Two years after the release of Abyss Pt. I in September 2023, German metalcore wonder ANNISOKAY returned with the highly anticipated Abyss Pt. II in April last year, closing their epic trilogy only seven months after with Abyss - The Final Chapter as the main focus of their European headline pilgrimage. While tonight’s show in The Key Club may have been the smallest stop so far, the Leeds metalcore community made it their personal mission to make it feel like anything but. Backed by their German brothers, THE NARRATOR, and UK support HEART OF A COWARD, the intimate show carried the energy of something much larger. First on the bill was THE NARRATOR kicking off with Drawn, Conned & Deceived, giving the crowd whiplash from the opening bouncy riff, ending with a deliciously heavy breakdown, inducing stank faced nods of approval from the early birds in the crowd. Whilst the crowd swelled in numbers, frontman FABIAN JOCHUM’s growls were wonderfully visceral and intense, his playful energy radiated throughout the whole set, the happiness infectious and engaging. The fans in the front wasted no time in lapping this up, ceremoniously opening up that pit. With a now packed venue, they launched into their latest release Aurora. The front row seemingly knew every word, turning the energy up to eleven with some heartwarming fan interactions. They closed their set with Purgatory, JOCHUM exclaiming “If you know us, you know this song, let me hear you!”. The audience doing exactly as they were told, echoing ROB HOPPE’s dirty clean vocals, reinforcing that this is definitely a fan favourite. Joining ANNISOKAY makes this their biggest tour to date, proving their ability to be more than an opening act. THE NARRATOR will return to the UK in October of this year with their first UK headline show. HEART OF A COWARD was up next, taking the stage with anthems like Hollow and Mouth Of Madness. While vocalist KAAN TASSAN’s unwavering live growls resonated throughout the venue with a quiet confidence, the crowd seemed to be holding back, their energy on a low simmer. However, this reluctance did not last long, the community doing what they do best and delivering pit after pit with joyful aggression. Ending the set with Deadweight, TASSAN commanded the audience to scream “I DON’T GIVE A FUCK” right back at him, which seemed to reignite the room and reliably set the tone for the headliners. After plunging the Key Club into darkness for the entirety of Shake It Off by TAYLOR SWIFT, ANNISOKAY finally graced the stage, wasting no time in bringing the show back up to one-hundred. Opening with Into The Abyss and Throne Of The Sunset, treating fans to the sugar and spice contrast of CHRISTOPH WIECZOREK’s soaring cleans and RUDI SCHWARZER’s venomous growls. Following on with Ultraviolet, Silent Anchor, and My Effigy, all solid anthems off the tour's namesake - the set really showcased ANNISOKAY’s storytelling prowess and the conviction in their performance. The walls of The Key Club were dripping with sweat as the opening riff of H.A.T.E began. The crowd obeyed as SCHWARZER beckoned them closer, diving head first off the stage with no hesitation, rightfully putting his trust into his loyal fans as they carried him the length of the venue. SCHWARZER may have missed his original cue, but the spectacle; met by amused headshakes from his band mates, more than made up for it as he collected high fives and fistbumps on his surf back to the stage. Ending with an epic encore of Get Your Shit Together, Coma Blue, and STFU, a final gut-punch of energy was injected into the room, with hardcore fans almost drowning out SCHWARZER himself, screaming the lyrics right back at him, the lack of a barrier between the stage and audience only emphasized the raw intimacy and intensity of this moment. Behind the iron wall of fans at the front, chaos opened up with a well needed circle pit, spanning the width of the venue and melting into flailing destruction with Get Your Shit Together’s brutal breakdown. When the lights eventually came back on, the sea of sweaty, tired, but satisfied faces confirmed that ANNISOKAY, HEART OF A COWARD, and THE NARRATOR knew exactly how to put on a show. The catharsis of the sets clearly seen in the grins flocking towards the merch stands, and out into the night. The UK leg of this tour definitely brought ANNISOKAY’s trilogy to a satisfying close, setting the standard for shows to come. Words and photos: Alice Kenwright

Tucked away in an old industrial complex on Glasgow’s West End, SWG3 stands as one of the city's most iconic live music hubs. The location and biting cold did little to deter a snaking sea of belt chains and black clothing from flooding in to catch a lineup not to be missed. The contrast outside was striking, with a subdued folk show unfolding in the TV Studio, while anticipation for something heavier was brewing in Galvanizers. Californian metalcore unit STICK TO YOUR GUNS and fast-rising post-hardcore outfit STATIC DRESS promised to spend the first half of the evening paving the way for deathcore titans PALEFACE SWISS to celebrate their newest album, CURSED, and to deliver a performance to remember. With a lineup this strong, it's not surprising that much of the 1250-capacity room was packed out before the first opener even considered hitting the stage. Hailing from Orange County, STICK TO YOUR GUNS burst into action with an explosive vitality, launching straight into Diamond, the title track of their 2012 record. Strobing lights synced tightly with frontman Jesse Barnett's sharp screams, immediately crafting a visceral, all-encompassing experience. Despite the short set, the band’s relentless energy proved to be infectious, producing thirty minutes of raging mosh pits and pure metalcore bliss. During Invisible Rain, BARNETT demanded the crowd split in two, attempting to ignite a wall of death for the breakdown. However, with such a short warning, the moment did not reach its full potential. Heading into Spineless, they dedicated the song to fellow bill-mates STATIC DRESS, which was a far warmer gesture than the title suggests. A lone Gandalf costume in the pit prompted an iconic moment of comedy when BARNETT demanded the crowd two-step, with many audience members prompting to record the moment rather than the band. They later also dedicated Against Them All to headliner PALEFACE SWISS, honouring their long-standing friendship. They explosively finished with Nobody, the intense, powerful momentum they fostered continuing. The stage design left little room for doubt that Leeds post-hardcore unit STATIC DRESS were next. Scattered with early 2000s TVs, the set signalled the band's nostalgic aesthetic. After the TV’s flickered with static, they meandered onstage dressed to mirror the era, most notably frontman OLLI APPLEYARD’s belt featuring the early 2000’s DVD logo. They delved directly into face. from early in their discography. As the set progressed through fan-favourites such as Push rope and Death To The Overground, APPLEYARD’s repeated calls to ask the crowd to jump were gradually met with diminishing enthusiasm. CDP was dedicated to headliners PALEFACE SWISS, but they took a brief moment to acknowledge STICK TO YOUR GUNS. APPLEYARD excitedly said that “They’ve made this whole scene a better fucking environment… The fact that we’re billed after them, I’ll never fucking get over.” Following the chaos, the band briefly shifted gears, with the smoking lounge redux version of such.a.shame. This significantly slowed the pace, and following it with connor felt abrupt. They closed with the powerful crying, demanding “fifty fucking bodies over the barrier”. In a unique moment of crowd-control, APPLEYARD began counting down mid-song. After calling out, “We need twenty more!”, the room was successfully reinvigorated, earning a raucous round of applause as the set came to a close. The room filled with the ominous sound of ticking clocks as strobing lights cut through the haze, anticipation crackling throughout. As PALEFACE SWISS stormed the stage, they detonated into I Am A Cursed One, instantly igniting the pit and the crowd roaring. The room intensified with Hatred, pushing the room deeper into chaos. Much of the set was a journey throughout CURSED, however, long-time fans were also rewarded. Before diving into The Rats, frontman MARC ZELLWEGER teased, “We never play our older stuff… so you have to prove it's what you want or we’ll never do this again.” This ultimatum worked, with the most ferocious pit of the night bursting at the seams. During Let Me Sleep, ZELLWEGER commanded the crowd to drop to the floor, saying, “You know what to do when the beat drops.” This resulted in a rare and jaw-dropping moment where not a single person was standing, much to the clear amusement of the security staff. This moment was followed by an unplugged, acoustic version of River of Sorrows with longtime friend of the band RON DERIS; a much-needed moment of calmness. This calm was fleeting, as the full production gradually thundered back in. Energy surged once again, as the members of STICK TO YOUR GUNS rejoined the stage for Instrument of War. Coming to the end of the set, PALEFACE SWISS momentarily left the stage. Almost immediately, ZELLWEGER jumped back on and joked, “We’ll never do that rockstar shit,” before promising to play their biggest song. The pit never let up during Please End Me, and as the final notes rang, a satisfying wall of death accompanied. It was the perfect conclusion to an exceptional lineup and proof that PALEFACE SWISS have not even begun. Words: Chloe Sodeau Photos: Jack Norris

As the year came by, the French MOTOCULTOR FESTIVAL was back in London once again with another of their big tours across Europe. And this year, the co-headlining stars of the show were the Italian champions of parody metal NANOWAR OF STEEL and the Mongolian folk-metal powerhouse UUHAI. Supported on the London date by LONE SURVIVORS, MORPHIUM and DEUS EX MACHINA, the evening promised a journey through metal from the start. The Underworld in Camden Town was not busy at all before the first support band of the night took over, but that did not stop DEUS EX MACHINA to bring their all to the crowd. Originating from Singapore, the femme-fronted band gained huge popularity internationally over the years, and although their lineup changed extensively, the current one, consisting of PRASHANT RYAN JOSEPH (lead guitar), NEIL HALLIDAY (drums), HERMAN RZAR LEE (rhythm guitar), VIVEK GOVIND (vocals) and JUSSI AHOKAS (bass) is indeed a very strong one. Not having much time to truly showcase their work, the band played only a handful of songs before making space for the next band, but in that short time, they managed to make the crowd move, and even knock off a cymbal from drums that was put back by GOVIND. Expressing their gratitude a lot, it was evident the band was moved by the support of people, who came to see them opening the night. After a quick change-over, it was time for MORPHIUM to finally show London what Spanish metal is really all about. The crowd slightly increased in size before the set started, but there was still plenty of space on the floor, as many people rather stayed on the platform facing the stage. Once ALEX BACE (vocals), FREDERIC TORRES (guitars), JAMES LAMB (guitars), DIM (bass) and SEBAS LIMONGI (drum) took over, The Underworld saw thirty minutes of heavily harsh vocals, ear-piercing riffs and unstoppable snare. In between songs, BACE expressed gratitude for the chance to play the iconic venue, as well as talked about other things, which made the performance feel more personal. As they were the second supporting band, their performance was over quickly, but it was with no doubt a memorable one. The third and last supporting band, LONE SURVIVORS, took over the stage not long after the previous band, but they saw an increase in the crowd as well, as more fans were coming in to ensure they see both headliners of the night. The French metalcore four-piece did not hold back as FRANÇOIS LESCUYER (guitar) and OLIVIER CRESCENCE (bass) started shredding the riffs immediately, while JÉRÉMY PIAU held the beat steady with his drums and ARTHUR ROHOU combined his harsh and clean vocals. The floor started moving more than before, but even with multiple attempts, the band was not lucky to get a moshpit that night. Nonetheless, it was still a memorable performance that had put the band on the radar of many metalcore fans, and definitely a big night for them, as they were the main headliners. After three great support bands, the time finally arrived for The Underworld to welcome the Mongolian metallers UUHAI on its stage. And what a welcome it was with massive cheers and applause. Although the band was formed in 2020, they quickly gained popularity overseas, so it was no surprise that many in attendance were excited for this moment. Consisting of OTGONBAATAR DAMBA (drums), KHURTSGEREL DAMIJANRAV (horsehead fiddle, throat singing), ZORIGOO BATTSOOJ (horsehead fiddler, throat singing), SARUUL TSOGT-ERDENE (vocals), BATBAYAR DULAMSUREN (percussion), DALAITSEREN NASANBUYAN (guitar) and ANAND NARANBAATAR (bass), UUHAI is going in the footsteps of their ancestors with the incorporation of throat singing and traditional instruments, while embracing the modernity with the fusion of metal in their work, creating a sound that is touchingly unique. And their live show was no exception, as the show was energetic, engaging and worthy of bigger space. The band had released their first album Human Herds right before the tour started, so it was no surprise the songs played that night were all from it. From their hit song Khar Khulz, to Dracula, to the self-titled track Uuhai, the band held a ruling hand over the floor, and even received the first moshpit of the night that could not be stopped afterwards. In those almost sixty minutes UUHAI was given, all the fans united thanks to their touching music and the atmosphere in the room felt lighter, as if all the troubles of life suddenly disappeared. The performance was a worthy of co-headline and made everyone present long for more, As the night was coming to an end, the second headliner of the night, and last band on the bill, the almighty NANOWAR OF STEEL, finally made their way to the filled venue. If there was anyone wondering what the Italians were doing in London that night, the answer would be all of them went to see NANOWAR, as the amount of people speaking in their native language was absolutely higher than usual. Starting the set with the self-titled song Nanowar and lots of steam coming out from the machines, the energy they brought was incredible and maintained to stay the same for all thirteen songs. The enthusiasm of the crowd from the start was unmatched and it was no surprise that the members CARLO ALBERTO FIASCHI (lead vocals), RAFFAELLO VENDITTI (co-lead vocals, miscellaneous sound effects), VALERIO STORCH (guitars, keyboards, backing vocals), EDOARDO CARLESI (bass, backing vocals) and ALESSANDRO MILONE (drums) started interacting with them immediately, adding a personal touch to the evening. Bringing in many of their well-known songs such as Stormwarrior Of The Storm, Pasadena 1994, Norwegian Reggaeton and Il cacciatore della notte, as well as their latest addition Genghis Khan (The Genghis Khan Song to End All Genghis Khan Songs), while giving the audience a one-of-a-kind performance that even big power metal names would not be ashamed of, NANOWAR OF STEEL proved that metal does not have to be always serious, while also publicly standing against the growth of AI bands with the song HelloWorld.java. As the end swiftly approached and NANOWAR OF STEEL started to play their closing song Valhalleluja, FIASCHI started assembling a table from IKEA on the stage, in accordance with the lyrics, and let it go on its journey across the venue and moshpit. All five members jumped into the crowd right after the song ended to start a big conga line, crowning the evening as a successful infiltration of the isles, as they played in Grimsby and Southampton the previous days. UUHAI and NANOWAR OF STEEL are two completely different bands, yet they both accomplished to inject the venue with unity and enjoyment, as they took over the crowd in an instant. The MOTOCULTOR FESTIVAL’s Tour Across Europe has become a huge staple of the European scene by now and this year, they once again outdone themselves. Words: Katerina Stepanikova Photos: Ben Blissett

Monday nights in January aren’t exactly known for their excitement. Especially right after New Year’s, when most folks are still shaking off the last bits of holiday excess, too much turkey, too many drinks, not enough sleep. I’ll admit, I wasn’t expecting much. But walking into the Motorpoint Arena for Biffy Clyro, something felt different. It was like Nottingham had been holding its breath, waiting for this moment, fifteen years since the band last played here. In band years, that’s practically an era. The buzz in the air was real, not just hype. These guys have already shown they can own massive stages, headlining Download Festival twice. Now, three decades and ten full-length albums deep, the Scottish rock veterans are back on the road, touring last year’s album, Futique. It comes after some rough patches for the band, but the new songs aren’t weighed down; they’re about starting fresh, rekindling old connections, and figuring out what still keeps their fire burning. First up came the punk duo SOFT PLAY, kicking things off in the most unexpected way, the arena speakers suddenly filled with the gentle, choir like strains of the classic hymn All Things Bright and Beautiful. For a split second, it felt like we'd wandered into a church service instead of a rock gig, almost serene, almost funny. Then, without warning, it smashed straight into their own ferocious track, All Things, pounding drums and snarling energy. At the peak of the chaos, drummer and vocalist Isaac Holman leaned into the mic and bellowed, “How the fuck are you doing, Nottingham?!” It was a Monday night, sure, but plenty of people had clearly shown up ready to lose it. Tracks like Mirror Muscles and Isaac Is Typing… followed, and that's when the first real mosh pits erupted down front, bodies flying, grins everywhere, the room properly coming alive. Midway through their set, SOFT PLAY’s Isaac Holman dives right into the thick of the crowd, surfacing somewhere deep in the pit. Grinning like mad, he shouts out to the sea of faces: “People always used to yell at us; Oi, where’s your bassist, you Cockney wankers?" The place erupts in laughs and cheers; he's owning the old digs head-on, turning the joke back on the doubters while reminding everyone why this two-piece duo packs such a punch. Classic Soft Play raw, funny, and totally unapologetic. By the end, the Monday blues were long gone, and the place was ready to explode. The trio from Kilmarnock deliver a striking entrance that's worlds apart from the standard arena rock routine. Right from the start, the entire stage is shrouded in cascading white drapes, forming this enormous, dreamlike fortress effect. When they kick off with A Little Love, the band members first show up as towering, shadowy outlines behind the cloth, ramping up the anticipation until the track reaches its explosive peak halfway through; at which point the fabric dramatically falls away, exposing a vast, tiered setup complete with staircases and elevated platforms that let the performers roam and command the space. Hunting Season rolls in next, illuminated by those sweeping, epic lights, setting the stage for Simon Neil to rip into the iconic, razor-edged riff of That Golden Rule. The energy surges with pulsing strobes and those powerful, live violin flourishes slicing through the intensity. Deeper into the gig, the production for Space gets wonderfully atmospheric, complete with visuals that make it seem like rain is actually falling over the crowd. In the realm of massive venue spectacles, this just hammers home what fans have known forever: Biffy Clyro nail it with style, originality, and real sophistication every time. The setlist was a proper celebration of everything Biffy: old favourites, deep cuts, and a solid chunk from the new album Futique. They opened strong with some heavier newer stuff that got the pit going early, then dropped into the classics. Biblical was ridiculous. Simon stood up on that staircase, the whole arena singing back so loud it drowned him out for a second. Proper spine tingling moment. The closing run was pure euphoria. Bubbles into Many of Horror, the confetti cannons went off, the place lost its mind, and 10,000 people screaming "We are Biffy fucking Clyro!" together is one of those things you don't forget. Simon's final shout of "Have a great 2026!" before they left the stage felt genuine, like he meant it. Biffy aren't trying to rewrite rock history every night, they just deliver massive, heartfelt anthems with a connection that still feels genuine after all these years. From a quiet start to total pandemonium, this was the perfect kick off to the year. Words and Photos: Kieran Atkinson

BEYOND THE BLACK are no typical symphonic metal act. Their mix of symphonic and at times electronic elements set them apart from other bands within this subgenre such as EPICA. The German outfit also rarely visits the UK. The last time the band toured the country was in 2022, and that was a co-headline with electronic metallers AMARANTHE. This time, though, BEYOND THE BLACK have returned to the O2 Ritz, the same venue they co-headlined with their Swedish friends, but as proper headliners, and with a production that is almost arena worthy. Support came from metalcore band SETYØURSAILS, and SERAINA TELLI, making this tour opening show one to remember. Starting the festivities was hard rock two-piece SERAINA TELLI. This set was full of passion. SERAINA sang her heart out and alongside drummer MIKE MALLOTH, they delivered a set full of catchy bangers. About halfway through the set, the versatile vocalist introduced a keyboard into the show to play a ballad, which led into the synths being more prevalent in the show, and this is when the crowd really started to get into the music. Towards the end, the crowd were fully engaged with the performance, and gave the two musicians a raucous response when they finished their set. It was evident that the crowd expected a heavier, perhaps more energetic opener, but what they received instead was a melodic, fist pumping hard rock show, which should have lasted perhaps fifteen minutes longer. After a very brief wait, the SETYØURSAILS intro tape started playing, and seemingly out of nowhere the band members ran onstage. What followed was an action-packed performance which left absolutely no prisoners. Frontwoman JULES MITCH constantly jumped up and down, danced and ordered the crowd to move around, encouraging moshpits to cause havoc inside the venue. Musically though, the lack of guitar solos was made up by the other band members also jumping around and commanding the stage. The true highlight of the set was when JULES told the crowd to scream “Fuck off” to the band, which led them into playing the song of the same name. This left the crowd delighted ahead of their final couple of songs in their setlist meaning that their job as the main support act this evening was done, and fiercely at that. Once SETYØURSAILS left the stage, the longest wait of the evening begun, and with a massive curtain being raised, it was only a matter of time before the highly anticipated headliners showed up. The curtain did drop about ten or fifteen minutes before they would come on, meaning that this was done simply so that the crew could check that everything was good to go. These last few minutes flew by though, and in no time, BEYOND THE BLACK arrived. Kicking off with Break The Silence, the band tore through their new songs effortlessly, alongside older songs such as Songs Of Love And Death. Frontwoman JENNIFER HABEN danced non stop, constantly smiling, but the true standout on that stage was lead guitarist and harsh vocalist CHRIS HERMSDOERFER. He crushed through each solo effortlessly whilst being fully intimidating onstage. This time though, he had a bigger role in the show than he usually does, as about halfway through the main set of the show, he joined JENIFFER at the front of the stage to play the first verse and chorus of Wounded Healer, followed by the live debut of a new ballad called Ravens. The main set closed with In The Shadows. This is not only one of the most iconic BEYOND THE BLACK tracks, but it is also one of those songs which get recommended for new listeners who are just getting into heavy metal music. After this phenomenal, yet a little muffled rendition, a three-song encore, which ended in their typical show closer Hallelujah. Ending the first show of the Rising High Tour in a way which the crowd adored, and left everyone in the venue asking for more. This was a show to remember. The production was arena worthy, with a massive screen raised high above the drum kit adding a magical, colourful element to the show outside of the lighting which made sure that each song had a different colour in the set, and both openers delivered performances which left everyone more than satisfied. This proves that BEYOND THE BLACK have not just risen high, they have risen to the heavens, and are well on their way to playing much bigger venues. Words: Itay Gilad Photos: Lauren Wenham

At last the long awaited seventh full length album by metalcore legends CRYSTAL LAKE is upon us. After the album was first announced in 2024 following their move to Century Media Records, there has been a lot of buildup leading up to this moment. With four of the eleven tracks released already, there’s plenty to look forward to ahead of the album’s release. The lineup for this band has consistently changed over the years, although this is no bad thing. Each time the band evolves whilst keeping the heart and soul of the band’s message intact. After Ryo Kinoshita’s departure in 2022 due to personal reasons, new vocalist JOHN ROBERT CENTORRINO has stepped up to the altar and delivered the calibre expected of a band at this level. The Weight of Sound is both a rebirth and also a nostalgic celebration to the original CRYSTAL LAKE sound that fans know and love. With this record we see a solid foundation of what the band has achieved so far, and their ability to harness their sound and approach it in a fresh new way. The album hosts a plethora of guest artists including the likes of Jesse Leach (Killswitch Engage), David Simonich (Signs of the Swarm), Taylor Barber (Seven Hours After Violet, Left To Suffer), Myke Terry (Fire from the Gods, Volumes), and Karl Schubach (Misery Signals). Alongside Guitarists YD and MITSURU, bassist TJ, drummer GAKU and vocalist JOHN ROBERT C. we are treated with a stacked set of musicians. Everblack sets off the album and by no means eases you in gently, with brutal vocals from the start that lead into a punching breakdown. The anthemic voices in the middle bounce off the melody as the brutality returns to end the track. Bludgod featuring Taylor Barber follows, which has no struggle keeping the energy going. The song is teeming with synth-y infused flashes of ground rumbling blast beats by drummer GAKU. Tracks Neversleep and King Down contain pounding, unforgiving metalcore goodness helped along by Fire From the Gods vocalist Myke Terry. The Undertow offers balance, beginning with a melody that fuses into a break of serenity and harmony that bleeds perfectly into the title track, The Weight of Sound. This track is the thematic centrepiece of the album and packs the biggest punch emotionally, there’s something about it that really hits you. The accompanying music video is also worth your time, it highlights the hard work and sacrifices of being away from home for long periods in this career, whilst celebrating the connections created by music between artist and fans. Crossing Nails hints at a classic style CRYSTAL LAKE melody and its cascading, fuzzy riffs are a standout element. Dystopia showcases a dramatic and atmospheric touch that has impressive and effortlessly cool clean vocals to match. Sinner is a multi-layered track that touches on the light and dark, with welcome slower almost anthemic moments. Contrastingly Don’t Breathe contains booming rhythms and mammoth vocals that will leave you breathless. From here the track mellows out to a reflective loop before blooming into the final track. As soon as it starts Coma Wave makes you feel as if you’ve transcended to another dimension, with clean vocals right off the bat joined by a solemn piano. Soon the track crescendos to the metal sound we’re familiar with, though the piano continues as a jazzlike accessory. This is definitely the most experimental track of the album, but it pays off; this is something very unique and special. The Weight of Sound is a strong, powerful album that is absolutely worthy of your time. There’s no mystery as to how these guys receive such international recognition, they are able to create music that emboldens togetherness and harnesses immense energy that reaches fans all over the world. The Weight of Sound will be released on the 23rd January 2026 via Century Media Records. Score: 8/10 Words: Danielle Henderson Photos: Jesse Kojima

The Japanese metalcore five-piece CRYSTAL LAKE formed in 2002, and in that time they have solidified their place as one of the world’s leading bands in the genre. In the last 24 years the band has evolved and adapted to get where it is now, and through this they have created a distinctive sound which will be amplified further as their latest album, The Weight of Sound, comes out this week. The band are due to embark on a full co-headline tour with metalcore giants MISS MAY I starting next month, which will double as a release tour that is covering a huge chunk of the UK and Europe. We caught up with vocalist John Robert Centorrino to chat about the upcoming album, the tour, and everything in between. With John living in the States and the rest of the band living in Japan, we wanted to know how that worked when creating an album like The Weight of Sound. John: Everything is digital. We pretty much connect through a group chat. And we meet up for tour and what-not but they’re naturally very strict so everyone is just encouraged to be prepared before we tour so we don’t require to meet up. Today being able to connect so digitally, so realistically, makes it very easy to keep the gigs flowing, you know? We send files back and forth to each other all the time. I know since we haven’t jammed in a long time this time we’ll probably try and practice at a venue. Hopefully we get access the day before. Day one, you know? Considering this distance between them, we wanted to discover the process needed not only to work on the album but how this affects decisions made for touring and being on the road. This covers how to establish a compelling show complete with stage direction and creating an atmosphere. Not to mention one of the most important things: the setlist. John: So we give the vibe based on what we’re playing. So when we play songs like Watch Me Burn, Apollo, Lost in Forever, I will try to remember to smile. I don’t always remember! But I usually will try to remember to smile in those songs, and that kinda gives it a little more of a lightheartedness. So, I mean, it really is just depending on how we’re gonna vibe the set. I’m building a set right now, I’m sure that YD (Guitarist) is building a set also. I’m sure Mitsuru (Guitarist) and Gaku (Drummer) are putting together sets. We’ll see what happens. I want mine super cinematic, I want an interlude with, like, things happening, y’know what I mean? So, like, we’ll see if I get my wish. I think that’d be cool, though. I wanna play some old songs. Although a few of the songs from the new album have already made their stage debut, we were curious to find out which of the new songs the band were most excited to perform on stage. John: I’m really excited to play Neversleep. Very excited to try out Everblack or Don’t Breathe or Undertow. We’ve played Sinner before, you can find Sinner live on YouTube. We played it, like, a year ago at this point. I love playing Sinner live, because Sinner live is a little bit different vocally than the way it is on the album. I love playing it live! Lots of highs, it’s a lot of fun. The Weight of Sound is packed with guest artists from bands such as KILLSWITCH ENGAGE and SIGNS OF THE SWARM just to name a few, we were eager to know how such collaborations came about, and how these were recorded. John: A lot of them are just my homies, you know what I mean? Like David (Simonich) and Myke (Terry) are dudes that I’ve known for a long time including Taylor (Barber), I’ve known those guys forever. I was just kind of going through my friends and seeing who was available and who wanted to do it. There were a lot of other people who I was talking to that we just couldn’t line up because either we were on tour or they were on tour or we weren’t ready or however it was. And then I wound up making friends with Karl (Schubach) from MISERY SIGNALS over Instagram. I forget if I asked him or he asked me but we made that happen, and then we wound up connecting with Jesse (Leach) and then it just all fell together really, really, really well. Jesse’s part is really cool because it fits him really well. I think all of the guest spots fit the vocalists really well, it brings them out in it. I love that. I like them all. This album is the first full length album since the vocalist lineup change in 2022. We asked about how this may or may not have affected the direction for the band, in terms of genre and the band’s sound. John: The other CRYSTAL LAKE music kind of rides that same sort of line; they have this classic kinda vibe going on. Same thing with Helix, Helix in itself is very much a melodic-heavy album. It’s got very heavy songs like you would expect a modern metal band to have, but then at the same time it kinda sounds like an album from 2005. It’s got that vibe of that classic metalcore, but in a good way, in a fresh way, not in a repeated way. And I feel like this album has the same thing, just in a different way, you know what I mean? ‘Cause we kinda do a lot of different things on this album. I think there’s more heavy songs on this album than on Helix, and that’s just because you guys liked Disobey so much. It’s like, alright, fuck it, we’ll write some more heavy songs! And that’s kinda why we’ve been riding a line with like Denial // Rebirth and Blüdgod and Dystopia. We’ve been riding that heavy line, we’ve just been having fun. I think the difference in this album is it’s very balanced between heavy and light. The last album was very light or melodic. This album is very balanced between light, and I would say that really, it was just as hard, if not harder, for us to do this one than it was the last one because we’ve never worked together, but we had a lot to live up to. As a bit of fun, we asked if there was one song that you would recommend to someone that didn’t know about the band or were just discovering CRYSTAL LAKE, which tracks would John pick? John: From The Weight of Sound I would say Undertow, Everblack, and Coma Wave. That’s a good balance of everything that this band does. Those three songs are kind of everything. This chunk of heavy, this chunk of light, you know what I mean? I think that works. So far we’ve discovered that The Weight of Sound plays on the heavier side but still holds a lot of balance that new and old CRYSTAL LAKE fans will be able to sink their teeth into. Beyond this, we were interested to know John’s final thoughts and aspirations ahead of the album’s release. John: I guess I hope that everyone takes the time to listen to it. These guys put a lot of work into this music and the amount of time and energy that it took me to be able to play with a group of guys like this, it took me forever. Like my life was leading up to this moment. I’m really proud of all of us, I’m so happy to be able to be in this band and I can’t wait for you guys to hear what we did. Because I think this is what you wanted. This is what I wanted, and I’m pretty sure this is what you guys wanted too! And to finish, beyond the upcoming tour, we wanted to know if there were any festivals lined up for the summer ahead. John: Not that we can say out loud but fingers-crossed that we get a ton of them. If not this year, definitely next year. So we’ll see how that goes. CRYSTAL LAKE’s seventh studio album The Weight of Sound releases on 23rd January via Century Media Records. The band will be joining MISS MAY I for a co-headline tour starting in February. Words: Danielle Henderson Photos: Jesse Kojima With thanks to: Crystal Lake and The Noise Cartel

“This is Ritual Arcana and we’re setting ourselves free” claim the trio from the US. Ritual Arcana is a new project by some of the leading faces of doom. An album packed with, in their words, “a cauldron of hard rock, doom, and the supernatural.” The lineup includes vocalist and bassist SHARLEE LUCKYFREE (formerly of MOTH), SCOTT "WINO" WEINRICH one of the legendary faces of doom on guitar, and OAKLEY MUNSON on drums (formerly of The Black Lips and Old Testament). WINO has had an impressive career over the years being involved with acts such as The Obsessed, Saint Vitus, Spirit Caravan, Place of Skulls, The Hidden Hand, Shrine Builder, and Premonition 13 to name a few. And now, Ritual Arcana. In a quick turn around and aptly, you might think, the first single was released on Halloween last year, and in the run up to the album’s release we have been presented with three singles and a music video for each; Ritual Arcana, Subtle Fruits, and Wake The Goddess. There is a very strong sense of identity with this release and the band as a whole. Everything is adorned with symbolism and graphics containing bold hues of red and yellow, and nearly always with a key, a sword, and a feather. Hints of the supernatural and darkness are sprinkled amongst the group visually as well as lyrically. Ritual Arcana starts with a hard rock centric track, with intense guitar breaks that become a staple as the album goes on. Occluded, Free Like A Pirate, and Summon The Wheel each volunteer a slightly bluesy structure that gives the sense of similarity. Throughout, SHARLEE’s vocals are consistent and exude a beautiful tone that complement the steady drums from MUNSON and the echoing guitar of WINO. Berkhana shows off more of a doom side with a solid and unforgettable drum beat accompanying as the song plays out. Track five, Mistress of Change, is five minutes of spooky, raw moments intertwined with evocative, fuzzy rhythms. Subtle Fruits, one of the other preleased singles, has a doomy and hazy aura that draws you in. Alongside the screechier vocals and atmospheric, wavering guitar this track is truly memorable. The haunting guitar solo reverberates through you as it wavers and hesitates as the track closes. Tracks Road Burnt and Judgement XX contain the catchy style you’ve become more and more familiar with as the album goes on, and the latter has a decent guitar solo you’d be sorry to miss. Finally we have Wake The Goddess, containing lots of wavy sounds and glimpses of a darker attitude. The funky psychedelic moments sound freeing, in contrast with the compelling shouts from SHARLEE. Overall there are a few gems, although a lot of the songs feel quite safe and confined by their own rules. The standout tracks being Subtle Fruits and Wake The Goddess, accompanied by their respective music videos, you begin to get a chance to experience the voyage the band is trying to take you on. The visualisation of the band is stunning and the detail is commendable, with songs that transport you to their spiritual world. Ritual Arcana will be released on the 23rd January 2026 via Heavy Psych Sounds. Score: 7/10 Words: Danielle Henderson Photos: Ritual Arcana

There are no other subgenres within alternative music quite like progressive rock and metal. There is a variety of factors that make this kind of music so unique. From the complex and unorthodox rhythmic patterns to the atmosphere some bands like to incorporate, prog is one of the most complex genres of music to pull of effectively. HAMASAARI are one of those bands who like to make their songs sound very grandiose on top of the ambience they emit, and on Pictures, the band deliver a record that is easy to follow along to, on top of creating a thrilling atmosphere throughout. Pictures starts off with Below The Lightnings, a song that has a truly melancholic feel whilst maintaining a very subtle doom rock vibe. The passages this opener has intertwines this atmospheric heaviness with that doom rock sound. This is especially noticeable upon hearing how the different verses are connected. The track builds up to an ending which includes its heaviest section, as well as its softest section, which is ultimately how it ends, with dual harmonization between the fantastic vocals performed by Jordan Jupin and an acoustic guitar. The following track, The Wild Ones, starts off gently, once again highlighting the vocals before the full wall of sound approaches. This gets repeated before the first bridge arrives. This musical passage is carried by the drums, as there are some epic fills here, and one of these fills leads into one of the most progressive moments on the album. A stripped back section with a folky sounding electric guitar is played as the drums play one of the more complex beats on this album whilst the vocals softly murmur the chorus vocals, right before the song ends with the full, heavy chorus being repeated to make sure it is drilled into your brain. Frames kicks off with a soft yet percussion driven first verse, which builds gradually. This is something that is not yet heard on Pictures. The chorus that follows is extremely catchy and is not overly challenging to follow for a prog metal song, which is a really nice touch, especially for someone who may not be as familiar with this complex kind of music. The bridge here is mellow and melancholic once again but features some more amazing drum fills and guitar riffs. When the vocals return, the track reaches its peak, both in terms of how heavy it is, but also in how emotional it sounds. The passion is well and truly felt here, which is why this is a must listen track for prog fans. The album finishes with a track that starts off by showcasing how good the HAMASAARI rhythm section is. Even though the guitars are still present, for the first couple of minutes almost, most of what you can hear beside the vocals, are the bass and drums. This sonic change continues after the chorus, as the second verse has an identical vibe to the first. The bridge on this track though is where things get even more unique. This is the most progressive part of the song, as the drums play a very bizarre beat, to carry the section forward until the final chorus plays. Closing the album in a proper progressive manner. Overall, there are elements to love on this record, and musically each member of the band shines at some point, but Pictures is an album that seems to be designed for people who are trying to get into progressive metal. This is especially noticeable because of the fact that the music is easier to navigate and predict. Another predictable aspect of this album is the fact that the majority of tracks here follow this soft, to loud, to soft structure which makes the songs predictable, even though some of them are fantastic. If you love your prog, this will be a fairly easy and enjoyable listen, and newbies to this specific music style will easily be able to follow each track. But with that being said, progressive metal can be more complex than this, and that is the beauty of Pictures, because it is so easy to follow, time flies when you listen to it, and not every band who plays this extremely technical style of music can say that they have achieved that. Score: 7/10 Pictures will be released on 23rd January 2026 via Klonosphere Records. Words: Itay Gilad Photos: Regine Cadillac

ARTIO are a band that refuse to be ignored; since their signing to Slam Dunk Records in 2021 and recent signing with Lab Records, they’ve graced the support slots for alternative scene favourites like AS IT IS, VUKOVI and MOTHICA. They expertly blend genres with vocalist RAE BRAZILL’s soaring vocals and perfectly crafted electronic soundscapes and heavy instrumentals from Producer/bassist IEUAN JONES, lead guitarist ROB ARKLE and rhythm guitarist JAI AKHURT. Their second album Soul Rot is a testament to this. Born from a period of depression and exhaustion, linked to the constant need to ‘perform’ for the algorithm, SOUL ROT is an honest, cathartic, almost spiritual release. Often artists are afraid to open an album with a heavy track, but The Devil You Know (feat. CODY FROST) comes in screaming, setting the tone for the rest of the album. Released as the first single from the album, the track is an instant barrage of frustration, self‑preservation, and defiance against a scene that demands compliance and exists through exploitation. The entirety of Soul Rotting is the repetition of “Please call me back, my soul is rotting”. These were the words BRAZILL sent to a friend during a period of burn out which kicked started the concept of Soul Rot, but the song is presented with the voices of fans after the band requested recordings on their Discord channel. A transitional track so early in the album is unusual but it works so well, with the different accents and inflections of the community that surround ARTIO interlaced with an electronic element, which is almost metronome in sound. The metronome continues into the third track Bite Down, a further catharsis fuelled sound, inspired by post top surgery euphoria, with this being the first song written for Soul Rot. Featuring the first screams from BRAZILL on a record, the final breakdown is an incredible release of energy and intensity that cuts straight through the noise. The second track on the album to have a feature, Full On Fight For Fun (feat. AS IT IS) sounds like a beautifully powerful love song at first; pop punk in delivery, obviously influenced from the inclusion of PATTY WALTERS and BEN LANGFORD-BISS, but this is not about a romantic partner, RAE has stated it’s all for their sister, which makes the track even more beautiful with lyrics like “We’ll drench the old house in gasoline/Haunt these halls just you and me”. If Only They Had More Chance To Take Flight (feat. CJ of LOVE RARELY) is another track with a powerful feature. Leeds local CJ lends their vocals to the track about the exhaustion and patronising nature of being part of an industry that always wants more and more from you as an artist. The track is the second shortest on the album, after transitional number Soul Rotting; which feels like a middle finger to the industry as shorter tracks don’t usually get the air play or the audience that the longer tracks do as they are out of the norm. We all know how the world is a hellscape for many reasons but across the globe, the trans community is under constant attack. O Negative was written by BRAZILL after a TikTok they posted ended up on the wrong side of the app; which meant they were met with the most disgustingly hateful transphobic vitriol from absolute strangers. It’s an honest and heartwrenching track; you can hear the emotion in BRAZILL’s voice as they sing and as much as it’s an incredible song, it’s a difficult listen. We are treated to another incredible feature in Seven Suns (feat. KAHAL), a song which relies heavily on spiritual references. Lyrics like “No more ripping up of razors with ballpoints/ ‎Spiralling into the void” hits heavy for any listener who has ever struggled in certain ways; the line will send goosebumps down your arms and a shiver down your spine if you can relate. KAHAL’s inclusion adds an almost hidden background to the track, as if they are the false god that RAE is tired of praying to. Soda returns with the densely crafted electronic soundscapes producer/bassist IEUAN JONES expertly provides; and whilst it is another great track, it doesn’t quite land as heavily and passionately as the tracks preceding but is a shining example of the extent of BRAZILL’s vocal range. In contrast to the unguarded and ache-laden delivery of O Negative, Let it be a Void throws the hate back to the source with a middle finger and a reminder that “‎We all end up in the same place in the end”. It’s brave and transparent, a sharp and incisive statement, that intertwines fury, detachment and self preservation into something freeing. Incision Site features some welcome backing screams, along with harmonised vocals and repetitive electronic sounds, with more soul metaphors. RAE’s more gentle vocals close out the track, which gives the feel of an end of album track, yet there is still more to come. Vertebrae is another powerful and honest track; presenting a stark, unfiltered look at the emotional weight of watching everything come undone around you, as it happens, and being mostly unable to stop it. The track is another look into BRAZILL’s frustration at their creativity being demanded of them and sets the boundaries of what they are willing to deliver. Death Stems (feat. goodnighttheskye) is the final track with a feature on the album and it delivers, heavily. The spoken-word delivery of Leeds-based poet goodnighttheskye features the themes of the album; the deep seated rot and the energy-leaching of a music industry that demands a constant presence and the everlasting churning of creative pieces. The closing line of ‘For I am all I know, and there is nothing wrong with me’ hits the listener with the reminder that though the world is on fire, they are only human. Algae Bloom again features the themes of blooming and rotting in tandem; delivered by BRAZILL’s softer vocals and heavy backing from JONES alongside lead guitarist ROB ARKLE and rhythm guitarist JAI AKHURT, featuring an incredible play of words with ‘You call love, I call it necromantic’. Closer Room Tone delivers a similar power that opener The Devil You Know (feat. CODY FROST) introduced the album with, accompanied with images of a spiraling world that is being fought against, with intersplined vocals finishing each other's sentences. BRAZILL’s strong vocal range is perfectly showcased in this closing track, which ends the album with the listener wanting more, which let’s face it, is what we always want. Soul Rot is an album rife with catharsis; it is deeply honest and raw, discussing the constant battle to perform for the algorithm whilst keeping boundaries and choosing your own path without apology. The album is just the start for what ARTIO have ahead of them for 2026; it’s confident but intimate and delivers a message to remember your humanity. Score: 9/10 Soul Rot is out on 21st January via LAB Records Words: Lou Viner-Flood Photos: Artio

KID KAPICHI get personal on 4th studio album Fearless Nature, using moody indie sounds to get introspective on the end of frontman JACK WILSON's toxic relationship and the new headspaces the loss placed him in. Fearless Nature comes as KID KAPICHI's line up changes for the first time, marrying the themes of change within their latest project with the evolution of the band as a whole; KID KAPICHI have taken their growing pains and created something beautifully raw. KID KAPICHI open Fearless Nature within their comfort zone - an anti-Trump track with a floor lead that calls out those who voted him in for his second term. “Turns out the first one was better than the sequel” is delightfully catty, and the use of the dial up turn every 4 bars adds a tension that compliments the angst that opens Fearless Nature. The angst continues in follow-up Intervention, which features a static-radio speak layered into the harmonies throughout the final mix that offers depth throughout its second half. From here is where Fearless Nature starts to focus inward, where Shoe Size sets the post-breakup scene with “I’ve been day drinking all night long” upon a moody soundscape with punchy power chord guitars and swinging low verb drums. WILSON's lyrics artfully recount his return to the town with cowboy references (“side saddle/knee highs/yee ha/ that’s a free ride”) delivered with a resigned tone of voice. This matched with the yearning chorus strikes a resonant balance between the surface level fun and the lower-level hurt of being recently single. This will be the lightest that this theme is portrayed throughout Fearless Nature; Worst Kept Secret explores the moment that the relationship is over, using a “call me” motif in the lyrics to explore the final fights and discussions that put I Know it’s Over by THE SMITH's back into regular rotation. Worst Kept Secret moves between the hurt and the anger of this emotional period, utilising strings and piano without foregrounding them to create the tight chested feeling that the period comes with. A couple tracks later KID KAPICHI serves If You’ve Got Legs, a rockier track speaking to a failed last ditch attempt seeing WILSON walking out the door for good. The introduction of lower notes and guitar solos craft anger in the final beat of the relationship, but the reflections don’t end here. Worst Kept Secret gives the impression that it is the gut punch of the breakup tracks, but the real wound comes on penultimate track Saviour. Speaking at wanting his ex to be WILSON's saviour, he airs out the shortcomings of the relationship - “I was confusing, you were misleading/two sides of the story partly true” - while littering tear-jerker anecdotes of having clothes returned unwantedly and admitting he could not do any better for her but not wanting to be without her. Saviour is a gut punch soundtracked by gentle pop beats and live mixed vocals that conjure images of hugging one's legs against a doorway in the hallway. The growth on Fearless Nature isn’t limited to the romantic, with tracks such as Stainless Steel speaking on being flesh and blood with a focus on authenticity. The funky bassline, building power chords and upped tempo is a welcome change of pace and still has killer lines such as “do you live in silence with words unspoken/scared that when you pull the chord the parachute won’t open”, though the metaphor of stainless steel falls a little when contrasted with to being real. The introspection is not all objective, with tracks including Dark Days Are Coming. The off beat guitars and moody drum lines speak to tell tale depression symptoms of long days in bed and a voice that won’t quiet. It’s paired with Patience which covers the agitation of the cocoon that life changes bring - the to-the-bone desperation to get moving sooner and faster. The pacing of Patience is agitatingly slow; fitting thematically but making it hard to listen to on repeat. Fearless Nature closes on an optimistic note with rabbit hole, a reflective anthem plotted around returning to your home town and managing the memories that conjure up. It’s heavier on the pop and synth sounds that have been present throughout the album's final tracks, and draws threads through the ways in which people stop themselves climbing down the rabbit hole of despair as they grow. It’s chipper while honest and punctuates Fearless Nature well by staying optimistic within the hurt it has detailed. As a whole, Fearless Nature is an honest project about growth through adversity, packed with moody synths and indie rock that perfectly soundtrack the trenches that WILSON has trudged through to make it. KID KAPICHI fans will be satisfied with this last hurrah of their original line up as well as the new vulnerability in the lyricism. Score: 8/10 Fearless Nature was released on 16th January 2026 via Spinefarm Records. Words: Julia Brunton Photos: Chris Georghiou

The SA80A2 may be the current standard issue firearm of the British army, but the vicious barking out the barrel of RIFLE’s debut self-titled album is more than enough to claim that crown for themselves. FLYNN’s war drums, the rapid assaults on guitar from ALBERT and LOUIS, the march of ROSS on bass- it all compliments the screaming barrage straight from MAX’s lungs in a beautiful, beating cacophony; all too indicative of the best influences from the UK’s Anarcho- and Oi!- punk histories. RIFLE’s debut mosh through British working-class infuriation and anger in the classic punk style may show that the plight of the SHARPs and anarchists of the 80s is a horror continued into the 2020s - but equally shows that the hate for the system is far from dead, only refurbished for the modern age. Those familiar with the aggressive skanking of the hardcore scenes will find themselves very much at home throughout the L/P: a continuous fast-paced charge of growling sound reverberating through each track, giving near no moment to rest during RIFLE’s sonic barrage. From Soldier Doll to Gauntlet Of Hate, the listener is permanently on a hair-trigger edge, a harmony of sound at one end bobbing and weaving in a dimly lit, oak-furnished pub with fists raised and bloodied, at the other a grand maelstrom held together on the brink, as if the band’s instruments themselves were deep, deep in the pit. RIFLE wear their history and identity on their sleeve, from politics to London sound, and all is brilliantly discernible through the grit-filled chaos. There is no chorus across any of the tracks that does not inspire a chanting, bellowing singalong, marching alongside the band against the fascistic systems artists since before even the U.K. SUBS have been punching up at. No King provides a grand hooligan marching-drum beat for freedom, showing no time for the melancholy of oppression in favour of raw, pub-fed pumping action. Worthless provides one of the fastest, most movement-inducing tracks of the album, with the backing vocals inflicted by THE CHISEL in association complementing the JOHNNY ROTTEN-esque lyrics from MAX, without any of the PISTOL’s grimier affiliations. Their anger is not just for show, either; the Rifle LP’s stretch of war songs inflict audio carnage against the status quo, its oppressive yeomanry and petulant charlatans in an authentic, angry, and truly British way. Particularly relevant in RIFLE’s list of rebellions, United State shouts harshly, poignantly against the current growing authoritarianism and apathy of the Western world, demanding progress and the exposure of the ruling classes’ terror in a righteous, most-earned anger. RIFLE are no posers, showing precisely why the barrel of hardcore remains smoking- for “no human being is illegal”, and certainly, how do “you lot sleep at night?” The heart sown directly into their sleeve is audible throughout each song, Bastards echoing well the venerable EXPLOITED; Beat The Bastards may have been released in 1996, but its bloodied demands are just as prevalent, just as frantic, loaded into the RIFLE’s magazine. A sort of dry, violent anger, classic to pub punk reverberates throughout the entire album. There is one, merciless exception, however. The longest, most distinct sound on the album, Cease And Desist. The album’s longest track begins as any other, albeit its slower opening pace inspires a more cautious rage, before exploding into the RIFLE standard. As the track continues however, its heaven-directed screams change spectacularly - dry anger to wet, vicious chanting of almost jubilant rage turned into a sinister, vindictive rapport. No longer listening to a singer bellowing into a microphone, but a megaphone, the listener is transported to a cobbled street where each word becomes a cutting, protesting wound, reminding the listener of their first life-changing time hearing CRASS’ legendary and blasphemous Reality Asylum, beamed directly from 1979. RIFLE’s debut is guaranteed to grip the listener for its entire duration, the punk equivalent of a wood-furnished pistol grip in quality and savage comfort. Score: 8/10 Rifle will be released on 16th January 2026 via YEAR0001 Records. Words: Jakub Tomasz Czaicki Photos: Jack Taylor-Gotch