024, but once again, it is only used as a frame to address that great ghost; “The shelled house where you grew is now gone/What was here is filled with dread/Ever changing form”, haunting stuff. It is a decent song, but Troy’s vocals don’t seem to carry the song with grace, and with the unusual production it leaves it sounding more akin to a KILLER BE KILLED song than MASTODON in places. They’re Coming For You starts with a long instrumental that’s heavy on syncopation and tapping. And the remainder of the track continues the back-and-forth that Brann and Troy have been doing for the last half an hour. In some of their other albums we would have reached a Colony Of Birchmen or a Feast Your Eyes by now, but it’s nowhere to be found here, and it all starts to feel a bit bromidic. That’s not to say this is a bad song, it’s a serviceable one, but it doesn’t have the Masto-punch that so defined their other releases. We have traded “Run with death!” with Troy yelling “The jackal!” again and again. Yay. By Golden Spires there is the want - no - a need for this album to pick up again. There is a pretty crushing double bass break with this number, but once again it’s a quite pedestrian cut, barely saved by another brilliant guitar solo toward the end. An ongoing issue with this album is the vocal being buried, Troy’s “free yourself to live!” chant should be front and centre, but instead feels as if it’s drowning within the stormy sea of their own instrumental. Oddly Moth and Bone starts with something of a 70s prog keyboard jam, like something you’d hear on Yes’s 90125 or King Crimson’s Beat, before it breaks out into an... acoustic guitar? This is a welcome change. And Troy is singing in a different register this time? Even more brilliant! It is different one for Mastodon, sounding a lot like the multitude of new prog metal acts that have entered the fray with their shoegaze-y production. Despite all of this, it’s still not a particularly memorable track, and you only realise you’re listening to MASTODON again once those unmistakable crunchy guitars rear their heads. It seems things are getting back on track with A Vampire’s Demeanor, the highlights being the guest vocals from Converge’s NATE NEWTON and LAMB OF GOD’s Randy Blythe coming in to scream their hearts out at select intervals. The haunting groove around three and a half minutes in that leads into the solo is a real album highlight. The problem with this song, though, is that before you know it, it’s already over. It also features an extremely on-the-nose line; “Old guard is gone/A new day rising”. It certainly seems that way. With a crushing bass solo from none other than Geezer Butler of BLACK SABBATH, The Vanishing wears the influence on its sleeve. The vocals for this song are in an identical style to Planet Caravan, likely achieved through the same means, and are a wonderfully classy choice. Even the keyboard solo has taken a swig of whatever 70s prog concoction the other instruments are drinking from. It’s a real grab-bag, even Joe Duplantier of GOJIRA shows up at one point. It makes for an interesting listen, and is the most adventurous this band gets on this album by a wide margin. The final song is named The Three Fates and is nearly eight minutes long. The lyrics appear to be about cheating fate, and are punctuated by the presence of the schizophrenic Foghorn Leghorn himself, Mr Scorpio - Neil Fallon of CLUTCH, delivering a sermon raving about “death and doom”. It’s fantastic. It then goes into a dual keyboard/guitar solo that feels like what would play as you sit in a fancy ice bar before the song claws its way back up to MASTODON territory. Hearts Alive and The Last Baron this is not, but this is a new era now, and things ain’t quite what they used to be. And with a staccato heave, the entire affair is over. Marrow Deep makes for a confounding listen. There are moments of triumph here as well as moments of deep ennui. It is paradoxical to hear a band that should be at their most adventurous have entire tracks not presenting anything particularly interesting. We can accept that the Mastodon of yester-year is gone, but it feels like the ghosts still haunt them, a presence still looming large over their output. They have channelled their grief and sorrow well, but the roots remain. The album is still solid, something where you can sit back and contemplate the weight of your own existence, but it won’t beat out some of its older brethren. Even albums like The Hunter are a more comprehensive listening experience, with less homogeneity and surplus memorable moments. The long, epic compositions are intact, but the punchiness, groovy and memorable riffs, and big, bold attitude that defined them in their younger years only rear their head occasionally. They are grieving once more, and the music is cut through with a palpable pain. If they are to continue, they have to keep moving forward, experimenting but remaining true to their original vision. To quote Henry David-Thoreau; “I did not wish to live what was not life, living is so dear. I wanted to live deep and suck out all the marrow of life.” Perhaps that is MASTODON’s path forward, to continue to find life within death, and from that darkness bring forth the light of their new era in all of its splendor. For now, they’re still getting their bearings. Score: 7/10 Marrow Deep will be released on 28th August 2026 via Loma Vista Recordings. Words: Kiarash Golshani Photos: William Lacalmontie