If there were a competition for the most outlandish act on tonight’s roster, every band would be a strong contender. In the high rafters of Manchester Academy 3, a quartet of genre-defying acts fronted by Japanese metal headbangers PALEDUSK promise an electrifying evening set to shock and stun. As maestros of chaos, they set the standard tour with Japanese metalcore titans KNOSIS, mathrock heavyweights GREYHAVEN and Australian newblood openers HEADWRECK. Together, they effortlessly champion the future of alternative music, a stellar showcase with most of the acts from the other side of the world - one that Europe is only just waking up to. HEADWRECK have only a month in Europe to make a name for themselves. They’ve picked an impressive schedule, picking up supporting shows with THROWN before making a damaging final statement at Download. Still, people came down early to see the metalcore outfit for their second show outside of Australia. Announcing their signing to Empire (the same label that launched the careers of KENDRICK LAMAR and ANDERSON PAAK) earlier that day, the band swaggered through their hits in an attitude-era style fashion. A respectable mosh pit opened up during the course of their metalcore-infused set, resulting in plenty more fans and OOR’s undivided attention. GREYHAVEN arrived shortly after with full-frontal screams and no-nonsense guitar riffs, the same kind that dazzled in their latest release, 2025’s Keep It Quiet. Out of the lineup, they felt the most out of place, grounded within the band's post-hardcore edge. Amongst the electronica-heavy statement pieces from the other artists that evening, GREYHAVEN’s set focused on their fast and emotive sentiment, but lost its meaning through how the sound carried in the venue, as all the tracks seemed to blur into one. This did not tamper with the emotion from the band, which was clearly felt by the band it was playing to. This set was made possible by the people who came for them, rather than the new fans who came to see PALEDUSK. KNOSIS vocalist Ryo Kinoshita is brutal, throwing punches into the air as he swings the final blow on an impressive breakdown. The ferocity brought on their debut record, Genknosis, was not just a point of reinvention for the ex-CRYSTAL LAKE frontman, but a demonstration of a creative force on the rise. His legacy, brought with this touring crew, seemed to decimate the crowded stage, launching himself headfirst into the pit to get acquainted with the fast-moving horde of sweaty pitters. He certainly has lost the new band awkwardness that came with his first European supporting slot with STRAY FROM THE PATH, over two years ago. This set came with a wild and insatiated hunger for more trips to the UK, as a hidden gem of the Japanese heavy scene. PALEDUSK are the rising voice in Japanese metalcore. Reaching beyond the scene’s heavy conventions, they strive for constant experimentation to create a full, maximalist sound. When it came to releasing their latest self-titled record, this uncompromising sound has sent them stratospheric, a far cry from their 2024 opening slot with POLARIS, the last time the band were in the UK. Whilst the band fully stands on its own, success could also be seen in guitarist DaiDai’s producing credits, including assisting BRING ME THE HORIZON with a hefty chunk of Post Human: Next Gen. In Manchester, DaiDai pushes himself to the front of the stage to perform a gravity-defying guitar solo. Pushing the neck of the guitar to the base of his spiky, bleached hair, he feels the full emotion of the moment as he works his way around the tight note progressions he’s created. Guitarist Tsubasa, or “Two”, helps him find the rhythm, pacing energetically around the back of the stage. Bob, the drummer, assists as he pushes back into a rather complicated drum fill, as vocalist Kaito looks enthusiastically at the large crowd in front of him, ready to pick up the pace as the chorus of No Way. The set focussed itself on their most recent self-titled record, opting for a lighter first act and then plunging into the heavier second half. Spoilt for choice with material, the band throws in fan favourites Slay and Palehell to keep up the energy. Whilst there was not much of a pit, the band’s impressive skills on stage were highly enjoyable; it was a set to lose yourself in the intricacies of the band’s complex performance style. Centring the finale on an epic Black Parade-esque moment with I’m Sorry, the lights dip to wait for a two-song encore. PALEDUSK don’t just know how to play; they come with composition, which makes them one of the most understated bands in metal. On their UK three-date tour, they don’t just prove this; they make a statement with style. Words: Amber Brooks Photos: Izzy Sheldon

BASEMENT is the tried-and-true example of letting their music speak for them. Returning to the heavy scene back in March with their first music in eight years, the British alt-rockers released dual tracks, Wired and Broken By Design. A statement piece of contradictions, shifting violently between elation and suffocation, the tracks complement each other in their own controlled chaos - as one agitates deeply, the other seeks to soothe and find compromise. Pushed together, they charter a course of complex human tenderness, showcasing the beginning of their most heartfelt and ambitious project yet. Their new record - also called Wired - is a nostalgia trip, heavy with deep-set fuzz akin to JIMMY EAT WORLD’s Bleed American. At times, it veers into their signature shoegaze sound, cautious to remind fans where the band came from, though it is met with a cacophony of well-placed genre twinges that move through the landscape just as much as the band does. Sometimes, they move so far that tracks like scene-stealer Pick Up The Pieces, their firecracker indie-rock anthem, do not sound like BASEMENT at all. From the encroaching guitars that spur the beginning of opener Time Waster, this record starts as it means to go on - loud and unpredictable. A lot can be learned from the space the band have created, it’s lingering guilt, but aspiring need to live in the moment. As it flows into the headbanger single Wired, it feels like a band on the edge, on the cusp of spinning out of control. Photo: Adam Powell We are clearly met with an older, more experienced BASEMENT. There’s still a complexity to how the record produces feeling, but it's mature and kinder to itself. It still rolls with the punches, but it's uplifting resilience that runs through Wired. As Deadweight offers deep-set grunge that can linger on their shoegaze roots, there’s no escape from those iconic piledriver guitars that dive headfirst into all-encompassing choruses. All with those conflicting moments of refrain that sweep up the record into a frenzy. There is so much to take in with this record that a review wouldn't do it justice. Aside from how far away from what a listener would want a new BASEMENT record to feel, this has the same guts and ingenuity as the smalltown band from Ipswich releasing 2011’s I Wish I Could Stay Here. Reinvention is the best thing about this record. With pangs of these introspective guitar motifs that dance through the record, sauntering through reggaeton and indie to give it a timeless feel. There are multiple layers added with great care, oozing with self-confidence. This is also a record of reflections, the first rejoining their original label, Run For Cover Records. In the summer, they returned to the BEC Arena to reheadline Outbreak after a showstopping performance in 2024. Guitarist Alex Henery’s continued work providing visuals for the TURNSTILE tour moved into a supporting slot with them in Australia and New Zealand, alongside the release of two LPs with shoegaze supergroup FIDDLEHEAD. In all the time the band have been away from new music, they’ve been pushing a new path, choosing exactly what they want to be, and this sentiment is a blazing Hail Mary throughout Wired. And still, when they are met with their hometown crowds in the UK, playing some of the new record during their tour last year, there is a fantastic moment of elation and release - not just through the seismic resurgence of Covet that blossomed on TikTok ten years after it was released, but in the desire for music that reflects the maturing audience that has grown up with them. Wired is the record that their audience needs it to be. Rating: 9/10 Words: Amber Brooks

Hailing from Bristol, alt-metal band MALLAVORA have come a long way in recent years. It was only fitting for their debut album What If Better Never Comes? (released March 2026) that the band revisited for a special homecoming at the Exchange Bristol to play their album in full, back in the city where they first made their mark in 2019. Out of Rage last caught up with MALLAVORA during their high energy set supporting BANSHEE at London’s The Dome just last month, seeing them now take the stage for their own headline album release show a month later felt like a band truly coming into their own. In Bristol, that connection playing to their own crowd in their hometown was profound from the moment the first chord struck, documenting a pivotal moment in the band’s trajectory. First up opening the night was DYE, another Bristol band who were no strangers to the energetic south west music scene, with their unrelenting sound and commanding vocals from Amy Lewis. This was something else, an emotionally raw performance that didn’t let go of the intensity, DYE wasted no time in making their presence known. Full charged riffs filled the room with intent, songs like Rat and Dust from their Artefacts EP made the band feel formidable. DYE wasn’t here to warm up the crowd as a support, they were here to ignite it, setting the tone for what was to come for the rest of the night. Following on from that tone was the second support PAVE who turned the flames up even further, fronted by vocalist Alanya-Jade, the band brought a fierce energy to the stage, driven by the guitarist Kevin Peate’s razor-sharp riffs that elevated the intensity. Performance wise there was a chaotic energy to the band that hyped the audience when playing fan favourites like Whatever the Cost and new single If It Hurts. These sparked huge reactions from the crowd, perfectly setting the stage for MALLAVORA’s arrival. After two fantastic support acts, the stage was now set for the main event. Red and blue lights pulsing through the atmospheric darkness as anticipation and expectations started to rise. Cheers erupted as drummer Sam Brownlow took to the stage, growing louder as Larry Sobieraj and Ellis James appeared guitar and bass in hand, all playing the opening track Prologue. To the amazement of the audience, lead vocalist Jessica Douek made a surprise appearance, walking through the crowd with her hymn-like vocals eventually taking her place on the stage. One of the most anticipated elements of the night was witnessing the crowd’s reaction to the album being performed in its entirety for one night only. The audience met that challenge with an energy that matched the band’s own, singing back the lyrics and swaying their hands back and forth throughout the set. The greatest thing about What If Better Never Comes? is how its vulnerability deepens in a live setting, the album’s themes become even more apparent. It felt like a personal journey through various parts of lead singer Jessica Douek’s life and the challenges she’s faced, but it is also a narrative shared by guitarist Larry Sobieraj. For Larry, this album represents a profound personal milestone, with the release date marking the fourth anniversary of the beginning of his battle with long COVID. These life experiences affect not only the band but also ripple outward to those in their wider community who are in similar situations. One of these stand out moments comes from the shortest tracks on the album Break with the lyric “I guess this world just wasn’t made for bodies quite like mine” and this leading beautifully into Birth Of A Sun, here the theme continues to unfold through the powerful melodic vocals Douek is known for, at times uncompromising and visceral, backed by Larry’s heavy sharp guitar work that feels formidable alongside other band members Sam Brownlow on drums and Ellis James on bass. Emphasising the connection with how these moments impact not just the performers on stage but those in the crowd around them. When you hear those stories sung in a room of people who feel “seen” by the lyrics. Transforming the music from a studio recording and into a collective shared act of healing and group therapy. It is precisely for this reason MALLAVORA acknowledges accessibility issues at live shows within the disabled community and what it’s like to navigate a world that isn’t always catered for them. This event showcases that not only is it possible to dismantle the barriers of the gig experience, but to make it welcoming for all. The band does this by making sure to use wheelchair accessible venues for their headline shows, no strobe lighting in their sets, lyric sheets and free sunglasses on their merch stands. Live music is such a joyful experience that brings people of all backgrounds together, so accessibility is important, there shouldn't be a barrier for access. MALLAVORA certainly is a band to look out for this year, check them out at Download Festival when they play on the Courtyard Stage later next month. Words and photos: Amy Lynch

Under the glittering disco balls adorning the ceiling of The Grace, London, fans eagerly gathered for LOVE RARELY’s hotly anticipated release show of their debut album Pain Travels, via Big Scary Monsters. The follow up to 2024’s EP Lonely People, Pain Travels has garnered critical acclaim for the band’s charged lyrics and volatile, amped up sound, signalling the next progressive step for them. Releasing between their incredible support slot for CALLOUS DAOBOYS in early 2026 and their packed summer of festival appearances, this release show was LOVE RARELY’s initiation into a new era and a sign of the frenetic performances still to come in 2026. The batshit energy didn’t have to wait for LOVE RARELY, it came out in full force with first support act SUNDAY BEST, hailing from the fringes of London. Self-confessed as a “gang of heathens”, the five-piece blend deafening emo and post-hardcore sounds with groove rhythms, turning mosh pits into dance pits within the same song. Dressed as a unit in black with yellow stitched highlights, lead singer Alex Ekong led the charge across a stage that frankly felt too small for their high intensity with a taunt of “we’re gonna make you work for this”, the bassist propelling himself around with high kicks and full body headbangs, while the guitarists traded off riffs and solos while bouncing around. The drummer was entirely locked in on thumping out hardcore beats, as Ekong shifted from no-nonsense singing and prolonged notes to visceral screams. Calling for the first pits of the night and upping the crowd’s ante, Ekong settled the audience into an anticipation-building crouch, the restless crowd bursting upwards as Ekong leapt into the slamming mosh pit, a fitting end to their fiery set and an explosive start to the night. MISHIKUI brought the vivacious attitude of their London hometown, unleashing their punchy grunge shoegaze sound and gritty post-hardcore accents. When not focused on flawlessly hitting the notes on their intricate guitar solos or singer Harry Middleton’s raw, dominating screams, the band were hopping about the stage like Tigger on a sugar rush. Their hardcore sound encouraged bouts of mosh pits as screams and belting drum beats thundered through the venue. MISHIKUI didn’t have to call for the crowd to go feral, the fans understood the assignment and brought a frenzied mosh pit to the audacious grunge riffs. Close to wrapping up, Middleton summed up how feverish the night has been proclaiming how sweaty the band are, hesitantly following up with “I hope you are too? That’s a weird thing to wish on someone”. As much as they’ve been immersed in playing exceptionally, it’s funny moments like this that demonstrate why their lyrics are so relatable and fun to fling around to. By the time LOVE RARELY bounded out on stage, the audience was wall-to-wall packed and practically sitting on the stage. There was just enough space for singer Courtney “CJ” Levitt to stride along the edge and bring her tenacious screams to opener Whiplash, with foreboding guitar riffs and funk elements over a pulsating beat and bass, a short and sourly sweet kick-off to their electric set. Levitt powered through forceful screams and flowing tones to deliver acidic lyrics on Severed, the audience singing back with evident emotion on their faces as they channeled the song’s lamentable energy. Guitarist Lew Taylor opened the mournful Haunted, giving way to Levitt’s raw vocals, while drummer Leo Godfrey drove through with a pounding beat and guitarist Dan Dewsnap rocketed through with a distorted riff. Mould saw the first demands of a energetic mosh pit which didn’t seem to lose steam for the entire set, building in speed for short and snappy Repulsed, while math-rock heavy-hitter Will paved the way for a circle pit, bassist Dan Gilson running his own circles on the rumbling notes. Bringing back fan favourites from their previous EP, Entropy was met with wild cheers and a crowd surfer who braved the low-hanging disco balls, the crowd infected by their tenacity and beaming as they safely deposited them back into the fray. And that’s what LOVE RARELY shows are all about - to get lost in the moment, to cathart with the band, to feel everything the songs emote and come out with a smile on your face and a croak to your voice after screaming along with them. Words and photos: Julia Stark

The Swedish melodic hard rock band SELF DECEPTION is set to release their seventh studio album, One Of Us, on May 15. Blending modern metal, electronic influences, and catchy choruses, the band delivers an energetic record that feels tailor-made for live shows and festival crowds. While the album may not reinvent the genre, it succeeds in creating an entertaining listening experience filled with sing-along anthems and heavy breakdowns. Opening with the title track, ONE OF US, the band immediately sets the tone for the album with a catchy and intense modern metal anthem. The song wastes no time introducing the listener to the record’s high-energy atmosphere, combining aggressive instrumentals with in-your-face lyrics. It serves as a strong opener and perfectly showcases the direction SELF DECEPTION wants to take on this release. TIME’S UP continues this momentum without holding anything back. Beginning with rap-inspired vocals before exploding into a massive, melodic chorus, the song highlights the band’s willingness to experiment with different genres. Electronic elements are layered throughout the track, helping it stand out while also making it incredibly catchy. The fusion of metal, rock, and electronic influences works surprisingly well and leaves the chorus stuck in your head long after the song ends. Another standout high-energy track is WAKE UP, which once again leans heavily into electronic influences. At times, the song reminds of bands like SET IT OFF, who are known for combining heavy instrumentals with electronic sounds to create unbelievably catchy songs. Despite its modern and polished production, WAKE UP still manages to sound heavy and aggressive, making it one of the harder-hitting tracks on the album. With DON’T B E L O N G, SELF DECEPTION reveals a more vulnerable side. Addressing themes such as mental health and addiction, the track carries a darker and more emotional tone than the previous songs. The melancholic atmosphere is reflected not only in the lyrics but also in the melody, which allows the emotional weight of the song to shine through. It’s a welcome change of pace that adds more depth to the album overall. DEATH OF ME quickly shifts the focus back toward electronic sounds before surprising the listener with a crushing breakdown in the second half of the song. This balance between melody and heaviness is something SELF DECEPTION handles particularly well throughout ONE OF US. The same can be said for BREAK!, a song centred around relationship struggles. Hard-hitting drums and sudden breakdowns give the track an aggressive edge, while the electronic influences keep it modern and accessible. One of the biggest standouts on the album is definitely THE WEDDING. The song’s massive chorus feels perfectly designed for crowd sing-alongs and instantly becomes one of the most memorable moments on the record. Combining melodic hooks with heavy instrumentation, the track balances emotional storytelling with raw energy. Lyrically, it explores the image of a wedding that seems destined for an unhappy ending, adding a darker layer beneath its catchy exterior. KETAMINE COWBOY is another highlight and will likely appeal to long-time fans of the band. The song strongly recalls some of SELF DECEPTION’s earlier hits, particularly Fight Fire With Gasoline. Fast-paced, energetic, and incredibly catchy, it is one of the easiest and most entertaining listens on the album. Its infectious energy makes it easy to imagine this track becoming a fan favourite during live performances. BLAME takes the album into slightly darker territory once again while maintaining the electronic influences that define much of One Of Us. The memorable chorus and intense instrumentation ensure the song remains engaging from start to finish, even if it follows a somewhat familiar formula established earlier on the album. As the album approaches its conclusion, ENTERTAINED delivers one of its most emotional and impressive moments. Featuring a huge melancholic chorus and one of the strongest vocal performances on the record, the song initially feels more emotional and restrained. However, it unexpectedly transitions into one of the heaviest breakdowns not only on One Of Us, but in SELF DECEPTION’s entire discography. It’s a powerful and satisfying surprise that gives the album an extra burst of intensity before the finale. Closing track GODDAMN ME ends the album in classic SELF DECEPTION fashion. While it may not be the most memorable song on the record, it still works well as an energetic and fun conclusion to the band’s seventh studio album. The track captures the spirit of One Of Us perfectly. Overall, One Of Us succeeds in exactly what it sets out to do. It may not be the most innovative or deeply thought-out album in modern metal and rock, but it doesn’t need to be. SELF DECEPTION delivers a collection of energetic tracks, memorable choruses, and heavy breakdowns that make the album consistently enjoyable from beginning to end. Fans of modern melodic metal with electronic influences will find plenty to love here, especially in a live setting where these songs will work out the best. Score: 7/10 One Of Us will be released on 15th May 2026 via Napalm Records. Words: Hannah Martin Photos: Evelina Szczesik

Portland trio RHODODENDRON carve their way out of the underground rock scene through relentless fusion and progressive experimentation on their second album, Ascent Effort. Formed in 2019, the band have established themselves through immersive, visceral live performances and unrestrained compositions that push beyond genre boundaries and refuse to be contained. The opening track, Firmament, cascades into a mystical synthetic atmosphere, combining high tones with distorted, shadow-like guitar riffs. Delicate percussion follows, creating a sense that something mysterious and special is unfolding. The drums gradually intensify while the guitars become heavier, introducing an almost Middle Eastern-inspired melody. Together, these elements create a powerful opening track. Towards the end, the breakdown of riffs alongside the rapid percussion evokes shades of BIFFY CLYRO while still maintaining the band’s individuality. The layering of instruments and shifting tempos are fused together expertly, never feeling rushed or out of sync. It serves as an exceptional introduction to RHODODENDRON. Like Spitting Out Of Copper, the shortest track on the album, shifts into jazz-infused rock. The drums are softer and more restrained, while the bass slows the tempo and introduces subtle rhythmic variations. The guitar carries a mysterious tone, evoking a cinematic quality reminiscent of a James Bond score. With what started with an underlying sense of uncertainty and curiosity the track suddenly transforms. Gentle cymbal taps and restrained guitar chords explode into destructive drum passages and heavy riffs. Harrowing screams follow, and the song feels completely reborn. The transition is sudden and disorientating, yet the heavier elements had been subtly lurking beneath the surface throughout. Stow moves into a more traditional grunge direction, drawing clear influence from NIRVANA. Distorted guitar tones and raw energy define the track, while elements of the previous song’s vocal aggression carry over. High-pitched amp distortion, drum breakdowns, and fragmented guitar sections reinforce the band’s tendency toward constant movement rather than static composition. At times, the vocals briefly dominate the mix, but they soon dissolve back into the instrumentation, allowing the guitar work to reassert itself. The emphasis on isolated guitar notes combined with sudden drum interruptions proves to be an excellent creative choice with the bass and lead guitar remain steady anchors as the percussion drives the track into relentless intensity. Family Photo returns fully to the heavier side of metal. The snarls and bellows, combined with rapid-fire guitars and erratic drumming, push the track deep into doom metal territory. As the song descends into a whirlwind of anger and ferocity, the percussion unexpectedly softens, creating the feeling of dark clouds slowly dispersing. The shift introduces a surprising sense of clarity and calmness, acting as the complete opposite of the aggression the track was built upon. Rather than ending abruptly, the song closes with a feeling of uneasy peace. Within Crippling Light is the album’s longest and most ambitious cut, and it wastes no time showing its scale. It opens with a marching drum pulse and melodic riffs, but it drags its feet early on, looping a little too long before anything really kicks in. When it finally explodes, it hits. Gut-punch bass, snarling guitars, pure weight. But the track doesn’t stay controlled for long. It spirals into screamo chaos that often feels more messy than meaningful, with distortion piling up until things blur rather than build. By the time it reaches its finale, it’s aiming for something huge — a grand, crashing climax — but it overstays its welcome. Repeated hits and drawn-out sections sap some of the impact it’s clearly reaching for. Ascent Effort doesn’t always know when to rein itself in, but that’s part of what makes it so compelling. RHODODENDRON throw themselves headfirst into shifting riffs, explosive percussion and constant left turns, building a record that feels chaotic, unpredictable and completely unfiltered. Are there elements that seem stretched out and outstay their welcome? Yes, but in a scene flooded with safe, formulaic releases, RHODODENDRON’s refusal to compromise makes Ascent Effort feel genuinely exciting and equally refreshing. Score: 8/10 Ascent Effort will be released on 15th May 2026 via The Flenser. Words: David Waites Photos: Evan Mason-White

OLD MOON’s Home To Nowhere doesn’t arrive like a debut album trying to introduce itself to the world. It feels more like a document recovered from somewhere cold, wet and emotionally exhausted. Seven tracks stitched together from grief, collapse, isolation and whatever survives after all of that burns out. Born from the endless grey atmosphere of the Pacific Northwest, the Portland outfit leans fully into that environment, creating a record that sounds drenched in rainwater and emotional ruin from beginning to end. Led by Michael Priest also known for work with GONE IN APRIL, IDOLATROUS and ex-BOUDICA, OLD MOON fuses melodic death metal and post-black metal with orchestral textures that never feel decorative. Everything here serves the emotional weight of the record. The strings don’t exist to sound 'epic'. The atmosphere doesn’t exist to fill silence. Every layer feeds the same suffocating emotional core. And that’s what makes Home To Nowhere work so well. Between the Stars opens the album with restraint rather than explosion. The track slowly unfolds through mournful melodies and aching atmosphere, immediately establishing the record’s identity. There’s heaviness here, but not in the traditional sense. The weight comes from tension, the feeling that everything is constantly on the edge of emotional collapse without ever fully breaking apart. My Name is Death pushes further into darkness, balancing blackened aggression with sweeping orchestral depth. The guitars cut sharply through the mix while the melodies underneath keep everything emotionally grounded. It’s the kind of track that feels massive without becoming overproduced or theatrical. Something OLD MOON handles surprisingly well throughout the album. Obsidian is where the record becomes genuinely suffocating. The blend of melodic death metal riffs and post-black atmosphere creates a crushing emotional density that never lets up. Instead of relying on constant speed or technical excess, the band focuses on mood and emotional pressure. It makes the heavier moments hit harder because they actually feel earned. Then comes Distance, which slows the pacing without killing momentum. The track drifts through isolation and emotional numbness in a way that feels painfully human. There’s a loneliness embedded into this album that constantly feels real rather than exaggerated for effect. A Rest to My Name might be the emotional peak of the record. Fragile melodies weave through waves of heaviness while the orchestral elements quietly bleed into the background like fading memories. It’s one of the few moments where the album feels almost peaceful but even then, the peace feels temporary. The title track, Home to Nowhere, acts as the emotional centrepiece. Everything the band builds across the album converges here: the atmosphere, the grief, the melodic tension and the overwhelming sense of emotional displacement. It doesn’t chase catharsis. It simply sinks deeper into itself. By the time Creations Undone closes the record, Home to Nowhere feels less like an album and more like surviving someone else’s emotional collapse in real time. There’s no triumphant ending waiting at the finish line. No sudden light breaking through the clouds. Just acceptance, devastation and silence. What makes OLD MOON stand out is sincerity. A lot of atmospheric metal bands can imitate sadness sonically, but very few actually feel emotionally genuine. Home to Nowhere does. Every melody, every orchestral swell and every crushing riff feels connected to something painfully real underneath it all. For a debut full-length, this is an incredibly confident statement - bleak, immersive and emotionally devastating in all the right ways. Score: 7/10 Home to Nowhere was released on 8th May 2026 via M-Theory Audio. Words: Mia Gailey Photos: Old Moon

Hardcore continues to make itself known across UK alternative festivals. Whether it is inside a packed-out tent or across an open field lined with food trucks and plastic cups, its presence is immediate. The energy arrives before the bands are even visible, pulling crowds in unexpectedly. To understand why hardcore now holds such weight, it helps to look at its roots. Emerging in the late 1970s and early 1980s, hardcore punk pushed beyond traditional punk with greater speed, aggression, and intensity. Built on a DIY ethos, the scene rejected large-scale production in favour, of raw performance and tight-knit community. Over time, the genre evolved into multiple subgenres, including melodic hardcore, beatdown, and post-hardcore. Each brought a different approach, but all retained that core intensity. During the 1990s, hardcore techno and electronic scenes also developed, mirroring the same fast, distorted, and underground qualities. Despite sonic differences, both worlds shared a loud, unapologetic, grassroots identity. SLAM DUNK FESTIVAL reflects just how much the landscape has shifted. In 2016, the lineup leaned heavily towards pop punk, with NEW FOUND GLORY, PANIC! AT THE DISCO, YELLOWCARD, and MAYDAY PARADE are leading the charge. Heavier acts were present, but they existed on the periphery, offering an alternative rather than defining the experience. In recent years, that balance has changed dramatically. The festival now places metalcore and post-hardcore at the forefront. Artists such as HOLDING ABSENCE, MALEVOLENCE, COUNTERPARTS, THE DEVIL WEARS PRADA, FIT FOR A KING, and KNOCKED LOOSE have all taken prominent slots. The overall atmosphere has shifted with them. What was once a nostalgic singalong now regularly gives way to high-intensity pits and relentless energy. Hardcore has a unique ability to awaken a crowd. At SLAM DUNK FESTIVAL, this shift is visible in real time. As soon as the first note hits, the atmosphere transforms. Audiences who were moments ago relaxed in the sun are suddenly pulled into movement. The energy spreads quickly, influencing even more melodic acts, who often respond by pushing their own performances further. Hardcore does not just shape lineups. It reshapes audience behaviour. The influence extends beyond major festivals. Smaller independent events across the UK have embraced hardcore in a way that feels authentic to its origins. Festivals such as 2000TREES FESTIVAL, OUTBREAK FESTIVAL, and ARCTANGENT FESTIVAL provide space where hardcore is celebrated rather than sidelined. These environments thrive on community, something hardcore naturally supports. Band members remain present after sets, spending time at merch tables, watching other acts, and interacting directly with audiences. This creates a sense of closeness that larger, more commercial genres often struggle to replicate. At these festivals, hardcore often becomes the backbone of the day. Even when technical issues arise, bands push forward with humour and resilience. Early set times do not deter them. Instead, they use it as an opportunity to energise the crowd from the outset. That rawness aligns perfectly with the DIY spirit these festivals champion. The culture surrounding hardcore has also encouraged greater inclusivity and emotional openness. The pit, often misunderstood as chaotic, operates on an unspoken sense of community. People look out for each other, picking each other up and encouraging participation. It is intense, but it is also supportive. Hardcore is no longer just present within UK alternative festivals. It has become a defining force. Its rise from the margins to the centre signals a shift in what these festivals represent. They are louder, more connected, and more willing to embrace intensity than ever before. Words: Lauren Wenham

GADGET are, notably, fairly slow with releases. This isn’t a problem at all, but it’s ironically in stark juxtaposition to the immediacy of the genre they primarily operate in - grindcore. Outside of split releases with PHOBIA in 2010 and RETALIATION in 2021, their past two releases have been in 2006 and 2016 respectively. They’ve been around for over half the genre’s lifespan, and a lot can happen within a genre in 20 years, so it’s interesting to see if they can keep up with their contemporaries on the upcoming EP, Coerced. Thankfully, it doesn’t take long for them to assure us that they can. After a buildup of feedback, they put full pedal to the metal on opening track Nonsense, with a flurry of blast beats and blood-curdling screamed vocals and growls from frontwoman Emilia Henriksson. It’s absolutely incredible what they manage to do in such a short amount of time on these tracks, most notably the shortest song on here, the 24-second Gnistan, humorously the first single released for the EP. It might be short, but it’ll certainly be the most abrasive 24 seconds you’ll hear this month, and perhaps beyond. The back half of this EP takes things a step above however. For those uninitiated within the genre of grindcore, it could easily lose its novelty a few tracks in. But it seems to take some kind of turn from sixth track Flatline onwards. Flatline is a track that starts with a wonderfully sludgy riff that quickly tears itself apart, ground down into shreds over unrelenting percussion and vocals, before the sustain fades into the 5-minute False Pulse. False Pulse is unlike anything else on this release, it’s a grimy drone piece, featuring this crunchy, static effect every few seconds. A wildly discomforting piece in the way it completely subverts what we’ve come to expect from this record thus far, but the emphasis is still on noise and claustrophobic doominess that emanates from this group’s work. All this concludes with the second-longest track on here, Violently Silent. Closer to the sensibilities of a sludge-laden hardcore punk group like CONVERGE, GADGET still manages to up the ante compared to them, with suffocating guitar tones, break-neck shifts in dynamics and more blast beats just to top it off. Absolutely a perfect way to end this 13-minute thrill ride. With this release, GADGET go beyond simply being 'veterans' in the genre, proving that even with ten years between releases, you will trust that it will be worth the wait. To achieve so much on a release shorter than fifteen minutes is unbelievable. It’s the kind of EP you listen to over and over just to pick apart at all the details and intricacies, or simply just for the thrill of it. Easy to appreciate and even easier to return to, Coerced is likely to be a highlight EP of 2026, talked about for the rest of the year. Score: 9/10 Coerced will be released on 8th May 2026 via De:Nihil Records. Words: Noise Leonard Photos: Erik Larsson

Mayday, mayday - we're already in May; time really flies, doesn't it? While some are putting their heads down and getting through their exams, others are hastily shoving folded clothes into their suitcases for the holidays, and here at Out Of Rage, we're prepping for every metalhead's favourite time of year - festival season. What better soundtrack for that than all these new releases? Here's what we've been listening to lately: Blood Dealer - Apologies BLOOD DEALER have been branding their mark in the alt-metal scene with genre blends of metal and trap, and it seems they're building up to something bigger with new single Apologies, a track that defies expectations and shows their penchant for melding sounds. Starting with a lone, echoing vocal run, Apologies plummets into an alt-metal tearing guitar riff and pulsating drum beat, the bass descending to distorted lows as an undercurrent. Vocalist Billy Douglas drives emotion into his soaring vocals on the first chorus before closing out with a dangerous, low murmured "I want apologies". It holds back on the screams usually prevalent in a BLOOD DEALER track, but we forgive them. Words: Julia Stark Citizen - Highs and Lows Gearing up for a world-spanning tour for their upcoming album Halcyon Blues, CITIZEN have exploded back onto our playlists with Highs and Lows, a song curated to be screamed back to them by fans. With a stripped back intro introducing effects and instruments individually, frontman Mat Kerekes shifts from soulful low-pitched vocals to higher-pitch, frustrated near-screams, the vocals layering over Nick Hamm and Mason Mercer's twanging guitar notes and yearning riffs. Ben Russin shifts between funk-like sounds to snappy cymbal heavy beats to keep the pace eclectic, while Eric Hamm keeps the rhythm on trajectory with a thudding bass line, the final uplifting strings complementing the emotional lyrics, both forlorn and blindly hopeful and absolutely a song to belt out. Words: Julia Stark His Daughter Harry - Big Girl An up-and-coming grunge band from London, HIS DAUGHTER HARRY have just come out with their debut single Big Girl. As it was pre-launched at their already sold-out headline show in the capital, the excitement and anticipation built up, and it was absolutely justified. The song talks about a situationship who is slowly ruining your life, something so awkward yet relatable to so many. After the spell has worn off, all you are left with is the lingering question: do I take revenge or do I keep being a bigger person? Big Girl is for everyone who misses the early 00s Internet, loves Bratz dolls, and is in dire need of a new earworm. Words: Mariia Bulkina Loathe - Revenant (ft. NOWHERE2RUN) If you also lost your mind over new LOATHE music getting announced, you're entirely valid for that. The metal community has collectively gained whiplash headbanging to their galvanising new track Revenant (ft. powerhouse electronic punk duo NOWHERE2RUN), the first track off upcoming album A Stranger To You, releasing July 17th. From the first pulverizing notes it feels like a battle cry, ascending into a rapid fire, crashing beat and shuddering guitar and bass rhythms, singer Kadeem France bringing an annihilating heat with his screams of "caged with this for so long, step into my strength". It sinks its teeth in and won't let go, you can only sink yours back in and thrash to this battle track together. Words: Julia Stark Motionless In White - Playing God (ft. Corey Taylor) You’ve not seen gore quite like this! Screamo mainstays MOTIONLESS IN WHITE are back with their damaging single Playing God, the first release from their new album Decades. Featuring the signature raspy howls of SLIPKNOT vocalist Corey Taylor, the track opens with an Eyeless inspired jungle beat. The track is all-consuming, fast and cleaved with sharp, damaging moments of ferocity. Chris Motionless’ bloodcurdling screams decimate the record. The band’s signature sung choruses elevate the track to anthemic status. The new era of Scranton PA’s hottest export is bloody, their most abrasive in years, culminating in a fierce statement that demands devotion at arenas in their upcoming US headline tour. Words: Amber Brooks RATSALAD. - North West Coastal Highway The newest single, North West Coastal Highway by Australian punk band RATSALAD. delivers pure punk energy. With this single, leading up to their new album Pest From The West, the band captures listeners with melodic yet gritty riffs. The lyrics are ironic and portray the fun of a road trip, and the song captures that energy surprisingly well. It’s catchy, and that’s exactly what it needs to be. A surprising solo in the bridge gives the track just the right amount of uniqueness to stand out among the many simple, straightforward punk songs out there. North West Coastal Highway is exactly what it wants to be and it succeeds in the best way possible. Words: Hannah Martin Siiickbrain - Filthy (ft. Fetish) SIIICKBRAIN continues the rollout for upcoming album Houndstooth with Filthy, featuring FETISH, carrying an intoxicating sense of danger. The track thrives on a heavy, almost industrial texture, with layered instrumentals that feel abrasive and texturally dense. There’s a club-ready pulse underneath, but that never softens its bite, with punchy drums and distortions keeping things tense. Vocally, SIIICKBRAIN balances seduction with menace, making the title feel deliberate as the track sounds exactly as it promises. As a third single, Filthy frames Houndstooth as a record built on sharp production choices and controlled intensity. Words: Zuzanna Pazola Sixth Wonder - IS THAT WHAT YOU WANT FROM ME? Scottish metal trio SIXTH WONDER are known for their grime-ridden riffs and melancholia-driven sound - and they’re back with their latest single IS THAT WHAT YOU WANT FROM ME? The band kickstart the track with a headbanging djent riff, and vocalist Rebekah Kirk takes charge with her gutturals; with an impressive fluidity, she melts into clean, siren-song vocals, and back into anguished screams. It echoes a very personal journey: shortly after the band’s debut, she lost her voice to Covid-19, and this track is driven by the reclamation of her identity in the aftermath. As she gives us one last gut-wrenching scream, it becomes clear that SIXTH WONDER are living up to their name, becoming a definite landmark amongst others in the developing metal scene. Words: Naomi Colliar Duff Sleeping With Sirens - Forever/Always SLEEPING WITH SIRENS return with a track that leans into the emotional intensity of their earlier work on Forever/Always. The single draws clear parallels to With Ears to See and Eyes to Hear, particularly in its blend of soaring melodies and moments of raw vulnerability. With their upcoming album An Ending In Itself set for release on June 12th, the band seem to be revisiting their roots while sharpening their songwriting. The track balances explosive sections with softer, layered vocals, creating a dynamic contrast that feels both nostalgic and refined rather than purely retro. As the song builds, the repeated refrain “forever or always” becomes its emotional anchor, designed to hit hard live while still carrying weight on record. Words: Con Macadam Static Dress - …hospice First teased and played in full at their one-off Live Death Display in Leeds, …hospice is the latest single by STATIC DRESS. Each of the three released tracks from their sophomore album Injury Episode sound drastically different to one another, yet they are all equally glorious. In …hospice, the band explores their softer and warmer-toned side; there is no breakdown, but it is arguably one of their most monumental pieces. Comparisons with the sound of MCR’s The Black Parade were soon to follow, and a music video shot in the legendary King’s Hall in Stoke-on-Trent only added to the grandiosity of it all. STATIC DRESS learnt how to keep everyone on their toes with every single move, and the anticipation of Injury Episode could not get stronger. Words: Mariia Bulkina Editor: Naomi Colliar Duff Photos: Various Artists

Some gigs ease you in. This one didn’t bother. At Rough Trade Bristol, there’s always that split feeling — relaxed on the surface, something heavier underneath. Early on, it felt calm enough. Drinks moving, conversations going. But the room already felt loaded, like it was waiting to tip. The openers made sure it did. KNIFE BRIDE came in sharp and straight to the point. No slow build, no filler — just a set that knew exactly what it was doing. Controlled, aggressive, and properly paced. They didn’t try to steal the night, but they didn’t fade into it either. It was tight. Measured. Enough weight to wake the room up, enough restraint to keep things building. By the end, the shift was obvious. The crowd had moved in, the noise picked up, and the focus locked. Exactly how it should be. Then it flipped. No drawn-out intro, no build-up — CALVA LOUISE walked out and hit immediately. Tunnel Vision landed and the whole space changed. Glitching visuals lit up behind them, screens flickering, everything fractured and sharp, with that neon aesthetic cutting straight through it. It didn’t feel like background — it pulled you into it. For a three-piece, the sound is ridiculous. Not just big — full. It fills the room without losing shape, without turning messy. Live, it hits harder than it should, but still stays controlled. The reaction was instant. No hesitation, no warming up — just movement. The kind where the whole room locks in at once. Front to back, people moving like it’s all running off the same pulse. Jess Allanic sits right in the middle of it, and it feels real. Not forced, not overdone — just completely in it. Vocally, she doesn’t miss. Clean sections, heavier switches, everything lands exactly where it should. Behind that, it stays tight. Alizon Taho’s bass gives everything its weight — sitting forward enough to matter, never getting lost. Ben Parker keeps it driving, but it’s the detail that stands out, especially when the electronic elements start to creep in and shift the feel. Those moments do the work. They pull things back just enough. Let it breathe. So when it hits again, it hits harder. That’s where CALVA LOUISE separate themselves — the movement between styles. Electronic textures, heavier sections, subtle shifts — none of it feels forced. It just flows. The guitar work pushes that even further. One guitar, but it doesn’t feel like it. However it’s built — effects, layering — it fills space properly, giving the set a scale that shouldn’t really be there. And the energy holds. That’s the difference. No lull. No point where it drops off. The whole room stays in it, moving, reacting — like the space itself is shifting with the set. At one point, Jess mentions the heat, and it lands because everyone feels it. Same room, same pressure. No gap between band and crowd. It doesn’t feel staged. It feels shared. As it starts to close, it doesn’t slow down. Aimless lands clean, showing how strong the songwriting actually is underneath everything else. Nothing feels like filler. Then Oportunista finishes it — one last push, no drop in energy, no holding back. It doesn’t feel like early days anymore. There’s no sense of a band still figuring things out, no rough edges being hidden behind energy or visuals. Everything about this feels deliberate. What stands out is how complete it already is. The sound, the visuals, the pacing — it all connects. Nothing feels separate. It’s a full picture, and it lands exactly how it’s meant to. A lot of bands build toward this kind of identity over time. CALVA LOUISE already have it, and more importantly, they know how to use it. And live, that matters. Because when everything clicks like this, it doesn’t just sound good — it feels right. This isn’t a band testing the waters. It’s a band already moving with purpose — and pulling everything else with it. Words and photos: Mia Gailey

There are some shows that are just as unforgettable for bands as they are to the attending public, and this was the mutual feeling shared by Swedish electronic metalcore act SOLENCE and the packed Manchester academy 3 that showed up for a party unlike no other, with a show of non-stop, raw, energy and infectious, rhythm infused metalcore. The Swedish heroes did not come alone, as support came from one of the most exciting up and coming international bands WRITTEN BY WOLVES, as well as British metalcore four-piece DREAMSTATE. This behemoth of a lineup delivered in almost every aspect, kicking off this bank holiday weekend with one of the biggest parties anywhere in the country. The evening kicked off with the trio known as WRITTEN BY WOLVES, who, hailing from New Zealand, are playing some of their biggest shows of their career. It is this passion that was clearly oozing out of each member. Vocalist Michael Murphy was having the time of his life onstage whilst simultaneously singing his heart out. An alternative music concert is about bringing people together, and all throughout the set, Murphy kept bringing this up, pointing out how happy it made him seeing so many youngsters at the show. Creating a moment these children will never forget. In terms of musical ability, Genius was the song that truly kicked off the party atmosphere in the room as technicolour stage lights filled the entire venue ensuring that everyone got the chance to rave and mess around. This got the crowd engaged on a complete other level. Not just for the remainder of WRITTEN BY WOLVES, but also for the remainder of the night that was still to come. A brief wait later, and DREAMSTATE took to the stage. Instead of an extravagant introduction, the Brits decided to go all guns blazing by demanding the crowd to move, before ripping into Bloom. What is noticeable right from the offset of this performance is just how exceptional each member is at producing harsh vocals. As they stole the show throughout this performance, and matched with the constant energy, this set proved to be another triumph with the Mancunian crowd. Frontwoman Jessie Powell wins the crowd over with her charisma, and just like with what came before, each member of the band seemed to be thrilled to be onstage and created unforgettable memories for those in attendance. Once DREAMSTATE got offstage, another short wait commenced. What came after this wait, however, was a set that is sure to go down as one of the biggest parties of the entire year. After the ABBA classic Dancing Queen blasted through the venue PA system, a futuristic sounding voice welcomed us all to the “SOLENCE experience.” A term which frontman Markus Videsäter referred to throughout this spectacular headline set. Once the band got onstage to an ovation that blew the roof off of the third academy, the four-piece ripped into the title track of their latest studio album Angels Calling. Following this, the band had the crowd at the palm of their hands and kept everyone there until the end of the performance. Blackout, All Of The Pain Must Go and their world-class cover of the IMAGINE DRAGONS track Warriors were all executed to absolute perfection. Words: Itay Gilad Photos: Robert Hall