There’s something about January in London that makes heavy music hit harder. The nights are long, the city feels bruised around the edges, and there’s a collective hunger for something real. Reality Unfolds understands that instinct better than most. Returning to the New Cross Inn from 16–18 January 2026, the festival marks its fourth year as one of the UK underground’s most vital independent gatherings for hardcore, screamo and extreme music. Built on DIY ethics and community rather than hype cycles, Reality Unfolds has steadily grown into a collision point for scenes, generations and subgenres. It’s a festival that thrives on proximity — bands and crowd sharing the same air, sweat dripping from low ceilings, no barriers between release and response. After a standout 2025 edition, 2026 looks set to push even further. Friday is about legacy and impact. Belgian H8000 icons Arkangel headline, bringing decades of metallic hardcore savagery to Church Road. Their influence is etched across modern hardcore, and live they remain a force of total physical authority. They’re joined by Your Demise 2004, tapping directly into the roots of UK hardcore, and London’s own Negative Frame, a band inseparable from Reality Unfolds since its earliest days. Break Them inject the night with big-riff UKHC chaos built for movement, while Regress keep things grounded in London-style mosh tradition. Saturday is where Reality Unfolds truly sprawls. Essex kings Splitknuckle sit at the top of a bill stacked with weight and variety, their status as national treasures forged through relentless touring and an uncompromising sound. Scotland’s Endless Swarm bring powerviolence designed to test both bodies and room limits, while Paris heavyweights Calcine represent European hardcore at its most punishing. Depth comes from every angle. Harrowed unleash blackened hardcore hostility, xApothecaryx deliver edge-metal stomp, and Believe In Nothing drag the room into filthy sludge-noise destruction. Italian outfit Rescue Cat cut through with furious emoviolence, while Mindless return with blood-soaked, explicitly anti-fascist hardcore. Wiseguy, Agency and Bullet round out a Saturday that offers no let-up, only escalation. Sunday has become Reality Unfolds’ emotional core — less about dominance, more about release. Madrid’s Boneflower, signed to Deathwish Inc., bring raw, expansive post-hardcore that thrives on tension and atmosphere. Temple Guard, featuring members of Renounced, xRepentancex and Ego Trip, channel righteous edge-metal fury rooted in conviction. Screamo takes centre stage as Swedish outfit Kid, Feral make their first-ever UK appearance, bringing expansive, cathartic intensity that’s already earned them cult status. UK veterans Cassus return with renewed urgency, while I’m Sorry Emil represent the new wave of British skramz. Hardcore grit comes via Not Without Punishment and Tension, before debutants Afraid To Die — featuring members of Heights, Svalbard, Ravachol and *shels — make their mark. Mountain Peaks deliver raw screamoviolence steeped in DIY ethos, and Sunday Best close the weekend with post-emo anthems that feel reflective without losing bite. Reality Unfolds isn’t about spectacle or scale. It’s about presence — three days where heavy music becomes a shared language, and the line between performer and audience dissolves. In the depths of January, few places will feel more alive than the New Cross Inn. Reality Unfolds takes place next weekend (16th-18th of January). Tickets can be found here. Words: Mia Gailey Cover Photo: Conrad Newton

BLANKET kick-start 2026 with long awaited release of True Blue. The North West UK band have been releasing singles for this full length since March last year but today the wait is over. Shoegaze as a genre is one that has been on quite a revival over recent years and one band that has been part of that is BLANKET who you may know from 2021 release In Awe featuring LOATHE. The band now release fourth album True Blue. One way to describe their sound is immersive and that goes without question in this album too with an even wider atmospheric sense, So if escaping into an open expanse is your thing? Your in the right place. When asked about the writing process of the album they said "At the heart of it, we were chasing something hones a kind of raw emotion. We spent a lot of time making sure the way we played and produced it matched that feeling” and that's exactly what they have done here especially in single Hole In My Head as it discusses the very human experience of feeling of being disappointed in yourself and finding it to difficult to ask for help. The singing almost taking the back seat in the mix also gives a more nostalgia like older shoegaze but still doesn't go unnoticed. Vocalist POOK's voice brings the calming nature when guitars bass and drums that are much more stand out and at times heavier sounding but producer SAM BLOR has made this work with the layered textures that lets the mix feel very well rounded, pulling the listener into more into the emotions of the album In a way True Blue feels very cathartic float in the ocean or outer space especially in song Bind featuring WAYSIDE. The guitar structure going throughout every track allows a very seamless journey that takes you through track by track. The alum is truly some of the best work that's come from the quartet, especially in the title track where everyone really has a moment to shine, particularly vocalist FLETCHER POOK, bringing a close to the album in peaceful send off with his voice and acoustic guitar. Non single Summer Skin features LYNSEY WARD who brings a nice addition and accompaniment to the rest of the song and has the heaviest ending out of all the tracks. Standout song Wallflower has everything the others have on the album and brings it all together in a perfect way before ending the album with the closer. It has the calm and it has the storm, whilst keeping what has been a constant in raw, pure honesty in the lyrics. Overall, what a start of the year! This definitely feels like an album that won't be forgotten when it comes to top lists at the end of 2026. BLANKET are among a fun bring back of the genre and definitely one to keep an eye on for shows and future releases. You're not going to want to sleep on these guys. Score: 8/10 True Blue will be released on 16th January 2026 via Adventure Cat Records. Words: Lucas Grayson Photos: Blanket

From the grungy sound of OHBOY! to the indie-pop danciness of SARPA SALPA, and most recently the hook-laden heft of UNPEOPLE’s massive riffs, Meg Mash has run the gauntlet of the UK’s DIY music scenes across the last couple of years. However, when a chronic illness diagnosis - in Meg’s case, a particularly severe bout of COVID-19 - caused them to have to exit UNPEOPLE for the sake of both her mental and physical health, the possibility of touring as a career instantly went down the drain. Over a year later though, and not only have her symptoms stabilised, but the drive to create returned. From this, PROJECT MEG has emerged, a solo project and outlet for the musician to still explore her creativity whilst acting as the only writer on the project. We sat down to discuss everything about the upcoming EP absent from it all, ahead of the release of lead single force quit on January 16th. We jumped right in to discuss the sound of the EP. As a musician who’d been in a variety of acts, this new sound is a different direction to all of Meg’s previous work, and so inevitably we had to ask about the producer and production found on the EP: Meg: So Simon Jackman, the producer, was recommended to me via the guys in BLANK ATLAS. I’d see a couple of the guys at festivals and such, so I loosely knew them, and then when I was looking for somebody to work with on this project, they recommended him to me. I wanted to work with somebody good, obviously, so that it didn't sound like amateur hour, but also being an independent artist, working on a budget and stuff that was also a factor, and Simon just was a perfect middle ground. In fact, I think, like, he's an absolute steal in terms of, like, the quality of his output and his knowledge. And it was funny because I got there, like, I'd never met him in person, and we just immediately clicked. Similar age, grew up listening to the same music, both support Arsenal, it just clicked. And yeah, I can't really imagine it turning out better with somebody else, we just kind of get each other and get each other's tastes, but considering he's worked with some really heavy bands - he goes out to Scandinavia quite a lot, and works with with with bands out there, a lot of heavy sounds - but as I hope you can hear on on my stuff, like he can also do slightly less heavy music pretty well. Following on from the production, we wanted to know what it was that a different producer managed to do with Meg’s writing and demos, and what changed in the studio: Meg: It's interesting because I don't really rate myself as a very good home producer. Like, there's certain things I can do pretty well, like all the synths and keys are just taken straight from my demos, because I'm quite confident with that. But guitars, that sort of thing, I'm just terrible at creating that sound in my own bedroom studio. So I think the main thing when I went in with Simon was establishing what the guitar sound was going to be, ‘How crunchy do we want to go with it?’ or ‘How shoegazey do we want to go with it?’ I think we probably leaned a bit more into the shoegazy side of things, which, again, leans into some of my tastes; my favorite band of all time is probably DEFTONES, because they have that combination of metal but also that shoegaze washy guitar sound where it's just a wall of sound. Another interesting thing, I love playing heavy music, and I love being in heavy bands, and I loved being in UNPEOPLE for that reason, but I actually really struggle writing heavy music. It doesn't come very naturally to me. I feel like my natural instinct is to go down a more pop-y route, so when it came to writing music for the first time, that was just me and just my sound, that was what came out, those synths and the hooky choruses and that sort of thing. So, yeah, I think the only big thing that changed when I took the songs into the studio was getting some loud guitars in there and beefing it up in that way. It was just amazing to hear them come to life with the addition of good sounding guitars, not just my crappy plugins at home. It was just - I'll never forget that feeling of being like, this is exactly how I wanted it to sound, without knowing before how I wanted it to sound. From there, we shifted over to the content of the lyrics - namely those in force quit - and we asked how they related to about Meg’s departure from UNPEOPLE, the toll of long COVID, and what effect it had on her: Meg: It's been a very strange year and a half, because I was still in UNPEOPLE for a while when I was becoming unwell, I just didn't really know what was happening at the time. I knew at the time that my lifestyle was not sustainable - I was the only one in the band that had a full time job, for example, I had to in order to live in London and pay rent, I didn't have a choice. So I had that. And then being in UNPEOPLE, I wouldn't say it was like having a second full time job, but it was certainly like having a part time job on top of my full time job, and then trying to balance relationships and friendships and family - a massive burnout was always on the horizon, and unfortunately, it came in the form of long COVID, which in itself, even if you don't have really exciting stuff going on is a really life changing and devastating illness, because your life changes overnight. Essentially, you go from able-bodied to disabled overnight. So leaving the band; it's hard, because at the time I couldn't really process how heartbreaking that was for me, because I was so focused on my health, and they needed to keep going. They couldn't wait for me. So there wasn't really anything I could do about it. I needed to focus on my health. I think when I started getting a bit better, and I say this in the lyrics, it's not something I'm embarrassed to say, but there's a lot of jealousy. It's really hard seeing this band I was in doing all this amazing stuff that I could have been a part of, you know? One that really stood out to me was when they opened for SMASHING PUMPKINS, that was insane. It's a really complex feeling, because part of you is just so happy for them, because I know how hard we all worked and how hard they continue to work, and I know they deserve it, but at the same time, you have that feeling of oh, this sucks. Because all I ever wanted to do from when I was a kid was be a musician and be on stage. And I came very close to,in fact I did achieve that, but I feel like I came very close to something really big and really special, and it got taken away from me through nobody's fault. But now a year, a year and a bit on, I can look back with hindsight and say, I think - long COVID aside - this is the healthiest thing for me. I don't think I'm built for that lifestyle of touring, of being on the road. It's just not a healthy lifestyle for me. As opposed to that, we then chatted about what the new project would mean in relation to what we discussed about everything prior to contracting COVID: Meg: With this project, I'm being really cautious about establishing boundaries really early on, so because it's just me, I don't have that pressure if I need to pull out of a show, that I'm letting three other people down, it's just me. And also, on getting a live band together, I want to make it really clear to them that if ever comes a time where they can't do something because of their physical or mental health, that's fine, just say and we won't do it, because I know how challenging it can be when you're pushing yourself to do things that you just aren't in the physical or mental headspace to do. It's given me a really different outlook on life. I wouldn't say I'm glad it happened, because I wish it never happened, but there are some silver linings to it, and I'm really glad that I've been able to start this project and create these three songs, and hopefully more in the future that I'm really proud of. It's purely me. There's no other influence other than my influence, which is a really nice feeling. You have to just look on the positive side. I used to be such a negative person, and it's so strange, this whole experience has turned me into one of these positive mental attitude people, because I think we all sweat the small stuff all the time, and it's just not worth it. Life is so short. I think the most important thing is just making sure you're healthy and you're happy, they're the most important things. And also, just being authentically yourself - I don't feel like I was necessarily being that authentic to myself trying to live that crazy touring lifestyle because, although parts of me loved it, and I love the performance side, the rest of it I genuinely just don't really enjoy. It's tiring, you're away from your loved ones a lot, you're missing birthdays and weddings and stuff and yeah, I feel like my life now is where it's supposed to be. Returning now to the writing of the music, we asked Meg how it felt to write purely on their own for the first time, and to do that in the context of a solo project: Meg: I've had a few false starts in the past with launching a solo product, and I've always written, I started writing songs when I was about 14 or 15. I'm 35 now, so 20 years of writing songs, and it's taken me this long to release a proper EP! In UNPEOPLE I struggled to write, and I think that's because Luke and Jake are just so good at writing those kind of songs, catchy, heavy rock songs, that it didn't really feel - well, first of all, it didn't really feel necessary for me to contribute that much. But also, I thought even if I did, it would not be up to the standard of what they were able to create. In my prior bands, though, particularly SARPA SALPA, I did a lot of the songwriting. So I have carried that weight before, but I've always had band mates to bounce ideas off of, or to add their little spin on it as well. And I must say, I did write these songs myself and recorded all the parts, apart from the drums. I brought in the drummer from SARPA, Charlie, because he's such a creative drummer, and I'd had that experience of writing with him a lot in SARPA. Although the parts he actually ended up playing were quite similar to what I'd written on the demo, he added little flares and stuff that for me as a writer, with drums not being my primary instrument, I just wouldn't have been able to do. So I wrote the songs, and then I'd come back to them maybe a couple of months later and tweak a few things, and then again, maybe a month later. So they certainly went through a process, and I actually feel like I've learned a lot through writing this EP, as I'm quite an impatient person, so quite often I'll finish something and I’d be like, okay, it’s finished, I won't make it any better than this. But during this process, because I was ill and I didn't feel ready to go into a studio yet, I had to sit with the songs for quite a while. And because of that, I went through a bit more of a process and was able to keep building on them. Maybe change a chord progression here or there, maybe take out this section, add this section. And ultimately, I think that's the massive lesson that I've taken away from this is to just not always just say ‘I'm done, it's finished.’ I think things have always got room to develop more and improve. Moving on from the writing to a sadly less exciting and rather more concerning occurrence, we asked Meg about her experiences with online harassment and homophobia after she was unveiled as an Orange Amplifiers artist: Meg: As I'm sure you're aware being part of the LGBTQ community, I feel like you go through phases in life, and I certainly had a long phase where I really was quite embarrassed about my sexuality, and even when I came out, I didn't want to look like a lesbian or act like a lesbian, because I didn't want to be a stereotype. However, I'd say, over the last, like, 5 to 10 years, I've really become a lot more comfortable with who I am. For that reason, when we played the first UNPEOPLE show at 2000Trees, I had a trans inclusive pride flag on my amp to say that we’re a band that supports everyone, regardless of gender, sexuality, religion, and I thought it was a really important statement to make. So I took a picture from that show, I actually chose that picture for them to use, because, again, it summarises that pride in just being who you are. I quite naively did not expect that backlash, and I say that knowing that there's still so many people out there who hate people like us for no good reason. But yeah, I pretty naively just thought ‘these people are only interested in guitars and amps.’ But unfortunately, the main thing they took away from that post was that I had a rainbow flag on my amp. It didn't shake me, it didn't affect me, like do you know what? If that bothers you that much, you live a very sad little life, but it upset me that somebody else might see that, some young guitarist, maybe following orange, and they see those comments, maybe they're still in the closet, maybe they're struggling with their gender, and they see those comments and they think, I'm not welcome here. That was the complete opposite of what I was trying to do in that band, having a pride flag on my amp was there to say you are welcome here. So yeah, it was a shame. But the way that Orange reacted was really great - they immediately put out a statement saying something along the lines of ‘if that's your opinion we don't want you here’, sort of thing. Credit to them, they handled it as well as they could have. But, yeah, it's not nice to feel like people don't like you just because of who you are, or who you love. From there, we pivoted to discussing the EP’s cover - a silhouette, shrouded in muted reds and blues - and asked where the design came from: Meg: My friend Carla, who is an incredible photographer, basically was looking for people to do test shoots with. And I was like, ‘Carla, I'm going to need pictures for my new music, shall we team up?’ So I ended up going and doing a shoot with her, which ultimately resulted in the image that is now the EP cover, which is me behind a veil or shroud. Carla asked, ‘What are some of the themes of the EP?’ And one of the big ones was isolation and loneliness, which was where the idea of looking locked out or not fully focused came from. And we're actually shooting a video on Saturday - all being well with health obviously, you have to always be cautious of that when we've got a chronic illness. - for force quit, and that's going to be an element of the video as well, the premise of not being fully seen and absorbed and stuff, because it felt like that a bit when I was really ill. Extending that train of thought, we asked about what happened after Meg left UNPEOPLE, and the large volume of people who unfollowed her: Meg: You know what, when I was writing songs over the beginning of 2025, maybe beginning of summer 2025, one of the first songs I wrote, which was originally going to be on the EP, was quite a lot about that. I'm saving that one for later, just because I feel like it sits a bit better with some of the other songs I've written, but being in UNPEOPLE was the first time I feel like I've got a bit of a peek behind the curtain of what it is like to be successful and popular as a musician, going to award shows and mingling with people. Fortunately, in the rock scene, the majority of people are very genuine, very kind, very authentic, and having been in bands in other scenes that aren't like that, I would say that in the rock scene, especially the heavy scene, the majority of people are so lovely, and I haven't really lost those connections. Even pretty big names, like Steve from HOUSE OF PROTECTION, who was also in FEVER 333 and THE CHARIOT, I met him at the heavy music awards right before I left. He's a hero of mine, and he was so, so sweet, and we connected on socials. And I could still message him and he'd respond; people are very genuine in this scene. Obviously you do get a bit of bandwagoning and butt kissing, but people in other bands are all really great and really lovely. I've certainly lost followers consistently since then, but the thing is, it's fairly inconsequential to me. I don't really care, it's not something I take personally at all. As our time was running out, we asked one last question about how Meg was planning to conflate her chronic illness with a newfound desire to play this new music live: Meg: It;s a really good question, because I didn't think I would want to play shows. However, I'd say the main thing I love about being in a band is that feeling of being on stage, connecting with people, even if they don't know your music, just sharing your art with people one on one in that moment is an amazing feeling. A friend of mine recently, who's also been working on some music, reached out to me and asked if I’d want to do some shows together, like a one off in London, and maybe a one off up here in Northampton? And I could maybe make that work! So I've pretty much got the band rounded out now, and in terms of making that manageable with a chronic illness, I'm quite lucky as I would categorize myself now as having just mild to moderate chronic fatigue. So if I plan ahead and pace myself, I can manage quite a lot of things, but it would be a case of balancing any activity with rest and being really thoughtful and conscious about how I plan those show days, taking the day off work the next day for example, to recover and rest and things like that. But, at the end of the day a show at this level is what, a 20 to 30 minute set, which is the only thing that I really would need to reserve my energy for. So I'm hopeful that I can manage it. Aside from the three songs on the EP, I have quite a few other songs, so I've definitely got a set ready to go, it's just a case of getting a band up to speed and booking some shows. But yeah, I certainly won't be booking a 30 day tour. It might just be the odd show here and odd show there, but fortunately, I still, like I said, know a lot of the people that I met through UNPEOPLE, so I still have some really nice, friendly connections in that scene in terms of booking shows, so I'm hoping I can get something together. With that, we wrapped up our chat and bid Meg farewell. With any luck, you’ll not only be able to catch PROJECT MEG live (if you’re very lucky!) sometime in the not-too-distant future, but we’ll be right there with you watching a star of the British DIY scene carry on their journey as a fantastic musician, start their journey as a solo artist, and (sadly) continue to be an Arsenal fan. Lead single force quit will be released on January 16th 2026, and full EP absent from it all will be released on March 6th 2026. Words: Jasmine Longhurst Photos: PROJECT MEG, Carla Mundy With thanks to: Meg Mash

You'd think that when deathcore heavyweights BEYOND EXTINCTION are getting in the zone to play a show, they'd live up to their status of being one of the biggest rising stars in extreme music. As they're bombing it down the highway blasting the silky tones of DURAN DURAN and SPANDAU BALLET - their picks, of course - the band are anticipating an intense set, wall-to-wall with brutal bangers. “You should hear what we play in the van!” begins guitarist JUDE BENNETT “You'd imagine it to be really hardcore stuff, but it's everything from West Coast hip hop to PHILL COLLINS and '80s pop, or even Middle Eastern music if NIALL [Ali, drummer] is in charge of the playlist.” In some ways, this is the crucial component of BEYOND EXTINCTION: they are not afraid to break the rules of the extreme if their music demands it. 2025 brought with it the band's raucous full-length debut, Where They Gather, serving as the clarion call for moshers everywhere to take up arms and bash their heads together, a violent display of - as they call it - malicious “dome-on-dome” action. The record's successes lie in nurturing their hard-hitting deathcore roots, whilst also championing natural experimentation to refine that raw edge. For DANNY RUSSEL, who also plays guitar, authenticity does not begin with ripping up the rule book, but coming into a new project with no constraints. “Our main priority is groove more than anything, more than a flashy riff. You don't need a technical riff or a crazy guitar solo to have a good song. If the riff or the groove is hooky and addictive enough, then you’ve won.” The band then muse that the intoxicating Mansions Burning On Bleak Horizons follows the same structure of a pop song, and whilst JUDE's love of prog was enough for the rest of the band to tell him to put the odd time signature down, in places this seeps into their overall sound. He states, “It’s about having that restraint to go, 'Yes, this is tasteful, and this is enough for this part.’ I feel like we do quite a good job of establishing something and allowing someone to feel it for a bit, instead of just throwing you around with blast beats all the time.” In all this chaos, the band are joined by BLACK TONGUE's ALEX TEYEN and JOSH DAVIES from INGESTED to establish firm deathcore foundations, as JUDE explains, “We just reached out to both of them. We got ALEX through a mutual friend, and we've known JOSH for years. It just naturally fell into place.” For the band, who began to write the record after losing founding member ZACH SCOTT in 2023, getting TEYEN on Tyranny felt full circle as BLACK TONGUE had influenced a lot of their early writing. “I don't like looking at an album where the track listing starts to get like DAVID GUETTA or DJ KHALED, with a feature on every song.” DANNY muses, reflecting on the intricacies of Where They Gather. When it comes to the record, everything was planned meticulously, inspired by, as they put it, “the constant cycle of human suffering.” “The ambition was to captivate the listener and also expose them to the real-life horrors that we, as a species, experience. What's interesting is that we started writing this album three years ago, and with the new conflicts happening across the globe, the lyrics seem even more relevant than when we started. It just proves that it's the constant way of things, a circle of violence.” JUDE expands on this, “We wanted it to be this dense block of storytelling and misery that front to back just feels real.” In everything, this is the most dense and asphyxiating record the band have created, and the first without ZACH. Still, his presence lingers throughout the album, after the release of their two EP's 2021's The Fatal Flaws Of Humankind and 2023's Nothing More Wretched. Above it all, BEYOND EXTINCTION has set out to capture a universal feeling: One that details the excruciating nature of suffering, but also champions persistence and strength through turbulent times. 2025 saw the band partake in a smattering of brutal shows across the UK, with a detour to Ireland for good measure. However, the real crowning moment will be this March for their unmissable album release show in London, showcasing the inescapable ferocity of deathcore on the rise. Words: Amber Brooks and Dollie Himuyandi Photo: John Sudgen

IMMINENCE’s rise to popularity amongst the metal fans is no secret, and anyone who ever listened to the Swedish metalcore five-piece can agree with that statement. Hailing from Trelleborg, the southernmost city of the country, the band not only stands out because of their dark and mysterious visuals, but also thanks to the unique sound of violin present across their works. Choosing The Roundhouse in London as the last stop of The Black Finale tour, whilst promoting their latest release The Return of The Black; which is a re-release of their most popular album The Black, that brought many artist features on their songs, as well as some remixes, the Swedish five-piece not only ensured a one-of-a-kind show, but also introduced their audience to the Australian legends - NE OBLIVISCARIS. The auditorium was about half-filled when the lights went down for the first time of the night to welcome the Australian progressive metal band NE OBLIVISCARIS. The audience's cheers indicated that many of the fans were previously acquainted with their work, and that is to no surprise, as the six-piece was formed in 2003. Currently composed of TIM CHARLES (clean vocals, violin), MATT KLAVINS (rhythm guitar), BENJAMIN BARET (lead guitar), MARTINO GARATTONI (bass, backing vocals), DANIEL PRESLAND (drums) and JAMES DORTON (harsh vocals), the band is well-known for long songs, predominantly brimming with emotional melodies, heart-taking lyrics, and melancholic riffs. From the first song of the set, Equus, to the last one, And Plague Flowers The Kaleidoscope, the stage presence permeated a strong energy into the concert auditorium, allowing people to be present in the moment, be emotional and even start a moshpit in the middle of the dancefloor. CHARLES kept alternating in between his vocals and his violin for the duration of the five songs they played, oftentimes using both at the same time, while DORTON’s harsh vocals added an immense depth to the already complex compositions, that were only elevated by the rest of the instruments. Seeing NE OBLIVISCARIS live, especially with no previous knowledge of their repertoire, is a remarkable experience, and there is no other band who could prepare the audience for the headliner better than them. Once the lights dimmed for the second time, every soul on the dancefloor and the balcony cheered as loudly as possible. Starting their set with a lengthy and mysterious instrumental track, the fans held their breath as the moment when their favourites finally arrived on the stage was closer than ever. As a mysterious figure in a black cape walked over the stage while holding a lantern, later to be revealed as the vocalist and violinist EDDIE BERG, the music started to pick up, slowly transitioning into the first song Come Hell Or High Water, whilst the band, followed by the string quartet unique to this tour, appeared on the stage, all whilst the fans cheered and clapped to welcome IMMINENCE in London. From there, BERG, accompanied by HARALD BARRETT (backing vocals, rhythm guitar), ALEX ARNOLDSSON (lead guitar) and their touring members DAVID MÅRTENSSON (bass), FREDRIK BERLIN (keyboard, backing vocals) and STEVE JOAKIM (drums), did not stop to impress the crowd with his talent, as he not only carried the vocals that night, both clear and harsh, but also played his violin the whole night (and screamed into it). The night saw all songs from their hit album The Black played live, including a live feature of Come What May with TIM CHARLES from NE OBLIVISCARIS, as well as some from their previous albums Turn The Light On, Heaven In Hiding and This Is Goodbye, showcasing their talent at innovating their own sound. A big part of the concert was an acoustic set that lasted for five songs, and focused primarily on BERG’s vocals and the string quartet that accompanied the band on the tour. The fans had a chance to hear the songs Saturated Soul, Alleviate, Continuum, This Is Goodbye and Love & Grace in a way they usually can not, which only made this part of the set even more special, especially with the sound of live strings. The band members seemed more emotional throughout this part as well, as if the melody made them realise the scale of their impact on people's lives and how important their music is to the modern metalcore scene. After this, IMMINENCE carried on with their heavy melodies, led by BARRETT’s unmistakable presence. The last songs were as impactful as the rest, and it was only when they played God Fearing Man that the fans started to realise the end was rapidly approaching. The song absolutely shredded the auditorium to pieces, especially when BARRETT presented his signature bow, signalling the well-known breakdown is about to happen. This had to be one of the most unique and brutal breakdowns The Roundhouse saw in its long history, and the moshpit and crowd-surfers only proved the fact to not be far from the truth. After that, IMMINENCE closed the night with their infamous song The Black and its beautifully melancholic outro Le Noir, that only features BERG playing violin, leaving the crowd in London in tears, as it was not only the very last concert of 2025, but also a historical moment for everyone present. IMMINENCE is with no doubts one of the most significant bands of modern metal and keeps bringing new perspectives into the genre, whilst inspiring new-coming artists to experiment with classical instruments in modern settings. Both IMMINENCE and NE OBLIVISCARIS have an important role in the scene and seeing them back to back was an unforgettable experience that is going to be a core memory for many fans who attended the night. Words and photos: Katerina Stepanikova

Norwich’s own Floral Image invite you to the psychedelic soundscape of their debut album Gone Down Meadowland. Decked out in double denim, colourful beanies, and the occasional newsboy cap, the quintet release ten songs in a saturated hue, worthy of the Fuzz Club roster. Panning left to right and slowly building, the intro to ‘Meadowland’ feels as if you’re waking up in another world, both entranced and bewildered. One may picture Meadowland itself to be a vast hillside dazzling in light, with the hazy mirage of Floral Image in the distance, casting out their dreamlike refrains. The pace is set for the album with the glittering, layered instrumentation moving through ‘The Dream’. The track not only introduces some brilliant lyricism to the record, but adds a bleakness that ‘Meadowland’ doesn't prepare you for; the minor key and cadence of the words ‘nothing’s wrong, we sail on the dream’ guts the song with a sense of impending doom, which is allowed to sit and brew quietly before it cathartically explodes further down the tracklist. Floral Image’s attempts to draw on a sense of ‘glorious solitude’ certainly strike a chord, despite their playful demeanour. The group’s wit and creativity shines through on this project; it is vivid and cinematic, driven by tracks like ‘Burning 305’, the album’s first single. The faster bassline and echoing vocals feel like being led on an adventure through the auspicious trip that is Meadowland. The group are particularly cinematic in their visuals for later single ‘Howling Dog Song’ (don’t worry, we’ll get to it). Rather than a hazy hillside, the group are seen clambering a cliff’s edge in their matching outfits, to retrieve a staff that inexplicably transforms them, in frantic b-movie fashion, into howling dogs themselves. This goofy, retro tribute to older cinematic tropes cements Floral Image’s appreciation for psychedelic rock’s core; its surrealism and experimentation feel exciting yet refreshingly familiar. ‘Gone Down Meadowland’ is undoubtedly a highly stylised project. Composed over six weeks in a home studio last summer, and impressively produced themselves, the band appeared to have a clear vision for their debut. The album suffers on occasion from this, where the heavily layered instrumentalism can feel cloying, but I can see where fans of the genre would revel in the dreamy depths of tracks like ‘The Score’ and the surprisingly named ‘Boogietown’. Here you are, expecting groovy rhythms reminiscent of Lipps Inc’s classic ‘Funkytown’, only to be met by far more soothing middle to the album. That said though, Floral Image are by no means lacking any groove of their own, as the second half of the album picks up the pace to introduce ‘Tiergarten’. Luring you in with sixteenth notes on the hi-hat and building synths that slowly add to the song’s texture, ramping up the gain to create fast and fuzzy riffs that are honestly my highlight of the album. Having lived in Norwich until recently, I had heard murmurs of Floral Image’s stage presence, and to witness the majesty of this track live would be to see these bohemian rockers truly come into their own. Their setlist does indeed include this exhilarating track, and appears to be played consecutively with the next track, ‘Howling Dog Song’. Favoured by BBC Radio 6 upon its recent single release, this song could quite easily tear Norwich Arts Centre to the ground this May, with a chorus of gleeful onlookers joining in the refrain of ‘we’re howling, howling’, before the group ups the tempo and, with a few barks here and there, completely descends. This surrealism feels like the perfect way to capture the insanity of the song’s subject; a disdain for the political state of the planet, where ‘everyone’s a xenophobe, everyone's a homophobe’. Referring to the majority of humanity as ‘comatose’, Floral Image seek to gather the other ‘dogs’ in the world with this erratic and frenzied rejection of such a life. After the sheer excitement for ‘Tiergarten’ and ‘Howling Dog Song’, ‘Sun For Hire’ feels like the perfect way for Floral Image to round off this project. Its soft, layered harmonies and shimmering, whirring effects over Mitch Forsyth’s deliciously paced rhythms incorporate all that’s best of this vibrant and indulgent soundscape. Mastered by King Gizzard’s very own Joseph Carra, the album shows Floral Image already gaining recognition and showing a lot of promise in their niche. Despite some variety in the luxuriate and measured, and the jaunty and powerful tracks, there’s a consistency in the depth of Gone Down Meadowland, not just in the layers of sound, but in the curation of this psych pop triumph. Score: 7/10 Gone Down Meadowland will be released on April 25th 2025. Words: Tabitha Smith Photos: Floral Image

As a long and tumultuous year draws itself to a close, we all tend to look back across that very year and reminisce. For some, they may look back at wonderful memories of their friends or family, or perhaps a beautiful place they visited, or even a brilliant new experience they had - but here at Out Of Rage, we don't care at all about any of that. We scrapped the family photos, forgot the weekends away, and don't recall a single experience OTHER than listening to all of the best music that came out this year! Our team have worked night and day, getting the opinions of a plethora of our contributors, and putting them all together to gather a list that represents all of Out Of Rage. From the underground to the enormous, the sublime to the extreme, nothing was off limits; did your favourite make it to the top? Unself - Conjurer Modern forward thinking metal at its best that touches on sludge and post-metal sounds. A beautiful and decisive album, full of brutality yet still able to include heart-warming moments throughout. The acoustic moments within stand as emotional linchpins and ground the album in reality, but the textures of the album are really where it shines - the contrast and depth of sound allow CONJURER to sound bigger and better than ever on Unself. They keep getting better with each release, and are defining what modern metal should be. Words: William Freeman The Spiritual Sound - Agriculture The Spiritual Sound is well explained by its title. With the two sides of the LP being remarkably different, both offer a sonic baptism - one of fire, and one of water. The 'ecstatic black metal' sound that AGRICULTURE have made their own is one that rakes across the unprepared eardrum, whilst clutching ever so tightly onto the heartstrings of those who knew what was coming - an almighty release that is contemplative and welcoming, and more than worth every second of your time. Words: Jasmine Longhurst FADED INTENTIONS - False Reality FADED INTENTIONS earns its place by feeling so fully formed and fearless. FALSE REALITY fuses hardcore physicality with atmosphere and cinematic intent, building songs that hit hard without sacrificing depth. The record moves confidently between aggression and unease, balancing serrated riffs with moments of haze and introspection. RACHEL RIGBY’s vocals anchor everything, shifting between venom and vulnerability with insane precision. It’s an album that understands its scene and triumphantly challenges its limits. Words: Zuzanna Pazola FEVEREATEN - Witch Fever WITCH FEVER’s second album FEVEREATEN is a must-listen. It is an experience infused with gothic themes, gritty distorted guitars and newfound inner power. The lyrical content sung by vocalist AMY WALPOLE weaves tendrils of hope through despondency. This record is designed for those who want to find their voice - check out SEE YA NEXT TUESDAY. FEVEREATEN shows us all where the climb out of hell can lead, which is exactly what makes it one of our albums of the year. Words: Shania Richards The Darkest Place I've Ever Been - LANDMVRKS French metalcore four-piece LANDMVRKS have delivered a sonic resurgence with The Darkest Place I’ve Ever Been. This album stands as a testament to the bands evolution, fusing modern metalcore and the nu-metal elements that defined the early 2000s. Spanning everything from blistering tremolo picking and all-encompassing guitarwork in its earlier moments to the slow, sombre weight of later tracks, it showcases range and intent. It’s not only a career-highlight, but also one of the strongest heavy releases this year. Words: Chloe Sodeau Parasites & Butterflies - Nova Twins PARASITES & BUTTERFLIES, the third album from the dynamic duo known as the NOVA TWINS, is an incredibly innovative album. The latest release from the two-piece features new fan favourites such as ‘N. O. V. A’, as well as ‘Parallel Universe’, both of which showcase how musically versatile NOVA TWINS really are, and this versatility is constant throughout. The extremely talented duo provide a wide range of different influences, from genres as wide-ranging as hip-hop, pop, jazz, and obviously alternative metal throughout the record, making PARASITES & BUTTERFLIES a must listen. Words: Itay Gilad The Sound a Body Makes When It's Still - Hot Mulligan HOT MULLIGAN have been a big name in recent years, and they continue to prove why with the release of their fifth album The Sound A Body Makes When It's Still. It had everything you would want out of them - high energy, great song titles, and that twinkly guitar tone over soul-crushing song themes, especially on highlight track It like It Smells Like Fudge In Here. The band simply doesn't know anything other than writing festival bangers and albums that will be remembered for years. Words: Lucas Grayson God Save The Gun - Militarie Gun TURNSTILE Summer over, we headed straight into MILITARIE GUN Autumn, where the band released their second full-length record, God Save The Gun, in mid-October. The four singles each hinting at a slightly softer release this time round, with the band leaning towards incredibly catchy choruses and massive sing along parts - B A D I D E A is still stuck on loop in our heads. God Save The Gun, quite rightly, released to widespread acclaim with MILITARIE GUN having perfected their unique breed of hardcore. Words: Andrew Nile Sanguivore II: Mistress Of Death - Creeper Stepping out from the deepest shadows of England on All Hallow’s Eve, CREEPER brought a new offering of their dark rock to the world once more. Sanguivore II: Mistress Of Death is a successor to their previous release, named in the same manner, and indeed brought forward further revelations to do with the band’s narrative. Seething with WILL GOULD and HANNAH GREENWOOD’s macabre vocals, the release is an obligatory sacrificial composition for everyone seeking amusement, as well as retribution. Words: Katerina Stepanikova private music - Deftones DEFTONES made the most triumphant return this year, headlining festivals, their own tours in the US and soon the UK. Not only that though; they also dropped their first album in five years! private music grabs you by the throat and doesn’t let go, with some of the bands heaviest riffs, most intense drum beats, and chillingly ethereal vocals. This album is absolutely one of their best, and it’s proof that DEFTONES are only ever improving their craft, from the intensity of milk of the madonna to the slow and sombre i think about you all the time, this album delivered on all fronts of everything the fans want from them. Words: Ben Blissett My God Has Got A Gun - Vukovi VUKOVI are a band that never stop pushing the boundaries of what their sound can be. The Scottish duo continue to experiment and push their limits, and that certainly didn't stop when they released their fourth studio album My God Has Got A Gun earlier this year. This album has everything to offer: heart-wrenching, emotionally cathartic lyrics, hard-hitting breakdowns, and hypnotic, twisting vocals. Sick guitar riffs race against the unrelenting beat of drums, all to the tune of groovy, science-fiction synth tracks. If you need a killer soundtrack that will drag you down into the depths of your darkest emotions, while still pumping you full of enough energy to get your heart racing, this album is one for you. Words: Naomi Colliar Duff Lonely People With Power - Deafheaven Deafheaven redefined metal once before, and yet somehow they've managed to do it again. On one of the heaviest releases they have ever put out, their signature combination of the best of black metal and shoegaze fill the album, but there's less focus on droning atmosphere and more on heavy, meaty riffage. This album shows off the direction that modern extreme metal should be taking, building on what came before yet defining its own path. It stands up with Sunbather as some of the most beautiful black metal adjacent music to ever happen. It's truly brutal and very dense, yet keeps an almost sentimental background emotion throughout. DEAFHEAVEN experiment in all the right places and don't stagnate, instead refining themselves again to make more beautiful art. Words: William Freeman Creature In The Black Night - Dayseeker This is an album I have had on repeat since the first spin. With my favourite track being the epic cinematic rock ballad Crawl Back to My Coffin, a song I turn the volume up for every time, I may be a new fan, but this album has made me love this band. With Creature In The Black Night, DAYSEEKER have clearly evolved from their post-hardcore roots into something darker, and more mature. Crafting lyrics with raw emotion alongside seductive melody shows why they are considered to be a band whose songs continue to unfold across genres with heart and precision. If you love your music to have a theatrical edge, Creature In The Black Night is the album for you. Words: Lou Viner-Flood I Don't Want To See You In Heaven - The Callous Daoboys The sonic tour of a lifetime, I Don't Want To See You In Heaven showcases every single brilliant part of the band we know as THE CALLOUS DAOBOYS. Taking us on a trip that bounces wildly between abrasive DILLINGER-esque mathcore, JUSTIN TIMBERLAKE style pop, uneasy atmospheric soundscapes, and hints or references to just about every other genre you could name, it is an eclectic yet focused effort that magnifies the very strongest side of the act. Lemon stands up as one of the best songs released this year, whilst Two Headed Trout and Schizophrenia Legacy could energise the most lethargic listener. It's a sensational record, and tells us everything we need to know about a band on their way to the very top. Words: Jasmine Longhurst Breach - Twenty One Pilots With the hype from the Clancy era not even completely fizzled out, TWENTY ONE PILOTS unexpectedly came out with Breach just one year later. The album feels like a homecoming, revisiting all the past works and sprinkling references all around like they do best. The opening track City Walls completes the storyline of 10 years with its $1 million-worth cinematic music video. Breach is experimental and genre-bending, with songs like Robot Voices and Centre Mass mixing a multitude of sounds into one, as drummer JOSH unveiling his hidden singing talents on Drum Show. Breach goes into depth on complex topics like grief and faith, while simultaneously being unserious and including inside jokes from the recent tour. This duality is precisely why TWENTY ONE PILOTS never miss the mark and will always be loved by their loyal fanbase. Words: Mariia Bulkina Bodies - Thornhill Vigorous, fluctuating energy beams from Bodies, the album released earlier this year by prog-infused metalcore band THORNHILL. Since its release, it's been one of those albums that people won’t stop talking about. Bodies is an album to lose yourself in; the tracks flow into one another and induce a dream-like soundscape scattered with bouts of heaviness that really pack a punch. A far cry from their first album The Dark Pool in 2019, their journey has been remarkable to watch, always taking the best parts of their sound and turning them into something new without losing the original foundations. The album combines its melodies and riffs in such a way that it will not be forgotten anytime soon. Words: Danielle Henderson Even In Arcadia - Sleep Token It's extremely unlikely that any alternative fan has gotten through this year without hearing the name Sleep Token, with huge tours and a first ever headline slot at Download Festival. They have had an incredibly successful year, and it was all first started off with the release of their album Even In Arcadia. The album spans genres from metal to pop and even to afrobeat, managing to really stretch the horizons of modern metal in doing so. The pre-release single Caramel was a huge success, with it going completely viral and ending up becoming an introduction to alternative music for many people - and now the album itself has garnered millions of streams, and has even got SLEEP TOKEN nominated for multiple awards at next year's Grammy's! Words: Amy Smyth Never Enough - Turnstile Never Enough captures a band refusing to stand still at the exact moment it would be easiest to do so. With this album, TURNSTILE has pushed hardcore outwards rather than leaving it behind, weaving melody, texture, and feeling into songs that still move with urgency. The record feels big without being overdone, and is carefully paced so each change in mood has a clear purpose. New sounds appear throughout, but the core remains unmistakably TURNSTILE: communal, restless, human. The songwriting gives space for emotions to breathe, letting softer moments sit naturally beside bursts of momentum, and there’s a real confidence in how seamlessly different influences coexist; they never feel forced or out of place. Never Enough doesn’t chase trends, but instead documents a band comfortable with growth, grounded in their past while exploring exactly what the hardcore scene can hold. Words: Zuzanna Pazola Tsunami Sea - Spiritbox Fans of SPIRITBOX sat longingly waiting for the band's second album Tsunami Sea, which was delayed after the Covid-19 pandemic - but as the world has eventually returned to normality, 2025 brought the album to us. The album showcases the band's talents, spanning from songs like Soft Spine that bring straight up metalcore devastation, to tracks like Crystal Roses that are more laid back and showcase the emotional vulnerability the band can harness in style. The album is a full scale onslaught and embodies the best of what modern metalcore has to offer to the world; having spent so long being cooked up by the band, every lyric and beat is perfectly polished. The band had a hell of a year too, playing support slots for LINKIN PARK at Wembley Stadium, playing their own tours throughout Europe and the US, and of course the release of Tsunami Sea landing the band their third Grammy nomination. Words: Amy Smyth Ego Death At A Bachelorette Party - Hayley Williams HAYLEY WILLIAMS’ third solo album deftly blends genres to soundtrack confessional lyrics, making for a dynamic record that flows from the heartbreakingly soft to the unabashedly brutal. The PARAMORE frontwoman begins her new era as an independent artist with candid thoughts on mental health, relationships and fame, culminating in WILLIAMS’ writing at its best. Ego Death At A Bachelorette Party’s impact can be somewhat credited to WILLIAMS’ emphasis on the listener experience - initially appearing for free as a collection of files on her website, it then launched on streaming as 17 individual singles, and fans were encouraged to choose their own order. This interactivity created an intimate sense of community that complemented the album’s diaristic nature - like catching up with an old friend. Witty and at times unbearably raw, highlights include True Believer, a haunting and complex reflection on hypocrisy in the American South, viral break-up anthem Parachute, and Discovery Channel, a dark reimagining of BLOODHOUND GANG’s The Bad Touch. A must listen for fans of any genre, and well-deserving of our album of the year title. Words: Gabriella Bosticco Editing: Jasmine Longhurst With Thanks To: Our contributors, every PR team we worked with this year, every band we worked with this year, all of our readers, and most especially the Management Team!

2025 has been a massive year for Out of Rage; we've had larger shows, broader coverage, and most importantly, a whole host of new contributors joining us, many of whom had their first experience shooting gigs or writing album reviews. As the end of the year draws close, we asked our new writers and photographers: what's been their favourite part about joining Out of Rage? Joining Out of Rage has given me so much experience as a writer and photographer. It's opened my eyes to a whole new world without throwing me in at the deep end. I've been able to make friends and connections, learnt how to use equipment and various computer programs while being given opportunities I didn't think was possible for someone as fresh to the scene as me. It's truly changed my life! Words: Amy Smyth Being able to celebrate the music scene with such an inclusive bunch of people. Words: Laura Davies I’ve loved joining such a supportive community that encourages you to showcase your talents. It’s been incredible being able to step foot into the industry and interact with incredible bands. Words: Alix England Since joining Rage in March this year, I can’t believe how much has happened for me personally. I can see I’ve become a better writer, from my first live review of Shreddler Fest, a full day fest, with multiple bands, to my most recent review of Deafheaven, I can’t believe that people have the trust and belief in me. Getting to hear the new AFI, Dayseeker and Taylor Acorn albums before release are key memories of my first year with Rage - with all three fast becoming some of my favourites written this year. Being lucky enough to sit down and interview artists like Delilah Bon, Lastelle, Seven Blood and Slow Crush has been an incredible privilege and I feel proud that Rage has given me these chances. Finally, interviewing and being asked to join the management team, helping out Jasmine on the Albums team has been one of the key highlights of my year. I can’t wait for what 2026 will bring for Rage and for myself as part of such an inclusive and talented group of people. Words: Lou Viner-Flood I think my favourite part of joining out of rage is meeting new photographers and learning so much from them, they have helped more than I could ever have wished for. It's been amazing too see how each person approaches the shoot and the types of styles there is out there Words: Jack Norris The people part of out of rage! Everyone is so friendly not just with the publishing side of things but also in general. Your excitement is everyone else's excitement, everyone is happy to help if you have questions. I hadn't written any articles for gigs before and was really confused when I started what im supposed to say but I got a lot of help with it. I also got to see bands I hadn't heard to before who are really cool and part of my regular listening now too. Words: Con Macadam The opportunity to build my portfolio and to meet other like-minded creatives to know that what I’m doing isn’t far fetched as a career. Words: James Smith The opportunities I was given since I joined the pub and the community, that is very friendly and welcoming! Words: Kat Stepanikova I now have a writing portfolio full of interesting stuff,that sounds like me, not just copy for some corporate website! Words: Alana Madden Having access to bigger shows than i could've ever dreamed of. Being able to improve my photography through seeing what styles and techniques others are using. Being part of a community Words: Lauren Wenham Meeting like minded individuals as well as getting to review the new Solence album for example, as they're a band I've followed for years, so I am really glad I got to help them out!! Words: Itay Gilad My favourite part has been being involved in a community, I find it very rewarding and encouraging when we’re all working together to write and take photos. I enjoy the responsibility to produce and contribute to the cause and the community and seeing other people’s work too. I joined OOR mainly to maybe get some photography experience, at the moment I know I don’t have the right equipment necessarily to do that but by joining I discovered that I can help in other ways. I think I’ve mentioned before but prior to this I only really wrote essays for uni, so having the opportunity to write for OOR has been really important to me, and I know I still have a way to go and writing doesn’t always come naturally to me, I really enjoy the process and I’m determined to improve each time. It’s also really nice to see the artists response to the work too, I think I’ve received some kind of acknowledgment from about 90% of the reviews I’ve done which is really cool and encouraging in itself. So through Rage this year I’ve done album reviews for the first time ever, and also my first ever live review which have all been invaluable experiences for me and I’m really grateful for them! Thank you guys! <3 Words: Danielle Henderson Being trusted with opportunities I’ve really been grateful for. I recently took photos of Loathe and I was so excited to get the chance to do this. Thank you for the opportunities you have given me so far, it really does mean a lot! Words: Izzy Sheldon All the really cool opportunities for album and gig reviews I've had! I really love the approach the team has for picking people, since it's not first come first serve it gives every single person a chance to be considered for even the biggest/coolest shows the publication has covered. I mainly focused on album reviews this year, and through that discovered some really cool bands and made some cool connections with bands, PRs, photographers, other reviewers, etc. I also got to review my first 'big' show (in my eyes at least), Wheatus; if you'd told me a year ago that I'd be getting put on a guest list for this band in exchange for my review/opinion of their show, I'd never believe you :D Words: Zuzanna Pazola Editor: Naomi Colliar Duff Photos: Lizzie Jones and Ben Blissett

With the addition of so many incredible new members this year, as well as our long term contributors, we asked what was your favourite memory from 2025 from Out of Rage? The responses tell you all you need to know about why OOR grows each week so take a read and if they inspire you, come and join us. Getting to review the new SOLENCE album!! They're a band I've been following for years so that was a full circle moment for me. igjournalism Writing an EP review for ARCHERS which resulted in adding them to my library, then reviewing their set at DOWNLOAD and having a chat with the lead, then getting to shoot for them with OOR at their headline London show all within in the space of a few weeks. Chatting with the whole band showed me how down to earth and genuine they are! changedray Getting to write a single review for some of the artists especially LØ SPIRIT that really are part of the reason why I'm still around. Vaxezradjarin 2000 trees! KNEECAP headliner, great chats with bands, and an OOR team to die for. Papoose <3 dykeulous My favourite memory of 2025 with OOR was my first album review. I had the pleasure of reviewing the debut album of hardcore band END IT. After seeing them live and watching their growth for the last couple of years, it felt like a real full circle moment. The album was incredible and is still in my rotation! I have so much gratitude for the management team for being able to sort us all out with such wicked opportunities. indiakylie Doing the annual pilgrimage to OUTBREAK Festival this year for Out Of Rage was brilliant. TURNSTILE smashed it, KNOCKED LOOSE and HAVE A NICE LIFE were exquisite, DEAFHEAVEN were glorious - the entire weekend was thoroughly excellent and I can’t wait for another festival with Rage! jasminelonghurst666 Interviewing TALLAH! It was so surreal to speak to my favourite band so early into being a part of the Out of Rage team. It was incredible to meet Justin and get an insight into the band as well as receive so much love from readers of the article. Alix._x Reviewing EVERGREEN - Soccer Mommy. I've been listening to her music for years and it was my very first album reviewing with Out of Rage so it was super exciting. It led to me buying a ticket to watch her intimate set and getting to speak to her after the performance too. She read the review which is crazy knowing that what I've written has actually been read by an artist I really look up to. Con_Macadam My favourite memory this year would have to be getting the chance to review CREEPER's Sanguivore II - they're a band that have very much defined my music taste for the past few years and being involved with them in any sort of professional capacity was an unreal opportunity. It's by far my favourite album review I've written. cherryflavouredlemonade Getting to shoot promo shots and the show with FALSE REALITY at Leeds boom with Amber for the front cover of the magazine. Made me feel like I've actually made it in the music world aha. Also GHOST FEST was incredible. Everyone was lovely bands were great and photos came out awesome. Kieranjaymz96 Getting to review NOWHERE2RUN's surprise EP drop in November! It was really cool to be trusted to do a review like that, and it introduced me to an EP that's been on repeat literally every day since I first heard it. zuzx___ LIVE FROM THE PIT: Back to the Beginning, the big Black Sabbath review Alana1481 Words: Lou Viner-Flood and named Out of Rage Contributors Photos: Lizzie Jones and Ben Blissett

There's something uniquely electric about grassroots live music venues, the kind of intimate bars where you can feel the sweat drip from the ceiling and the bass reverberate through your chest. This is where the future of music is forged, where bands are not separated from their audience by barriers and distance from the stage, but rather share the same cramped space, the same charged atmosphere. PROFILER, INRETROSPECT and BLACK COAST’s performances on Wednesday night at The Black Heart exemplified exactly why these smaller venues matter, delivering a night of unrelenting nu-metal energy that left no room for indifference. Opening the night, Leeds-based INRETROSPECT wasted no time in establishing the evening's tone. From the first moment they took the stage, their energy was infectious, with constant crowd interaction that made it clear they were not there to simply fill time before the main act. "We're here to get you warmed up for PROFILER," they announced, though their performance suggested they were there to make their own mark. The band's sound blended metalcore elements with electronic production touches, in a quintessential nu-metal fashion, whilst guitarist JAMES BAYLIFFE delivered insane screams that cut through the mix. BAYLIFFE and lead vocalist NATHAN BIDDLES traded clean singing duties, creating a contrasting dynamic that kept the set engaging. When they commanded the audience to squat en masse, it became clear there was no room to merely be a bystander in the crowd. The intimacy of the venue made such interaction possible, with one-hundred people around you feeling the music just as much as the band are. "We haven't had anyone this hyped for us," they confessed, their genuine surprise and gratitude warming the hearts of everyone around them. A small mosh pit and circle pit formed during their set, a preview of the chaos to come. BLACK COAST, the nu-metal outfit from Stoke-on-Trent, took the stage next with a heavier approach. Formed from the ashes of BET IT ALL and DEAD CITY SOULS in 2016, the band has carved out a space in the nu-metal revival scene, though their sound leaned less on the rap elements typical of the genre. Their mix of clean and dirty vocals showcased impressive scream technique, whilst jungle drums collided with metal strings in that quintessentially nu-metal way. There were hints of the heavier elements of metalcore in their sound, particularly on their sixth song, demonstrating the band's ability to incorporate aspects of modern metalcore into the nu-metal framework. The audience response grew as their set progressed, with pre-existing fans singing along and another mosh pit erupting. The final song featured a call-and-response between audience claps and drum fills, and by this point, you could tell that the audience were fully prepared for PROFILER’s arrival. PROFILER, the Bristolian headliners, took to the stage ready to validate the evening's hype. Established in 2017 as frontman MIKE EVANS’ solo project before evolving into a full band with JOE JOHNSON on bass, JACOB ANDREWS on drums, and JAY EVANS on guitar, PROFILER represents the heart of the nu-metal revival. Fresh off releasing their debut album A Digital Nowhere and their latest EP Masquerading Self, they delivered quintessential 2000s-era nu-metal with punchy vocals, commanding screams, and signature rap-inflected verses. EVANS' voice carried that early 2000s quality that defined the genre, whilst JOHNSON and JAY EVANS wielded seven-string guitars and six-string bass to create that deep, heavy sound. Consumed showcased their range, building from mellow beginnings into djent-influenced heaviness and textures. Identified from their newest EP leaned more towards metalcore, with clean vocals that had the crowd singing along. The bassist appeared nearly trance-like in his performance, lost in the music. "You guys are beautiful, thank you so fucking much," EVANS told the crowd before launching into their heavy, energetic closer. The inevitable encore brought Feeler, a crushing finale complete with side-to-side hand waves, growls, and a massive breakdown that played beautifully into nu-metal's established tropes. Perhaps the most telling aspect of the night was seeing all the bands hanging out at the bar after their sets, mingling with fans without pretense. The venue was crowded but not completely full, with space at the back for those who preferred observation to participation. This is where music remains personal, where bands and audiences share the same space and the same passion. PROFILER's show was a reminder that grassroots venues are the beating heart of the music industry, giving room for musicians and fans alike to flourish. Words and photos: Atoosa Salamat

Three days ago, Rebellion Manchester felt heavier than usual. A venue more often associated with sweat-soaked pits and frantic movement instead hosted a night defined by stillness, patience, and emotional weight. With SWALLOW THE SUN headlining, supported by OPIA and SATURNUS, this did not feel like a typical gig. It unfolded slowly, almost deliberately, like a descent rather than a build-up. OPIA opened the night and approached the early slot with confidence and restraint. From the moment they took the stage, it was clear they were not interested in rushing the room or forcing a reaction. Their gothic doom sound crept outward instead, thick riffs and sombre melodies gradually pulling attention away from the bar and onto the stage. Their strength lay in knowing when not to push. Space and repetition did most of the work, allowing the atmosphere to settle properly. Vocals sat low and distant in the mix, more a part of the overall sound than something demanding focus. The room was not full yet, but those who were in early stood still and watched. By the time OPIA finished, the background chatter had noticeably dropped, and Rebellion felt quieter, more attentive, and ready for what came next. That shift was fully realised when SATURNUS took over. The Danish death doom veterans brought a deeper emotional pull, filling the venue with vast, melancholic compositions that felt both crushing and reflective. Their presence was calm but commanding, proving that movement and spectacle are not necessary when the music itself carries this much weight. SATURNUS struck a balance that many bands struggle to maintain live. The riffs hit with real physical heaviness, yet melody and feeling were never lost. Growled vocals resonated through the room, sitting deep in the mix, while softer passages offered brief moments to breathe before dragging the crowd back under. Rebellion’s sound system handled the dynamics well, letting each layer land without blurring into noise. The crowd response said a lot. Phones stayed mostly down. Heads nodded slowly, almost in unison. There was a sense that people were not just watching but listening properly. SATURNUS did not simply warm the room up, they anchored the night emotionally, leaving the audience in exactly the right headspace for the headliners. When SWALLOW THE SUN finally appeared, the atmosphere shifted again, this time into something unmistakably immersive. From the opening notes, they had complete control of the space. Their sound was enormous, filling Rebellion wall to wall, yet still sharp enough that every transition and melodic detail cut through. The contrast between deep, guttural growls and haunting clean vocals gave the set real emotional range. The band moved effortlessly between crushing heaviness and moments of fragile beauty, never lingering too long in one place. Nothing felt rushed. Every song seemed carefully chosen and placed, allowing the set to flow naturally rather than peak too early. One of the most striking things about the performance was how little needed to be said. There was minimal stage banter, but it never came across as distant or cold. The connection was built entirely through the music. Rebellion, a venue usually defined by movement and chaos, felt strangely intimate. People stood shoulder to shoulder, quiet and focused, taking it all in. As the set went on, the emotional weight only grew. Tracks bled into one another, creating a slow, almost inevitable sense of descent. Even at their heaviest, SWALLOW THE SUN remained controlled and precise, clearly comfortable with both their sound and their audience. By the final songs, the room felt drained, but in a way that felt shared, like everyone had been pulled through the same experience together. Taken as a whole, this was a perfectly paced night of doom. OPIA laid the groundwork with atmosphere and restraint, SATURNUS deepened the emotional core, and SWALLOW THE SUN delivered a headline set that was immersive, heavy, and genuinely affecting. This was not a night for casual listening or half attention. It demanded patience and emotional investment, and for those willing to give it, the payoff was huge. On a cold December night in Manchester, doom was not just played at Rebellion, it was felt. It was a heavy, immersive showcase of death doom done right, and a reminder of why SWALLOW THE SUN remains one of the genre’s most compelling live bands. Words and photos: Jack Norris

Sundays in December are usually reserved for staying cozy… or heading to gigs, if you are a metalcore fan in Glasgow. OF MICE & MEN have been on the road across the UK and Europe throughout most of autumn, in support of their latest album, Another Miracle, which was released midway through the run. Tonight’s show at The Garage, supported by American newcomers GORE. and Germany’s GHØSTKID, marks their final stop. With much of the room stillt trickling in, GORE. crept onstage, before diving headfirst into latest single, Wrath. Bassist Devin Birchfield immediately introduced a playful energy, sporting a Scottish-weather-appropriate rabbit hat whose ears bounced in time with the beat. The light-heartedness helped buoy the band, particularly as frontwoman HAYLEY ROUGHTON radiated a palpable nervous energy. This was in stark contrast to her powerful voice that could tear the roof off. Relatively new to the scene, with releases only beginning in 2023, GORE. delivered an impactful set that resonated with the early arrivals. The punchy pacing allowed for brief introductions between songs, offering insights into tracks such as Sepsis and Pray. Before launching into Orbting, ROUGHTON declared, “If you’ve ever experienced existential dread… This song’s for you.” They closed with Babylon, its bassline reverberating through every corner of the room. After a well-earned round of applause, the band humbling began disassembling their gear, ROUGHTON accidentally dropping the pink topper of her mic stand into the crowd, which created a wholesome moment of connection. Draped in their iconic corpse paint, the ominous, hooded members of GHØSTKID slid onto the stage to a room buzzing with anticipation. Having got a headstart in developing a reputation due to being the solo project of former ELECTRIC CALLBOY co-frontman SEBASTIAN “SUSHI” BISELER, and with a few more years of experience, much of the crowd clearly knew what to expect. Launching straight into SUPERNØVA, they wasted no time in trying to whip the crowd into a controlled frenzy. Bassist STANISLAW CZYWIL quickly dashed into the crowd, with BISELER demanding a circle pit form around him. Despite many attendees only just filtering in, the audience immediately obliged, creating a satisfying whirlpool of bodies encasing the booming bassline. As CZYWIL retreated back to the stage, the pit dissolved just as quickly, and the crowd shuffled forward for a better view. The set leaned on the hard-hitters from their self-titled debut, such as CRØWN, YØU & I, and DRTY, with BISELER repeatedly reminding the room that it was their final night on tour. “We’re going to miss them so fucking bad, because they are the nicest people on Earth,” he reflected. Before tearing into FSU, from HOLLYWOOD SUICIDE, he declared, “This next track is called ‘Fuck Shit Up’... and that’s what you guys need to do”. Despite the bands relentless energy and repeated calls for carnage, it perhaps came too early in the night, with much of the movement radiating from one overzealous crowd member. By the time they closed with HEAVY RAIN though, the room was sweaty enough for the title to feel fitting, and a dramatic wall of death gladly formed at BISELER’s request. After a raucous thank you, GHØSTKID disappeared backstage, leaving the crowd primed for the headliners. The audience clutched their pints and roared as OF MICE & MEN came closer to coming onstage. Break Stuff by LIMP BIZKIT blared across the speakers, prompting drunken sing-alongs, before the lights dropped and a sweeping string arrangement took its place. At the back of the stage, a screen flickered to life with graphics of roaring flames; an amusing contrast to the dramatic build-up. The band emerged one by one before tearing into Another Miracle, with the crowd seemingly startled by the choice of opener. A few songs in, during Would You Still Be There, the atmosphere noticeably shifted. A moshpit erupted and barely relented for the remainder of the night, while frontman AARON PAULEY threw his long locks in time with the pounding rhythm. Though there were long pauses between songs, audibly filled with atmospheric synths as the band caught their breath, they only briefly disrupted the momentum. The setlist spanned their catalogue, from the crushing Obselete to emotionally charged Troubled Water, before closing the set with O.G Loko. Returning to the stage, drummer VALENTINO ARTEAGA delivered an impressive solo, hair blowing majesticly in the fan as he grinned through the crowds inevitable “Here we fucking go,” chant. Before launching into their final tracks, PAULEY turned to praise the screen behind them which now displayed a flaming Thomas the Tank Engine alongside the phrase “I ♥ Scotland”. This small moment of playfulness was met with a round of laughter, reaffirming the bands connection with their fans. This energy carried straight into the punishing Bones Exposed, before the night closed with the song that defined them, Second & Sebring, that was complete with a wall of death that much of the room eagerly joined. As the final show on this tour came to a close, OF MICE & MEN calmly soaked up the intensity they had fostered, visibly proud. Following the intense sets of GORE. and GHØSTKID early on, the night, and the tour, ended on a powerful high, marking the close of another chapter for the metalcore veterans. Words: Chloe Sodeau Photos: Libby Percival