Second records often arrive under a strange kind of pressure. The debut introduces the world to a band - the follow-up decides whether that impact was momentum or moment. For Swiss metalcore outfit VICIOUS RAIN, The Anatomy Of Surviving feels less like a reaction to expectation and more like a natural expansion of everything that made their debut so compelling. Heavier in places, darker in tone, and emotionally more exposed, the record pushes the band further into the psychological territory they only began to explore before. Released via Arising Empire, the album builds on the foundation laid by There Is Beauty In Letting Go, the band’s debut that first positioned them as one of the more emotionally resonant voices in modern European metalcore. Where that record introduced the balance between crushing breakdowns and vulnerable introspection, The Anatomy Of Surviving sharpens that contrast - digging deeper into themes of trauma, healing, and the relentless process of learning how to exist after the storm. Opening track The Anatomy Of Surviving wastes no time establishing that shift in tone. Cinematic ambience builds slowly before the guitars crash in with the kind of controlled aggression that has become a signature of the band’s sound. It’s heavy, but not just for the sake of it. Every breakdown feels tethered to the emotional gravity of the lyrics, a sonic reflection of the internal battles the record explores. That balance between devastation and clarity becomes one of the album’s greatest strengths. On Gods Of Glass & Wire, razor-sharp riffs collide with towering melodic choruses, while A Spotless Mind leans into atmosphere, layering shimmering guitar textures over a rhythm section that pulses with restrained urgency. There’s a careful sense of pacing throughout the record - moments of crushing intensity offset by stretches of fragile calm. Metalcore has always thrived on emotional extremity, but what separates Vicious Rain from many of their peers is how deliberately they shape that emotional narrative. The band’s sound exists in a space somewhere between the melodic dynamism of ANNISOKAY, the relentless heaviness of PALEFACE SWISS, and the anthemic precision of BURY TOMORROW - yet the result never feels derivative. Instead, The Anatomy Of Surviving feels intensely personal. Silent Therapy is one of the record’s most striking moments. Built around spacious instrumentation and haunting melodic lines, the track explores the quiet exhaustion of internal struggle - the kind that exists long before it ever becomes visible to the outside world. When the guitars finally erupt into a towering breakdown, it feels less like aggression and more like release. Then comes Trading Hearts, arguably the album’s emotional centrepiece. The track leans heavily into melody, allowing the vocals to carry much of the weight as it navigates themes of vulnerability and emotional dependency. It’s the kind of song that demonstrates how metalcore has evolved beyond pure heaviness, embracing nuance without losing its edge. Of course, the band still know exactly how to hit with full force. Spitting Blood Again delivers some of the album’s most punishing moments, driven by churning riffs and relentless rhythmic momentum. It’s the record’s most visceral track - raw, furious, and unapologetically heavy. Red Noise follows with a darker, more industrial-tinged atmosphere, its pulsing electronics and dense guitar layers creating an almost suffocating sonic landscape. It’s here that the band’s willingness to expand their sonic palette becomes most apparent, proving they’re not afraid to push beyond the boundaries of traditional metalcore structure. The penultimate track IKIGAI introduces one of the album’s most intriguing emotional shifts. Drawing its title from the Japanese concept of purpose and reason for being, the song balances despair with fragile hope. The instrumentation gradually lifts, trading crushing weight for soaring melodic lines that hint at something brighter beyond the chaos. By the time Intertwined closes the album, that sense of emotional resolution begins to take shape. It’s not a triumphant ending in the traditional sense - there’s still tension in the music, still scars in the lyrics - but there’s also a quiet sense of resilience threaded throughout the final moments. And that’s ultimately what makes The Anatomy Of Surviving resonate. This isn’t an album about conquering pain or pretending it disappears. It’s about learning how to exist alongside it. The record moves through anxiety, trauma, identity and healing with a rare level of honesty, transforming those struggles into something communal rather than isolating. In a genre often defined by volume and aggression, VICIOUS RAIN remind us that vulnerability can be just as powerful. With The Anatomy Of Surviving, the band don’t just build on the promise of their debut - they refine it, sharpen it, and push it somewhere deeper. Not just heavier. More human. Score: 7/10 The Anatomy Of Surviving will be released on Friday 13th March via Arising Empire. Words: Mia Gailey Photos: Vicious Rain

Experimental dance-rock is taking the music scene by storm in Belfast, and Irish-duo CHALK are a maelstrom on their own, stacking heavy rock instruments with steady EDM beats fused with distinct, commanding lyrics that speak of the duo’s upbringing in an unpredictable environment of Northern Ireland and the volatile changes of identity so many Irish people lived through. Utilising a range of award-winning musical and filmmaking skills from singer ROSS CULLEN and multi-instrumentalist BEN GODDARD, they draw on their life experiences and emotions to deliver a sound that feels cinematic, contradictory, and at times destabilising. Their full-length LP Crystalpunk, released by ALTER Music, is not a feel-good album or an album to find comfort in, it’s designed to keep you expecting the unexpected. From the opening track Tongue, this rises from a restrained and intermittent beat to a frenetic sound that swaps punchy drum beats whilst maintaining the fast-paced momentum, the lyrics of “should I go fuck myself” and melody building from a tentative ask to a demand to a screamed rebellion. Not letting up on the speed but changing the vibe, Pain’s melody is upbeat and almost something you’d play in a triumphant moment, if not for the vulnerable lyrics and gradual scream of agony that contrast against the addictive synth and drums. The ending mantra “he had bones made of brick” feels open to interpretation. Perhaps the most juxtaposed track, Can’t Feel It begins with a softer approach before launching into fast EDM sounds with a repetitive beat and instruments played under yearning lyrics of a time and feeling you can’t get back, a new layer of instrument added in to blend into a cacophony of feeling everything. Longer fires in with a heavier metal rock sound emphasising the guitar riff, contradicting the softer vocals first used in verse before the chorus throws out a desperate plea to “wait a little longer”. The rhythm quietens down mid-track for the feeling to sink in before the guitar and backing beat break in with power, a final “just wait a little longer” heard in a visceral scream before the soft lyrics are reintroduced. One Nine Eight Zero tells a story of pain crossing generations over lively instrumental beats and subtle auto tune on specific singing parts. Slowing down on the bridge to an indie-folk vibe, the melody crashes back in before becoming dreamlike to the end. The lyrics are almost defeatist and against the track it becomes a little surreal. At less than 60 seconds, Eclipse completely slows down with a harmonized, monotonously steady tone and raw lyrics that give it a sci-fi feel. Skem flips the LP on its head with a fluctuating dance that breaks the tension felt so far. There are mere seconds of a quiet interlude and a quietly spoken “tune it out” before it crashes into an intense EDM beat that is jarring and speeds into a chaotic instrumental run at the end. It’s the sort of tune you’d hear in Blade’s nightclub. Jumping straight in with immediate yells of “I don’t care” that echo and glitch out, I.D.C. features complex layers of instruments throughout that feel they’re gearing up to get intense at unexpected times, instead giving you a steady beat. It’s not until the final breakdown that the tender vocals build in power alongside the beat. Béal Feirste, Gaelic for ‘Belfast’, plays at 8 minutes of repetitious lyrics and instrumental sounds and beats through, breaking down to a trancelike sound halfway through and then gradually building back in a snappy beat while “we’re standing shoulder to shoulder” plays in a looped round, showcasing Irish solidarity. Rounding out the LP, Ache has very low vocals that sound like a murmur in your ear, ramping up from a sense of intimacy to something unsettling. The guitar riff fades in and out before reaching a jarring level against a mellow beat, the ending fading one instrument out at a time to create an ominous sci-fi sound. Crystalpunk feels like soundtracks to various genres taking you on a journey, while the words root you in the feeling of loss and nostalgia for yourself or someone else, a juxtaposed sound you can rave, mosh to, or feel catharsis. Score: 7/10 Crystalpunk will be released on Friday 13th March 2026 via ALTER Music. Words: Julia Stark Photos: Glenn Norwood

There is something wonderfully disorienting about a band that feels less like a modern project and more like a strange artefact that has simply surfaced in the present day. Emerging in MMXXII, FANGUS carry that exact energy. Their debut album Emerald Dream doesn’t arrive like a carefully engineered introduction; it lurches out of the shadows fully formed, steeped in mysticism, ritualistic rock, and the hazy echoes of psychedelic history. Listening to it feels less like pressing play and more like stepping into a dimly lit chamber where ancient amplifiers hum and something slightly otherworldly is unfolding. Rooted in the dim corridors of heavy rock and psychedelia, Emerald Dream leans into the atmosphere as much as it does riffs. Across eight tracks, the band summons a sound that feels raw and primal, yet strangely hypnotic. It’s music that wanders, searching through dust-covered sonic relics and dragging them into the present with a theatrical flourish. Opening track Howling Hammer sets the tone with immediate intent. There’s a sense of ritualistic momentum in the way the guitars grind forward, ALEX BIGRAS laying down riffs that feel thick with vintage distortion while SNAKE ST-LOUIS drumming pushes everything along with a muscular, driving pulse. It’s not polished, nor does it try to be. Instead, it thrives on that rough edge, creating something that feels alive and slightly unpredictable. Pyre Of Love follows with a darker groove, leaning further into the band’s occult-tinged aesthetic. JIM LAFLAMME's vocals sit somewhere between incantation and classic heavy rock swagger, cutting through the smoky instrumentation with a presence that feels deliberately theatrical. Behind him, CHUB's organ work drifts like spectral fog through the mix, expanding the sound into something more hallucinatory. The album’s early centrepiece arrives with Psychoïd Telepath, a track that perfectly captures FANGUS’ ability to blur the line between heavy rock grit and psychedelic exploration. The song unfolds patiently, its groove simmering before eventually spiralling into something more hypnotic. VICK TRIGGER's basslines anchor the track with a thick, rolling weight, allowing the surrounding textures to stretch and warp around it. By the time Quest For Fire erupts, the album begins to feel like a descent into something deeper and more primal. The track burns with a driving intensity, built around riff structures that echo classic heavy rock while still feeling uniquely FANGUS. There’s a subtle sense of danger in the way the band let the music expand and collapse, as if the songs themselves are shifting shape mid-performance. At the centre of it all sits the title track, Emerald Dream, arguably the album’s most immersive moment. Here the band fully embrace their psychedelic instincts. Layers of organ swirl around the guitars while LAFLAMME's vocals drift through the haze like fragments of a half-remembered myth. It’s less about immediate impact and more about atmosphere, drawing the listener deeper into the album’s strange internal world. Time Gambler shifts the momentum again, injecting a sharper rhythmic drive into the record’s second half. SNAKE ST-LOUIS' drumming feels particularly commanding here, locking into grooves that keep the track grounded while the guitars and synths wander into more experimental territory. The balance between structure and chaos is one of the album’s strongest qualities, and FANGUS handle it with surprising confidence for a debut. Penultimate track Shapeshifter lives up to its name, morphing between moods and textures in a way that feels deliberately unpredictable. At times it leans heavily into the band’s psychedelic side, before snapping back into thick, fuzz-laden riffing that feels pulled straight from the depths of vintage heavy rock. Closing with Stardust Regulator, the album settles into a slow-burn finale that feels almost cosmic in scope. It’s the kind of track that lingers, stretching out into hypnotic repetition while the band gradually dissolve the song into a swirling haze of sound. What makes Emerald Dream compelling is not simply its adherence to heavy rock and psychedelic traditions, but the way FANGUS treat those influences like living folklore rather than nostalgia. The album feels haunted by echoes of the past, yet it never collapses into imitation. Instead, it channels those sounds through something far stranger and more theatrical. For a debut, it’s an impressively cohesive vision. FANGUS aren’t interested in sounding modern or accessible; they are building a world. Emerald Dream invites you to wander through it, even if you’re not entirely sure what might be waiting in the shadows. Score: 7/10 Emerald Dream will be released on Friday 13th March 2026 via From The Urn Records. Words: Mia Gailey Photos: Fangus

There are plenty of bands whose music must constantly evolve to feel noteworthy, or for the band themselves to be able to stay in the public eye. Some acts may feel that their relevance will diminish without constantly updating and reevaluating their sound, as if their identity must be fluid and free to appeal correctly. However, LAMB OF GOD does not. Not only does the band consistently keep their sonic style within the same rough vein as that in which they started, they are very very good at that exact style. And hey, if it ain’t broke… Now some would argue that the Virginia bruisers have slowed down a tad in recent years, and that isn’t an entirely unfounded position. Their two best releases were in the early 2000’s, with the rabid Ashes Of The Wake and gargantuan Sacrament being two of the decades best metal LP’s, but the five-piece have not ever quite hit the dizzying heights of those two records since, even if every release has still had its high points that are well worth visiting. All that being said, Into Oblivion feels like a breath of fresh air has been breathed into each band member, giving new life and new energy to them all. Whilst still obviously a LAMB OF GOD record, it has its moments of new ground being broken and new riffs being spewed out of speakers in some twist on their unholy formula, that feels just that bit tighter and more muscular than those last few albums. Title track and opening song Into Oblivion instantly throws you in at the deep end, and it already feels like the ominous atmosphere the band have utilised in isolation across a few albums has finally been distilled across an entire release. The riffs are still as gurn-inducing as ever, but do have a little more of the fearsome bite of their earlier work which is incredibly welcome. Single Parasocial Christ follows up with fantastic drums and ten-tonne groove, as Randy Blythe growls like some demonic chainsaw (quite frankly as expected) overtop it all, before Sepsis shows off a much slower and sludgier side to the band that doesn’t often get to be at the fore, but has all the gnarly atmosphere it needs to throw a venue into pure chaos. The Killing Floor and El Vacío come afterwards and have two very different energies to present. The former is one of their trademark political ragers, complete with spittle-flecked howls - but the latter is much more in the vein of 2012’s King Me musically, as it slowly builds and grows from a restrained performance into a hulking brute of a song, never once afraid to go that little bit bigger. All of this sounds good in premise, and it most certainly is, with plenty of fantastic moments and tracks in play - but track six St Catherine’s Wheel might be the most intriguing thus far. With the odd mathcore guitar stab mixed into a more traditional LAMB OF GOD-esque chug-then-shred riff blend, it’s a great spin on their usual formula that is incredibly exciting to hear them lean into. Blunt Force Blues once again takes the foot off the gas ever so slightly in terms of pace, although doesn’t once let up on the chokehold the band have upon the riff world. As Art Cruz builds anticipation for the final unleashing of the twin guitars of Mark Morton and Willie Adler towards the end, the tension is palpable - all underpinned by the worlds heaviest metronome, John Campbell. Bully takes the slightly more ominous, slightly downtempo route as well, as we make our way slowly and sadly towards the end of the album. Penultimate track A Thousand Years is time for another circle pit and fist-pumping sing along that both decries conflict and will most certainly cause violence at shows - until finale Devise/Destroy brings about an end to proceedings with blast beats, gutturals, and riffs aplenty; just as you’d ask for. All in all, Into Oblivion is a triumph for the band. Taking the slight wane of their energy and revving their own engines back up is no mean feat, but to do so in excellent fashion and feel engaging without having to deviate too far from their tried-and-true sonic style is applause-worthy. LAMB OF GOD have always been masters of the riff, but with these few additions to their armoury it feels like they could still be guitar-slinging for many moons yet. Score: 8/10 Into Oblivion will be released on Friday March 13th 2026 via Century Media / Epic Records. Words: Jasmine Longhurst Photos: Travis Shinn

On the evening of 7th March, the German power-metal legends POWERWOLF took over the iconic OVO Wembley Arena in London. POWERWOLF Photos: Vollvincent & Vincent de Fallois

Back in 2024, BBC Radio 1 dubbed CALVA LOUISE as one of the “Artists You Need to Know”. In the past twelve months, they’ve proved that to be true and then some. Formed in 2016, London-based band CALVA LOUISE have showcased the malleability of music genres and creativity, synthesising punk, electronica, and Latin American folk music. Comprised of lead singer and guitarist Jess Allanic from Venezuela, drummer Ben Parker from New Zealand and bassist Alizon Taho from France, they bring a breath of fresh air to the UK’s music culture, showcasing the positives of our multicultural society and the beauty in community within the music industry. Their music showcases Allanic’s fictional world, conceived when she was 10 years old, as the listener follows the journey of the story’s central character, Louise. It doesn’t stop at music - they’ve published graphic novels, with art done by Allanic. Their creative force is not one to be reckoned with, and the world is starting to take notice of them. They’ve built a name for themselves in the UK and international live circuit, continuing to grow in popularity and in their sound and identity. Headlining the BBC Introducing Stage at Reading and Leeds in 2021, as well as supporting artists like VUKOVI in their 2024 US tour and BLOODYWOOD in their 2025 sold-out EU tour, it could only go up from here for CALVA LOUISE. 2025 started with an electric performance at Shiprocked Festival in the USA, ending 2024 with festival performances at 2000 Trees, Download Festival and Sonic Temple. Last year, they joined the likes of MILITARIE GUN and WITCH FEVER to become Out OF Rage cover alumni. Set to tour the UK this Spring to commemorate their latest album, Edge of the Abyss, their journey hasn’t been easy in order to make it to where they are now, as one misstep would send them over the abyss. Their DIY grit, as demonstrated through Allanic’s sliding keyboard setup built by Taho and Allanic’s self-taught VFX and video editing skills to fully showcase the universe they were building, shows how determined they were to realise their musical style and creative worldbuilding. 2026 is already off to a great start for CALVA LOUISE, as they’re set to headline Noizzefest in Cardiff, joined by HELL HOTEL, KNIVES and HAGGARD CAT, amongst others in a stacked lineup, set to grace the heart of Cardiff with their electrifying and energetic sound. Committed to supporting musicians in the UK and fostering community within the rock and alternative music scene, it’s set to be a day filled with killer riffs and lots of movement. Alongside their headliner tour across the UK and headlining Noizzefest, the rest of this year is set to treat CALVA LOUISE with the respect that they deserve, after a decade of hard work, creativity and constant living on the edge as three people from opposing corners of the world tried to make it work in the scene where they found each other. They’re set to perform at Copenhell this June, one month after they wrap up their UK tour, joining FAETOOTH, MASTODON, VOLBEAT and BRING ME THE HORIZON, among others in what’s sure to be a packed weekend at Copenhagen. With upcoming performances at Sun and Thunder Festival in Spain, Plane R Fest and Kave Fest in France, CALVA LOUISE’s multicultural and fluid sound is set to grace the European continent, and indeed the rest of the world. Knowing what we know now about CALVA LOUISE, you’d be insane not to follow them by this point. We’re looking forward to seeing their universe and sound continue to grow, and their fanbase grow with them. Words: Atoosa Salamat Cover Photo: Simon Arinze for Out Of Rage

It might only be two days away from Friday the 13th, but rest assured, we're still feeling pretty lucky here at Out of Rage - we've had tons of new bangers to get spinning, and they just keep coming. Here's what we've been listening to: As Everything Unfolds - DENIAL As a single ahead of their upcoming album Did You Ask To Be Set Free the Buckinghamshire band AS EVERYTHING UNFOLDS have released a gritty but reminiscent sound in the single DENIAL. Lyrics that vary from softer vocals to heavier growls with a topic of someone being self destructive and in turn hurting the people around them, when they are all dealing with the same situation. The lyrics are relatable to lived experiences which will make it a fan favourite. It’s definitely a track that will play well live over the upcoming festival season, with hooks in the chorus that will have the crowd signing along. Words: Angel Turley Evermore - Underdark Captivating from the first bars, EVERMORE bring you a track that commands your attention whilst speaking to your inner pain. Underdark is a promise that EVERMORE’s upcoming album Mournbraid, releasing March 20th, will bring the intensity of power metal, with shredding riffs, annihilating solos, and extreme drum beats that will grip their hooks in your ears. Underdark’s rhythms bring heat, but vocalist Johan Haraldsson bares a vulnerability in the lyrics, “save me from myself” a plea to be saved from an isolation within himself, that grows in desperation as the song progresses. It’s a song that connects to its listeners on a personal level with a musical backdrop that will feel like you’re in a great battle with the darkness. Words: Julia Stark Free Throw - The Outlaw Star Opening with the lyrics “I was afraid of repetition” is a bold move for a band. Yet Nashville Emo Punk band FREE THROW have created a song that is the complete opposite. The Outlaw Star is a single from upcoming album number six Moments Before The Wind and the blend of tight guitar riffs that hit just right and lyrics that no doubt everyone will be singing along to by the end of the week make this a perfect single. If the pace and power of this single are anything to go by, the album is sure to be a hit. Words: Laura Davies Frozen Soul - No Place Of Warmth (ft. Gerard Way) Ahead of FROZEN SOUL’s third studio album, No Place Of Warmth (out May 2026), fans are treated to a surprise feature from Gerard Way of MY CHEMICAL ROMANCE on the title track. The death metal track creeps with an eerie atmosphere followed by dooming bells. The addictive riffs and mild tempo followed by slowed breakdowns compels listeners to headband along. Gerard Way’s crossover showcases his throat-slashing screams which compliments Chad Green's devilish voice. Pulling in new fans from the featured artist, this album is one to look forward to. Words: Theviya R Karunaharan Gouge Away - Figurine Florida firecrackers GOUGE AWAY return with an immense signing to Run For Cover Records and their fantastic new single Figurine. It’s a loud, scratching, hardcore-infused track that bleeds with that early naughties indie ooze reminiscent of THE YEAH YEAH YEAHS. The introspective post-mortem of vocalist Christina Michelle's people-pleasing tendencies has been raucously strung out and laid bare in the public arena. Drifting from confidence to outrage, this track is textured with those infinitely cool post-punk sensibilities, and (hopefully) an identity-defining new era for the Fort Lauderdale five-piece. Words: Amber Brooks Haggard Cat - WARPATH Driving straight into the punk rock sound faster than a freight train, HAGGARD CAT have unleashed another banger from their upcoming album The Pain That Orbits Life, releasing May 8th, with the electrifying WARPATH. Drummer Tom Marsh launches into snappy drum beats and breaks up the track with scorching drum solos throughout, building up to a bridge solo that matches the frenzied guitar riffs and raw vocals from singer/guitarist Matt Reynolds. WARPATH delivers a steady pulse and ominous warnings to “get away fast” because “she’s back on the warpath”, with an eerie synth echoing in the background of the chorus that adds to the haunting and hectic feel of the track. This is too catchy to get away fast from! Words: Julia Stark Malevolence - Twelve to Zero Tasked by Blizzard Entertainment to curate a song for the World of Warcraft expansion Midnight within 12 hours, MALEVOLENCE accepted the challenge and thus Twelve To Zero was formed. The accompanying video highlights the intricacies of building a song from melodic riffs, technical guitar solos and crushing breakdowns. The track opens with a soaring, headband-ready chorus followed by face paced verses. The clever touch of clock bells after the first verses reinforces the time constraints behind the track. Fans are reassured that MALEVOLENCE are continuing to create heavy music after their mellower release, SILHOUETTE. Understanding the band’s creative process, listeners are curious about the direction of future projects. Words: Theviya R Karunaharan Martha May & The Mondays - SINK DOGS Hurtling out at full speed from Glasgow’s thriving music scene are indie punks MARTHA MAY & THE MONDAYS with their new track SINK DOGS. Their political opinions are the war cries they chant as they charge into battle, their latest single taking shots at governments and the webs they spin; their ties to the Epstein files, and the wars raging on at the behest of those in power. A smooth, jazzy intro embraces our ears, grimy bassline lurking ominously underneath before MARTHA MAY’s silky voice joins us, steadily ramping up in intensity as she questions authority. Serenades turn to shouts; a howling chorus crashes into an instrumental wall of sound that surrounds us entirely. MARTHA MAY refuses to be quietened; this is a musical protest - one they won’t let up on. Words: Naomi Colliar Duff Mouth Ulcers - Prevail The feeling of wanting to dance in a misty forest is conveyed in MOUTH ULCERS’s third single, Prevail. Bringing post punk and 80s goth into London’s underground scene, MOUTH ULCERS bring back a playful nostalgia that people are craving. The gloomy bass and shimmering guitar melodies sit alongside the ominous vocals. The instrumental bridge builds anticipation “to the end”, drawing the listener into the single’s quiet mental battle whilst hinting at a sense of perseverance. The theme of survival plugs in that post punk had never left. This emerging band is ready to earn a permanent spot on your playlist. Words: Theviya R Karunaharan Scene Queen - Manicure SCENE QUEEN always delivers with fun feminist lyrics alongside a heavy guitar riffs and drum based track, and Manicure is no exception! With a ‘bubblegum pop’ melody lyrically talking about different types of manicures and nail accessories, whilst relating it to getting revenge by using them as weapons. The scream towards the end of the track is deeper than some of the previous work, which has had fans questioning if they are her vocals, in which they are. It’s a very tongue in cheek song but is sure to become a popular track within the fanbase and wider. Words: Angel Turley Shoreline - Paradox Man This single from SHORELINE’s soon to be released album Is This The Low Point Or The Moment After? sets the tone for what we are most looking forward to from this German emo/pop punk band. Full of crashing guitars and drums, this song packs a punch in under 2 minutes and leaves you wanting to hear more. The rawness of singer Hansol Seung's vocals and screams rips through the track to create a devastating hardcore sound with lyrics that wouldn’t be amiss in a TOUCHÉ AMORÉ song. A song that is full of gut wrenching emotions from start to finish that is sure to be a staple on your playlist. Words: Laura Davies Editor: Naomi Colliar Duff Photos: Various artists

Following their album IDAG last year, WITCHCRAFT have another collection of tracks due to drop this week. The Swedish occult rock group are known for their doom-folk-hard rock-stoner tracks that have been a staple in the scene for over twenty years. Their sound tends to change from album to album but generally stays in the parameters of doom, depressive folk, and hard rock. The band was founded in 2000 by MAGNUS PELANDER, and after the band was fully formed, released their debut album in 2004. The current lineup is PELANDER, providing the distinctive vocals and guitar, alongside bassist IDA ELIN TANNDERAL and drummer JOHAN "JUSSI" KALLA. Over the years, their enormous back catalog has cemented their status as one of the great doom folk acts. A Sinner’s Child is a five track EP, this offering is a slightly stripped back rendition compared to their previous work. The EP focuses on a melodic sound, with a combination of classic doom compositions and folk tracks with a twist. The EP opens with Drömmen Om Död Och Förruttnelse, a groovy sounding piece with a classic feel. The iconic vocals from PELANDER drawl in his native Swedish dipping in and out of the track’s hook. The title track A Sinner’s Child is mellow and reflective with a rich guitar tone that accompanies the vocals in a dreamlike state. Particularly in the chorus when the song harmonises, and the soothing rhythmic state continues until the final notes. Even Darker Days is a stunning folk song that echoes and haunts. With its heartfelt acoustic resonance, the song ventures into the world of the occult. The exact and precise plucking of the guitar in the midst of the song elicits such powerful emotion that it is difficult not to become engrossed in it. Frankly this style of song complements PELANDER's voice perfectly. As Själen Reser Sig starts it throws us back into the land of doom with a slow pounding beat under layers of distortion. Again in Swedish, the track crashes around with a punchy drum beat and bouts of anguish. The final tune Sinner’s Clear Confusion falls back into the swing of soulful riffs, it seems we’re a long way from the doom sound even though we were in the centre of it mere minutes ago. Out of the five pieces, this one feels the most out of place but somehow still works as a closing track with its calming influence and slow rhythm. A Sinner’s Child is a complex collection of songs that explores the many faces of what proto-doom and folk can be. The way the tracks are positioned you are taken in and out of these doom and folk spaces, which enables the listener to have a little breather depending on which sound they prefer. Although it seems these types of sounds aren’t that similar on the surface, they gel together to create a well rounded listening experience. The set of songs feel personal and are full of emotion, and the vulnerability shines through in both the songwriting and the melodies around them. Score: 8/10 A Sinner’s Child will be released on 13th March 2026 via Heavy Psych Sounds. Words: Danielle Henderson Photos: Witchcraft

There are few bands that have defined the golden era of pop-punk quite like NEW FOUND GLORY, and with Listen Up! they prove that even decades into their career they still have something urgent to say. After a period of touring and anniversary celebrations of their earlier work, the band leap into this record with a sense of reflection and renewed purpose. Where previous releases have leaned heavily into youthful angst and breakneck hooks, Listen Up! feels like a conversation not only with their fans, but with themselves. Standing shoulder to shoulder with the likes of BLINK-182 and GREEN DAY in shaping a generation’s soundtrack, rather than simply rehashing nostalgia, Listen Up! channels that familiar punchy energy into something more self-aware. Opening track Static Hearts sets the tone. Bursting in with palm-muted riffs and a driving drum pattern, it feels like an instant classic. Lyrically, it touches on miscommunication in relationships, urging both sides to “listen up before the silence wins.” It’s catchy without feeling overproduced, and the layered vocals in the chorus make it feel perfect for live shows. Following on, Golden Hour Ghost leans into a slightly more melodic track. The verses are restrained, allowing the bassline to breathe before the chorus explodes in that signature, uplifting way the band have perfected. There’s a nostalgic feel to it, almost a nod to early 2000s summer sounds, but still the sound feels crisp and modern. The bridge strips things back momentarily, creating a sense of vulnerability before the final chorus crashes in. Mid-album highlight Halfway There explores burnout and the pressure of longevity. For a band who have been through lineup changes and shifts in the music industry, the sentiment feels authentic. The guitar work here is particularly sharp, with a riff that anchors the song and gives it weight. It’s reflective without being heavy-handed, striking that balance between honesty and optimism. Outrun the Echo brings the tempo back up, delivering a two-minute burst of classic pop-punk adrenaline. It’s the kind of track that will have crowds dancing in unison. The drum fills are punchy, and the chorus hook lodges itself in your head after one listen. There’s a youthful energy here that proves the band haven’t lost their spark. Slower cut Polaroid Memory provides another change of pace. Built around clean guitar lines and softer vocals, it explores themes of holding onto moments that then fade. The imagery is vivid without being overly sentimental, and the gradual build into a full-band climax gives the song emotional depth. It’s one of the album’s most mature moments. Title track Listen Up! feels like a mission statement. With a punchy intro riff and direct, almost conversational lyrics, it addresses the noise of modern life, full of distractions, expectations, internal doubts and the importance of actually hearing one another. The chorus is anthemic, the kind that demands to be shouted back word for word. Towards the latter half, Small Victories stands out with its bright, almost hopeful tone. It celebrates resilience in subtle ways, acknowledging that growth isn’t always loud or glamorous. The interplay between guitars adds texture, and the backing vocals create that familiar layered fullness. Closing track Still Here rounds the album off on a reflective note. Rather than ending with a frantic burst, the band opt for something steadier. The lyrics feel almost like a thank you to fans, to each other, to the journey so far. As the final chords ring out, there’s a sense of continuity rather than closure. The way Listen Up! has been compiled feels intentional and cohesive. The pacing flows naturally between high energy anthems and more introspective cuts, keeping the listener engaged throughout. Sonically, it stays true to the band’s pop punk foundation while allowing room for evolution in production and lyrical depth. Ultimately, Listen Up! is both a reminder and a reaffirmation. It reminds listeners why NEW FOUND GLORY became such a beloved band in the first place, while reassuring that they’re not simply living off past glories. There’s sincerity in every hook, polish in every riff, and a through-line of connection that ties the record together. It’s a confident, energised chapter in a career that shows no signs of fading, and a testament to a band who are still very much listening, and being heard. Score: 8/10 Listen Up! was released on 20th February 2026 via Pure Noise Records. Words: Angel Turley Photos: Pure Noise

Round the deepest, darkest corners of the most middle-of-the-road walk-in mall lied the location of the final destination. A night of solid, old-school death metal, and for a Monday night after a long day of sticking it out at work, it was like sipping the crispiest, coolest glass of water in the world. Hell, it was more like fifteen glasses. The “Freedom or Death” tour had landed in London, and what was on offer were three absolutely excellent death metal acts to sate even the most vitriolic purist; BLOOD RED THRONE, VADER, and KATAKLYSM. The atmosphere at the start was a little sterile, many empty spaces through the crowds as people sipped their beers and fruitlessly tried to bargain with the merch stand’s ‘cash only’ policy. But then out of the inertia came this effervescence. Norway’s BLOOD RED THRONE were getting ready to take the stage, guitarist Ivan “Meathook” Gujic emerged with a neon green Dimebag guitar, mercilessly guiding the crowd along and he seemed excited. When they began their set, the crowd timidly began to fill in the gaps. But once the band really gotinto it, the Yucatan meteor could not dream of delivering as much force. Groovier than your average death metal band with absolutely heavenly breakdowns, they injected a heavyweight proggy influence at times, leaving people puzzled as to when to bang their heads along. Credit must also be given to the live mixing, as the instruments came out crystal clear and sounded almost like the album. There was an electrifying energy running throughout, this band was hungry. By the time they finished they had the place by the balls, everyone was hooting and hollering, ready for whatever came next. Now THAT is how you open a show. Picture this. Before you can process it, you are surrounded by 7ft tall Nephilim-people. They seemed to have been waiting at the back for that perfect moment to lurch straight to the front. You also observed that there were children everywhere being protected by these giants. The final thing you noticed, everyone was speaking Polish. Then BOOM. It’s VADER. The crowd greeted singer Piotr “Peter” Wiwczarek and Marek “Spider” Pająk like they were old friends. And with one of the giants screaming “KURWAAAAAAA” we were off to the races. Beginning with Sothis, it was becoming increasingly obvious that Poles taking their kids to see Vader is something akin to a rite of passage, but the little ones just stared in awe as their short-haired long-legged fathers bopped their heads not aware they were spilling half of their piwo on the floor. Na zdrowie! As for the show itself, it was colourful, VADER fired through their setlist like a gatling gun, even the strobe lights struggled to keep up with the relentless blast beats. After a quick mid-section encore… of sorts, they broke out the classics; This is the War, Triumph of Death, and make sure to end on the cheery Helleluyah!!! (God Is Dead), you know… for the kids! Underneath a large and quite obvious “DO NOT CROWDSURF” sign, many defiant crowdsurfers sailed over the rough sea of people, the giants toward the front doing most of the heavy lifting, whilst the moshpit formed the undertow of this raging human current. If this was 1683, some of the moshers would be overlooking the besieged city of Vienna on their great winged mounts, ready to deliver their van of cavalry into the rear of the Ottoman army and cry victorious. Yet there they were in the modern time, pushing and shoving their way to a little triumph. When the band fittingly bowed out to Imperial March, the giants disappeared as quickly as they came. They did not reappear for the remainder of the gig. It appeared that for quite a few, this was a VADER gig through and through. Facts would say otherwise though, as in gigantic text at the top of the poster was the mighty Canadian KATAKLYSM. Prior to them coming up, whilst testing the mic, one of the roadies served out a diatribe in perfectly rough Québecois. Yes, some of us English also know what the word “tabernak” means. Soon after that though, the band followed onstage to black and red pulsating lights, complete with canned intro audio. It was certainly more cinematic than the meat-and-potatoes death metal that the audience had received thus far. They jettisoned their time onstage with Soul Destroyer which got the energy currents flowing right off the bat. Vocalist Maurizio Iacono seemed to be checking in on the fans. He screamed; “London! Are you ready? Are you here?!” The crowd answered in kind, showing that they were, in fact, there. “We're not gonna talk much, we’re gonna go straight right through it (sic)”. And aside from quite a lot of ‘are-you-fucking-readies’ and a whole-ass drum solo, they did keep to their word. Storming through a good mix of old and new, Goliath, Die as a king, and their top song (according to Spotify) Taking the world by storm, they had the venue eating out of the palm of their hand like a bunch of damned rabbits! The riffs were just so good, and the vocal quality was pulled straight from the record. Once again, much credit was due to the mixing in the room, which was absolutely phenomenal all night. The Rabbit Hole is a very strange song, a death metal song about going down Facebook conspiracy ‘rabbit holes’, it was hard to take seriously when Maurizio roared “welcome to the great reset”. But goddamn, if it was not one hell of a groovy number. For the last half of the setlist they really upped the ante even further, tracks like In Shadows & Dust and At the Edge of the World energised and propelled like all the best tunes can. The crowd showed zero signs of slowing down. They are a Canadian band with classic Floridian death metal tendencies that are not afraid to get a bit freaky with it, adding more technical and progressive elements wherever appropriate, all in the service of a more satisfying rhythmic beatdown that keeps your noggin’ jogging. Righteous stuff. It was clear the band and the crowd were in the throes of ecstasy there, in a sort of ‘flow state’, but by the time KATAKLYSM took off and everyone faced the disappointment that Angel station was actually closed, there was a quite warm feeling of satisfaction. ‘Twas a night of classic death metal indeed, with three incredible acts that brought the very best of their discography to the forefront. The most succinct way to describe the night would probably be “high-quality”, like really getting bang for your buck. The sooner that this hellacious trio returns to the isles, the better for all of us death metal barbarians. Here is hoping they do not take too long. Words: Kiarash Golshani Photos: Claire Cabanac

There are certain rooms that seem engineered for intensity, and King Tut’s Wah Wah Hut is one of them. Low ceiling, close walls, zero distance between artist and audience. On Wednesday 18th February 2026, that intimacy became fuel as DEATHBYROMY brought her dark-pop spectacle to Glasgow, supported by two openers who understood exactly how to set the temperature. JAYDEN HAMMER stepped out first, with a confidence that made it hard to believe this was her very first tour. She carried herself with a sultry, rocker-chic coolness, but with her sharp edges softened by a poppier sensibility. There was a deliberate swagger to her set, with heavy-eyes stares and hooks that lingered just long enough to entice the crowd. Even in an already intimate room, she closed the distance further, stepping down into the crowd more than once, particularly during Living Dead Girl, and singing from the barrier like she has been claiming stages for years. What started as typical politeness, from a crowd unfamiliar with an opening act, very quickly shifted into something more; by the end of the set, most of the room was moving, giving in to songs they might not have known before but were more than willing to follow. KING MALA followed, and shifted the mood into something darker and more theatrical. She told us her goal was to make us feel like a god, urging the room to carry itself accordingly. It could have felt tongue-in-cheek, but instead landed as a fitting invitation. A large portion of the audience already knew the words to most of the set, and the response was immediate. KING MALA’s voice had a richness to it, smoky and controlled, capable of sliding from velvet-soft restraint into something sharp and commanding. The overall atmosphere was dreamlike but ominous, like stepping into a candlelit cathedral with subwoofers. We were treated to a new, at the time not yet released track, Surrender, which held everyone’s attention incredibly well for a first listen. During Devotion, she joked that it was her dog’s favourite song because she howls every time it plays; a small, sweet crack in the mystique. The room was then snapped back into motion with Eat The Spoon, which had everyone jumping in unison. By the time she left the stage, the energy was electric. When DEATHBYROMY arrived, the atmosphere tightened instantly. JAYDEN HAMMER reappeared as part of the live band, which gave the night a satisfying continuity. DEATHBYROMY commanded the stage with a distinct intensity that felt aimed at the female gaze. There was a deliberate, almost predatory theatricality to her performance, a sense of reclaiming power and space without asking permission. It was confrontational in the best way. She opened the set with Vicious Bliss, much to the delight of the gathered crowd, then dedicated Saint to a “bitch-ass ex-boyfriend”, which earned deafening cheers. Catharsis travels fast in a packed room. I Feel Like A God turned that release into something collective, with the entire venue chanting along. In a space as tight as King Tut’s, those voices bounce off the walls and back into your chest. Little Dreamer featured one of the night’s most striking flourishes, with Romy using a megaphone to distort her vocals. The effect added grit and urgency, turning the song into something more confrontational and raw in this live setting. Midway through the set, California Baby reigned in the pace, with softer lights and the previous intensity dialled back. What had been all sharp edges became something almost weightless. It was one of the evening’s highlights, ethereal without losing focus. In that small room, her voice seemed to hover rather than hit. If I Die Young maintained that somber atmosphere and offered a beautiful showcase of ROMY’s vocal control. At the end, she addressed the crowd, saying that if anyone there had ever questioned their life, she was proud and happy that they were in that room. It was incredibly heartfelt without being overwrought, and the hush that followed felt earned. The final stretch of the set rebuilt the previous momentum. XXXhibitionist was another highlight, exploding near the end of the set and unleashing a surge of energy. The crowd matched it beat for beat, bodies moving and voices raised. Overall, the set felt really carefully paced. There were explosive, high-energy moments where choreography and physicality took centre stage, but they were balanced with sincere, vocally driven sections that grounded the spectacle. ROMY paused at one point to ask about deep fried Mars bars, laughing that they sounded both evil and delicious, and “very American” of us. Moments like this kept the atmosphere buoyant between heavier tracks. Live shows in small venues demand authenticity because there is nowhere to hide, and for this gig that closeness worked as an amplifier rather than a limitation. JAYDEN HAMMER and KING MALA primed the room wonderfully, and DEATHBYROMY turned it into something communal, cathartic, and charged. In a space built for sweat and noise, she delivered both, with just enough vulnerability to make it matter. Words: Zuzanna Pazola Photos: Anna Goley

Despite the combative weather, Bristol’s O2 Academy heaved with face-painted, leather clad attendees preparing themselves for the tenured melodic death of AVATAR. Supported by much lorded black metal upstart WITCH CLUB SATAN on their second set of UK dates, following a blinding appearance at Birmingham’s Supersonic festival. Following them came New Zealand’s premier groove metal outfit in ALIEN WEAPONRY. Whilst hampered towards the start by weak guitar mixes, WITCH CLUB SATAN were still able to present a cohesive and abrasive set. Interweaving traditional black metal confrontation with a striking stage presence, evocative costuming, and a brief tonal diversion into a more experimental vocal driven song. What ties the band together really clearly, besides the ritualistic image and grinding black metal riffs, is the interplay between the trio on stage. The group were able to feed effortlessly of each other which coincidentally works to stir an audience of both incited witches and profligates alike. The only real issue the band faced was that the theatrics of their sets could not be fully realised within their opening slot. Overall, an engaging performance that could benefit from a slight time extension to fully explore its themes. With guitar sound adjusted, the high energy of ALIEN WEAPONRY’s onslaught of unending thrash whipped the audience out the trance WITCH CLUB SATAN had been able to invoke, sending the stands into something more akin to a riot. Despite only being a three-piece, the New Zealand band’s jagged sound combined with each member’s stomping stage characteristics sent the crowd into a communal frenzy, with heads of all ages banging along to the tight nu-thrash influenced lines. The band’s set functioned as a more than sufficient warm up for the night’s main event. With the smoke machine bellowing, AVATAR was revealed. Whilst theatrical had been on point the whole night, the effort and detail put into the production of the headliner was truly a punch above the rest. A Neon render of the logo flanked from the rear along with a fence of strobe lighting, whilst the band appeared draped in long fine robes with singer Johannes Eckerström clutching a gargantuan lantern. The band’s set was filled with complementary contrasts of melodic grooves and baroque vocals in songs such as the opener and the new album single Captain Goat and the more traditionally groove oriented classic Smells Like a Freakshow. The showmanship continued in the band's constant costume changes, from gothic gowns to leather peacoats, and the matching set of red and orange Ibanez guitars sported by both rhyme and lead. Towards the set's end, the entire stage setup was swapped in only a few minutes for royal red banners as a throne was brought out onstage for the conceptual Legend of the King in a tight bit of stage craft. The key takeaway from AVATAR’s set was the well-rehearsed nature of it all. From Johannes Eckerström constantly engaging stage presence keeping the energy up all night, to well timed use of the spring activated backing vocal mic stands, providing a clear demonstration of why the band have been able to remain pillars of the more theatrical end of the metal scene. Whilst they have been going for twenty plus years, they have not slowed down at all and are a must see for those with an interest in the more tongue-in-cheek leaning and theatrical side of death metal. Words: Zach Davis Photos: Kieran Atkinson