Chaotic, aggressive, ferocious yet equally danceable—this is the most accurate way to introduce TRIP VILLAIN as they unleash their debut album Dose. Formed in 2021 in Brooklyn, New York, the quartet pull from a wide spectrum of influences, fusing them into a psychedelic, doom-laden strain of industrial metal. They show no restraint in crossing genres mid-riff or mid-section, creating a volatile cocktail—abrasive, unpredictable, and at times overwhelming, yet strangely intoxicating when it lands. The album opens with Reign Supreme. Early dial tones and distorted vocals establish an eerie atmosphere before dark, heavy riffs take hold. The battle-ready drums provide a solid backbone, locking in with the vocals to set an ominous tone from the outset. Cyan Spirits leans into a darker, techno-driven pulse. The synths feel off-kilter and uneasy, while the vocals carry a familiar nu-metal snarl reminiscent to that of KORN. It doesn’t evolve much in tempo, but it doesn’t need to—the track thrives on tension rather than movement. You Flew A Plane Into My Heart is where things start to slip. It’s overcrowded and unfocused, throwing too many ideas and different genres together without giving any of them room to breathe. The monotone vocal delivery drags, the pacing feels stuck, and what should be ambitious instead becomes frustratingly disjointed. It’s a misfire that stalls the album’s momentum. However, the self-titled track Dose is arguably the strongest moment on the album. The synth work is razor-sharp, while the drums drive it to another level entirely. It shifts effortlessly into darker, dance-infused territory, carrying an unmistakable THE PRODIGY energy—high praise for any act operating in this space. Lowbender keeps that momentum alive, its stop-start basslines adding bite and pushing the track firmly into headbanging territory, while the vocals finally feel locked in rather than drifting above the chaos. It’s tighter, more deliberate, and far more satisfying. That intensity carries into Meth Communion, which strips everything back to a heavier, doom-focused core. It never feels out of place—if anything, it reinforces the band’s foundation, proving they don’t need electronic layers to deliver real weight. Villain Maw, featuring Vixen Maw, builds around a sinister, almost hellish atmosphere before snapping into a techno-laced groove. The instrumental work does the heavy lifting, with the vocals sitting more as a supporting layer than a focal point. It drives toward a savage, abrupt finish, where the band’s command of synthetic textures takes over—ending the track on a sharp, aggressive high. Angelsmoke surges forward with intensity. There’s a looming, almost militaristic presence beneath the synths, while the robotic vocal delivery fits the track’s futuristic edge. It’s one of the more immersive moments on the album, though it overstays its welcome slightly, with distortion creeping from effective into excessive becoming a somewhat distraction. The closing track, Shitkill, delivers exactly what the album needs. A crushing, doom-heavy finale, driven by addictive riffs, snarling vocals, and raw aggression. It’s focused, punishing, and leaves a far stronger final impression. Dose isn’t a safe debut—and that’s both its strength and its flaw. At its best, TRIP VILLAIN fuses genres with precision, delivering something intense, immersive, and genuinely exciting. At its worst, they overreach, packing too many ideas into the same space and losing clarity. Still, even in its messier moments, there is clear intent and undeniable potential throughout. It doesn’t always land cleanly, but it leaves a lasting impression—and that’s exactly what makes it worth attention. Score: 6/10 Dose will be released on 8th May 2026 via Seeing Red Records. Words: David Waites Photos: Robby Grodin

Thursday night for a group of London metalheads was one of the most insane gigs in the alternative space this year. GRAPHIC NATURE played a sold out headline show at The Dome and the energy was electric. In the past year alone GRAPHIC NATURE have supported bands like THROWN and STRAY FROM THE PATH and played a multitude of festivals including Download, Slamdunk and 2000trees. Their momentum is far from slowing down with the start of a new era marked with the release of their new single Faceless and this one off special show in the city centre. Supported by GREYSIGHT and FROZEMODE, just the line up alone signaled the chaos that was to come. GREYSIGHT hailing from Leeds are a metalcore quartet that are unapologetically heavy and emotionally charged. Their music is cathartic and brought devastation to the venue. Being the first of three to the stage it can be difficult to get the crowd moving, but these guys had no issues. Throughout their set the rage of the crowd manifested into mosh pits and even crowd surfers emerged at times. The band brought their A-game, owning the stage as if it was their own, a perfect start to the night. Next to take to the stage was the uniquely brutal FROZEMODE with a layout rarely seen in metal – the band have three frontmen that all spread their vocals between them. Their music bridges gaps between grime, trap and metal which of course has been done before, but these guys really brought their own flavour to it. With three different front men spreading the hype between them, the bouncing off of each other transferred to the crowd. Constant mosh pits, stage divers and a noticeable amount of fans that might not have known the tracks but caught along with the infectiousness of the music. With the amount of energy in the room, it was hard to believe that they weren't headliners, but of course the real headliners were on their way to somehow top that. GRAPHIC NATURE made their way to the stage with ear bursting cheers and the thunderous extended intro of their song Into The Dark. Each member made their way onto the stage with a roar louder than the last, until the full track finally began. At that moment, an eruption of energy hit the venue with instant mosh pits, crowd surfers and two-steppers. Frontman Harvey made the stage his own, getting close and personal with fans up at the front, screaming the lyrics along with the fans lined at the front of the stage. The band often messing around with each other clearly displaying their chemistry and excitement to be on the stage. Having been active since 2018, their connection on stage is polished along with their showmanship, knowing how to hype the crowd and the right timing being art itself. During one of the few short breaks in the set, Harvey asked if anyone had seen GRAPHIC NATURE before, which got a loud cheer, then if anyone hadn't seen them before which got a much quieter cheer. It speaks volumes to their fan base, with most of the fans in the crowd returning to see them again, they're clearly a band that is worth seeing again and again just for the atmosphere. Perhaps the night would convince those new crowd members to return just as it has for the rest of the room. Their setlist compiled all of their most popular songs from their two albums like N.F.A, Killing Floor and Locked In. They also performed their shiny new single Faceless which translates great live, their bass hits hard and the distorted guitars ripped through the venue. A moment of call and response saw the crowd joining in right on queue, most of the crowd knowing the lyrics despite its very recent release. The crowd's energy didn't falter for a moment, even instrumental breaks caused the initiation of circle and mosh pits. Stage divers were constantly invading and launching into the crowd all while not missing a beat, shouting every word and clearly connecting with lyrics that explore themes of self worth and feeling different to those around you. Speeches from Harvey brought the crowd together and - despite the rage in the music - the room radiated connection and acceptance, a place where everyone was free to be themselves. One final speech saw the band massively thanking the crowd for turning up and giving their energy. The setlist concluded with the tracks Bad Blood and Fractured, but the crowd weren't happy with the ending. Chanting for an encore and not letting the band say no, a “Okay let us take a picture first then we'll play another” sounded through the venue, as Harvey finally gave in. The show finally concluded with a replay of their new track Faceless and caused even more carnage than the last. As the lights came up, people ran to the bar for refreshments, as they wiped sweat and fanned their flushed faces. Others rushed to merch stands, as the openers FROZEMODE and GREYSIGHT were at theirs to meet fans, eventually followed by the headliners thanking fans, taking photos and signing merchandise, their appreciation for the fans continuing to shine through. GRAPHIC NATURE owned the night, but this is just the start of their year and we can't wait to see what they have in store. Words and photos: Amy Smyth

Nottingham’s Rock City was already spilling onto the streets on Saturday night. A sea of black stretched down the queue, wrapping around the block. A quiet signal that this was more than just another tour stop. By the time Florida’s DARK DIVINE took to the stage for their first ever Nottingham appearance, the room was still filling - yet the energy inside was already at full capacity. DARK DIVINE wasted no time establishing their presence. Opening with intensity, they leaned fully into the crowd with a confidence that felt far bigger than an opening slot. Better Start Digging landed with force, setting the tone early. Despite being miles from home, frontman Anthony Martinez paused to take it in, describing the crowd as feeling like family, a sentiment that did not feel rehearsed, but genuinely earned. The audience responded in kind. During Cold, the room shifted, phone flashlights rising before falling into unison clapping. The line “So tell me, do you hate me?” irony softened by the visible warmth in the room. Nottingham proved, once again, that it doesn’t wait for headliners to show up, it shows up from the start. By the end of their set, with fans already passing items forward for signatures, DARK DIVINE had done more than introduce themselves; they had embedded into the night’s sense of community. If DARK DIVINE laid the foundation, ENEMY INSIDE expanded the scale. A sharp, almost mechanical light show carved out the opening moments before vocalist Nastassja Giulia took command, balancing precision with raw emotion. Tracks like Don’t Call Me an Angel, written during a darker period, carried a weight that extended beyond the studio, while recent release RIP surged through the room with a distorted, bass-heavy drive. The energy only escalated from there, chants started building, hands rising, the room tightening around the performance. Fuck That Party delivered exactly what its title promised: chaotic, urgent, and unrelenting, punctuated by rapid riffs and a tightly controlled solo. Even a brief exit after Release Me couldn’t hold them off stage for long. Sustained applause pulled them back for What We Used to Be, before closing with Phoenix - a fitting finale that had the entire room moving. For a first UK appearance, ENEMY INSIDE performed with the assurance of a band already well established, leaving a lasting impression. By the time SMASH INTO PIECES took over, the night shifted from performance to spectacle. As the lights dimmed, Apoc - their masked and enigmatic drummer - emerged elevated above the stage, framed by visuals resembling a game start screen, the lure flickering into view. Instantly, the band positioned their set within something larger. This was no longer just a gig, it was an immersive world. Known for their high-energy performances, the Swedish outfit delivered with precision. Heroes Are Calling and Arcadia ignited huge singalongs, the band’s blend of melodic hooks and electronic textures translating effortlessly live. The crowd didn’t just watch - they became part of it, moving in sync through claps, sways, and full-voice choruses. Moments of scale were balanced with moments of intimacy. Chris Adam Hedman Sörbye stepped forward alone at times, stripping everything back before rebuilding it again, a dynamic shift that made the heavier returns, particularly with tracks like Hurricane, hit even harder. Throughout, Apoc acted as both performer and narrator. Calling on the crowd to “join the resistance,” he blurred the line between audience and participant and Nottingham responded without hesitation, fully immersed, fully committed. Boomerang became one of the night’s defining moments, with ENEMY INSIDE’s Nastassja Giulia returning to the stage. Their voices intertwined seamlessly, lifting the track into something more expansive. Elsewhere, dual guitar work cut through with clarity, each solo pushing the set forward with purpose despite a recent wrist injury, lead guitarist Benjamin Jennebo performed without visible limitation - a quiet but notable detail that spoke to the band’s professionalism. As the set moved into Hollow, bathed in stark blue-and-white visuals, the band’s themes of digital disconnection came into even sharper focus. Closing the night, however, wasn’t about production or visuals, it was about connection. Marking nearly two decades as a band, Sörbye addressed the crowd with a statement that cut clean through the noise that this isn’t about metrics, social media but people, presence, and shared experience. It was a fitting end to a night built on exactly that sentiment. From DARK DIVINE’s first introduction to the UK, through ENEMY INSIDE’s commanding debut, to a headline set rooted in both spectacle and substance with SMASH INTO PIECES, the evening never lost sight of what live music is ultimately about. Words and photos: Ben Young

There’s something about modern heavy music that thrives on contrast. The quiet before the breakdown, the tension between vulnerability and fury, the collision of electronic atmosphere with guitars that feel like they could tear the walls down. Few bands embody that balance as effectively as BAD OMENS. Over the past decade, the Virginia outfit have evolved from promising metalcore newcomers into one of the most compelling names in alternative heavy music, building a sound that feels cinematic, emotionally raw and unmistakably modern. Formed in 2015, the band emerged during a moment when metalcore was beginning to reshape itself for a new generation. Rather than relying solely on the genre’s traditional blueprint of breakdowns and aggression, BAD OMENS leaned heavily into atmosphere and dynamic songwriting. Their early material introduced a sound built on massive guitar textures and dark electronic layers, but even then there was a sense that the band were thinking beyond the confines of a single scene. At the centre of that evolution is vocalist and songwriter Noah Sebastian. His voice moves fluidly between controlled melodic delivery and explosive screams, giving the band a dynamic range that allows songs to build slowly before erupting into moments of intensity. Rather than treating heaviness as a constant, BAD OMENS often let tension develop through space, texture and atmosphere, making the eventual impact feel even more overwhelming. That sense of expansion became clearer with the release of Finding God Before God Finds Me in 2019. The album broadened the band’s sonic palette, weaving darker electronics and cinematic production into their core sound while leaning further into introspective lyricism. Themes of identity, isolation and existential anxiety run through the record, giving it an emotional immediacy that resonated strongly with listeners navigating similar pressures. The real turning point arrived with The Death of Peace of Mind in 2022. The record pushed further into industrial electronics, alternative pop structures and atmospheric production, blurring the boundaries between heavy music and darker forms of modern pop. Songs like “Just Pretend” and the title track demonstrated the band’s ability to merge massive hooks with crushing heaviness, expanding their reach well beyond the traditional metalcore audience. As their sound evolved, so did their audience. Tracks from The Death of Peace of Mind began circulating widely online, particularly through platforms such as TikTok, introducing the band to listeners who might never have previously engaged with heavy music. What resonated wasn’t simply the scale of the production or the power of the riffs, but the emotional openness of the songwriting. BAD OMENS present vulnerability as strength, allowing listeners to see themselves reflected in the darker corners of the music. Live, that emotional intensity translates into something immersive. Their shows are built around tension and release rather than constant chaos, stark lighting, shadowy visuals and moments of near silence give way to explosive breakdowns and overwhelming crowd responses. The result is a performance style that feels cinematic rather than purely aggressive, drawing the audience into the emotional atmosphere of the songs before unleashing the full force of the band’s sound. That momentum continues into 2026. BAD OMENS have been taking their “Do You Feel Love” North American tour across arenas throughout February and March, marking one of their largest headline runs to date and demonstrating just how far the band has come since their early club shows. Festival appearances are also set to keep the band firmly in the spotlight, with major stages across both the US and Europe continuing to welcome them as one of modern heavy music’s most in-demand acts. What makes BAD OMENS stand out in today’s alternative landscape is their refusal to sit comfortably within one category. They exist between scenes, too atmospheric for straightforward metalcore, too heavy for alternative pop, yet perfectly at home somewhere in the space between. By embracing electronic production, emotional vulnerability and crushing heaviness all at once, the band have created a sound that reflects the shifting boundaries of modern alternative music. Nearly a decade after forming, BAD OMENS have become something larger than a genre label. They represent a new generation of heavy bands, ones shaped as much by atmosphere and emotional storytelling as by riffs and breakdowns. In a musical landscape where genres continue to dissolve and audiences crave authenticity above all else, BAD OMENS have found a space that feels both expansive and deeply personal. For a band built on contrast, that balance may be their greatest strength. Sometimes the most powerful moments in heavy music come from the tension between fragility and force, and few bands capture that dynamic quite like BAD OMENS. Words: Con Macadam

Forming 30 years ago and becoming one of the largest bands on the planet, LINKIN PARK have cemented themselves as one of the greatest metal bands in history, even after the passing of their legendary singer Chester Bennington, they have continued on the legacy with Emily Armstrong; This year they return to Download for the first time in 12 years so we thought it only right we have a retrospective on what led them to this point and rank all of their albums. 8 - ONE MORE LIGHT Starting off the list, we have probably the least LINKIN PARK sounding album, as pioneers of the Nu-Metal sound, this album is a great deviance from the rest of their work; a lot of the guitars are dropped in place of poppy synths and a very mainstream sounding architecture to their music. That isn’t to say this album doesn’t have some incredible songs, as it holds possibly Chester Bennington’s farewell song, One More Light, a beautiful, slow, ballad about suicide. The song, in retrospect, is Chester’s way of telling others to carry on, to fight through the darkness; it’s a song that many consider LINKIN PARK’s greatest, a beautiful, poetic send-off for Bennington. Unfortunately, the rest of the album doesn’t come to close to the quality of said song, with LINKIN PARK struggling to evolve their sound successfully from rock to pop, with cliche sounding beats and nothing really new to the type of music they are making, which is a real shame as the album holds some genuinely phenomenal songs alongside the rest. 7 - FROM ZERO Controversial as it may have been, In 2024, LINKIN PARK returned, with new members, Singer Emily Armstrong and Drummer Colin Brittain; somewhat dividing the fan base, the band took a new direction with the album with said members. From Zero for all its flaws and changes from the original style is an okay album, it really feels like an amalgamation of all of the bands previous work for a new sound, which works… somewhat, the band feel like they’re back tracking with this album, It’s a pretty normal rock-pop record, Emily’s vocals are strong but the lyrics, the overall heart of the album doesn’t feel present. We’d like to give them the benefit of the doubt that this is a first try album with the lineup, and maybe the next one will be a lot stronger, as the seeds are there, there is a great album lying in there, that the band don’t really fully pull out. This album was a return to the heavy style with a new flair but it didn’t quite work. 6 - A THOUSAND SUNS Another majorly divisive record for the band, their first concept album that was a real shakeup from anything they had made before, a lot more of the instrumentals were computer-based, there was a stronger sense of scope and purpose and a lot more dialled back singing from Mike Shinoda and Chester Bennington; opting for more melodic cacophonies rather than aggressive metal compositions. The hits on this album are like anything they had done before, they took the more tame sound of the previous album and ran with it. The songs definitely sound grander with songs like The Catalyst adding chanted choruses, layered vocals and epic guitars; it took LINKIN PARK’s strong status to the stratosphere as they it’s clear to see they engineered these songs for massive crowds. 5 - MINUTES TO MIDNIGHT The third LINKIN PARK studio album where the band took a far slower and melancholic approach to the music, which they then took further with next album A Thousand Suns, but this one still retained a lot of LINKIN PARK’s aggressive guitars, Chester’s utterly inhuman screams as seen by his 17 second belt on Given Up which became legendary within all of heavy music; songs like No More Sorrow kept that ball rolling while juggling the slower more melodic songs like Leave Out All The Rest. For a solid beginning of an album there’s a severe dip in quality upon the second half, with toned down more emotional songs, coming off the back of the previous two albums, LINKIN PARK hadn’t quite mastered this art, as apart from Bennington’s vocals there really isn’t much to these songs. 4 - THE HUNTING PARTY After 3 albums of slowing things down, LINKIN PARK returned to their roots, dropping a lot of the synthesised instruments for real ones to make an album that reintroduced that nu-metal sound they were so well known for, taking things to the next level they even integrated elements of hardcore on songs like War just to show how much they meant business on this album. Taking everything they had learned thus far and injected it into very lifeblood of this album, it really combined all producing elements of the previous albums and raised the bar for how a band can integrate a bands new and old style. With features from Daron Malakian and Tom Morello, the guitars on this album absolutely rip, creating some of the strongest riffs the band has ever produced and using Chester’s vocals to take it to the very depths of how heavy the band could go; Chester’s singing and screamo are honestly just mental on this album. 3 - LIVING THINGS The bands producing and technical prowess really show on this album, after the previous experimentation on A Thousand Suns, Joe Hahn put a shift in to make LIVING THINGS a brilliant comeback for LINKIN PARK; creating an incredible electronic album that brings back a lot of the heavy motifs from their early work, Chester screams harder, Mike’s bars are more intense, the whole band really comes together on this album. This also the album they mastered the art of ballads, with the slow songs like Castle Of Glass and Powerless, hitting in hard in the emotional lyrics and delivering on the instrumental side. Although there is a heavier emphasis on the electronica here, it utterly fits where LINKIN PARK were at this point and made for an absolute sleeper pick of an album. 2 - HYBRID THEORY The album that started it all, the peak of nu-metal, perfect lyrics, perfect composition, perfect performance; debut albums don’t get a lot better than this. This album was an instant hit and it absolutely deserved to be, sending LINKIN PARK straight into the big leagues after only being together 4 years at that point which is honestly astonishing, it sent them worldwide, gave them an instant huge and dedicated fan base and cemented them already in the music world as one of the greats. From the second this album starts, it does not stop, taking you through a lot of exemplary nu-metal hits that we find to be universally loved, it showcases how great of a vocalist Chester Bennington is, how fantastic of a rapper Mike Shinoda is, how heavy Brad Delson plays his guitar, how well Dave Farrell’s Bass compliments that guitar, how technical and passionate the drums of Rob Bourdon are and how completely effortlessly Joe Hahn’s DJing and producing ties it all together. It’s undeniable the lasting effect Hybrid Theory has had on the rock world, ask any metalhead if they know songs like In The End and One Step Closer they would never say no. It’s also quite full circle to see how a resurgence of nu-metal in recent years have had bands citing this album as their inspiration. Hybrid Theory is one of the greatest albums of all time no matter the genre. 1 - METEORA See everything we just said about the last entry? Take that and amplify it up to 11. If you thought this band couldn’t improve on their already perfect debut, you’d be severely mistaken; this album only ever shows the world that Hybrid Theory isn’t even this band at their best, Meteora is, every single song is them building on the last album to provide a heavier, more emotional utterly perfect follow up. From that first glass shatter on the track Foreward to that last drum cycle on Numb, there isn’t a single skip to be seen here, it’s a non stop 37 minute album that you just can’t put down, the peak of the genre and one of the best albums of all time. I think this album and the previous really do set the precipice for how great LINKIN PARK and nu-metal can be, there nothing much else to say but you can’t fault a single song, beat or lyric on this album. Catch LINKIN PARK with headliners GUNS N' ROSES and LIMP BIZKIT at Donington Park this summer. Words: Ben Blissett

CAGE FIGHT are on the rise and continuing to climb the ladder of success. Born out of the Covid lockdown, musicians came together to create a bedroom project that has evolved into something rather special in the world of femme fronted metal. After recently finishing a tour supporting EMPLOYED TO SERVE, they are now releasing their sophomore album Exuvia. Using a word like 'exuvia' as a title reflects not only the meaning of the word; the outer shell that sheds by creatures giving way to a new stage of life, but it is also reflective of the way in which this album is showing an audience how CAGE FIGHT have grown and refined their sound into something that they can be proud of. The album opens with the hypnotic opening song Confined that leaves vocalist Rachel Aspe screaming “I can’t breathe” until it explodes into Oxygen, a fast paced song that allows Aspe to showcase her precise and perfected growls and screams and also show variety with her vocal range through singing too. The album starts with a bang and continues with that theme through each song that has been carefully selected to be on this album. Throughout the album, you are shown that CAGE FIGHT are not afraid to experiment and showcase their variety of talents whilst also leaning into the old school hardcore and metal that they are known for. Guitarist James Monteith’s multi layered melodies that run alongside bassist Will Horsman and drummer Nick Plews rhythms, leave you with a gut punching soundtrack that lends perfectly to Aspe’s entrancing vocals. Single Un Bon Souvenir is a theatrical six minute masterpiece that is hard hitting and tightly crafted into one of the standout songs on the album. The lyrics “I’m the wolf among the sheep, don’t bite the hand that feeds” truly shows the thematic thread that runs through this record. Leaning on themes such as anxiety, assault, and grief, you can truly see how Aspe and the rest of the band are taking their own experiences and turning it into perfectly poignant metal. She has even collaborated with family in the form of her grandmother who has helped pen lyrics for the song Pig that feels like an anthem of sorts. Pick Your Fighter is a standout track that features BENIGHTED’s vocalist Julian Truchan. Whilst the album doesn’t lean heavily on features and collaborations, this song is an ode to a French pop song yet melds perfectly into the eleven tracks and brings a fun yet altogether brutally heavy element to the record. Similarly, IHYG (I Hate Your Guts) feels like it’s stepped right out of a movie or video game soundtrack in the best way, proving that the band aren’t afraid to push the boundaries of genre. As the album moves through the tracks you can see a truly wonderful collaboration of song writing and orchestration. Swooping cascades of drums and guitars alongside guttural vocals makes this album nothing short of refined metal perfection. By the time the record reaches the final track Élégie you are met with an expansive crescendo of a song that leaves you in awe of not only the talent and craftsmanship, but also the knowledge that this is only their second album and they have so much more to come. Score: 8/10 Exuvia will be released on 1st May 2026 via Spinefarm. Words: Laura Davies Photos: Andy Ford

BATHORY has long defined the extreme side of metal. Being one of the founding fathers of the first wave of black metal, their legacy rings through the sound of many bands, with their sound still coming through today. BATHORY was founded in Sweden in 1983 and during its time active featured frontman and the only songwriter of the band, Thomas "Quorthon" Forsberg. Their debut self-titled album was released in 1984 and became arguably the first truly black metal album to be released. The sound of the album is raw due to being recorded on such a low budget - so low budget in fact that no true distortion pedals were used to record the album. The album pushed forward the sound of metal into darker and more caustic places whilst drawing on the sound of speed metal with heavy influence drawn from the band Venom. The album has become a cult classic within metal, and you’ll often see a patch of this album specifically on many people’s jackets. Bathory’s influence is arguably larger than the band itself; they defined many of the same black metal elements that still appear today. Satanic and pagan imagery, brutal, eerie atmosphere and a new approach to DIY music pushing past the standard set-up by punks. Bathory are metal through and through. They have become such a part of the scene that you are guaranteed to see many Bathory patches at any gig and even online, with the knock-off patches being sold as ‘Ratlord’. As the band kept making music through the years, their sound changed and became more set in stone. The band’s most beloved release is Blood Fire Death, which builds on much of what happened within the band’s debut yet still carves its own musical identity. Featuring acoustic elements blended in with the black metal sound the band is known for, this album is truly special within metal history. The track A Fine Day to Die shows the band pushing song length further, which allows the relenting atmosphere to be built. As an album, this is the last of their first four releases, which are seen as being a blueprint for many of the later Scandinavian black metal albums that form most of the general perception of the genre. Unfortunately, the band came to a complete halt in in 2004 with the passing of Thomas "Quorthon" Forsbergaged just 38. After his passing and the cessation of the band, their legacy only grew. The band became a rite of passage for young metal heads taking a dive into the more extreme side of metal. The demand for the band’s music to be seen live has grown and grown. The band never played live during the time they were active, so they had an entire fanbase hungry to witness the band. Within recent years, however a tribute act built from musicians across the Scandinavian scene was born. Named Blood Fire Death. They are currently the closest thing that has ever existed to a true touring outfit for the band. Bathory as a band have a legacy that has simply grown over the years. Built up a fan base from every generation. They remain so popular because they define so much of what makes black metal. They existed as a unique vision within the genre, and their tracks still feel as sinister as ever. A truly legendary act that has a legacy that only burns stronger. Words: Will Freeman

KIM GORDON, the icon behind the cultural sensation that was SONIC YOUTH, has returned to London after two years. Bringing songs from her third studio album, Play Me, as well as her other work, the night was indeed a nostalgic leap in the past and a celebration of the present. Opening the night was LONNIE GUNN. The New Jersey-born and Brighton-based artist brought a full band with her to the Shepherd’s Bush Empire, and from the beginning it was obvious the performance at the world-famous venue meant a world to her. Enchanting the room with her ethereal voice, that was complimented by the crisp sound of guitars and a booming echo of the drums, the vocalist sang through her short setlist swiftly. LONNIE did not forget to interact with the crowd either, and whilst the room was not completely filled, there were still plenty of fans who did enjoy her set. KIM GORDON and her band-mates were up next and the energy in the crowd definitely shifted. Not only had the venue filled up more, it was also evident from the chatter that the night was very anticipated. Once the lights went down, they were immediately followed by a projection on the screen in the background that did not disappear until the end of the set. The musicians took their place on the stage, and not long after, KIM GORDON made her way in front of the crowd. Starting the first half of the set with her new album, Play Me, GORDON presented the crowd eleven songs from the release, excluding BYEBYE25! from the lineup. Tracks like the opening PLAY ME, BUSY BEE and NOT TODAY were met with a very positive response from the crowd, although all songs were met with loud cheers from the fans. GORDON took on playing the guitar for some songs, and even though she mostly stayed by her microphone stand, the first row was surprised with her occasional appearance at the very edge of the stage. With the second half featuring GORDON’s previous work, there was no doubt the fans found more pieces they were familiar with. From The Candy House, to It’s Dark Inside and Cookie Butter, the impact of GORDON and SONIC YOUTH’s thirty-years long presence on the current rock scene was more than evident. Closing the night with Cigarettes, KIM GORDON managed to get the whole Shepherds Bush Empire on their feet and confirmed why she keeps her reign as one of the most important figures of the rock scene. Words: Katerina Stepanikova Photos: Cally Begg

Titans of emo, AMERICAN FOOTBALL started out in 1999 as mostly clueless unbridled teenagers. After their reunion 15 years later to release two new records, the band have lain low once again, practically up until recently. American Football (LP4) is undeniably the band's most mature and honest work yet, to the point that one could even be taken aback by their bluntness at the first listen. It is also the darkest and eeriest out of the four records, which is reflected by the apocalyptic, flaring red in the cover and visuals. It is a direct consequence of a life lived, and could only be felt and experienced by another human who's also lived their own life. The first track greets us with a haunting atmosphere, mesmerising and mysterious humming throughout. It is like a beast slowly waking up, getting the listener to hold their breath in anticipation of what is to come. Musically, Man Overboard is one of the most remarkable parts of LP4, with complex and chaotic drumming and layered instrumentals. Almost an album in itself with the way it progresses, the outro builds up into a loud and unescapable horror scene. Recovering from what felt like being hunted for prey, the rest of the album is plotted on a relatively slower and quieter sonic landscape. No Feeling is no exception, featuring an unexpected guest that is typically anything but quiet — TURNSTILE's one and only Brendan Yates. Indeed, here we get to experience his other side through mellisonant harmonic cries, but we know he can be trusted to feel it like no other. Paradoxically to its name, No Feeling is one of the most emotionally charged pieces on an already exposed electrical wire that is LP4. The song's narrative is full of distinct suicidal ideation. Even further, the voice wailing from nowhere and everywhere in the third verse makes it by that point almost unbearable to listen. Bad Moons was the first single off LP4, and at the same time the longest track in the band's discography with an over 8-minute runtime. Interestingly, it originated as a collage of two separate works, later glued together by Mike Kinsella. Bad Moons begins as a nostalgic homage to childhood, with playground noises in the back and even slightly gleeful melodies to lead. Soon enough though, this turns into nothing but regret and sorrowful reflections. Here, the narrator explores 'the dark' as both a time and a place for pretty much every formative life event, whether it was for better or for worse. The other half of the composition is mellow, an emotional climax drifting to a slow fadeout. AMERICAN FOOTBALL have grown to love a good feature on their records, and so LP4 was also fortunate to welcome WISP, an emerging shoegaze artist who is finally getting her flowers. Wake Her Up is already the most serene and entrancing composition, and being blessed with Natalie Lu's delicate, wispy vocals had elevated it to perfection. The song also includes a symphony of wind and string instruments, interrupted briefly by modulated effects on guitars. Although Wake Her Up sounds like a sweet love song, the lyrics follow the rest of LP4, encompassing morbid, killer motifs, creating an even more fascinating juxtaposition. No Soul to Save is a cathartic ending. There is still an urge to hide away from the feelings and the truth, but Mike Kinsella decides to fight fire with fire, spilling the soul out to a grand audience of millions. It is almost designed in the same way as a theatre performance finishing, addressing the spectators directly. By now, the artist is tired of explaining himself to everyone around, wishing to disappear in peace. Although the album keeps circulating around ego death, regret, nostalgia, and despair; there is a certain progression from the beginning to the end, accepting the hardships of life at least slowly. In its entirety, LP4 is a testament to maturity and self-growth. No longer the boys they once were, AMERICAN FOOTBALL teach us that no matter how painful it is, we all go through it. Score: 8/10 American Football (LP4) will be released on 1st May 2026 via Polyvinyl Record Co. Words: Mariia Bulkina Photos: Alexa Viscius

There’s something unique about The Far Fallen Fruit, the first studio release from the American hardcore band GOTTLIEB. It manages to feel comfortable within traditional hardcore punk, reminiscent of bands like REFUSED, while also diving into the depths of post-punk emotion. The album successfully conveys both styles and combines them into a new, unique listening experience. But it isn’t just a good listen, it’s highly political and doesn’t shy away from showing us the harsh truth of our current world. Pipe Bomb, the album opener, shows us exactly what we can expect from The Far Fallen Fruit. A melodic post-punk riff introduces the album, while the vocals perfectly embody the hardcore punk style. It’s a straightforward punk song and an aggressive statement against guns and gun violence. While the song structure is kept simple, the post-punk elements bring in a uniqueness that hardcore punk songs usually wouldn’t have. This straightforward punk energy doesn’t disappear in the next tracks either. What Are You Worth presents another simple song elevated by strong post-punk influences, expressed through a catchy and melodic guitar riff. Following that is American Blood, truly a gem on this album. As the name suggests, it’s a critique of the current state of the United States. It’s a beautifully constructed, high-energy track that combines a catchy riff with repetitive but powerful vocals. This intensity is broken up by a bridge that emphasizes both the guitar and vocals, giving us one of the only real breaks on this otherwise high-energy album. The two-part sequence Dogs begins with Joy to Distract from Resistance, which we would describe as the slowest and calmest track on the record. It serves as a great build up, as the song picks up speed again in the chorus. The track feels emotional, conveyed through Andrew’s harsh vocals. The second part comes across as much more aggressive, driven by a blast drum pattern. It’s underlined by a riff that again highlights post-punk influences, showcasing the volatility of GOTTLIEB. The title track, The Far Fallen Fruit, stands as the high point of the album, being the most energy-driven track. City On A Hill and Optimized Child once again highlight the band’s energy. This blend of hardcore punk and post-punk influences feels refreshing and helps a straightforward punk album like The Far Fallen Fruit stand out from others. I Started Carrying A Knife shows us another side of the band. The song feels ironic while maintaining its political tone. The guitar riff introduces a slightly different style, moving a bit away from their usual hardcore and post-punk influences. It almost leans into alternative rock, without losing its punk roots. Their latest single release, White Vans, is another heavier, more hardcore-driven track on the album. Written in response to ICE activity in their neighbourhood, it reflects the brutal reality of what is happening in the United States today. However, this brutality can also lead to unity and collective resistance. The song captures this reality, with erratic guitars and harsh vocals guiding us through a story of police brutality and community resistance. Sugar Packets ends the album just as perfectly as Pipe Bomb opened it. The song begins with a build up and a continuous guitar riff, gradually increasing in aggression in both vocals and instrumentation. Eventually, it transitions into a more traditional punk track, almost reminiscent of bands like PENNYWISE. It feels hopeful, underlined by some of the best guitar work on the album, making it a perfect closing track. The Far Fallen Fruit is a political response to the current state of the world, taking punk and reshaping it into something fresh and revitalized. It’s a brilliant debut album, entirely self-produced, that brings the relatively new punk band GOTTLIEB into the spotlight. Score: 8/10 The Far Fallen Fruit will be released on 1st May 2026 via Quiet Panic Records. Words: Hannah Martin Photos: Gottlieb

Three decades of pioneering metal music would feel exhausting to any band worth their salt, but metal legends SEVENDUST are more charged up than ever, as they gear up to release their landmark 15th album One via Napalm Records on 1st May. One isn’t just a testament to SEVENDUST’s notorious career over such a period, nor is it simply a tribute to their devoted fanbase, fondly called the 7D Army. It’s a statement of the new heights their sound has reached, with soaring powerhouse vocals complemented with thundering instrumentals and intricate solos, every song feeling like a call to arms as they progress through a triumphant metal journey. One is a sound that draws on other genres to their renowned metal, creating its own genre of cinematic rock, inspired by SEVENDUST’s evolution over the years, their gratitude to their fans, and by their shared Christian faith that subtly reaches out through themes of unwavering hope and belief. They’re a band that transcends genres and die-hard fans and captures all ears, a sound you can come back to anytime and know, not only will you appreciate their expert production, but you’ll be warmly welcomed into the lively 7D Army and SEVENDUST themselves. One is an authentic look at themselves as a unit and individuals, alongside their faith in a higher power and a higher purpose. The title track quickly powers up into thundering drums and bass, Clint Lowery and John Connolly giving their all with complex, blended solos, as singer Lajon Witherspoon asks “do you forgive yourself?”. They set the intense theme and pace from the album’s opening bars and refuse to let up as they drive onward through their rousing, heavier single Unbreakable, fading in with artistic piano before blending into hair-raising guitar and Morgan Rose’s drawn out drum beats crash onward into a building frenzy. The lyrics notably change from “you” to “we were meant to be unbreakable” as Witherspoon speaks to the listeners en masse to say we’re all one in this fight. Is This The Real You has a rhythm that is so distinctive it’s difficult to explain the emotion and movement it evokes, combined with vocals that rise orchestrally and descend into raw screams, it feels triumphantly upbeat when it’s not supposed to. Throughout One there are moments that are reminiscent of other legendary metal bands but delivered in an unmistakeable SEVENDUST way, and Threshold is one of these moments. It gives DEFTONES in its harmonised high guitar riffs, slowing to a thudding beat led by Vince Hornsby’s impactful bass line and Rose’s kick pedal before swinging into renewed intensity. The tempo and mood slowing down slightly, We Won is a mixture of layered vocals and instruments, the guitar solo rising into red-hot territory. It feels like a restrained victory, as if the band are saying we won but at what cost? Launching in with an anticipation building intro of distorted guitars and bass over a thundering beat, Construct slows for piano breaks and softer vocals, Witherspoon baring vulnerability by calling out “I know I’m not enough”, before the track plummets into a drum breakdown. For fans of SYSTEM OF A DOWN, Bright Side brings that classic metal sound we adore, with high guitar notes contrasted against low growling vocals, thumping bass and blistering drum beat controlling the listener’s headbanging pace. The album is a display of every member’s talent and commitment, every instrument getting their moment to shine through, and this is displayed impeccably on The Drop. Starting with warring guitar riffs, it does in fact suddenly drop into a bursting rhythm of SEVENDUST’s cohesive sound, Witherspoon’s understated vocals claiming he’s not the enemy as Lowry and Connolly strike riffs against each other. There’s still fight left in One with Blood Price’s cinematic 80’s synth strings descending into Rose’s shattering drums and Hornsby’s bone-rattling nu metal-core bass, guttural screams giving way to dual guitar solos. One’s epic battle reaches its conclusion in Misdirection, a distant, understated heartbeat and fuzzed vocals leading into a final conquering sound that rises to high peaks, looping back into the beginning beat, the cycle never ending or beginning. One a statement that we, the new fans, the 7D army, the prodigal listeners, are one with SEVENDUST, their faith unshaken in themselves. Score; 9/10 One will be released on 1st May 2026 via Napalm Records. Words: Julia Stark Photos: Chuck Brueckmann

There’s a version of Theft World that probably could’ve existed where LIP CRITIC doubled down on what previous album, Hex Dealer started - more chaos, more sharp left turns, more of that “anything goes” energy that made them such an immediate talking point. Instead, this feels like a deliberate shift. Not a retreat from that previous intensity, but a refinement of it into something more focused, more suffocating, and in a strange way, more purposeful. A lot of that comes down to how the band handles momentum. The dual drummers are the obvious centrepiece, but it’s not just about sheer impact. There’s a constant forward push running through the record, like it’s never quite willing to settle. Even when tracks dip into something more fractures or off-kilter, there’s still that sense of being dragged along with it. It’s relentless without becoming monotonous, which is harder to pull off than it sounds. What really elevates Theft World, though, is how heavily it leans into texture. The hardcore foundation is still there, but it’s constantly being warped by electronic elements, samples, and digital noise that feel just as important as the ‘traditional’ instruments. Tracks like My Blush (Strength Of The Critic), Debt Forest, and Charity Dinner lean into that especially well, layering synthetic elements in a way that makes everything feel slightly unstable. It’s clear that the production choices on this album end up doing as much storytelling as the vocals, which ends up being one the album’s biggest strengths. That approach ties neatly into the album’s wider concept. Built from a genuinely bizarre real-life experience involving identity theft and a fan’s completely detached interpretation of LIP CRITIC’s music, Theft World explores obsession, control, and distortion in a way that never feels overly literal. Instead of spelling things out, it builds a world that feels fragmented and uneasy, where nothing quite lines up but everything still connects on a gut level. Jackpot works as one of the album’s clearest focal points in that regard, spiralling around addiction in a way that feels both exaggerated and uncomfortably close to reality. The jittery, almost mechanical energy mirrors that sense of losing control, with everything building and collapsing in on itself like a win that was never really a win to begin with. Even the shorter tracks play into that: Drumming With Izzy and Yard Sale (230 Take) could’ve been moments to catch your breath, but they’re anything but. They’re chaotic in their own right, acting more like sharp interruptions than breaks. If anything, they reinforce the album’s pacing rather than disrupting it, keeping things unpredictable without losing direction. There’s also something worth noting about how this record came together. Knowing it was effectively a pivot - shelving previous material in favour of something shaped by that insane real-world encounter - gives Theft World a different kind of weight. It doesn’t feel like a band just experimenting for the sake of it. There’s a sense that this needed to be made in this specific way, even if that meant leaning further into the abstract to get the message across. That said, it’s not an easy listen. This isn’t the kind of album that immediately clicks on first play, and it’s probably going to alienate some people as it pulls in others. The density of its, both sonically and thematically, can feel overwhelming at times. That does, however, feel entirely intentional. LIP CRITIC aren’t trying to smooth out the edges or make themselves more accessible, they’re committing themselves to a, frankly, nonsensical logic; and that’s ultimately what makes it work. Theft World isn’t just pushing at the boundaries of hardcore, it’s actively ignoring them. The blend of live instrumentation and digital manipulation, the constant sense of motion, the refusal to sit comfortably in one place all adds up to something that feels genuinely distinct. It might take a couple of listens to fully land, and it won’t be for everyone. But at surface level, there’s enough going on here (especially in the production and overall atmosphere) to absolutely make it worth engaging with. At its best, Theft World feels like a statement of intent: that being experimental doesn’t have to come at the cost of impact, and that there’s still room within hardcore for something this strange to exist and connect. Score: 7/10 Theft World will be released on 1st May 2026 via Partisan Records. Words: Zuzanna Pazola Photos: Justin Pietropaoli