CRAWLERS have traversed rough tides over the last year, but with a clear horizon shimmering ahead of them the trio of best friends begin a new journey together, setting off to the hardened rhythms and uplifting words of knockout EP Turn Off The TV. Having established their musical skill on their previous album, The Mess We Seem To Make, their EP sees the trio now prove their ability to weave striking tracks seamlessly while providing their own self-catharsis on raw lyrics and sensational instrumental hooks. The Warrington-based unit already know how to play the music industry game, but more than that they’ve learned to pick themselves up, dust off, and come back swinging. Turn Off The TV is a symbol of them laying down new, stronger foundations whilst also placing the fragments of their past in, sealing the cracks with the vulnerability and steadfast friendship so evident in the EP’s sound to create a base built on the hardships they went through together. Opening track and first single released Afraid To Die isn’t the fear of dying, but the fear of everything you’ll leave behind. Borne from vocalist Holly Minto’s personal bouts of depression, she found a way to combat the self-isolation was through appreciating the small things in life that make it worthwhile. “I went on a great run one morning, and then Amy showed me how to make this really good porridge, and then Liv asked if we were gonna grab some drinks later. I realised I’d hate to die because that would mean I wouldn’t get more of this.” That sense of struggling and powering on comes through in the increasingly strengthening bass from Liv May and Amy Woodall’s addictive riffs, the track stripping away to a lone Minto’s lament before coming to the realisation “I’ve changed my mind”, the instruments steadily piling back in for a stirring, goosebump-inducing breakdown of defiance and triumph. Stay Alive sounds like it should be a follow up to Afraid To Die, but instead it looks at the absurdity and anxiety brought on by the current state of the world, Minto singing without pause a litany of issues that are wilfully ignored in favour of comfort, accentuated by riffs and a racing drum beat that sounds like manifested anxiety. Cool sounds exactly like its title, a mix between DON BROCO’s instrumentals, YONAKA’s attitude, and TINY’s range, a self-aware takedown of trying to mould yourself into everyone else’s expectations while the real world problems persist around us, in a Mean Girls-esque theme. May’s bass is thrillingly relentless as the melody gathers in volume and rage until Minto breaks the rose-coloured tint of appearance to scream “the world is fucking burning and you think I’m gonna play it cool?” All We Have Is Us ends this short but sweet reintroduction to CRAWLERS continuing in the same vein as the other tracks, the lyrics baring all their exposed hurts and still questioning humanity’s reliance on things that separate us further with each passing day, the instruments colliding together for the chorus and Woodall spearing through with resonating hooks, creating a sound that’s full of desperation and hopeless hope. CRAWLERS welcomes in a new era that sees them writing for themselves and their truths. Score: 8/10 Turn Off The TV was released on 14th August 2026 via Nettwerk. Words: Julia Stark Photos: Jess Meade

“200 STAB WOUNDS?” A passerby smiles tentatively at the name as excited fans gathered to see the death metal legends, the band gaining such acclaim they've been upgraded to the upper floor of The Dome, London, all the better for people to lose their shit on a night guaranteed to give us whiplash. MUTAGENIC HOST didn't ease us in, they grabbed us by the throat and hauled us around, Swarm thundering out across an already full room. By Genestealer, there's a sizeable pit colliding with the stage wall and vocalist Ash Moore is already drenched in a relatively cool room, the heat from guitarists Jack Thompson and Sami Tuohino and bassist Dan Bulford’s searing, lightning-fast riffs on Harvest and Enforced Bodily Terror raising the mercury to high levels. Stage divers clambered up and cannonballed out during Hive Unintelligence, reminiscent of Outbreak Fest, as drummer George Kinsella-Pearn braced himself for the onslaught of cymbals and double pedals. Moore gave a proud shout-out “to these three fuckers” leading the charge for the front row headbanging and pits, before he soared into a semi-graceful dive and pushed his way to the centre of the mosh pit for Chimeric Vestige - if you can't beat ‘em, join ‘em. It feels like mere seconds before CELESTIAL SANCTUARY stepped up to the plate and started swinging, vocalist and guitarist Thomas Cronin quickly demanding a fresh pit be opened with a reminder of etiquette before snapping into Blood and Gormless, drummer James Burke demolishing the kit with his eyes closed. “We came here to play fucked up songs and do fucked up shit, London are you with us?” Cronin demanded in between stage changes, briefly explaining what a headbang is and insisting we all need to be injured by them before Puddles was over, before spitting water over the ecstatic fans like an unholy blessing. Stepping to the front of the stage throughout their set, Cronin commanded attention for the most part, but it was hard to look away from guitarist Matt Adnett absolutely shredding solos on 2026 single They Worm Their Way In, played so fast the sweat rains down from his hands. A sudden “oh wah ahahah” from bassist Jay Rutterford akin to Down With The Sickness was met with surprised laughs from the band, before Cronin encouraged the crowd to “find your friend and boost that fucker over” for closer Biominerlization (Cell Death). The lights suddenly plunged us into darkness and hungry screams as 200 STAB WOUNDS ascended to the stage. Not a word was spoken in the first 2-minutes, instead the intro sound giving way to Symbolic In Glory as the mosh pit whipped into a frenzy. Security were put to endless work and delivered non-stop as crowdsurfers tumbled overhead for Fatal Reality and Defiled Gestation, the pit taking a particular battering during Masters Of Morbidity to the point the band crew resorted to perching at the back of the stage to watch out for the crowd. Not the biggest talkers, an observation echoed later in the set by lead guitarist and vocalist Steve Buhl, 200 STAB WOUNDS instead connects with the audience through gestures, facial expressions, and Buhl and bassist Todd Thompson squatting low as they tore through unrelenting solos on Hands Of Eternity. Asking for more energy, Thompson stuck his middle fingers up at the crowd and nodded appreciatively as they enthusiastically returned the gesture as they hurled into Itty Bitty Pieces. “This one is for this guy,” Buhl points to the grinning bassist and Release The Stench gains the biggest crowd roar of the night, drummer Owen Pooley delivering an onslaught of tremendous beats. There’s a moment where Buhl politely checked in and asked whose first time it was seeing them, a call met with wild response from the returning fans who welcome the newcomers into the fold. This whole interaction feels a symbol of the true camaraderie of death and heavy metal, where all are welcome to experience eardrum bursting notes together. The heartening moment quickly melted into the pits gaining further speed, guitarist Raymond MacDonald signalling with his hand to keep that circle pit moving for Skin Milk. Having created an indoor, muggy heatwave with the sheer intensity of their set, 200 STAB WOUNDS delivered one more chin-cracking track with Tow Rope Around The Throat, the stoic expressions plastered on their faces in contrast to the feverish smiles and shouts of the crowd. It’s evident why these giants of death metal were upgraded to the upper floor to bring a sharpened edge to their performance - it’s a miracle we didn’t collapse the floor through to the downstairs stage. Words and photos: Julia Stark

The first time GLITTERER was showcased in the UK, it was while Ned Russin was still performing entirely solo. One man, his laptop, and his guitar against the world. Based out of Washington, D.C, GLITTERER has never fit a specific mould, but four albums and three Ep’s down the line, their latest full-length, Erer - released last November - was the moment that Russin felt this project at its most complete “I think doing the band by myself was an interesting challenge, but it isn’t what I wanted to do forever. I always wanted a collaboration.” He admits. For Erer, Russin brought on the likes of Nicole Dao, Colin Gorman and Robin Zeijlon. Nicole’s tenure with GLITTERER is the longest, having joined just after Life Is Not A Lesson in 2021. Colin, however, did play drums on that album too, so to some extent most of the current lineup has been in the orbit of the project since the early days. “The scope of things in the past 6 years has really impressed me. It’s dumbfounded me. This is not the world I existed in before,” he adds gleefully. “I trust everybody, and I think they understand what the band is obviously very well. It feels very in place and fortified, solid. It feels great.” Ned speaks enthusiastically. After seeing their third-stage headliner set at Outbreak, it's easy to notice the synergy between the group, the small ways they play off one another to create magic. “When you play songs, it’s almost like you’re tapping into your former self, those moments where you don’t feel like you’re writing. I’m not playing an instrument; this is just kind of coming out of me. Which, of course, isn’t true, but it’s how it feels. It makes me remember how in awe of music I am. It doesn’t feel like my song. It belongs to the listeners.” Their passion peeks through in their performance, their demeanour and the words they speak. This is a band that captures the very essence of DIY, going from Ned’s bedroom in Bushwick, New York, all the way to a full room of people across the pond in the UK. Given the changes in lineup, for any project there’s always going to be a transitionary period, especially as far as converting from being solo and going into a band. Ned is a very keen songwriter, with years under his belt and a full array of emotional catharsis that he now shares with his band members. “Giving up control is only as difficult as you make it”, he begins. “When we’re all offering strong opinions and working for the good of the song. It’s great. It’s my preferred way to write, but it does add a lot of frustration. But I think that’s better than people being passive,” he adds. A pervasive fact you’ll find throughout our conversation is his passion - not just for the band but for music and songwriting as a whole. Ned is very quick with the recommendations to see at the festival this weekend. “We’re very lucky to have many old dear friends. I was here Friday hanging out with BALANCE AND COMPOSURE, TIGERS JAW, JOYCE MANOR…” The list goes on. Still, his connection to alternative music extends beyond GLITTERER, most notably to his time with TITLE FIGHT, the band he started when he was twelve years old, but also his other creative projects such as DISENGAGE, BAD SEED, STICK TOGETHER, BIG CONTEST and LIBERTY, a rich tapestry of noise that culminates in the songwriter he is today. A lifelong passion for music has made him one of the most hardworking in the scene, to the extent that he started his own label. Purple Circle Records, to distribute his music with GLITTERER independently. But seeing Outbreak go from a community centre, to a large room with a PA, all the way to Bowlers Exhibition Centre captures an important part of Ned’s journey. “It feels like it kinda changed overnight. It’s still kinda crazy to see a festival based around underground alternative music in this capacity.” Outbreak is measured in its moments, and over the years, the festival, sharpened by the very edges of the music scene, has provided a pivotal platform for hardcore and alternative music in the UK. A no-barrier push point for artists like TUNSTILE, SPEED and TRAPPED UNDER ICE to break European soil on their own terms. In its fifteenth year, the festival pushes the limits of music promotion, in recent years extending far beyond Manchester to lethal collaborations at All Points East, and even a steady roster of local shows. “It’s crazy for me to think decades later, still hanging out with the same people, still playing music, shooting the shit, having a good time and enjoying each other's company. Enjoying what we love doing. That is a very profound feeling for me, and something I take really seriously. I think we all care a lot about this, and to share it with people I got to know and met through touring when I was 18 years old, and still be here with many of those same people, it’s a very profound feeling.” Even still, the evolution of GLITTERER is somewhat in its infancy, especially in its current lineup. Erer is their most profound record to date, and that is on top of three other records full of eclectic, bouncy, synth-poppy goodness. For Ned and the gang, the sky is the limit, the passion is evident, and from here it’s only going to get better… or betterer. Words: Spencer Cunningham Photos: Conrad Newton for Out Of Rage Cover Design: Robert Halls Editorial Lead: Amber Brooks With Thanks To: Mitch Stevens and Revenant Earth Shoot at Bowlers Exhibition Centre in Manchester

Heavy and extreme music can sometimes feel paradoxical in nature; there’s something inherently fun about it despite its generally offputting nature to most. For example, there’s something like CONVERGE’s Concubine, a track that runs for just over a minute. Within that 80 seconds, there’s so much to pick apart with the performances, production and dynamics to the point where your tenth listen will still produce different results to your first, and even then occasionally that won’t matter - sometimes that short burst of pure rage is all the catharsis you need. That’s the magic of mathcore, and LIVING WEAPON are here to put us under its spell once again. Coming off well-regarded 2021 EP Paradise, we’ve been aching to hear more from them. It feels cruel to leave us with six minutes of music over five years, though its worth noting that in that time, band members Jon Lhaubouet, Jeremy Martin and Anthony DiDio have been releasing music as part of VEIN.FM and also, notably, FLESHWATER. Anyone familiar with FLESHWATER’s style might be surprised that there’s any crossover between the groups at all, because the new LIVING WEAPON album, Death In The Family is nowhere near being an alt-metal record. The First Element wastes no time whatsoever, launching straight into an almost formless riff, the only melodically recognisable aspects being a few chugs and a high-pitched notes. Parts of the track are underpinned by glitchy spoken word vocals, guitar feedback and gut-wrenching, resounding drums. It’s a controlled chaos of course, with the constantly changing meter that leaves the listener completely lost, yet intrigued. Immediately striking, and yet so much detail throughout the relatively short runtime. Dead Like You is starkly ferocious from start to finish, but the second half’s bitcrushed drums and sliding guitar noises coming from out of nowhere that wouldn’t feel out of place on a FRONTIERER record is what makes it stand out. The isolated sounds of bass-y sustain lead you to never really knowing when the track ends. This is an album that keeps you on your toes just three songs in. Any perceived weirdness on Dead Like You is nothing compared to the most outwardly experimental cut on here though. Parthenogenesis is an instrumental cut that will leave listeners confused, maybe a tad scared, but certainly intrigued. It’s built around a synthesiser that doesn’t seem to follow any kind of traditional melody, with the drums somehow matching its odd rhythms. It almost feels like jazz, just devoid of any of the instrumentation you’d expect from it. An entire album of this would be fun, no doubt, but thankfully it doesn’t feel out of place compared to the more standout cuts on Death In The Family. Speaking of which, In Loving Memory is a sludgy hellscape, with distorted bass, a bpm set to a crawl, and this overwhelming feel of evil permeating the extremely short runtime, feeling like its building up to some kind of climax. Lo and behold, it segues straight into closing track When No Light Compared, the only song on here that manages to go over three minutes. It makes sense too, it’s probably the most fully-realised song on here, and also the most traditional. There’s a great moment about a minute in, when another layer of guitar joins over the riff being played. It’s a short moment striking nonetheless. It’s not the only trick they bring out for the grand finale though, the final minute feels like the song tearing itself apart, with the return of the bit-crushed drums leading into a fadeout of nothing but guitar feedback, odd, high-pitched synthesised noises, and a general feeling of dread. LIVING WEAPON’s debut is an extremely exciting debut record. The title immediately conjures up LES RALLIZES DENUDES’ Heavier Than A Death In The Family, which isn’t entirely fitting (how could it be heavier than itself?), but close enough in the sense that it’s heavy, but in quite an unconventional way at points. It’s insanely relistenable too, in part due to the 23-minute runtime, but predominantly down to the sheer amount of detail in the songwriting. Yet another fantastic effort from some of the most prolific artists in the Boston hardcore scene at the moment - perhaps even their best. Score: 9/10 Death In The Family will be released on 14th August 2026 via Closed Casket Activities. Words: Noise Leonard Photos: Alec Swenor

After blasting their way onto the hardcore scene with back-to-back singles, DEAD RETINAS went semi-quiet, still delivering live shows and hinting at new ideas that lay dormant and hungry to be released over 6 years. The 4-piece explode into the airwaves once more with their pulverising EP Gloom, an EP that speaks to specific but important issues not usually covered in the heavy scene in a sound that contains all their fury and energy over deafening instrumentals. The Manchester hardcore punk group undeniably let loose on Gloom, treating it more as an outlet for the emotions heavily weighing on them rather than a project on precision and technical prowess. This doesn’t deny the fact they have a quality to their sound that’s equivalent to demolishing a house with your best friends and your bare hands, the red-mist rage as you tear down walls and strip back the facade. Metaphorically representing a society constructed in a “don’t call attention, don’t ask questions” mindset, DEAD RETINAS chooses to stand proudly in the bare-bones and scream about everything we’re told to ignore. F.A.O. (Collarbreaker) launches an immediate assault of hardcore punk riffs that follow similar patterns in alternating keys against a backdrop of shattering drums, almost drowning out the vicious screams of vocalist CJ as they make it very fucking clear that consent is needed regardless of how you dress or act, a breakdown of cymbals and guitar feedback fuelling the lyrics “They compromise, ostracise ourselves, with glee in our heads and hearts”. Slowly building in with dark riffs and ominous drums, Sleeping Giants tears its way in like a tornado, speed and destruction underlying the delicious rhythms from the guitar and bass. Delving into personal territory about a cocktail of medication making CJ feel “detached from reality”, the gradual layering of voices feels like that detachment of trying to make sense of everything and instead losing your grasp on it all. Taking a more punk approach to its intro in its rhythms and key, Blink quickly molds into a frenzied pace of hardcore drums and screams against captivating punk-metal guitar hooks and a bassline that thunders through your bones, the lyrics attempting to scream at a wider world that doesn’t care about climate change or that we can’t turn it back, “Coastlines can’t break the rise of the tide”, its message as grim and foreboding as its feedback outro. Fading straight in from its predecessor, Cantilever plunges back into dark and heavy tones with a riff fighting to break through the chaos as CJ shifts from guttural screams to desperate yells, their fraught emotion coming through in waves as they scream about the pitfalls of community that never truly had your back, the instruments slamming together repeatedly until they fade into feedback over fuzzed, melancholy notes. Discourse Of Fools races in with an overpowering sense of heavy metal as the hardcore punk keeps the foundation of the track sturdy, the instruments keeping to their pattern of crushing drums and uncomplicated but affecting riffs, a sudden piano section holding back the anger but keeping the mournfulness, before it falls back into a tumultuous cacophony as CJ screams “Fool, Idol, Dead on arrival”, a heartbreaking look at how HIV stigma still results in unnecessary prejudice and death. DEAD RETINAS return brings a crystal-clear message to all - they refuse to hold back and refuse to let you remain in the dark. Score: 7/10 Gloom will be released on 15th August 2026. Words: Julia Stark Photos: Dead Retinas

Fresh off their appearance at Bloodstock Festival, CASTLE RAT swapped gigantic stages for the smaller, sold out 1865. From the moment the doors opened the anticipation seemed to be building with an almost full crowd from the get-go ready for a theatrical night of music ahead of them. Opening the show were Birmingham based Meatdripper. Bringing the perfect fusion of sludge and doom rock, this band seemed other-worldly and truly set the scene for the night ahead. Han Al-Shemerri’s vocals entranced audiences pushing experimental to the limits. You felt like you had heard something altogether unique and having only been on the scene for two years, it felt like audience members were being introduced to a band that could well and truly rock the scene in coming years. Finishing their set with debut single Homegrown to rapturous applause, Meatdripper solidified their standing in Brummy metal alongside the greats. Next up, the incredibly unique BATTLESNAKE from Australia. Having also just finished at Bloodstock Festival, they swapped the main stage for Southampton. Blending together progressive rock and metal with wizardry and fantasy, BATTLESNAKE are altogether something truly different in the most brilliant of ways. Dressed in robes, the band entered the stage to medieval chanting setting the scene perfectly. Exploding into I Killed Satan, vocalist Sam Frank is nothing short of enigmatic and engaging as he bounds around the stage delivering nothing short of ferocious energy. The rest of the band are similarly fuelled bringing a cohesiveness to the chaos with winged keytarist Billy O’Key notably almost taking over the small stage with his costuming. By the time they reached mid set and played the song The Battlesnake, the band had the audience hooked and following every command and request in a humorous cult-like feel as Frank steps to the barrier enticing a moshpit. By the end of the set and closing to the song Let There Be Rock by AC/DC, half of the band members had shed their robes to reveal budgie smugglers as they climb atop shoulders and are carried around the venue epitomising the chaos of the band. BATTLESNAKE could easily have headlined a venue like this and their phenomenally engaging and theatrical performance showed the audience that they are about to become huge. The fun didn't end there and the audience were visibly bouncing in anticipation waiting for headliners CASTLE RAT. Bringing doom metal and fantasy realness, this New York City band took to the stage in a shroud of mystery before swiftly opening with Dagger Dragger to a packed audience. CASTLE RAT don’t hold back with the theatrics, with each member a character within their world. The set itself played out like a stage show, with different acts, speeches, and dramatic elements running throughout. Vocalist Riley Pinkerton inhabits the role of the Rat Queen narrating the lore around the band and adding to the story throughout the set, bringing the audience in to feel like they are part of the story too. Musically, nothing is taken away from their theatrical side and the doom metal runs through each song. Wolf I and Dragon hit hard and throughout the night mosh pits erupt with a single gesture of a circle by Pinkerton. Bassist Ronnie Lanzilotta steps into the role of the Plague Doctor and looms over the audience with each note he plays, whilst Franco Vittore plays the role of The Count, pulling vampiresque faces at the audience whilst delivering mind blowing riffs. By the time Serpent rolled around, an on stage battle ensued with our Rat Queen battling the Rat Reaperess resulting in a blood bath. With an encore of Cry For Me and Siren, CASTLE RAT showed the audience both versatility and showmanship that normally comes from decades of performing. Blending both traditional metal with something altogether fresh and unique, this band are going places and are set for bigger stages and even more in the way of theatrics. Words and photos: Laura Davies

Did you catch the eclipse tonight? The brief moment the moon passed in front of the sun, casting a shadow on its glaringly-bright surface. Rest assured, unlike that fleeting glimpse, these singles aren't going anywhere, and they certainly aren't about to pass us by. Here's what we've been listening to lately: Track of the Week: SiM - Freeze Me Up SiM returns with Freeze Me Up, delivering another explosive dose of their trademark mixture of metal, punk, reggae and electronic. Released as the opening theme for the upcoming anime Black Torch, the track also serves as a preview of their seventh album Hooman After All, due September 2nd via UNFD. The song hits hard from the start, combining aggressive guitars and powerful screams with the rhythmic bounce that has always made SiM stand out. Vocals shift effortlessly between raw intensity and melodic parts, laced together with a smooth production. There’s a hectic but empowering energy to Freeze Me Up that makes it feel built for both anime opening credits and chaotic festival crowds. Words: Lysandre Pons Accept - Save Us (ft. Tobias Forge) There’s something wonderfully unexpected about hearing Tobias Forge step into ACCEPT’s world on Save Us. Originally released on 1980’s I’m A Rebel, the track gets a new life for Teutonic Titans 1976-2026, celebrating the band’s 50th anniversary. Forge reportedly told Wolf Hoffmann that Save Us was his song from them, making this collaboration feel more personal. The classic heavy metal riffing remains intact, but the new production gives the guitars more punch and definition. It’s a surprisingly natural meeting of generations and an excellent reminder that great sounds don’t age. Words: Lysandre Pons Blind Channel - Diana / No Encores In A Swan Song BLIND CHANNEL makes a surprising return with Niko Moilanen handling the lead vocals on Diana / No Encores In A Swan Song following co-vocalist Joel Hokka’s departure in 2025. They come back with a bang, Diana immediately embracing a heavier metalcore direction (with a WHILE SHE SLEEPS like edge), proving that the band is ready to reinvent themselves. Beautiful imagery and an irresistibly catchy chorus hint at a huge live potential while the seamless switch to echoing, clean vocals adds another dimension that connects the listener into the second song. No Encores In A Swan Song is faster, bringing an unexpected electronic undertone without sacrificing the screams or clear singing. Equally catchy and full of surprises, it complements Diana perfectly. This double single feels like a confident reset ahead of the release of their upcoming album Painstream on October 30th. BLIND CHANNEL is back, stronger, heavier, and with greater range than ever. Words: Lysandre Pons Bugeye - This Is What I Want This Is What I Want doesn’t waste time explaining itself, it demands attention. BUGEYE turns a sharp social critique into something bright, rhythmic and genuinely fun. This becomes a tool for communication, making an upbeat disco-punk pulse to deliver lyrics about control, gender expectations and refusing to be treated like a product. The contrast is what makes the song so effective, the music invites you to dance while the words challenge everything underneath that surface. The bass and drums keep the track constantly moving, with synths adding a glossy electronic layer around the raw guitar work. Angela Martin’s vocals have plenty of bite, switching between playful and more confrontational when the chorus lands. Taken from The Shape Of Things, released last May, the track reflects BUGEYE’s approach to the album: live energy colliding with electronic textures to capture the chaos and contradictions of modern life. Words: Lysandre Pons Chloe Star - games Distortion-heavy guitars, a pitter-patter drumbeat, and sardonic, dead-girl vocals collide in CHLOE STAR's latest single games. It's messy, playful, and a total brat anthem. This alt-pop singer isn't afraid to show some ego, teasingly whispering "baby, I'm good at games" throughout the chorus. She delves into the core of situationships, connections that neither side really wants to define, and how they devolve into just what she sings about: playing games. Having just 2024's the bed i lie in to her name as an EP release and a steady stream of singles to follow: are we due a debut album? Words: Naomi Colliar Duff Dead Poet Society - Cold Distorted and darker, Cold sees DEAD POET SOCIETY push their alternative rock sound into a more atmospheric territory. The track carries a tense and almost hypnotic energy, balancing restrained verses with explosive moments that give the song a real emotional weight. Nick Cogan’s vocals shift effortlessly between vulnerability and intensity, adding to the feeling of isolation running through the track. The instrumentation is equally effective, moving from subtle textures to heavier, distorted passages without ever feeling predictable. There’s something raw and uneasy about Cold which is exactly what makes it so captivating. Rather than relying on a straightforward formula, DEAD POET SOCIETY builds the song around contrast, creating something that feels both intimate and wide open. Words: Lysandre Pons Eleine - Watch As We Rise There’s something almost regal about Watch As We Rise. ELEINE doesn't simply go for heaviness; they build a dramatic wall of sound where orchestration, guitars and pounding percussion all work together to create a sense of momentum. Madeleine Liljestam's voice moves across the layers, from controlled and delicate to commanding; it brings the song’s uplifting character. The track is a strong continuation of ELEINE’s 2026 run of singles, following Empire Of Lies and We March, with the band also preparing for their European and UK headlining tour. Words: Lysandre Pons Frontierer - Ultraviolet Parasite The angular and abrasive tones of FRONTIERER’s devastating approach to sonic pulverisation are ringing out once more. Ultraviolet Parasite will instantly satisfy fans of THE DILLINGER ESCAPE PLAN and THE CALLOUS DAOBOYS with its gigantic energy and searing guitar tone, as well as the crazy structure and phenomenal instrumentation. Few things are as enjoyable as a guitar that sounds like it could kill you - for a lesson on the subject, check out this track and turn it up to full. Words: Jasmine Longhurst Miss May I - Hand Me A Halo Hand Me A Halo feels like MISS MAY I is charging straight back into their roots but with a sharper, more focused production. The guitars are aggressive and gritty, yet it’s Jerod Boyd's drumming that really drives the song forward. The punchy kick work, tight fills and shifting rhythms give the verses a relentless momentum before the track opens up into a huge, memorable chorus. Levi Benton sounds particularly ferocious here, matching the intensity of the instrumentation while the melodic moments give the song some breathing room. Lyrically, the track deals with losing your sense of self and confronting intrusive thoughts, making it an even harder hit. This stands as the third preview of No Place For Me, their upcoming eighth album, arriving October 2nd. Words: Lysandre Pons moksha - Three Rivers Rising from the ashes of the deeply sad dissolution of ITHACA comes their former guitarist Sam Chetan-Walsh’s new project MOKSHA. The eight-piece are best described as a spiritual art-rock collective, taking influence from sounds like Midwest Emo and classic folk music. Debut single Three Rivers is our first glimpse into the world this group inhabits, and it’s a world of deep understanding and acceptance. The song asks if everything is temporary - and if so, what changes because of this? Fans of deeply satisfying emotional resonance, euphoric ecstasy, and profound musical development will be entranced by this song and band, who have their second set ever at this year’s ArcTanGent festival next week. Words: Jasmine Longhurst Nothing But Thieves - Baby Kool (Evelyn) Baby Kool (Evelyn) allows NOTHING BUT THIEVES to embrace a lighter, fun, and more playful side of their sound. Released as the latest preview of their upcoming album Stray Dogs, out September 25th, it announces a new unpredictable era for the band. The song is instantly catchy, with a groovy rhythm, upbeat energy and a chorus that is almost impossible to shake off. It carries hints of pop rock and even a touch of GREEN DAY while Conor Mason’s distinctive vocals remain at the centre. It may be a lighter note following their darker material, but that willingness to experiment is exactly what makes it work and so infectious. Words: Lysandre Pons Sigh - Unputenpu (ft. Mikael Åkerfeldt) Japanese black metal legends SIGH are back and as epic as they’ve ever been on Unputenpu. The music harks back to the ‘80s with a bombastic and melodic guitar line, but still retains a heaviness that only black metal can provide. The Japanese influence is also as overt as its ever been, but that’s not the only point of interest - OPETH’s iconic vocalist Mikael Åkerfeldt has been enlisted to provide his trademark ominous tones and, of course, smashes it as only he can. For a surprisingly upbeat and fun take of a traditionally downcast genre, look no further. Words: Jasmine Longhurst Vicious Rain - Intertwined Intertwined is a different approach for VICIOUS RAIN. Instead of going for an all-out metalcore assault, the Swiss band chooses restraint, allowing the track to breathe and reveal a more vulnerable side to their sound. The drums are particularly effective in controlling that movement. Instead of simply providing speed, the percussion leaves deliberate gaps and uses accents to make each transition feel heavier. The cleaner vocals sit beautifully against this atmospheric instrumentation, while the guitars gradually build a sense of tension without ever needing to explode. As the closing track on The Anatomy of Surviving, released in March 2026 through Arising Empire, it feels deliberately placed. After an album packed with aggression, grooves and crushing moments, Intertwined provides a softer landing. Words: Lysandre Pons Editor: Naomi Colliar Duff Photos: Various Artists

In the centre of London, up a staircase below a neon sign blazing the venue’s name into the sky, is Scala - and for one night only, in the height of summer, it became the home of the most uplifting prog band in music, PROTEST THE HERO. With two bands opening for them, there were mere hours between arriving and the time to finally witness their glorious live show - but first, the supports. OBEYER took to the stage first - with a sound that landed somewhere in the djent/deathcore sphere, they did a great job warming things up. Clearly a band that knows a thing or two about live performances, their pedigree showed and they were as tight as any band you’d expect to see headlining. A particular highlight was Nothing Exists Beyond Me, bringing in some of their most pulverising live moments whilst still keeping a real groove laid down the entire time. Up next came Out Of Rage cover alumni PUPIL SLICER, a favourite of the magazine’s and scene’s alike. Their ability to go between multiple vastly differing strains of metalcore beggars belief, and when on good form like they were at this show it’s truly awe-inspiring. With grindy sounds like those on Wounds Upon My Skin - one of the gnarliest riffs there is period - as well as ethereal metalcore, industrial chugs, and incredible technicality to be found across every single instrument and member of the band, they set the stage fantastically for the legendary headline act. Finally, it was the turn of the Canadians. PROTEST THE HERO kickstarted their set with Mouthpiece, the electric opener off of excellent new album Within, and didn’t let up for one moment from there until finish. The iconic Bloodmeat, in all its mathy glory, was like some hypnotic pendulum, and debut album favourite Blindfolds Aside finished the main set with a brute-force punk feel and a feel-good factor for the whole room. The crowd was, predictably, going wild for the duration - it’s been years since their last performances on British soil, and who knows when the next shows will be? So everyone in attendance made the absolute most of the opportunity to engage most joyously in losing all semblance of sense. It was only upon leaving that the monumental nature of it truly appeared to hit the majority of the crowd. Seeing a band play such a strong set, and knowing that they may not be back for another decade or so, made the experience feel all the rarer and more special. But - if any of them are reading - please don’t take that long, we would very much like to see you back here again a hell of a lot sooner than the last wait! Words: Jasmine Longhurst Photos: Atoosa Salamat

After a monumental main stage show at Bloodstock Festival, BATTLESNAKE journeyed back to London the next day for a show that pulled from all elements of rock in its lineup to make one epic show you don’t often get Downstairs At The Dome; here’s how that sweaty gig went down. Opening up the night saw Sydney natives LIQUID ZOO set the bar for the energy on the stage. Their high-voltage Garage Rock was really astonishing, though taking from many other genres, they had a really refined sound that really made you think, If THE CHATS were Australia’s answer to SEX PISTOLS, then these guys are the country’s answer to IGGY POP. The way they dressed, the way they carried themselves, the riffs, the guitar tones were really taking it back to that 70s glam punk that blew up in the US. This band are an epic revival of that sound that bring a new perspective and feel to it all; serious amounts of fun and non-stop action with these guys. Next up were MEATDRIPPER, these guys took it to the complete other end of the spectrum and shifting the tone with a Doom/Sludge fusion, with not many vocals to their songs, this band seemed to be set out on taking you through a vast soundscape of heavy riffs and atmospheric instrumentals. When the vocals were present, they had this cool witchy vibe that made the songs sound like a dark medieval ballad that only added to that atmosphere. They brought the energy back down in the best way possible, opting for feeling rather than energy and it definitely worked; thought that didn’t stop a moshpit erupting for the last song. After that, Out Of Rage Favourites KNIVES, blessed the stage and made their 30 minute set absolutely count, as is always the way with this band, kicking things immediately into overdrive with their song The Dagger, A pit opened up as soon as the first notes started playing as the KNIVES fans in the audience wasted no time getting to work. The unmatched energy of this band coupled with the devotion of the fans made for quite the spectacle during this set as there was even some stage diving and some crowd killing and these guys were determined to make this metal show a hardcore one and that they did as the energy did not stop there… …For the mighty BATTLESNAKE graced the stage with their sermon before unleashing their newest hit I Killed Satan unto the London crowd. From the get go, sweat dripped the ceiling as the crowd erupted and bodies started flying, to the point where the one security guard couldn’t stop all the crowd surfing and stage diving. It’s rare to see such unadulterated energy in such a small venue, the band crowded that small stage but it did not stop them from jumping out into the crowd and using every inch of the stage to give a great intimate show. And what a setlist they had, encompassing all the fan favourites into one show, from Murder Machine to Pterodactyl Firehawk, they made sure this audience experienced the pure metal of BATTLESNAKE, with such a unique comedy fantasy-inspired style of metal, it’s hard not to love this band and their awesome, silly antics; another great and fun show in this bands catalogue. Words and Photos: Ben Blissett

There are albums that sit comfortably within a genre and then some that seem determined to dismantle the very idea of genre altogether. Audiodrome, the latest offering from EMPIRES IN ORBIT, belongs firmly in the latter. Dark, immersive, and constantly shifting, the opus pulls influences from indie pop, black metal, hip hop, ambient and industrial music, among others. They however make a difficult, and sometimes improbable, combination of sounds surprisingly natural and turn it into a cohesive piece. Founded in 2015 by multi-instrumentalist Gary Mann, EMPIRES IN ORBIT has spent the past decade carving out a distinctive space for themselves with six albums, more than three million plays, numerous collaborations, film placements and ballet soundtracks. Audiodrome however marks the beginning of a new chapter for the band, with German vocalist Fe Malefiz joining as a permanent member. Her performance is one of the album's defining elements, at times commanding and theatrical, at others fragile, whispered, or genuinely unsettling. The opening track The New Flesh immediately establishes Audiodrome as an atmospheric experience. Industrial textures surround the central vocal performance, while layers of whispers seem to emerge from the background and dissolve back into the mix. It feels immersive rather than simply electronic. Before we can fully process what we just listened to, Cat Eyes shifts gears into a cyber goth territory that has a sci-fi and soundtrack quality to it, with a catchy hip hop bassline building a solid foundation. It feels like one of the album's most accessible and inclusive tracks which could bring in a wide spectrum of listeners without sacrificing its experimental value. With Siren's Call, the band leans heavily into a hypnotic atmosphere worthy of its title. Water and nature sounds surround the piece while electro beats and huge echoes give MALEFIZ's voice an enormous spatial power. The band keeps on surprising when around three quarters of the way through, an unexpected guitar solo arrives with a distinctly heavy metal flair. Deja Vu offers a softer contrast, almost folk-like. It feels shorter than it is as time becomes blurry listening to it. Smoke Screen however snaps us back immediately and brings the black metal influences forward, notably through the back vocals. Combined with the atmospheric instrumentation, the song takes on an almost ritualistic, incantatory aspect. The electronics build suspense and anticipation before the final minute delivers another surprise with the screaming vocals. The band reminds us to expect the unexpected. The middle stretch of the album feels somewhat less distinctive. Monarch overlaps with the previous song while Before I Wake Up! occupies a similar space as well. These tracks are enjoyable but melt a bit together, leaving less of an impression compared to the album's more adventurous moments. Things pick up again with Mother!, where the industrial side has space to fully develop. A distinct, addictive beat gives the track a spark that feels made for a crowd and would definitely be a moment to watch out for live. It is followed by Porcelain, which takes that beat and transforms it into something almost witchy. The result feels like a spell being cast, fragile yet powerful, eerie yet strangely inviting. What's Yet to Come is one of the album's highlights. It takes the listener aback with its powerful drums which are unexpectedly prominent, bringing the instrumentation forward compared to the other tracks. The arrangement gradually gains power, eventually transforming into a full-blown anthem as screams join the mix. It's a fitting reminder of just how much range EMPIRES IN ORBIT can pack into a single record. The Hardest Part is also the last one, providing a softer landing. After the album's industrial machinery, metal outbursts and genre hopping experimentation, the closing track circles back towards the atmospheric and electronic elements that have been present throughout. Rather than ending with one final grand gesture, it allows the album to settle back into its shadows. What makes Audiodrome work is not that every experiment lands with equal force, but that it commits fully to the idea of experimentation and is unafraid. It creates its biggest strengths by having contrasting elements collide: industrial textures meeting gothic vocals, electronic beats meeting black metal aggression, atmospheric soundscapes suddenly giving way to an unexpected guitar or scream. There is a constant feeling that something unfamiliar could emerge around the next corner. This opus is daring, with a dark and cinematic vibe that will take the audience through an unpredictable journey upon its release on August 14th. Score: 6/10 Audiodrome will be released on 14th August 2026. Words: Lysandre Pons Photos: Josh Waldby

A collision of darkness and creation, Moonwake turns personal devastation into expansive Cascadian metal. The project ECHOES OF THEIA takes its conceptual foundation from the giant impact hypothesis that roughly 4.5 billion years ago, a Mars-sized body collided with Earth, the resulting debris eventually forming the Moon. Scientists have even investigated possible chemical “echoes” of primordial Earth that may have survived that cataclysm deep within the planet. On Moonwake, Washington multi-instrumentalist Greg Dunbar takes that cosmic idea and turns it inwards. The album is about destruction and reconstruction on a profoundly human scale: self-annihilation, addiction, grief, mental health struggles, reflection, and ultimately the difficult work of healing. If Theia represents a collision that destroyed one configuration of matter while creating something new, the opus asks a similar question of the human experience: What can emerge from a wreckage? The answer is an ambitious and remarkably cohesive eight-track album. Dunbar composed, performed, recorded, and mixed the bulk of Moonwake himself in his home studio, with guest vocalists from Olympia contributing to the record. The instrumentation stretches well beyond the conventional metal palette, incorporating orchestral, folk and electronic elements. The resulting soundscape is something that can be brutally heavy one moment and almost weightless the next. It continually moves between tranquillity and tempest, atmosphere and impact, melody and dissonance. The Cascadian metal influence is unmistakable but Dunbar doesn’t reproduce a familiar formula. He builds enormous, layered soundscapes around the songs, allowing the darkness to breathe. The album begins with Horizonless, an eerie instrumental that feels less like entering another environment. There is a sense of witnessing creation from a distance, something vast beginning to take shape in the darkness. It establishes the album's cosmic and cinematic character before the first real impact arrives with That Sinking Feeling. Distorted guitars immediately make the album feel heavier and more frantic. The instrumentation is hectic while guttural, torn vocals communicate desperation with little restraint. As the track develops, clear singing begins to infiltrate the brutality, creating a fascinating tension between collapse and the possibility of recovery. Then, roughly three-quarters of the way through, everything suddenly stops when a piano appears. For a moment, the listener finds stillness in the middle of the storm. It is one of the album's most effective moments because the near silence feels earned. When the vocals and heavier instrumentation come crashing back in, the impact is considerably greater. The song becomes a musical representation of holding onto hope by one's fingertips while everything else threatens to disappear. Gravity shifts the emotional terrain again. An acoustic opening and distant, dreamlike voices create an almost weightless atmosphere before the guitars descend into a languished doom heaviness. There is an exhaustion to the track, a sensation of trying to move forward through quicksand while being unable to see a clear path. The layered backing vocals are particularly effective, hovering around the main singing track like memories or hallucinations, reinforcing the dreamlike quality and giving the song the feeling of chasing something that may not actually be within reach. There are moments that evoke the oppressive melancholy of bands such as SWALLOW THE SUN while maintaining its own identity through its broad atmospheric palette. From there, Deluge of Fire pushes further towards death metal. The rhythms become more aggressive and the vocals more ferocious, but the doom influence remains as an underlying thread. It is an impressive example of how naturally Dunbar moves between genres without making the album feel fragmented. The guitar work is especially evocative: rapid, bullet-like, creating the sensation of being caught underneath the very deluge described by the title. It is overwhelming without being directionless, and the contrast with the previous track makes the escalation feel deliberate. Then comes Depth Gauge, the album's longest composition at 8:29 and arguably one of its most ambitious. The guitars sound almost tortured, as if the strings themselves are screaming while the vocals are chant-like. The echoed back vocals strengthen the impression that we've stumbled into some kind of ritual or invocation. Whitecap Sky introduces more noticeable electronic undertones while maintaining the album's emotional weight. Its pacing suggests effort: not triumph, but the exhausting act of continuing to fight. There is no easy catharsis here. Recovery is presented as work, and sometimes simply continuing forward is the victory. The Brush of Fingers offers one of the album's most surprisingly catchy instrumentals without compromising the darkness. Clear and growled vocals seem to answer one another. That interplay becomes another expression of Moonwake's central tension: opposing forces that don't necessarily need to destroy each other. Sometimes they coexist. Finally, we reach Nocturne of Storm which brings the journey full circle. Its instrumental opening echoes the beginning of the album, but a wind chime now enters the picture, subtly changing the atmosphere. It feels like an announcement: new winds are coming. The track then grows heavier, incorporating elements heard throughout the record like speed, ritualistic vocals, echoes and electronic textures. It functions as an effective summary of the album but also stands on its own. It carries a sense of transformation that is deeply meaningful taking into account the mental health, addiction and grief topics approached in the release. The creation of this high-concept album is also deeply documented and made available to the audience, letting them in fully. The 127 pages digital booklet Into The Maelstrom, provides production information for every song alongside Dunbar's personal context for the music and lyrics as well as photographs taken during the recording sessions. All combined makes the album a thorough thinking, deliberate and polished release. The production gives its many layers enough room to coexist rather than compete with one another. Moonwake’s greatest strength is the way its musical contrasts mirror its subject matter where beauty emerges from ugliness, calm exists inside chaos, and melody fights its way through dissonance. It leaves us with a much more intimate question: what do we build from the pieces of ourselves that survive? Take the time to look within by catching this release on August 14th. Score: 8/10 Moonwake will be released on 14th August 2026. Words: Lysandre Pons Photos: Matt Baide

There is something immediately different about a gig when the support bands are already playing as the doors open. At Manchester Club Academy, the room may have been relatively empty at the start of the evening, but the energy certainly was not. The fans who had made it in early were clearly the die-hards, and every band that followed managed to build on that atmosphere. CUT THROAT were already on stage when the evening got underway, bringing a theatrical and entertaining performance to a room that was still filling up. It would have been easy for the lack of numbers to affect their energy, but they refused to let it. Instead, they played as though the room was already packed. One fan in particular clearly knew every word, and the vocalist made a point of singing directly to them while standing on the barrier. It was a small moment, but one that summed up the relationship between these bands and the people who had come out to see them. Even before the headliners had appeared, there was already a genuine connection between stage and crowd. As more people began to arrive, STRIKING 13 took things up another level. Their Apollo 13-inspired introduction immediately gave the set a sense of occasion, before the first mosh pit appeared and the room began to properly wake up. The band's interaction with the crowd had already started before the first song. During soundcheck and while setting up the stage, the members were chatting and engaging with fans, creating a welcoming atmosphere before they had even begun performing. The drummer and vocalist were particular standouts once the set started, while the guitarist brought plenty of energy of their own. The whole band seemed incapable of staying in one place. They swapped positions, climbed around the amps and constantly moved across the limited stage space, creating an entertaining kind of chaos. Even throwing T-shirts into the crowd became part of the show, with the band clearly having as much fun as the audience. The bassist playing one-handed was another impressive touch, adding yet another layer to a performance that never seemed to run out of energy. What made STRIKING 13 particularly memorable, however, was how much time they spent interacting with the people in front of them. The connection never disappeared between songs, and even after their set they could be found taking photographs with fans. It was the kind of interaction that makes a smaller show feel personal. If STRIKING 13 had brought the room to life, SWORN ENEMY appeared determined to tear it apart. The mosh pit that developed was enormous, with the energy in the room immediately reaching another level. The vocalist spent much of the set in the photography pit, putting them almost directly amongst the audience and allowing for an extraordinary amount of interaction. Rather than creating distance between the band and the crowd, the performance completely blurred that line. Fans were moving constantly, the band were feeding off it, and the entire room seemed to be caught up in the same momentum. It was the kind of performance that could easily have belonged to a headline slot. SWORN ENEMY were clearly enjoying themselves, the crowd were completely invested, and by this point there was very little left for the headliners to prove. Then came BIOHAZARD. The room was now packed, and the difference between the relatively empty venue at the beginning of the evening and what stood in front of the stage was striking. The band walked out to the Rocky theme, immediately setting the tone for what followed. Opening with Urban Discipline, BIOHAZARD wasted no time reminding everyone exactly why they were here. The mosh pits were huge, although slightly less relentless than those during SWORN ENEMY, and the energy across the room was still incredible. The guitarist repeatedly made their way into the crowd, at one point attempting to crowdsurf before being unable to make it across the room. It was still one of those moments that made the distance between stage and audience feel almost irrelevant. One of the most impressive things about the night, however, was how respectful the crowd remained despite the sheer amount of chaos. People encouraged each other into the pits, stopped to help anyone who fell, and made sure others were back on their feet before the madness continued. That attitude was reflected by the band themselves. At one point, the guitarist paused to pick up a fan's glasses from the photography pit. In the middle of everything happening around them, it was a small but brilliant reminder that the chaos had its own rules. The set continued through Shades Of Grey, Fight To Be Free and Wrong Side Of The Tracks, keeping the room moving before Black and White And Red All Over brought another huge response. The crowd clearly knew what they had come to hear, with lyrics being thrown back towards the stage at full volume. Eyes On Six and Five Blocks To The Subway kept the momentum going, but it was Fuck The System that provided one of the most memorable moments of the night. The band's declaration of “Fuck the government” was met with an immediate response from the floor, including one particularly amusing shout of “Better than where you're from.” It was exactly the sort of interaction that only really works in a packed Manchester room, and the crowd were clearly more than happy to play along. By this point, the distinction between performer and audience had almost completely disappeared. A BAD RELIGION cover of We’re Only Gonna Die offered another moment of recognition before Punishment brought the room straight back into the thick of it. Ending with Hold My Own, the set felt less like a history lesson and more like a demonstration that the band's energy has not disappeared with time. What made the evening work so well was not simply the size of the pits or the number of people moving. It was the community running underneath it all. From CUT THROAT playing to a handful of dedicated fans as if the room were full, to STRIKING 13 interacting with fans throughout their setup and performance, to SWORN ENEMY performing almost entirely within touching distance of the crowd, every band contributed to the same sense of connection. BIOHAZARD ultimately had the difficult job of closing a night where the support had already set the bar extremely high. SWORN ENEMY could easily have passed for headliners, and STRIKING 13 had already turned an initially quiet room into a lively one. Yet the headliners proved exactly why they were the ones closing the night. The crowd were fully invested, the pits were enormous, and the band were willing to throw themselves directly into the chaos alongside them. For a band with such a long history, there was nothing particularly nostalgic about the performance. It felt immediate, physical and alive. The evening was a reminder that hardcore works best when the barrier between the stage and the crowd becomes almost meaningless — and at Manchester Club Academy, BIOHAZARD made sure there was barely a barrier left at all. Words and photos: Lauren Wenham