Some gigs build slowly. Others explode from the moment the doors open. BLEED FROM WITHIN’s The Dying Sun tour stop at Stylus in Leeds firmly belonged to the latter. Before the first note had even been played, the queue was already snaking through the venue’s corridors, a clear sign that the night ahead was going to be something special. By the time the lights dimmed, the room was packed wall to wall with fans ready to unleash absolute chaos. Opening the night were Danish death metal outfit BAEST, who wasted no time setting the tone. A long, brooding instrumental intro filled the venue while strobe lights cut through the darkness, building a thick tension before the band erupted into their set. For an opening act, the room was already impressively full and the crowd quickly responded with relentless energy. By the fourth song the frontman had already stepped down into the pit, delivering vocals right in the middle of the chaos as circle pits formed around him for the entire track. The movement never stopped – heads banging, bodies colliding, and the vocalist thrashing with an intensity that immediately pulled the crowd deeper into the night. Next up were DISEMBODIED TYRANT, who took the atmosphere into darker territory. The lighting dropped into heavy shadows that matched the crushing weight of their sound, giving their set a far more ominous feel. The crowd fed off it instantly, opening up two massive walls of death that tore through the room. One moment in particular cut through everything: the vocalist let out a scream directly into the crowd that was so violently loud it forced a collective pause from the audience. The kind of moment that makes you physically stop and think woah. It was chilling, raw and perfectly suited to the band’s brutal sound. Even between sets the energy refused to dip. SYSTEM OF A DOWN’s Chop Suey! blasted through the speakers and the entire venue instantly turned into a choir, with every voice in Stylus singing along at full volume. Yorkshire chants followed, echoing around the room and building anticipation even further as the stage was prepared for the headliners. When BLEED FROM WITHIN finally took the stage, they did so to the unmistakable intro of BON JOVI’s Living On A Prayer, a playful moment that had the whole room singing before the band launched into their own crushing set. From there, the energy barely dropped for a second. Early on, the third song was briefly cut short as vocalist Scott Kennedy called for a wall of death. While the venue cut off the sound, he jokingly voiced his frustration, reminding everyone that this was a metal gig after all. Within seconds chants erupted “Wall Of Death, Wall Of Death!” and the pit split down the middle before the inevitable collision. A standout moment came when the band performed Invisible Enemy alongside A Depth That No One Dares, a pairing newly introduced on this tour. Hearing the two together gave the show an extra emotional punch, the crowd shouting every lyric back toward the stage while bodies continued to surf overhead toward the barrier. Midway through the show, the drummer delivered a speech joking about embarrassing his own family, offering a brief moment of humour that perfectly reset the atmosphere before the next wave of heaviness hit. Moments later God Complex had the entire floor crouching low before exploding upwards in a perfectly timed jump that shook the venue. By the time I Am Damnation arrived, Stylus was in full meltdown. Hundreds of voices screamed the lyrics back at the band while the pit churned endlessly beneath a sea of crowd surfers. As the final notes rang out and the lights slowly returned, it was clear that this was not just another tour stop. BLEED FROM WITHIN turned Stylus into a furnace of energy, proving once again that their live show is not just heavy. It is an experience that pulls an entire room into the chaos and leaves it buzzing long after the last riff fades. On this showing Leeds would not have had it any other way. Words and photos: Jack Norris

Camden in 2026 is a strange place. Infamous for its outsider cultures, it now props up a touristic doppelganger of itself, skewed like an AI replica, propagated for commerce. The old school punks passing through, clad heroically in their leather and safety pins, are homing beacons for the grit-edged music scene pulsating at the fringes, still pulling in the notable and notorious. DEAD PIONEERS, a five piece political punk band from Denver, finished their tour here at The Underworld, supported by the ‘heavy punk supergroup’ YAKKIE. It was a promising night for Camden’s underground! YAKKIE, a London based ‘supergroup’, has members from across the city’s DIY punk scene including, PETROL GIRLS, DREAM NAILS and COLOUR ME WEDNESDAY. Serving high camp TONI BASIL, the lead singer, Janey Starling, pumped their set full of energy, joy and radical feminist politics. Their self proclaimed ‘nineties teen film’ sound really worked the contrast, with a razor sharp edge on their post-watershed lyrics. In the moments the band breaks character, the set truly comes alive, fueling the upbeat energy with a much gruffer, angrier side, to match the lyrical content. The big and bold sound by Maeve Westall on the drums and Starling on vocals, was accompanied with epic shredding by the guitarists, Robin Gatt and Laura Ankles. The only downside was the mixing where the guitars were often lost and desperately needed cranking up a few notches. Two women a week are murdered by their spouses in the UK, and YAKKIE’s song Right Of Reply, is their requiem. Starling spells it out for us, screaming “When will we feel fucking safe?”. Rabbit’s Got The Gun was introduced as a dedication to Luigi Mangione, giving a blast of sound that would have Elmer Fudd wishing he voted for universal healthcare. Impressively, by the final song, they manage to get the crowd singing along to Under The Pavement Is The Beach - Well, for a moment at least…This was a UK audience after all. Fiercely joyful and happily aggressive, songs were delivered with infectious energy throughout. Alongside their manifestation of feminist rage calling for a revolution, YAKKIE offered a refreshingly positive message of hope. When DEAD PIONEERS took onto the stage, the atmosphere went from rom Sunnydale California vibes, to San Pedro BLACK FLAG inflected punk. Founder of the band, Gregg Deal, sported a ‘Wagon Burner’ Tshirt and straight off the bat, his distinctive voice was pitch perfect, you would be hard pushed to distinguish it from the record. Clearly an adept orator and poet, there was no moment when you did not comprehend exactly, both what he was saying, and the politically explicit message. This was protest music without a doubt, and its caustic humour confronted the dark realities of European American colonial history, with a piercing directness. The brilliant band, made up of Joshua Rivera, guitar, Abe Brennan, guitar, Lee Tesche, bass and Shane Zweygardt, drums, shattered the set with a mix of hard, fast punk and pulpy sounding rockabilly. There was a symbiosis between the instruments and voice, the bass and drums always cutting a groove that somehow matched the wry satire on the mic, giving a theatrical swag. Enthusiastic shouts from the audience of “Fuck John Wayne” erupted as soon as the drums on Mythical Cowboys kicked in. A simultaneous nod to the brilliant PUBLIC ENEMY, Fight the Power lyrics perhaps? “Best cowboy that never existed, White narrative gets it twisted” Deal yelled the song ridiculing the golden boy of Hollywood Western’s, an out and proud white supremacist. Immortilised through film, is a romanticised white washed narrative of the genocide of millions of indigenious populations, across the entire continent of North America. The brutal crushing of Native American languages and cultures, is enacted to this day by the USA. A huge illegal settlement, upon their stolen land, a country, “Rooted in slavery and genocide, born in the bosom of European Colonism”. Deal is a member of the Pyramid Lake Piaute Tribe, he is an activist and advocate for the rights of his people, and he stands with and advocates for the rights of all people, across North America’s diverse indigenous populations. He is also a dad to five kids, and in a very sincere moment, asked the whole venue to sing his ten year old happy birthday, which he was missing at that very moment. His poetry and performance was confrontational and powerful and the crowd were very responsive throughout, knowing the words and the basslines for tunes like Bad Indian and The Caucasity. The audience let out an ecstatic cheer at the introduction to Nazi Teeth performed by both Deal and Ren Aldridge, the lead singer of PETROL GIRLS, who exploded with an extra dose of rebellious energy. Incredible live, DEAD PIONEERS delivered a shit load of subversive anarchistic energy, a salve to the right wing corporate propaganda we are saturated in. Their rhythms and basslines provided a mini mnemonics crash course in anti-capitalist theory and the colonial history. The world today is not a surprise, it is a product of what it was built upon. Deal said it straight, “Capitalism is a pyramid scheme and you ain't at the top.” Words: Alana Madden Photos: Dead Pioneers and YAKKIE

When it comes to the alternative metal scene right now, N0TRIXX is quickly becoming one of the most exciting artists to watch. She is known by fans as the queen of trapped metal, and continues to push her sound with every release. This new album feels like another step forward. It’s dark, emotional, aggressive and packed with intensity from start to finish. What really makes this record stand out is its concept: each track represents a state of mind, taking you on a journey through the rooms of the human psyche. The album opens with Into the depths [intro]. Straight away you’re pulled into this eerie atmosphere. It feels like a traditional track and more like the calm before the storm. There’s a sense that you’re being slowly drawn into something - you are stepping into a forgotten building with doors waiting to be opened. That tension doesn’t last long before exploding straight into hysteria [БЕГИ]. This track wastes no time establishing the energy of the album. The beat is intense and relentless, grabbing your attention right away. What makes it stand out is the contrast between the production and the softer vocal delivery. The track reflects the looping thoughts of depression. You feel like you’re trying to escape your mind while being trapped inside it - N0TRIXX is really showing her skills here. Up next is Revenge On God featuring YENTL CAMBRE. Things really start to spiral. The track builds an atmosphere, mirroring the confusion and collapse of memory associated with dementia. The pacing grows more frantic as the song progresses. You feel like reality itself is starting to unravel. After that intensity, HARMLESS, featuring SARUNAS BRAZIONIS, opens with a calmer vibe. It still carries an edge. The track explores the extremes associated with borderline personality disorder. You feel the push and pull between vulnerability and anger, love, and fear. - that makes the song feel raw and deeply personal. N0TRIXX and her collaborators are doing a great job. Then we move into Hé Toi, where the tension ramps back up again. Hearing N0TRIXX sing in her native language adds a whole new level of atmosphere to the track. The emotion is impossible to miss. The shifting sounds and tones reflect the inner dialogue associated with dissociative identity disorder - it’s one of the most unsettling moments on the album. N0TRIXX is really taking you on a journey. That energy erupts fully with St. Chaos, featuring JESS ALSTON. The track captures the restless mind of ADHD perfectly. The beat jumps rapidly between styles and rhythms, and the intensity ramps up even further. It creates one of the more explosive moments on the record. Next up is Spectrum. It slows things down in a way that feels deeply uncomfortable, reflecting the overload that many people on the autism spectrum experience. Everyday sounds and environments can become overwhelming. The uneasy atmosphere makes you feel that tension building throughout the song. Then comes Catalepsia, featuring WARREN WILLIS. It has one of the openings on the album inspired by accounts of schizophrenia; the track feels like a collapse of reality itself. N0TRIXX’s vocals shift between haunting and powerful. The song builds, creating a fascinating experience and really showing the artist's range. Living Nightmares, featuring FMA +12 GAGE, arrives with a different energy. The deep dark rap delivery changes the tone immediately. The track represents psychosis; reality bends and voices blur together. The atmosphere feels heavy and claustrophobic. You feel trapped inside someone's distorted reality. That anger continues with narc (i'm so happy that you're dead). This is easily one of the emotionally raw moments on the album. The track confronts the lasting damage of abuse with brutal honesty, and the jagged production and aggressive delivery make it feel like an emotional release. Finally the album closes with you are loved [outro]. After everything that comes before it this track feels like a moment of reflection. It reminds listeners that after experiencing pain, chaos, and darkness, there is still compassion and connection waiting on the other side. It’s a surprisingly hopeful way to end such an intense journey; N0TRIXX really knows how to end an album. This album shows why N0TRIXX is becoming one of the most exciting artists in the underground alternative metal scene. The record balances production, emotional storytelling and creative collaborations, and it keeps you hooked from start to finish. Each track feels like another room in the mind being opened. If this album is anything to go by, the upcoming tour is going to be something. N0TRIXX isn’t just making noise in the scene right now. She’s making a serious impact. This album is definitely one worth checking out. Score: 9/10 A Catalogue of Madness and Melancholia will be released on 13th March 2026. Words: Jack Norris Photos: Andy Ford

Forged in Nottingham, SHADOWVALE are releasing their debut self-titled album, following their EP Austere that was released in 2024. After two years in the making, all of their hard work has definitely paid off as this album creates a desolate atmosphere; telling the story of a nameless protagonist’s journey through an arcane portal with grimy vocals, harmonically harsh guitar tones, nauseating bass and drums that carry intention with every hit. The band’s genre has been described as everything from sludge-core, alt metal, doom metal, hardcore and death metal but this album blends every one of these into a brilliantly composed album; a defining statement of their identity. Creating an impactful first impression, coming in at just over 5 minutes is The Eastern Gate. At first, your ears are filled with fast, gnarly guitar tones, accompanying the vocals with the perfect balance of grit, slowing down near the end. The drums on the other hand, start off slow and lethargic before you hear continuous hits to the kick drum over an aggressive fry scream. Next up, Bloodbound comes in with a guitar riff that sets the tone perfectly; almost sluggish and nerve-wracking as you hear small stutters now and again. The vocals in this track are way more brutal than the last, welcoming the deep raspy screams by Lara Kelly. Endless Chain is the track that really shows the band’s true potential; between the soul-stirring vocals and the ground-shaking bass lies deep-rooted themes of faith and death lyrically: “they promise any faith they find/to trust in where it leads.” - “underneath their slippered feet/the bones of soldiers lie.” Up next, there is an interlude track called Zopiclone Black, giving the listener more insight into what this album is truly about. You hear multiple people talking about dreams, medication and side effects over the echoing bass by Lee Chrimes, creating an unsettling environment before a high-frequency guitar tone, almost drowning them out. The fifth track, Barghest brings in hefty guitar riffs, every note carrying filth and grime through the distortion. This is definitely one of those tracks to get your blood pumping and head banging, with a brief moment of silence in the middle of the song before your ears are filled with a thick wall of sound. In The Heather provides a more bass and drum heavy intro as Ryan Slater puts intention behind every hit, making it stand out with force. The vocals for most of this track are eerie, almost like a ghost but near the end, they become more sinister. In one section, there is a brilliantly written solo performed by Richard Eadie Jr and there is no doubt that it was executed with skill and precision. Orbital Collapse comes in with high-pitched guitar tones and drums before the bass enters, bringing resonance into the mix. Lara Kelly does something astounding in this track that isolates her voice from the instruments, giving her all as it goes quiet and you can just hear the vocal fry. The last track of this album, The Spectre brings it to a close quite nicely as you hear melodic piano notes until the harsh guitars enter alongside ethereal vocals. This track is very different from the others, due to the soft approach at the start but it eventually picks up the tempo and introduces grit to the track. This album is a mind-blowing debut for SHADOWVALE because, amidst all the chaos of the instruments; they have created something that is unique to them. It explores many themes like death, religion and insomnia; showcasing them in a way that tells a story through the lyrics. Score: 9/10 Shadowvale will be released on 13th March 2026. Words: Jynx Cosgrove Photos: Shadowvale

UNITYTX look for catharsis on their sophomore album Somewhere, In Between…, creating fourteen tracks at the highest quality of modern Nu-Metal. Every number on Somewhere, In Between is in equal parts raw and resolute, set onto their signature hip hop/metal fusion which has only become heavier and more layered between album one and album two. From album opener Sabotage the swinging metal soundscape catches the attention with a high pitched scrubbed electro-melody for an introduction; before the minute mark of Somewhere, In Between the first breakdown hits featuring a rich lower toned scream and the first of a few barks of the album. This flows straight into first single Heinous, a “this is where we’re at” track not afraid to get in your face, already describing itself in its sample as a “textbook sign of aggression” as SHAOLIN G speaks on isolation and inner turmoil. The scream/rap harmonies are sharp as are the punchy drums throughout the choruses. Lucid in one word is cold: the chorus is screamed as its first introduction on an icy, high pitched power guitar soundscape while the hook of “I feel it creeping down my spine/ I see the very thing I fear becoming my demise” having a pursuing feeling within it that aids in the 100 mile an hour driving bear. Lucid feels like a squaring of the feet as along with this feeling of perusal there is a want to persevere present within its lyrics, and features more sung clean vocals, which fit well within the track and become a new feature of UNITYTX’s sophomore album. Second single is Body Roc which is interesting in its double entendre, with the gravelly rap on top of a lower pitched beat giving a flirtatious feel to this “I am him” track. This feeling flows well with Paranoia, which brings the guitars and drums back for the only clearly romantic relationship themed song, keeping the feeling of isolation and misinterpretation present in Somewhere, In Between as it details the frustration of trying to build a relationship with someone expecting the maltreatment of their previous experiences. At this point in Somewhere, In Between the idea misinterpretation and demonisation feels clear, making Fuck Tha World a perfect response as it approaches its halfway point. At this point the tempo begins to slow, with rich power chords making up the intro before a testimonial inviting the listener to be pushed to breaking point then needing to atone for the shards cutting other people. This breaking point becomes clear by the midway point as SHAOLIN G raves in the middle of the song, declaring himself finished with the voices from the outside before the final refrain goes from a clean vocal to a spat screamed one, reaching lower pitches that finishes Fuck tha world on a sharp note of discontentment. Testimonial is also the word for the rawest track on Somewhere, In Between Ready to Die pt2. The organ-like synths affront the ears before a clear picture into suicidal ideation, explaining in plain terms “feeling incomplete” and the why and hows of wanting to take ones own life. On top of the organ like synths is a melody that’s violin reminiscent and structured like the jaws theme song, completing a creeping soundscape as if Ready to Die pt2’s themes are coming up behind UNITY TX. The second act of Somewhere, In Between opens with Enjoy Tha Show, and marks a shift into the what’s to come rather than what has happened before, picking up the pace with a higher tempo and the announcement that they’ll be “I’m expressing myself/standing my ground” in its chorus and being unapologetic in staying loud. The floor lead drums chop and change around the kit for the intro then focus on a sharp hi-hat led drumline with hidden-snare motifs, transforming in the breakdown and final third with the introduction of the double bass drum that showcase Jonathan Flores’ ability to mix hip-hop and metal drumming conventions seamlessly. Partial-title track In Between… marks the return of the lower scream as well as the clean vocal as it faces UNITY TX’s demons head on. It feels more optimistic than the tracks previous, declaring that it’s “time to deal with the pain” and needing to keep going. In Between… feels like a Beautiful Oblivion track but better written with the clean vocals lifting atop the swinging guitars and crash-heavy drum lines, adding to the transcendent themes of the lyrics and ending too soon despite being one of the longer tracks on Somewhere, In Between. Fitting for the narrative theme the next three tracks regress into the anger that isolation bring - Come N Go (Nu Jax) speaks on those in your life switching up, picking up the pace and focusing more on a metal soundscape that has a wonderfully Madboy EP feeling to it, while Inside Out brings on LA electro-rockers HOUSE OF PROTECTION maintains the energy with a promise of not slowing it down over 2 unrelenting minutes, gut-punching breakdown punctuated perfectly by its midpoint arf. Final single STFU is the biggest track on the album production-wise, filling its soundscape with slow power chords and heavy china cymbals creating an intensity as the verses builds tension and speaks on not seeking to be looked up to. It takes the themes of isolation and performs them rather than seeks to remedy. The trio are short, angry, and create energy as UNITY TX set up to finish their sophomore album. Contempt is a forty second interlude before album closer Crash N Burn, priming for the final track with gothic beats before the final drumline starts. The vocals mix the rap and the low scream present throughout perfectly, slowing the tempo for this final track to foreground the tension that UNITY TX are speaking on as they muse on “covering everything in gasoline and burn[ing] it all.” The beat switches into a 6-beat bar seamlessly as Crash and Burn prepares for its crescendo, the chorus devolving more and more into screams; the spoken word takes the time to ask what crashing and burning will mean before launching into a breakdown no less than gnarly - drop kick a baby, end a bloodline gnarly - swinging as SHAOLIN G growls the final bridge and finishes on it being “never f*cking enough.” UNITY TX are looking for their flowers, and Somewhere, In Between shows they’re more than deserving. A band that has spent a decade perfecting their sound, hopefully their steady build will turn into the explosion to which they are entitled as the metal community returns to nu-metal into the 2020s. In any case, Somewhere, In Between is already a strong contender for album of the year, and we can’t wait for them to come back to the UK. Score: 9/10 Somewhere, In Between will be released on Friday 13th March 2026 via Pure Noise Records. Words: Julia Brunton Photos: UnityTX

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