ATREYU have fresh eyes on their tenth studio album The End is Not the End, creating their most hardcore-infused album while keeping their signature blend of thrash and metalcore. The End is Not the End's fourteen tracks are placed with purpose to create a satisfying build and resolve, capturing the energy of the new heavier sound for its first half then resolving into a conclusive yet theatrical finale that demands to be heard. A signature of ATREYU is their grandiose soundscape, which layers Dan Jacobs’ and Travis Miguel’s guitars in harmony and pulls ambient noise from everything from pianos to mandolins to add the melodrama. On the note of the instrumentals their time spent songwriting in Japan shows through with the sudden tonal shifts between tracks, shown wonderfully in Children of the Light with SEPULTURA’S Max Cavalera. The track opens with a full throttle drum lead solo that gets infused with electronica, then cuts out sharp at the end of the first section for just a theremin in a style that reminds of J-metalcore acts such as HANABIE. Children of Light also exemplifies the larger than life sound ATREYU perfect with long building instrumentals dropping into the chaotic breakdowns that make up part of a new heavier sound for the quarter. Their exploration into a heavier sound has added depth and chaos throughout The End is Not the End, where Brandon Staller teases his scream in the first half: Glass Eater teases what ATREYU sounds like without a clean vocal element, going on the attack with volatile lyrics about a “hypocrite pacifist” supplemented by military style drum rolls and the breakdown dissolving in growing static. The commitment to the hard vocals comes in Ego Death, opening with scratchy power chords and an angelic vocalisation then devolving into the hardest breakdown of The End is Not the End. The End is Not the End structures its fourteen track runtime wonderfully, taking a two act structure with a midpoint crescendo in Wait My Love, I'll Be Home, a ballad where Staller reaches out to a lover to wait for them atop a power-chord fuelled soundscape. The choral call to be guided home is beautiful, as is the final sentiment of the subject being Staller’s “greatest adventure”, then the tonal whiplash of Ego Death and Death Rattle taking The End is Not the End to its heaviest places launches the second half into something more chaotic and passionate. The final two tracks build into album closer Break The Glass, utilising a building introduction then adding the piano in the midpart to foreground the grand finale energy. Despite the heavy build up, ATREYU decided to tone it down for the ending, finishing The End is Not the End with just vocals and electric guitar before fading out into static. Throughout the whole album every track feels intentionally placed to build tension or explore the expanding horizons of their soundscape which speaks to the amount of dedication put into the album as a whole. Lyrically, The End is Not the End explores isolation and reconnection with those around you. One end of this is the focus on personal angst, including the ‘Why did I change myself' theme of All For You or the experience of ego death in the song of the same title. Others project the frustrations of isolation of those who are around including the promise of “You’re never going to break me again” in Break Me, or the disparaging of the subject of Glass Eater; metal and hardcore is often the space to vent about the people who cause anger or distress, and using this convention to convey isolation make those that convey reconnection all the more impactful The lyrics that hit the hardest in Afterglow, which initially comes across as a ‘wait for me until I come home from tour’ track, but as the track kicks Staller muses on watching his children “grow up through the screen of a phone” it becomes clear Afterglow is a love letter to the band’s families. This paired with midpoint finale ties together the theme of reconnection as it covers the impact that being away from home for long stretches can have on the connections already there. The End is not the End is a breath of fresh air for ATREYU, taking heavier and more chaotic sonic choices and mixing them perfectly with their already commanding style to create something brand new and on brand for the quartet. The intentionality of each track is clear throughout, and the themes of isolation and connection fit perfectly within the rapidly-moving parts of The End is Not the End’s sound. Score: 8/10 The End is not the End was released 24th April 2026 via Spinefarm Music Group. Words: Julia Brunton Photos: Sean Stiegeimeier

The masters of old school death metal worship FROZEN SOUL are back and ready to get nasty. New record No Place of Warmth is all but upon us, so here’s a look into the next stage of life for the Dallas five piece. Opening into the pummelling title track, FROZEN SOUL have pulled all the stops out and, on this introduction to the album, have managed to coerce the iconic Gerard Way of MY CHEMICAL ROMANCE to come and spew vitriolic verse. His black metal style is a fantastic departure from what we know him for, and harks back to his feature on TRIVIUM’s Matt Heafy’s solo album. The iciness that consumes their sound is felt in buckets here, and pervades the whole album from top to bottom. Straight into another feature, track two Invoke War brings in the California bruisers MACHINE HEAD for a stomping, gurn-inducing, death metal rollick. With rolling blast beats and bottom heavy riffs aplenty, it’s great fun - or at least, as much fun as a seething song about hatred and violence ever can be. It’s followed up by a short little song that very accurately describes the average temperature of the music this band produces - Absolute Zero - before we move right into the last feature on the album, with SANGUISUGABOGG joining the fray on Dreadnought. The punishment doesn’t stop here, as of course the mighty ‘BOGG bring the pain to match up to the heft of FROZEN SOUL, and the pair size up excellently on this fourth track. Moving further into the depths of the album comes Chaos Will Reign, Eyes of Despair and Ethereal Dreams. The first of these is one of the slower moments on the album, with a more menacing atmosphere than much of what’s come - however Eyes of Despair follows up with a positively machine gun-esque aggression and pace, ripping through the listener’s ears with shredding guitars and the blast beats to match. Ethereal Dreams takes some time to warm up, but the razor-sharp tone of FROZEN SOUL’s guitars cuts right down to the bone from the moment it gets going. After a brief semi-interlude track in Skinned by the Wind, we’re back to the full length tracks with DEATHWEAVER - a proper stomping death metal piece, with all the heft and weight of the best of 90’s death metal. Frost Forged feels a little more modern in its structure and pacing, but is still ultimately (much like most FROZEN SOUL tunes) an overt homage to old school death metal; if packaged a little differently. The finale brings about one of the silliest song titles the band have had in some time - but Killin Time (Until its Time to Kill) doesn’t just have a great name, it’s also a strong finish that’s got all the piss and vinegar and ridiculous distorted heaviness any death metal fan would want to round off an album. Before anything else, it must be noted that this album doesn’t feel like an evolution so much as a refinement. It’s still a great LP, and still contains everything you would typically desire of a good FROZEN SOUL record, but it doesn’t build upon previous work and find greener pastures so much as carve away at the glacier of before to make for a slightly sharper project. All that said, No Place of Warmth is a relentless exercise in aggression and absolutely worth listening to in its entirety - just don’t go expecting the next wave of modern death metal. Score: 8/10 No Place of Warmth will be released on May 8th 2026 via Century Media Records. Words: Jasmine Longhurst Photos: Kate Russell

While still a brand-new venture and yet to be known, SHORTDAUGHTER are undoubtedly a band that have overflowing potential to reach peak heights with their annihilating EP Promo 26, releasing 8th May. Hailing from Manchester, the newcomer alt-punk rock duo blend a variety of punk, emo, and hardcore genres into a sound that feels like being kicked in the teeth and asking for more. SHORTDAUGHTER is self-described as a vent system for lead singer Red Longson to “yell about men” and for guitarist/instrumentalist Cameron Wilson to “write silly dance parts and bounce-alongs”. And that perfectly sums up exactly what to expect from Promo 26. It’s a rage-fuelled, lightning-fast cacophony of cutting lyrics focused on the entitlement of creepy men and the screen-obsessed, daily doomscrolling society we live in, overlaying a cohesive hardcore sound with experimental segments and quick-fire tempo changes. Promo 26 is an EP to cathart to with the inaugural track, titled with hilariously fitting Eww!!!. Fuzzed guitar blasts through with stomping drums, the pace changing from fast-paced to breaking the sound barrier, switching from a pop-punk feel to a scuzz-punk sound as Red belts out powerfully about misogynistic men who can’t take a fucking hint. Breathe begins in the same muffled guitar vein as Eww!!! before a gradual drum roll flips the track into a crashing alt-rock sound with dangerous guitar riffs, walking us through with low vocals before Red turns the heat higher and brings us a track that cuts to the bone about wishing her valentine “the very worst goodbyes” in a raw scream. Layered vocals harmonise in the background under her emotive voice, fading briefly before the bridge launches into turbulent screams and Cam’s roaring instrumentals and an understated game-like synth carries us to the end. Completely out of the blue but jarringly entertaining, I Don’t Trust My Screen, I Trust Myself starts with a Japanese monologue (potentially taken from an anime, bragging points to you if you recognise it!), before ripping into a fired up punk-rock riff, dropping into a quietened steady beat before uppercutting back into a wicked rhythm, Red giving an acidic breakdown of never having a day off from society’s bullshit in a constant doomscroll, blaring out in a scathing shout “no peace, no cease” while the instruments reverberate and add force to the message. SHORTDAUGHTER are already proving they’re no-nonsense, experimenting with alt-punk rock sounds and genres while sticking to their core values and figuring out what works for them. Promo 26 delivers a sound that has the guts and range to attract a wide audience, whether it’s the music or the message you feel an affinity for. With more music releasing later this year and a slot on the upcoming Manchester Yule Fest, this is a duo that has towering ambition and the moxie to achieve it. Score: 7/10 Promo 26 will be self released on 8th May 2026. Words: Julia Stark Photos: Shortdaughter

The German metalcore outfit THE NARRATOR returns with their sophomore record Phosphor, a powerful follow-up that builds on the foundation of their debut while pushing their sound further into both emotional and aggressive territory. Opening with the title track Phosphor, the band wastes no time setting the tone. The track delivers raw metalcore energy right from the start, backed by great production and crushing breakdowns. It’s a confident opener that immediately showcases the band’s strengths, tight instrumentation, impactful pacing, and a clear sense of identity. Aurora, the second track, quickly establishes itself as one of the album’s highlights. Emotionally charged and deeply atmospheric, the song carries a sense of despair that feels both authentic and overwhelming, in the best possible way. The band doesn’t shy away from political commentary either, with lines like “We've been chosen to endure this hell, while a few keep growing their wealth” showing us their opinion on this world. Paired with a catchy and melodic chorus, Aurora becomes one of the album’s most memorable and complete experiences. Modern Age Blasphemy leans heavily into a darker, more aggressive sound, reminiscent of bands like PALEFACE SWISS. The track maintains its intensity throughout, eventually opening up into a powerful, emotionally driven chorus that contrasts the heaviness effectively. Political undertones continue to show here, reinforcing one of the album’s recurring themes. Previously released single Stasis serves as a defining moment on the record. Featuring AVRALIZE, the track feels like a modern German metalcore anthem. The collaboration works perfectly, the emotional chorus amplifies the impact of the heavier verses, and AVRALIZE’s contribution adds an extra layer of depth. Pills From The Start returns to a heavier palette while diving into more personal subject matter. On the surface, it tackles themes of overdosing and substance abuse, but as the track unfolds, it reveals a deeper narrative about toxic relationships. This dual meaning is executed with precision, making the song both emotionally engaging and lyrically entertaining. Agnosia introduces a more modern metal influence, particularly through its guitar riff. While the verses stay rooted in traditional metalcore, the song evolves through dynamic shifts, blending clean vocals with crushing breakdowns. There’s a palpable sense of desperation throughout, as if the track itself is a scream to be understood. With Two Lives, the band strips things back initially. The more minimalistic opening highlights vocalist Fabian Jochum’s range and control before the song erupts into a massive chorus. The contrast between vulnerability and intensity is one of the track’s greatest strengths. The track Dissection flips that dynamic entirely. From the very beginning, it’s relentless, energetic and arguably one of the heaviest tracks on the album. At just around two and a half minutes, it feels like a sustained breakdown, delivering a burst of pure energy that serves as a chaotic interlude before the album’s final songs. Iron Grip brings things back into a balanced metalcore framework. It’s a well-rounded track that blends aggressive breakdowns with more restrained moments. Once again, Fabian Jochum’s vocal performance stands out, delivering intensity with precision and emotional weight. The closing track 9010 is one of the album’s strongest moments. It shows a perfect balance between energy and emotion, opening with a melodic guitar riff that smoothly transitions into a raw, high-energy verse. The chorus provides a melodic counterpoint, giving the track a dynamic flow that makes it both engaging and memorable. As a closer, it encapsulates everything Phosphor does well into one track. With Phosphor, THE NARRATOR successfully expands on the sounds of their previous album Lore. The record offers a well-crafted blend of crushing heaviness and melodic riffs, all while weaving in emotional and political depth. It’s a clear step forward for the band with a bright future ahead. Score: 8/10 Phosphor will be released on 8th May 2026 via Nuclear Blast Records. Words: Hannah Martin Photos: Kathi Sterl

HAGGARD CAT are synonymous with the post-hardcore scene, already establishing their artistry in previous project HECK and their prowess and nerve by powering through the 2020 lockdown to create bone-shaking rhythms in their album Common Sense Holiday and follow up EP Cheer Up. They’re back to break down your door and crush the status quo with their charged up album The Pain That Orbits Life, via their new label Church Road Records, a blistering 10-track record that pushes the expectations and carries the bat-shit frenetic sound HAGGARD CAT are renowned for. Teaming up with double Grammy-winner Adrian Bushby, The Pain That Orbits Life is classic HAGGARD CAT but a bit fuller, a lot wilder, and clearly inspired by progressive sounds. The duo, vocalist/guitarist Matt Reynolds and drummer/backing vocalist Tom Marsh, have pushed their skills and production out of their box by experimenting with more electronic sound effects that elevate the album, while still keeping the brazen grittiness fans love bodyslamming to, a reputation the band have garnered from their live performances previously supporting ENTER SHIKARI and PLANET OF ZEUS, and more notably kicking off 2000 Trees Festival 2025 where it was difficult to decide who was having more fun, them or the audience. It would be wrong to say this is the duo at their peak as there’s still space for them to level up, and while it’s their signature sound at its core their experimental features are taking them in a different direction than fans may have expected, but it’s a road we’re happy to travel down to see them at their most proficient and exhilarating - at least, so far. Describing The Pain That Orbits Life as a “journey of self reflection and personal growth”, the band have approached this from a personal and evolved viewpoint to create the sound they’ve been chasing since they started in 2017 and have caught in a snare. From the first rapid-fire synth sounds that announce the album and serpentine across headphones and speakers, first released single I HATE IT HERE combines with rhythmic cymbals, snare rolls and fuzzed guitar as Reynolds calls out “I hate it here” repeatedly and increasing to a primal scream, the melody looping back into synth. SOAR focuses on Marsh’s crispy drum beats before guitar and high keys unleash together, the duo providing dual vocals that reach contrasting low and high octaves over an adapting rhythm, crashing into an anticipatory bridge that feels like marching into battle. HALCYON delivers more of the post-hardcore grit the band are known for, a buzzy riff and stank-face-inducing beat rivalling the heat of the cutting lyrics “was it worth it?” AFTERLOVE wastes no time rushing forward and dragging you by the collar with it, blistering beats and rich backing vocals interspersed with a cinematic theremin-esque feature in the background, before the bridge descends into a threatening beat and riff and Reynolds’ vocals distorted to the point of sounding underwater before he screams “I hate being around you” with raw emotion. APNOEA starts with robotic sound effects as it loads the track into a slick riff and off-the-beat drum beat and snare rolls, a prolonged scream halfway through blending into an instrumental solo and pounding beat, almost 8 minutes of their most progressively experimental sound heard on the album so far. NAILS has more of the HAGGARD CAT chaotic charm with rapid-fire rhythms and lyrics that reach a feverish pitch as harmonies echo in the background like an audience to their own havoc. Kicking off with a threatening drumbeat and low chords on SUPRESSOR, screams erupt and are joined by high guitar licks as the drums take their sweet time. It slows to an eerie tune and tempered beat as a quietened “I’m not getting better, I want to scream but your love is my suppressor”, a ferocious scream and crash of instruments bringing it back to the heat. LANDSCAPES starts melancholy in its sound before diving into blaring grunge-punk, a solo of lightning strumming undercutting Reynolds and Marsh’s vocals. Their second single off the album and by far the most heated track, WARPATH combines Marsh’s intense drumming with distorted guitar and ghostly synth over catchy lyrics that feel cathartic shouting along to. Closing out the album at a whopping 10:40 minutes, ZION feels like a tribute to classic metal with a triumphant, chest-beating intro that blends into post-hardcore and alt-rock and shakes things up. A moment of poignant quiet is shattered with a resounding, thrashing riff and beat as layered vocals call behind Reynolds’ heart-rending shouts of “every hope I ever had has taken such a beating”. It’s HAGGARD CAT at a level not heard yet, but there’s still room for the glass ceiling above them - it won’t be long until they smash that to smithereens. Score: 7/10 The Pain That Orbits Life will be released on 8th May 2026 via Church Road Records. Words: Julia Stark Photos: Ruena

Summer isn’t just around the corner, it’s epitomised by newcomer TRIAL TAPES on his debut EP 5 Notes, releasing 5th May. Every track feeling like you’re in an 80s movie where the colours are over-saturated and gauzy and you’re driving down the beachfront in a classic convertible to the promenade funfair. Perhaps a little too specifically descriptive, but from the first unrushed, hazy guitar licks and softened but poignant lyrics it conjures an affecting emotion that can’t quite be captured without waxing lyrical. Emotionally driven by his late coming out and having to start life from scratch on his own after a long stint in Brighton before returning to Liverpool, TRIAL TAPES has poured that terrifying uncertainty and optimistic hope into a sound that threads through multiple genres and decades, in a self described “queer-baked scuzz” genre. From first being inspired by OZZY OSBOURNE and later TEARS FOR FEARS, to spending a period away from music, TRIAL TAPES draws not only on his moving experiences but takes his namesake from his previous music projects, combined with a BBC documentary about the harrowing AIDS crisis. But it’s also a nod to his penchant for recording on cassette tapes and capturing a feeling that’s both timeless and dated. 5 Notes delivers that cathartic release and the emotion of moments lost to time or fear with lulling, lo-fi guitar riffs and licks, rambling deep bass lines and steady, sharp drum beats that move from the back seat to the forefront with rolls and jolting whips across the cymbals. TRIAL TAPES sings like he’s holding something back, on the precipice of bursting with emotion but trying to stay sedated, with stirring lyrics that feel deceptively upbeat with the rhythm but show his outlet for everything he’s been through and has yet to challenge. From an almost gentle bursting into tune, Slowpoke’s vulnerably soft lyrics juxtapose with the hazy indie rhythm, TRIAL TAPES singing matter-of-factly “I’ve been dead for a long time, I just didn’t know, just didn’t know…”, over steady claps, staccato guitar rhythm and lilting guitar notes. 42 begins deceptively with a restrained intro before revving up to a fuzzed guitar riff and beat that bounces off the walls, upbeat synth weaving through on the final chorus and elevating the sound, the fastest-paced track on the EP that paints the story of a love story that could have been if time and circumstances were kinder. The first single released last year, Coughing Fits has the far-away sense of both the 60s psychedelic-pop-rock and the 80s dreamy synth-wave-rock, the beat invoking shoulder shimmying while the words are cutting, slowing completely down to muffled synth and tender, hushed lyrics before the instruments build back up again to the bittersweet tune. Leopard Print Skulls has an anticipatory intro that falls away into fuzzed acoustic and languid tempos with layered soft vocals, an intermittent cymbal crash pulling you out of the soothing feeling. Despite the sensitive lyrics, it’s almost like an acceptance of the things that can’t be changed. 5 Notes ends with a psychedelic-funk intro on Sliding, the tempo similar to the other EP tracks, but suddenly blasting in with screams and tearing guitar riffs reminiscent of BECK and T.REX, the juddering bass more prevalent from the end of the chorus and frequent bouts of distortion that should feel jarring but bring the track together, the instruments mashing together in a way that feels like organised chaos and a cathartic outlet, before fading away into an unknown but no longer obscure potential. Score: 8/10 5 Notes will be self released on 5th May 2026. Words: Julia Stark Photos: Anton McMahon

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