Fresh off their appearance at Bloodstock Festival, CASTLE RAT swapped gigantic stages for the smaller, sold out 1865. From the moment the doors opened the anticipation seemed to be building with an almost full crowd from the get-go ready for a theatrical night of music ahead of them. Opening the show were Birmingham based Meatdripper. Bringing the perfect fusion of sludge and doom rock, this band seemed other-worldly and truly set the scene for the night ahead. Han Al-Shemerri’s vocals entranced audiences pushing experimental to the limits. You felt like you had heard something altogether unique and having only been on the scene for two years, it felt like audience members were being introduced to a band that could well and truly rock the scene in coming years. Finishing their set with debut single Homegrown to rapturous applause, Meatdripper solidified their standing in Brummy metal alongside the greats. Next up, the incredibly unique BATTLESNAKE from Australia. Having also just finished at Bloodstock Festival, they swapped the main stage for Southampton. Blending together progressive rock and metal with wizardry and fantasy, BATTLESNAKE are altogether something truly different in the most brilliant of ways. Dressed in robes, the band entered the stage to medieval chanting setting the scene perfectly. Exploding into I Killed Satan, vocalist Sam Frank is nothing short of enigmatic and engaging as he bounds around the stage delivering nothing short of ferocious energy. The rest of the band are similarly fuelled bringing a cohesiveness to the chaos with winged keytarist Billy O’Key notably almost taking over the small stage with his costuming. By the time they reached mid set and played the song The Battlesnake, the band had the audience hooked and following every command and request in a humorous cult-like feel as Frank steps to the barrier enticing a moshpit. By the end of the set and closing to the song Let There Be Rock by AC/DC, half of the band members had shed their robes to reveal budgie smugglers as they climb atop shoulders and are carried around the venue epitomising the chaos of the band. BATTLESNAKE could easily have headlined a venue like this and their phenomenally engaging and theatrical performance showed the audience that they are about to become huge. The fun didn't end there and the audience were visibly bouncing in anticipation waiting for headliners CASTLE RAT. Bringing doom metal and fantasy realness, this New York City band took to the stage in a shroud of mystery before swiftly opening with Dagger Dragger to a packed audience. CASTLE RAT don’t hold back with the theatrics, with each member a character within their world. The set itself played out like a stage show, with different acts, speeches, and dramatic elements running throughout. Vocalist Riley Pinkerton inhabits the role of the Rat Queen narrating the lore around the band and adding to the story throughout the set, bringing the audience in to feel like they are part of the story too. Musically, nothing is taken away from their theatrical side and the doom metal runs through each song. Wolf I and Dragon hit hard and throughout the night mosh pits erupt with a single gesture of a circle by Pinkerton. Bassist Ronnie Lanzilotta steps into the role of the Plague Doctor and looms over the audience with each note he plays, whilst Franco Vittore plays the role of The Count, pulling vampiresque faces at the audience whilst delivering mind blowing riffs. By the time Serpent rolled around, an on stage battle ensued with our Rat Queen battling the Rat Reaperess resulting in a blood bath. With an encore of Cry For Me and Siren, CASTLE RAT showed the audience both versatility and showmanship that normally comes from decades of performing. Blending both traditional metal with something altogether fresh and unique, this band are going places and are set for bigger stages and even more in the way of theatrics. Words and photos: Laura Davies

Did you catch the eclipse tonight? The brief moment the moon passed in front of the sun, casting a shadow on its glaringly-bright surface. Rest assured, unlike that fleeting glimpse, these singles aren't going anywhere, and they certainly aren't about to pass us by. Here's what we've been listening to lately: Track of the Week: SiM - Freeze Me Up SiM returns with Freeze Me Up, delivering another explosive dose of their trademark mixture of metal, punk, reggae and electronic. Released as the opening theme for the upcoming anime Black Torch, the track also serves as a preview of their seventh album Hooman After All, due September 2nd via UNFD. The song hits hard from the start, combining aggressive guitars and powerful screams with the rhythmic bounce that has always made SiM stand out. Vocals shift effortlessly between raw intensity and melodic parts, laced together with a smooth production. There’s a hectic but empowering energy to Freeze Me Up that makes it feel built for both anime opening credits and chaotic festival crowds. Words: Lysandre Pons Accept - Save Us (ft. Tobias Forge) There’s something wonderfully unexpected about hearing Tobias Forge step into ACCEPT’s world on Save Us. Originally released on 1980’s I’m A Rebel, the track gets a new life for Teutonic Titans 1976-2026, celebrating the band’s 50th anniversary. Forge reportedly told Wolf Hoffmann that Save Us was his song from them, making this collaboration feel more personal. The classic heavy metal riffing remains intact, but the new production gives the guitars more punch and definition. It’s a surprisingly natural meeting of generations and an excellent reminder that great sounds don’t age. Words: Lysandre Pons Blind Channel - Diana / No Encores In A Swan Song BLIND CHANNEL makes a surprising return with Niko Moilanen handling the lead vocals on Diana / No Encores In A Swan Song following co-vocalist Joel Hokka’s departure in 2025. They come back with a bang, Diana immediately embracing a heavier metalcore direction (with a WHILE SHE SLEEPS like edge), proving that the band is ready to reinvent themselves. Beautiful imagery and an irresistibly catchy chorus hint at a huge live potential while the seamless switch to echoing, clean vocals adds another dimension that connects the listener into the second song. No Encores In A Swan Song is faster, bringing an unexpected electronic undertone without sacrificing the screams or clear singing. Equally catchy and full of surprises, it complements Diana perfectly. This double single feels like a confident reset ahead of the release of their upcoming album Painstream on October 30th. BLIND CHANNEL is back, stronger, heavier, and with greater range than ever. Words: Lysandre Pons Bugeye - This Is What I Want This Is What I Want doesn’t waste time explaining itself, it demands attention. BUGEYE turns a sharp social critique into something bright, rhythmic and genuinely fun. This becomes a tool for communication, making an upbeat disco-punk pulse to deliver lyrics about control, gender expectations and refusing to be treated like a product. The contrast is what makes the song so effective, the music invites you to dance while the words challenge everything underneath that surface. The bass and drums keep the track constantly moving, with synths adding a glossy electronic layer around the raw guitar work. Angela Martin’s vocals have plenty of bite, switching between playful and more confrontational when the chorus lands. Taken from The Shape Of Things, released last May, the track reflects BUGEYE’s approach to the album: live energy colliding with electronic textures to capture the chaos and contradictions of modern life. Words: Lysandre Pons Chloe Star - games Distortion-heavy guitars, a pitter-patter drumbeat, and sardonic, dead-girl vocals collide in CHLOE STAR's latest single games. It's messy, playful, and a total brat anthem. This alt-pop singer isn't afraid to show some ego, teasingly whispering "baby, I'm good at games" throughout the chorus. She delves into the core of situationships, connections that neither side really wants to define, and how they devolve into just what she sings about: playing games. Having just 2024's the bed i lie in to her name as an EP release and a steady stream of singles to follow: are we due a debut album? Words: Naomi Colliar Duff Dead Poet Society - Cold Distorted and darker, Cold sees DEAD POET SOCIETY push their alternative rock sound into a more atmospheric territory. The track carries a tense and almost hypnotic energy, balancing restrained verses with explosive moments that give the song a real emotional weight. Nick Cogan’s vocals shift effortlessly between vulnerability and intensity, adding to the feeling of isolation running through the track. The instrumentation is equally effective, moving from subtle textures to heavier, distorted passages without ever feeling predictable. There’s something raw and uneasy about Cold which is exactly what makes it so captivating. Rather than relying on a straightforward formula, DEAD POET SOCIETY builds the song around contrast, creating something that feels both intimate and wide open. Words: Lysandre Pons Eleine - Watch As We Rise There’s something almost regal about Watch As We Rise. ELEINE doesn't simply go for heaviness; they build a dramatic wall of sound where orchestration, guitars and pounding percussion all work together to create a sense of momentum. Madeleine Liljestam's voice moves across the layers, from controlled and delicate to commanding; it brings the song’s uplifting character. The track is a strong continuation of ELEINE’s 2026 run of singles, following Empire Of Lies and We March, with the band also preparing for their European and UK headlining tour. Words: Lysandre Pons Frontierer - Ultraviolet Parasite The angular and abrasive tones of FRONTIERER’s devastating approach to sonic pulverisation are ringing out once more. Ultraviolet Parasite will instantly satisfy fans of THE DILLINGER ESCAPE PLAN and THE CALLOUS DAOBOYS with its gigantic energy and searing guitar tone, as well as the crazy structure and phenomenal instrumentation. Few things are as enjoyable as a guitar that sounds like it could kill you - for a lesson on the subject, check out this track and turn it up to full. Words: Jasmine Longhurst Miss May I - Hand Me A Halo Hand Me A Halo feels like MISS MAY I is charging straight back into their roots but with a sharper, more focused production. The guitars are aggressive and gritty, yet it’s Jerod Boyd's drumming that really drives the song forward. The punchy kick work, tight fills and shifting rhythms give the verses a relentless momentum before the track opens up into a huge, memorable chorus. Levi Benton sounds particularly ferocious here, matching the intensity of the instrumentation while the melodic moments give the song some breathing room. Lyrically, the track deals with losing your sense of self and confronting intrusive thoughts, making it an even harder hit. This stands as the third preview of No Place For Me, their upcoming eighth album, arriving October 2nd. Words: Lysandre Pons moksha - Three Rivers Rising from the ashes of the deeply sad dissolution of ITHACA comes their former guitarist Sam Chetan-Walsh’s new project MOKSHA. The eight-piece are best described as a spiritual art-rock collective, taking influence from sounds like Midwest Emo and classic folk music. Debut single Three Rivers is our first glimpse into the world this group inhabits, and it’s a world of deep understanding and acceptance. The song asks if everything is temporary - and if so, what changes because of this? Fans of deeply satisfying emotional resonance, euphoric ecstasy, and profound musical development will be entranced by this song and band, who have their second set ever at this year’s ArcTanGent festival next week. Words: Jasmine Longhurst Nothing But Thieves - Baby Kool (Evelyn) Baby Kool (Evelyn) allows NOTHING BUT THIEVES to embrace a lighter, fun, and more playful side of their sound. Released as the latest preview of their upcoming album Stray Dogs, out September 25th, it announces a new unpredictable era for the band. The song is instantly catchy, with a groovy rhythm, upbeat energy and a chorus that is almost impossible to shake off. It carries hints of pop rock and even a touch of GREEN DAY while Conor Mason’s distinctive vocals remain at the centre. It may be a lighter note following their darker material, but that willingness to experiment is exactly what makes it work and so infectious. Words: Lysandre Pons Sigh - Unputenpu (ft. Mikael Åkerfeldt) Japanese black metal legends SIGH are back and as epic as they’ve ever been on Unputenpu. The music harks back to the ‘80s with a bombastic and melodic guitar line, but still retains a heaviness that only black metal can provide. The Japanese influence is also as overt as its ever been, but that’s not the only point of interest - OPETH’s iconic vocalist Mikael Åkerfeldt has been enlisted to provide his trademark ominous tones and, of course, smashes it as only he can. For a surprisingly upbeat and fun take of a traditionally downcast genre, look no further. Words: Jasmine Longhurst Vicious Rain - Intertwined Intertwined is a different approach for VICIOUS RAIN. Instead of going for an all-out metalcore assault, the Swiss band chooses restraint, allowing the track to breathe and reveal a more vulnerable side to their sound. The drums are particularly effective in controlling that movement. Instead of simply providing speed, the percussion leaves deliberate gaps and uses accents to make each transition feel heavier. The cleaner vocals sit beautifully against this atmospheric instrumentation, while the guitars gradually build a sense of tension without ever needing to explode. As the closing track on The Anatomy of Surviving, released in March 2026 through Arising Empire, it feels deliberately placed. After an album packed with aggression, grooves and crushing moments, Intertwined provides a softer landing. Words: Lysandre Pons Editor: Naomi Colliar Duff Photos: Various Artists

In the centre of London, up a staircase below a neon sign blazing the venue’s name into the sky, is Scala - and for one night only, in the height of summer, it became the home of the most uplifting prog band in music, PROTEST THE HERO. With two bands opening for them, there were mere hours between arriving and the time to finally witness their glorious live show - but first, the supports. OBEYER took to the stage first - with a sound that landed somewhere in the djent/deathcore sphere, they did a great job warming things up. Clearly a band that knows a thing or two about live performances, their pedigree showed and they were as tight as any band you’d expect to see headlining. A particular highlight was Nothing Exists Beyond Me, bringing in some of their most pulverising live moments whilst still keeping a real groove laid down the entire time. Up next came Out Of Rage cover alumni PUPIL SLICER, a favourite of the magazine’s and scene’s alike. Their ability to go between multiple vastly differing strains of metalcore beggars belief, and when on good form like they were at this show it’s truly awe-inspiring. With grindy sounds like those on Wounds Upon My Skin - one of the gnarliest riffs there is period - as well as ethereal metalcore, industrial chugs, and incredible technicality to be found across every single instrument and member of the band, they set the stage fantastically for the legendary headline act. Finally, it was the turn of the Canadians. PROTEST THE HERO kickstarted their set with Mouthpiece, the electric opener off of excellent new album Within, and didn’t let up for one moment from there until finish. The iconic Bloodmeat, in all its mathy glory, was like some hypnotic pendulum, and debut album favourite Blindfolds Aside finished the main set with a brute-force punk feel and a feel-good factor for the whole room. The crowd was, predictably, going wild for the duration - it’s been years since their last performances on British soil, and who knows when the next shows will be? So everyone in attendance made the absolute most of the opportunity to engage most joyously in losing all semblance of sense. It was only upon leaving that the monumental nature of it truly appeared to hit the majority of the crowd. Seeing a band play such a strong set, and knowing that they may not be back for another decade or so, made the experience feel all the rarer and more special. But - if any of them are reading - please don’t take that long, we would very much like to see you back here again a hell of a lot sooner than the last wait! Words: Jasmine Longhurst Photos: Atoosa Salamat

After a monumental main stage show at Bloodstock Festival, BATTLESNAKE journeyed back to London the next day for a show that pulled from all elements of rock in its lineup to make one epic show you don’t often get Downstairs At The Dome; here’s how that sweaty gig went down. Opening up the night saw Sydney natives LIQUID ZOO set the bar for the energy on the stage. Their high-voltage Garage Rock was really astonishing, though taking from many other genres, they had a really refined sound that really made you think, If THE CHATS were Australia’s answer to SEX PISTOLS, then these guys are the country’s answer to IGGY POP. The way they dressed, the way they carried themselves, the riffs, the guitar tones were really taking it back to that 70s glam punk that blew up in the US. This band are an epic revival of that sound that bring a new perspective and feel to it all; serious amounts of fun and non-stop action with these guys. Next up were MEATDRIPPER, these guys took it to the complete other end of the spectrum and shifting the tone with a Doom/Sludge fusion, with not many vocals to their songs, this band seemed to be set out on taking you through a vast soundscape of heavy riffs and atmospheric instrumentals. When the vocals were present, they had this cool witchy vibe that made the songs sound like a dark medieval ballad that only added to that atmosphere. They brought the energy back down in the best way possible, opting for feeling rather than energy and it definitely worked; thought that didn’t stop a moshpit erupting for the last song. After that, Out Of Rage Favourites KNIVES, blessed the stage and made their 30 minute set absolutely count, as is always the way with this band, kicking things immediately into overdrive with their song The Dagger, A pit opened up as soon as the first notes started playing as the KNIVES fans in the audience wasted no time getting to work. The unmatched energy of this band coupled with the devotion of the fans made for quite the spectacle during this set as there was even some stage diving and some crowd killing and these guys were determined to make this metal show a hardcore one and that they did as the energy did not stop there… …For the mighty BATTLESNAKE graced the stage with their sermon before unleashing their newest hit I Killed Satan unto the London crowd. From the get go, sweat dripped the ceiling as the crowd erupted and bodies started flying, to the point where the one security guard couldn’t stop all the crowd surfing and stage diving. It’s rare to see such unadulterated energy in such a small venue, the band crowded that small stage but it did not stop them from jumping out into the crowd and using every inch of the stage to give a great intimate show. And what a setlist they had, encompassing all the fan favourites into one show, from Murder Machine to Pterodactyl Firehawk, they made sure this audience experienced the pure metal of BATTLESNAKE, with such a unique comedy fantasy-inspired style of metal, it’s hard not to love this band and their awesome, silly antics; another great and fun show in this bands catalogue. Words and Photos: Ben Blissett

There are albums that sit comfortably within a genre and then some that seem determined to dismantle the very idea of genre altogether. Audiodrome, the latest offering from EMPIRES IN ORBIT, belongs firmly in the latter. Dark, immersive, and constantly shifting, the opus pulls influences from indie pop, black metal, hip hop, ambient and industrial music, among others. They however make a difficult, and sometimes improbable, combination of sounds surprisingly natural and turn it into a cohesive piece. Founded in 2015 by multi-instrumentalist Gary Mann, EMPIRES IN ORBIT has spent the past decade carving out a distinctive space for themselves with six albums, more than three million plays, numerous collaborations, film placements and ballet soundtracks. Audiodrome however marks the beginning of a new chapter for the band, with German vocalist Fe Malefiz joining as a permanent member. Her performance is one of the album's defining elements, at times commanding and theatrical, at others fragile, whispered, or genuinely unsettling. The opening track The New Flesh immediately establishes Audiodrome as an atmospheric experience. Industrial textures surround the central vocal performance, while layers of whispers seem to emerge from the background and dissolve back into the mix. It feels immersive rather than simply electronic. Before we can fully process what we just listened to, Cat Eyes shifts gears into a cyber goth territory that has a sci-fi and soundtrack quality to it, with a catchy hip hop bassline building a solid foundation. It feels like one of the album's most accessible and inclusive tracks which could bring in a wide spectrum of listeners without sacrificing its experimental value. With Siren's Call, the band leans heavily into a hypnotic atmosphere worthy of its title. Water and nature sounds surround the piece while electro beats and huge echoes give MALEFIZ's voice an enormous spatial power. The band keeps on surprising when around three quarters of the way through, an unexpected guitar solo arrives with a distinctly heavy metal flair. Deja Vu offers a softer contrast, almost folk-like. It feels shorter than it is as time becomes blurry listening to it. Smoke Screen however snaps us back immediately and brings the black metal influences forward, notably through the back vocals. Combined with the atmospheric instrumentation, the song takes on an almost ritualistic, incantatory aspect. The electronics build suspense and anticipation before the final minute delivers another surprise with the screaming vocals. The band reminds us to expect the unexpected. The middle stretch of the album feels somewhat less distinctive. Monarch overlaps with the previous song while Before I Wake Up! occupies a similar space as well. These tracks are enjoyable but melt a bit together, leaving less of an impression compared to the album's more adventurous moments. Things pick up again with Mother!, where the industrial side has space to fully develop. A distinct, addictive beat gives the track a spark that feels made for a crowd and would definitely be a moment to watch out for live. It is followed by Porcelain, which takes that beat and transforms it into something almost witchy. The result feels like a spell being cast, fragile yet powerful, eerie yet strangely inviting. What's Yet to Come is one of the album's highlights. It takes the listener aback with its powerful drums which are unexpectedly prominent, bringing the instrumentation forward compared to the other tracks. The arrangement gradually gains power, eventually transforming into a full-blown anthem as screams join the mix. It's a fitting reminder of just how much range EMPIRES IN ORBIT can pack into a single record. The Hardest Part is also the last one, providing a softer landing. After the album's industrial machinery, metal outbursts and genre hopping experimentation, the closing track circles back towards the atmospheric and electronic elements that have been present throughout. Rather than ending with one final grand gesture, it allows the album to settle back into its shadows. What makes Audiodrome work is not that every experiment lands with equal force, but that it commits fully to the idea of experimentation and is unafraid. It creates its biggest strengths by having contrasting elements collide: industrial textures meeting gothic vocals, electronic beats meeting black metal aggression, atmospheric soundscapes suddenly giving way to an unexpected guitar or scream. There is a constant feeling that something unfamiliar could emerge around the next corner. This opus is daring, with a dark and cinematic vibe that will take the audience through an unpredictable journey upon its release on August 14th. Score: 6/10 Audiodrome will be released on 14th August 2026. Words: Lysandre Pons Photos: Josh Waldby

A collision of darkness and creation, Moonwake turns personal devastation into expansive Cascadian metal. The project ECHOES OF THEIA takes its conceptual foundation from the giant impact hypothesis that roughly 4.5 billion years ago, a Mars-sized body collided with Earth, the resulting debris eventually forming the Moon. Scientists have even investigated possible chemical “echoes” of primordial Earth that may have survived that cataclysm deep within the planet. On Moonwake, Washington multi-instrumentalist Greg Dunbar takes that cosmic idea and turns it inwards. The album is about destruction and reconstruction on a profoundly human scale: self-annihilation, addiction, grief, mental health struggles, reflection, and ultimately the difficult work of healing. If Theia represents a collision that destroyed one configuration of matter while creating something new, the opus asks a similar question of the human experience: What can emerge from a wreckage? The answer is an ambitious and remarkably cohesive eight-track album. Dunbar composed, performed, recorded, and mixed the bulk of Moonwake himself in his home studio, with guest vocalists from Olympia contributing to the record. The instrumentation stretches well beyond the conventional metal palette, incorporating orchestral, folk and electronic elements. The resulting soundscape is something that can be brutally heavy one moment and almost weightless the next. It continually moves between tranquillity and tempest, atmosphere and impact, melody and dissonance. The Cascadian metal influence is unmistakable but Dunbar doesn’t reproduce a familiar formula. He builds enormous, layered soundscapes around the songs, allowing the darkness to breathe. The album begins with Horizonless, an eerie instrumental that feels less like entering another environment. There is a sense of witnessing creation from a distance, something vast beginning to take shape in the darkness. It establishes the album's cosmic and cinematic character before the first real impact arrives with That Sinking Feeling. Distorted guitars immediately make the album feel heavier and more frantic. The instrumentation is hectic while guttural, torn vocals communicate desperation with little restraint. As the track develops, clear singing begins to infiltrate the brutality, creating a fascinating tension between collapse and the possibility of recovery. Then, roughly three-quarters of the way through, everything suddenly stops when a piano appears. For a moment, the listener finds stillness in the middle of the storm. It is one of the album's most effective moments because the near silence feels earned. When the vocals and heavier instrumentation come crashing back in, the impact is considerably greater. The song becomes a musical representation of holding onto hope by one's fingertips while everything else threatens to disappear. Gravity shifts the emotional terrain again. An acoustic opening and distant, dreamlike voices create an almost weightless atmosphere before the guitars descend into a languished doom heaviness. There is an exhaustion to the track, a sensation of trying to move forward through quicksand while being unable to see a clear path. The layered backing vocals are particularly effective, hovering around the main singing track like memories or hallucinations, reinforcing the dreamlike quality and giving the song the feeling of chasing something that may not actually be within reach. There are moments that evoke the oppressive melancholy of bands such as SWALLOW THE SUN while maintaining its own identity through its broad atmospheric palette. From there, Deluge of Fire pushes further towards death metal. The rhythms become more aggressive and the vocals more ferocious, but the doom influence remains as an underlying thread. It is an impressive example of how naturally Dunbar moves between genres without making the album feel fragmented. The guitar work is especially evocative: rapid, bullet-like, creating the sensation of being caught underneath the very deluge described by the title. It is overwhelming without being directionless, and the contrast with the previous track makes the escalation feel deliberate. Then comes Depth Gauge, the album's longest composition at 8:29 and arguably one of its most ambitious. The guitars sound almost tortured, as if the strings themselves are screaming while the vocals are chant-like. The echoed back vocals strengthen the impression that we've stumbled into some kind of ritual or invocation. Whitecap Sky introduces more noticeable electronic undertones while maintaining the album's emotional weight. Its pacing suggests effort: not triumph, but the exhausting act of continuing to fight. There is no easy catharsis here. Recovery is presented as work, and sometimes simply continuing forward is the victory. The Brush of Fingers offers one of the album's most surprisingly catchy instrumentals without compromising the darkness. Clear and growled vocals seem to answer one another. That interplay becomes another expression of Moonwake's central tension: opposing forces that don't necessarily need to destroy each other. Sometimes they coexist. Finally, we reach Nocturne of Storm which brings the journey full circle. Its instrumental opening echoes the beginning of the album, but a wind chime now enters the picture, subtly changing the atmosphere. It feels like an announcement: new winds are coming. The track then grows heavier, incorporating elements heard throughout the record like speed, ritualistic vocals, echoes and electronic textures. It functions as an effective summary of the album but also stands on its own. It carries a sense of transformation that is deeply meaningful taking into account the mental health, addiction and grief topics approached in the release. The creation of this high-concept album is also deeply documented and made available to the audience, letting them in fully. The 127 pages digital booklet Into The Maelstrom, provides production information for every song alongside Dunbar's personal context for the music and lyrics as well as photographs taken during the recording sessions. All combined makes the album a thorough thinking, deliberate and polished release. The production gives its many layers enough room to coexist rather than compete with one another. Moonwake’s greatest strength is the way its musical contrasts mirror its subject matter where beauty emerges from ugliness, calm exists inside chaos, and melody fights its way through dissonance. It leaves us with a much more intimate question: what do we build from the pieces of ourselves that survive? Take the time to look within by catching this release on August 14th. Score: 8/10 Moonwake will be released on 14th August 2026. Words: Lysandre Pons Photos: Matt Baide

There is something immediately different about a gig when the support bands are already playing as the doors open. At Manchester Club Academy, the room may have been relatively empty at the start of the evening, but the energy certainly was not. The fans who had made it in early were clearly the die-hards, and every band that followed managed to build on that atmosphere. CUT THROAT were already on stage when the evening got underway, bringing a theatrical and entertaining performance to a room that was still filling up. It would have been easy for the lack of numbers to affect their energy, but they refused to let it. Instead, they played as though the room was already packed. One fan in particular clearly knew every word, and the vocalist made a point of singing directly to them while standing on the barrier. It was a small moment, but one that summed up the relationship between these bands and the people who had come out to see them. Even before the headliners had appeared, there was already a genuine connection between stage and crowd. As more people began to arrive, STRIKING 13 took things up another level. Their Apollo 13-inspired introduction immediately gave the set a sense of occasion, before the first mosh pit appeared and the room began to properly wake up. The band's interaction with the crowd had already started before the first song. During soundcheck and while setting up the stage, the members were chatting and engaging with fans, creating a welcoming atmosphere before they had even begun performing. The drummer and vocalist were particular standouts once the set started, while the guitarist brought plenty of energy of their own. The whole band seemed incapable of staying in one place. They swapped positions, climbed around the amps and constantly moved across the limited stage space, creating an entertaining kind of chaos. Even throwing T-shirts into the crowd became part of the show, with the band clearly having as much fun as the audience. The bassist playing one-handed was another impressive touch, adding yet another layer to a performance that never seemed to run out of energy. What made STRIKING 13 particularly memorable, however, was how much time they spent interacting with the people in front of them. The connection never disappeared between songs, and even after their set they could be found taking photographs with fans. It was the kind of interaction that makes a smaller show feel personal. If STRIKING 13 had brought the room to life, SWORN ENEMY appeared determined to tear it apart. The mosh pit that developed was enormous, with the energy in the room immediately reaching another level. The vocalist spent much of the set in the photography pit, putting them almost directly amongst the audience and allowing for an extraordinary amount of interaction. Rather than creating distance between the band and the crowd, the performance completely blurred that line. Fans were moving constantly, the band were feeding off it, and the entire room seemed to be caught up in the same momentum. It was the kind of performance that could easily have belonged to a headline slot. SWORN ENEMY were clearly enjoying themselves, the crowd were completely invested, and by this point there was very little left for the headliners to prove. Then came BIOHAZARD. The room was now packed, and the difference between the relatively empty venue at the beginning of the evening and what stood in front of the stage was striking. The band walked out to the Rocky theme, immediately setting the tone for what followed. Opening with Urban Discipline, BIOHAZARD wasted no time reminding everyone exactly why they were here. The mosh pits were huge, although slightly less relentless than those during SWORN ENEMY, and the energy across the room was still incredible. The guitarist repeatedly made their way into the crowd, at one point attempting to crowdsurf before being unable to make it across the room. It was still one of those moments that made the distance between stage and audience feel almost irrelevant. One of the most impressive things about the night, however, was how respectful the crowd remained despite the sheer amount of chaos. People encouraged each other into the pits, stopped to help anyone who fell, and made sure others were back on their feet before the madness continued. That attitude was reflected by the band themselves. At one point, the guitarist paused to pick up a fan's glasses from the photography pit. In the middle of everything happening around them, it was a small but brilliant reminder that the chaos had its own rules. The set continued through Shades Of Grey, Fight To Be Free and Wrong Side Of The Tracks, keeping the room moving before Black and White And Red All Over brought another huge response. The crowd clearly knew what they had come to hear, with lyrics being thrown back towards the stage at full volume. Eyes On Six and Five Blocks To The Subway kept the momentum going, but it was Fuck The System that provided one of the most memorable moments of the night. The band's declaration of “Fuck the government” was met with an immediate response from the floor, including one particularly amusing shout of “Better than where you're from.” It was exactly the sort of interaction that only really works in a packed Manchester room, and the crowd were clearly more than happy to play along. By this point, the distinction between performer and audience had almost completely disappeared. A BAD RELIGION cover of We’re Only Gonna Die offered another moment of recognition before Punishment brought the room straight back into the thick of it. Ending with Hold My Own, the set felt less like a history lesson and more like a demonstration that the band's energy has not disappeared with time. What made the evening work so well was not simply the size of the pits or the number of people moving. It was the community running underneath it all. From CUT THROAT playing to a handful of dedicated fans as if the room were full, to STRIKING 13 interacting with fans throughout their setup and performance, to SWORN ENEMY performing almost entirely within touching distance of the crowd, every band contributed to the same sense of connection. BIOHAZARD ultimately had the difficult job of closing a night where the support had already set the bar extremely high. SWORN ENEMY could easily have passed for headliners, and STRIKING 13 had already turned an initially quiet room into a lively one. Yet the headliners proved exactly why they were the ones closing the night. The crowd were fully invested, the pits were enormous, and the band were willing to throw themselves directly into the chaos alongside them. For a band with such a long history, there was nothing particularly nostalgic about the performance. It felt immediate, physical and alive. The evening was a reminder that hardcore works best when the barrier between the stage and the crowd becomes almost meaningless — and at Manchester Club Academy, BIOHAZARD made sure there was barely a barrier left at all. Words and photos: Lauren Wenham

No creature is more tied to the idea of metamorphosis than the butterfly: they take the time to develop themselves and grow, and emerge into the world as symbols of beauty. Aussie indie rockers SESAME GIRL have done the same with this record. This is the band's third EP release, but it’s here they really find themselves. Stripped down to organics, with instrumental additions of banjo and acoustic guitar, they trade out their usual fuzzy sound for sentiment and soul, putting emotion at the forefront and wearing their hearts on their sleeves. Wings of a Butterfly leads us in with a country-esque guitar strum, a simple rhythm, but one memorable and distinct. Heather Duncan serenades us with dreamy vocals and intensely-relatable lyrics; the band use the idea of a butterfly as a symbol for love: it can be beautiful, but also fragile and fleeting. Just as fast as love can arrive, so too can it leave as quickly. We need reassurance it won't fly away - you can't just say you'll be there forever, you need to prove it. It's a nostalgic track, and that might be down to the indie-film-soundtrack feel, or it might be that timeless message. Either way, it's a really strong track deserving of the opening slot. Following up on that vulnerability is Kick in the Teeth, a track about those moments that make you feel unlovable, the times you feel like a secret to be kept because the person you love is ashamed to be seen with you. It's a tearjerker, Duncan leading into a chorus steeped in loneliness; “Picturing a kick in the teeth / Does it really hurt that much to love me?” There's a lot of this emotion poured into the EP, and it really feels like a cathartic outlet not just for the band but for the listeners. Thankfully it's not all sadness: following track Superstar is an ode to friendship, and supporting the people you love in all their endeavours. It has an incredible chorus, with some real shoegazey guitars and a groove-laden bassline from Josh Fogarty and Avril Ferguson respectively, while Blake Bashfield's rhythmic drumbeat keeps things going steady. It's very much a standout, and a defining track for the band. Rubberband is more rock-infused; Bashfield's drums gain more prominence here, and serve to drive power into the textured instrumental. It's less chill indie, and almost grunge in nature - a welcome change that keeps the record feeling fresh. Despite the genre-fluidity of the EP, there's a cohesiveness in both sound and message that ties everything together neatly. This one is about friendship too; despite having those inevitable moments where the relationship hits rough patches, you can always bounce back (like a rubberband). Back to Texas trades out the coastal views of Wollongong for sprawling deserts, banjo twangs taking centre-stage as the track takes an alt-country approach. The slide guitar use adds some welcome dynamism to the mix, keeping a soulful energy surging through the track until its final strums and whispery vocals fade out. Closer Prettiest Girl in the World is another emotional track. Deeply personal and relatable, this is one for those of us with low self-esteem. Those who only feel pretty in the dark, away from reflections. In her soft-sung way, Duncan admits there's a problem, but recognises there's no immediate solution but to close your eyes and banish the thought. There's a wistfulness to it, but as the track progresses to a dreamy nature, the vocalist sings “I can let you love me” and maybe that's enough for now. Just baby steps in the healing journey, but butterflies don't emerge from their cocoons after a single day. Butterfly Wing In A Silver Locket is SESAME GIRL at their best so far. Steeped in incredibly-relatable sentiments, laced with nostalgic and memorable melodies, this is an EP that doesn't hide behind layers of instrumentation, and bares it all emotionally. If there was a record to keep close by, framed inside a locket around your neck for when you need cathartic listening, this would be it. Score: 9/10 Butterfly Wing In A Silver Locket will be released on 7th July 2026 via Cohort Records. Words: Naomi Colliar Duff Photos: Liam Jordan

When Republican presidential candidate and TV personality Donald Trump was elected as president of the USA in 2016, a lot of the world looked on in disbelief. When he was elected again in 2024, for many that disbelief turned into utter despair. Children is a direct and pointed product of the first hellish year of this second term of presidency - and a president that has overseen and engaged in war, genocide and a roster of violent anti-immigration policies. On their debut album, San Francisco-based trio WEALTHY WOMEN explore the grief, rage and despair of living in a country governed by people who want to watch the world burn. Employing grimy sludge guitars, bleak lyrics and vocals that go from purposefully apathetic to gravelly and intense, this is a debut that isn’t afraid to be outspoken. Opening track 37 Days sets the political tone perfectly for the rest of the record. Grimy guitars chug behind a retelling of the story of Asaad al-Nasasra, a Palestinian paramedic who was detained by Israeli forces in March of 2025 and held for 37 days without legal counsel. The anger is palpable in Sisk’s gravelly vocal delivery, but the rage radiates through every element of the track just as viscerally. This rage is truly the lifeblood of Children. Later, on Take It Back, the band takes direct aim at right-wing America, parroting commonly held beliefs by those who support Trump and flipping them on their head. The guitars are beefy and loud, sludgy and thick against a droning bassline and explosive drums, from Kansas-born Andrew Harms. Lines about immigration policies hit harder when considering that bassist Don Doblados is the son of Filipino-born immigrants, and vocalist Peter Sisk immigrated to the country from Ireland shortly after Trump first came into office. For this band, it’s personal. On Siege, lyrically this frustration and anger comes to a boil. ‘You don't look like us, don't live here no more’ is growled out in the chorus, in amongst lyrics about troops on the streets and children in chains. It’s in the darkness where WEALTHY WOMEN hit their stride, but there’s another side to the tracklist. Worst Date sees the band sarcastically taking aim at toxic masculinity, in a tongue-in-cheek retelling of a date with a testosterone-taking finance bro. The lyricism here isn’t the strongest, and it feels too straightforward to get the message across without feeling ham-fisted. Paired with a bare and repetitive droning instrumental for much of the song, it’s hard not to wish that some more editing and refinement would have taken place here for this idea to really hit home. Atheist Wife has some similar issues in regards to the lyricism. The light-hearted approach feels out of place here, and although the frantic and blistering instrumentation does a lot more to draw the listener in, the heaviness of the rest of the album makes songs like this feel awkward and out of place. In contrast, Shit Breaks is a standout on the record. Whilst the verses are fairly instrumentally bare, the sludgy bass and guitar in the verses do a lot to build up suspense, whilst also highlighting the more refined and thoughtful approach to lyric writing – here, things are shown a lot more often than they are outright told to the listener. The chorus is one of the only standout hooks of the album, and one that will get wedged in your head all day once you hear it. It’s gritty and immense, and wouldn’t be amiss on a CHAT PILE album at all. Closing out the album is the title track Children, which also serves as a tribute to the children of Gaza and Ukraine, lost in conflicts that they had no say in. It’s a bleak and impactful send-off for an album with a lot to say, and comes off as a track with a quiet rage set against a steady drum beat; it feels inescapable and oppressive, but there’s no brashness here. Just sorrow. Children succeeds in being a political critique at a time where for many, it’s hard to see a way forward through the right-wing noise. With some more lyrical development, this could have been a home run, but as it stands, the songwriting does leave a lot to be desired on an album that is sonically sludgy and bleak enough to handle some darker, more introspective material. With more time, it wouldn’t be surprising to see this trio amongst the Flenser roster - but for now, they can feel safe in the knowledge that they are on the right side of history. Score: 6/10 Children will be released on 7th August 2026. Words: Ellen Lovell Photos: Nate King

Leeds’ most emotionally devastating musical export, DIN OF CELESTIAL BIRDS, are back and ready to rip your stitched-up heart wide open. The instrumental post-rockers have put together a collection of music that soars and dives to mimic the to’s and fro’s of life’s journey - whether that be in more metaphorical sensibilities, or the more literal, as shown off by the record’s title - Takeoffs & Landings. With gargantuan gulfs between the delicate and crushing, the brooding and the uplifting, the light and the heavy, this feels like a record written to bring out superlatives. Fans of extremes and duality are going to adore every bit of this LP - the dizzying Migratory Patterns (the song, not the amazing natural occurrence that’s particularly dazzling with murmurations of thousands of starlings) may be a standout, but the base level is incredibly high across the board. The ability on display is, quite simply, phenomenal. The sheer effort that’s been put into this record is instantly apparent, and so is the passion. Whilst their live show is majestic, and shows off every facet of their brilliant 2023 debut album The Night Is For Dreamers, this record has been put together with an obvious intention - to provide a deeper, more layered and woven piece of music that won’t be replicated live in quite the same fashion. In short, this album needs to be sat back and listened to in the same way a complex whiskey, expensive cigar, or good book should be enjoyed. Every song has something to love. The opener and title track is a breathtaking way to open the record, with its beautiful intro and some searingly heavy moments to balance out the calm. The semi-cyclic nature of From This Summit We Can See The Heavens & Stars will surely lead to it becoming a firm fan favourite both recorded and live, whilst final track Second Star To The Right, and Straight On Til’ Morning - of course named for the iconic directions to Neverland in J. M. Barrie’s Peter Pan - features gorgeous melodic picking and atmospheric tones that go on and on and on, before a great crescendo of cymbals and guitars and a vast wave of emotion threaten to overcome the listener. Instrumental acts rarely, if ever, get better than this. DIN OF CELESTIAL BIRDS have shot for the moon and landed even higher here, no doubt propelling them into the very highest echelons of post-rock for many of their listeners. For those who do know the band, this won’t come as much of a surprise. For those that don’t - catch up on what you’re missing right now, or regret it when they’re headlining the big venues. Score: 9/10 Takeoffs & Landings will be released on 7th August 2026 via Big Scary Monsters. Words: Jasmine Longhurst Photos: Alex Dixon

REALLY GOOD TIME isn’t just a band name, it’s a promise from the Dublin-based trio. Half-jokingly proclaiming they started out as an excuse to “get drunk and play late shows”, it wasn’t long before they realised they’d struck musical gold and have seen their efforts rewarded with accolades from media, coveted spots at festivals, and fellow bands shouting their praises. Having established themselves firmly in the scene on both sides of the Irish sea, they’re ready to unleash their debut album Affirmations in all its raucous glory. Affirmations isn’t just their most audacious project to date, it’s a career marker for them as a band that set out to play at piss-ups and now sees them packing out rooms on headline tours. The debut album has them bringing their evolved garage punk meets prog-rock sound and satirical lyrical genius about the absurd human and Dublin-specific experience of doing what you’re told and still finding yourself 10 steps behind, stacking up a collection of tracks that stretch from less than 60 seconds interludes to huge 8-minute ensembles as REALLY GOOD TIME load in as many powerhouse rhythms as they can. On Dublin Bus captures the universal feeling of escaping into your own head and playing out fantasies of grandeur while riding a crammed bus, the lyrics declaring “my ego is manifesting greatness” over Jacque le Coque’s pounding bass riff, the melody climbing to a fever-pitch finish. Their latest single Do It features Ado Tornado’s drumbeats as a callback to alt-rock beats from the 00s, guitar riffs from Wastefellow so juicy you could plate them and serve them up as a meal, as he brings a patronising sing-song tone to the theme of continuously trying to line up with life’s moving goalposts in a Sisyphean feat. Shit One is a sound that echoes classic QUEENS OF THE STONE AGE in its rhythms and technical layering, Wastefellow delivering a near-sultry level to the words before he bursts into a shriek over a chorus of backing vocals. Jarring alarms blare out on The Love Song before the drums and strings thrash together, Coque’s bass keeping a relentless grip on the melody and only briefly falling away for the dreamy, shoegaze choruses begging an unseen entity “don’t think, don’t look away”, the track slowing dramatically and then galloping forward into a cacophony of frantic instruments. Bob Dylan Was On Pawnstars in 2010 is an odd bit of trivia to know but it appears to be a fact that haunts Wastefellow, the surrealness of music’s biggest heroes becoming cameos to stay known and how unforgiving fame truly is in the modern era. Best Medicine starts softly before a sudden onslaught of distorted riffs and beats cuts through, Tornado rupturing through the false calm of the verses with a jump-inducing beat alongside Wastefellow’s incredulous laughter, a.k.a. “the best medicine”. Seven Slugs serves as a 40 second interlude as the calm, low-pitched lyrics tell you to take a breather and “let it all return to dust”, before letting it all come back up. The second part of Affirmations doesn’t just come back up, it brings a theatrical element to the remaining tracks, Dig Up, Stupid attacking with demands to “grab a shovel, just dig up” accompanied with foreboding riffs, a callback to a scene from The Simpsons but also taking a stab at people who do stupid things believing they’re entirely right and instead digging themselves further into ignorance. Where tracks may focus on certain technical elements over another, Toadman approaches the entire process to highlight its contrasting, note-precise melodies and searing guitar hooks against lyrics that examine how everyone is focused on whatever is going on in their insular world, Wastefellow wishing to know what everyone is truly thinking and whether there’s any originality left. Life, Life enters with a heartbeat riff as Wastefellow sings of a dreamt terrible omen telling him “it’s time for you to fix your life, or I’m gonna put my beak through your eye”, dark and ominous sounding riffs colliding together for a sound that’s almost folklore before it shifts back into racing prog-rock and despairing vocals. Secret track Peter Hayes Isn’t Who He Says He Is feels like a last madcap instrumental dash for REALLY GOOD TIME as they release their pent-up energy, a final cathartic rush after an album that embodies the feeling of “lurching from one panic attack to the next”, but refusing to surrender to nihilism and instead laughing at the absurdity of life. Score: 8/10 Affirmations will be released on 7th August 2026. Words: Julia Stark Photos: Jasmin Grace

With their fourth release, aptly named Four, the whirlwind that is CRUMBLING GHOST present a haunting series of narratives under the fuzz of heavy stoner rock. Over the course of their musical endeavours they had stayed true to the folk-esque sound, but have experimented with other subtle elements. It has been ten years now since the band had their third release, titled Five Songs, which is exactly that. In that time they have accrued a dedicated following and have made appearances at the likes of heavy music festival Roadburn and shared the stage with the legendary HAWKWIND and the late DAMO SUZUKI, known for being the vocalist of CAN in the 70s. Alongside this they have been mentioned by Radio 6 Music’s Stuart Maconie and Tom Ravenscroft, and also featured on Stewart Lee’s blog back in 2011. Nowadays there are quite a few folk and heavy sounding groups about, but none do it quite like CRUMBLING GHOST do. Their arrangements are bursting with charm and despair in equal measures. Vocalist Katie Harnett has a bright voice, and the contrast with the subject matter of the lyrics adds a bit of an edge which is unmissable. Four is structured much like their other projects, a collection of reimagined traditional folk songs, and newly written tunes by the band. The construction of their sound melds so well, unless you were familiar with the traditional songs, you wouldn’t even notice their origin by sound alone. Their tone, however, are very as you’d expect of the time they were written; stories of murder, betrayal, and grief. Beginning with Bows of London, the eerie tale of two sisters, one pushes the other into the water and watches as she drowns. From the get go there’s a low drone giving a sense of foreboding as the tale unfolds. As the guitars crash in, you know you’re in for a treat. The story continues under layers of fuzziness until it doesn’t and you’re left to wallow in the instrumentals. The progression of the chords and the atmosphere it builds is incredibly satisfying to listen to. Bill Norrie is deceptive with its jaunty melody, whilst it tells the story of Bill Norrie, who sends a token to a married woman, and upon finding out, her husband beheads poor Bill Norrie, only to find out he was actually the son of his wife from a previous affair. The imagery conjured of a woman cradling her son’s head as she says “I love this head more than all my kith and kin,” after her husband has just thrown it to her saying “Catch this ball!” is not one you’d soon forget about. Between the verses there’s a surge of doom-charged guitars that sounds great and suits the intention of the song perfectly. For a little breather, the next track is an instrumental. Valtz Efter Tor Lohne is originally a Norwegian tune which roughly translates to “The boy that wouldn’t hoe corn.” The concept of a melody that sounds like it was made for an orchestra, being played by modern guitars in a rock style is fascinating. Obviously the group as a whole, but particularly the guitarists John Mosley and Donny Hopkins, deserve all of the praise for sharing this with us. More stories unravel as we move onto Lovely Joan, about a woman who avoids an altercation using her quick wit against a nobleman and comes out of it with his ring and horse. Gower Wassail is clever in the way the guitars seem to punctuate Harnett’s words in this Welsh originating track with roots in other bands such as THE WATERSONS, a folk group from Hull. CRUMBLING GHOST aren’t new to this particular song either, they performed Gower Wassail in 2017 in a stunning interpretation that makes a studio recording all the more special and immortalised. There’s no part of this that isn’t worth talking about. From the fuzzy bass by Ruth O’Loughlin and precision on the percussion by Matthew Atkins it is worth every second from your ears. Last Of All Sleep has a grunge-y feel to it, almost laid back in tone compared to the others on the album. It is a welcome addition though, the hazy effect it has, the softness and fuzziness as you listen allows you to step back and take it all in. To close we have The Unquiet Grave, the longest of the album, but that can only be a positive. The mesmerising scratchy repetitive riffs dance around for over half of the playtime, then Harnett’s voice rings in to share a grim tale of a man so overcome with the grief of his dead wife that he interrupts her sleep and tries to join her. Doomy guitars and wails grow evermore sinister to match the song’s contents, bringing a gristly ending to Four. Four is a collection of songs that will surprise you. You’ll think you have heard it all with the amount of stoner folk bands emerging over the years, but CRUMBLING GHOST offer an authentic alternative with a rich voice and multi-faceted accompaniments rooted in the lesser known traditional folk sounds, bringing them a new life and audience. Score: 8/10 Four will be released on 7th August 2026 via New Heavy Sounds Words: Danielle Henderson Photos: Ryan McClelland and Hannah Cheesbrough