MASTIFF have never been a band concerned with comfort, but For All The Dead Dreams feels like them actively daring you to meet them at their absolute breaking point. Over a decade of weaponising spite has shaped the Kingston Upon Hull quintet into something uniquely caustic within the UK’s extreme music landscape, and this latest five-track barrage proves they’ve not mellowed with age, if anything, they sound more invigorated by the idea of total obliteration. It’s the kind of record that seems to sneer at the listener for even attempting to endure it. Their live reputation has long been the stuff of lore, the sort of band you go to see once and then spend the rest of the night blinking through tinnitus, unsure whether you’ve witnessed a gig or a controlled demolition. Having torn through festival stages at Bloodstock, Damnation, Incineration and DesertFest and matched their intensity with the likes of Conan, Iron Monkey, Cult Leader and Raging Speedhorn, MASTIFF have grown into a touring phenomenon driven by pure malice. That same energy courses through this release, captured with terrifying precision by Joe Clayton at Nø Studio and sharpened to a rusted edge by Brad Boatright at Audiosiege. If their music previously resembled a sledgehammer, For All The Dead Dreams is a concrete drill bit plunged straight into the skull. Opening track Soliloquy acts almost like a warning shot, the kind that lands directly between your eyes. JIM HODGE’s vocals are as venomous as ever, but the real weapon here is the interplay between guitarists PHIL JOHNSON and JAMES LEE-ROSS. Their riffs grind and scrape like heavy machinery tearing through rebar, setting the tone for the record’s grim brevity. Where Deprecipice was blunt-force trauma, Soliloquy feels calculated, a precise incision that prepares you for the deeper wounds to come. The shift into Rotting Blossoms is where the comparison between tracks becomes stark. Where Soliloquy is measured and intentional, Rotting Blossoms is pure acceleration, a headlong dive into Nails-esque violence that barely gives drummer MIKE SHEPHERD space to breathe between blasts. It’s the sound of decay set to motion, collapsing in on itself with every passing second, yet the band stays frighteningly tight. Anyone familiar with MASTIFF’s tendency for whiplash tempo changes will find plenty to savour here, but this track in particular highlights just how much more feral they’ve grown. Decimated Graves is arguably the EP’s centrepiece, not because it’s any less savage, but because it feels like the band stretching into a different shade of bleakness. DAN DOLBY’s bass tone becomes an anchor dragging you through mud-thick sludge passages that momentarily echo earlier MASTIFF releases before detonating into hardcore that would sit comfortably beside Harm’s Way. In comparison to the frantic cruelty of Rotting Blossoms, this track feels heavier in a different way, not faster, not more chaotic, but crushingly oppressive. It’s MASTIFF at their most atmospheric, if your idea of “atmosphere” is being trapped beneath three tonnes of industrial waste. The emotional sucker punch comes with A Story Behind Every Light, a title that hints at something almost reflective, though reflection, in MASTIFF’s world, still arrives wrapped in barbed wire. Here the band momentarily loosens their grip on speed in favour of tension, letting riffs ring out into open space before snapping back with more force. HODGE delivers some of his most tortured vocals on the entire record, and the song becomes a study in how MASTIFF weaponise restraint. When compared to the immediacy of Soliloquy and the pulverising stomp of Decimated Graves, this track grounds the EP with a grim sense of humanity, or at least what’s left of it. Closer Corporeal then ensures that any shred of hope is unceremoniously stamped out. If Soliloquy was a warning, Corporeal is the execution, delivered with a violent efficiency that calls back to Gatecreeper’s most hostile moments. The guitars churn with mechanical malice, the drums collapse into a barrage of falling debris, and the entire band seems intent on ensuring your final memory of this EP is feeling physically smaller than when you began. Compared with the other tracks, Corporeal is the purest distillation of MASTIFF’s mission statement: short, savage and absolutely unforgiving. At barely 15 minutes, For All The Dead Dreams could have risked feeling like an interlude between larger statements, but instead it lands like a cinderblock from a great height, immediate, destructive and impossible to ignore. MASTIFF have always dealt in intensity, but here they refine it, condense it and unleash it with horrifying precision. It isn’t just another chapter in their catalogue of misery; it’s them baring their teeth and snarling, “Hold my beer.” Brutal, efficient and utterly uncompromising, this is MASTIFF at their most dangerous. Score: 9/10 For All the Dead Dreams was released on 24th October 2025 via Church Road Records. Words: Mia Gailey Photos: Mastiff

The Palais is not the sort of venue you’d expect to host a blackgaze band. More often than not, it’s a place of shimmering disco balls, falling confetti, and late-night revelry. But on a cold Sunday in Nottingham, the glittering walls and mirrored corners became the backdrop for a night of sonic intensity, as Deafheaven and support transformed the space into something darker, heavier, and unforgettable. With the first support slot taken by metalcore/shoegaze solo artist Zeruel, it was clear from the start that we were in for an interesting evening, where the guitars would be gazey and the atmosphere dark and cinematic. Hailing from Baltimore, Maryland, Zeruel got the crowd woken up and ready for the night ahead with their dynamic mix of heavy riffs and expansive production. Next, the crowd was treated to the incredible Portrayal Of Guilt, from Austin, Texas. With guttural vocals and an intense, experimental theme, backed by a black and white art film-like visual as a backdrop, the band kept all eyes on them from the beginning. Likened to bands like Converge and Oathbreaker, and christened ‘blackened screamo’, though there was not much crowd interaction, and for those not familiar with the band, it was difficult to tell where each song started and ended, Portrayal Of Guilt provided a performance that blew many people away, with the flawless vocals and impassioned instrumentals. Topping the bill was Deafheaven, fresh off the back of the release of their new album Lonely People with Power back in March. A passing fan lamented at the fact the venue chose to have a barrier, which set the tone for the rest of the show. The band admit they don’t consider themselves a black metal band, as despite the clear influence from the genre on their music, they lack the ethos and aesthetic you find with the genre, which became clear with the complete mix of different fans that had come to see them. Opening the set with Doberman, followed by Magnolia, both from Lonely People with Power, followed up with songs Brought to the Water and Sunbather, from previous albums New Bermuda and Sunbather, the band knew their audience well and played to this power. Though vocalist George Clarke’s piercing shrieks mean that for most, they are not an easy band to sing along to, it didn’t mean that the crowd weren’t up for it. From intense crowd surfing matching the electric intensity seen on stage from Clarke, as well as the guitar riffs from founding member Kerry McCoy, as well as Shiv Mehra, along with the grounding bass line from Chris Johnson and providing the band's signature dynamic percussion, Daniel Tracy. Following up was a steady trail of more tracks from Lonely People with Power, showcasing the new songs to old and new fans alike, with The Garden Route and Body Behaviour appearing on the set list. With each track, more and more people were gliding their way above the heads of the crowd, landing in front of George, which seemed to only intensify his movement towards the crowd, meaning he never stood still throughout the entire show. Closing out the first half of the set with Amethyst was met with raucous applause, and this only built up more and more towards the encore. Returning to the stage to finish off the set, Deafheaven showed no signs of slowing down. Thrashing out more songs from Lonely People with Power, Incidental II and Revelator, which included flawless guest vocals from a crowd surfer travelling straight towards George at the barrier, before finishing off with Dream House from Sunbather and finally, the song that got the biggest reaction from everyone watching, Winona. Deafheaven are a band who are in constant evolution, showing no fear in reshaping themselves whilst retaining the emotional core that made earlier albums like Sunbather a landmark. At The Palais, they showed once again their music isn’t just there to be heard; it's there to be lived, felt and carried home, with ringing ears and a pounding heart, eager for the next show. Words: Lou Viner-Flood Photos: Conrad Newton

Islington Assembly Hall was on fire, and for a very good reason. THE RAVEN AGE prepared to close off their Monarchy Tour, celebrating the band’s tenth year anniversary. Excitement filled the air as fans filled the pit and balcony, with a sense of sadness and melancholy lingering underneath it all. This show was guitarist GEORGE HARRIS’ last show as a member of THE RAVEN AGE, having founded the band with former guitarist DAN WRIGHT, who had left the band in 2017. A show as monumental as this needed someone to warm up the crowd, giving THE RAVEN AGE that little bit of extra time to prepare HARRIS’ send off. And who better to deliver than EMPYRE. Some people in the pit were spotted with EMPYRE merch, ranging from simple t-shirts to bolder bomber jackets. Clearly, they were more than ready for EMPYRE to take the stage and pump up the majority of the crowd who had come for THE RAVEN AGE. Having taken the stage, guitarist DID COLES began by humouring the audience, pointing out the fact that they were performing on a Sunday, the night before many had to go back to work. After introducing themselves, EMPYRE don their instruments and conquer the stage. With their powerful, triumphant sound, accompanied by vocalist and guitarist HENRIK STEENHOLDT’s commanding vocals, EMPYRE primarily performed songs from their first album, Self Aware, and their latest album, Relentless, as a way to show their versatility and their growth through the past ten years. Homegrown, the last track from Self Aware, had a doom rock quality to it, building the tempo and the layering of their instruments to bring the shadowy quality at the start into the light of hard rock. In a refreshing change of pace, the band had decided to cover DAVID GUETTA’s Titanium, giving a delightful hard rock spin to an electronic pop song, adding in a guitar solo for a bit of extra flair. This managed to bring in a little bit of life in the pit, getting people excited for the finishing bits of EMPYRE’s set and grossly anticipating THE RAVEN AGE. Closing off with New Republic, STEENHOLDT and COLES get the audience to clap along at the beginning of the song, before going in with lively and energetic instrumentals, carried by STEENHOLDT’s vocals, almost clamouring to the audience to join in and be a part of their world. Met with enthusiastic applause at the end of the song, EMPYRE expressed their gratitude to THE RAVEN AGE for having them along and to the audience for supporting them. Demands for an encore came from a few people in the pit, showing that EMPYRE had swayed some people over. And who could blame them? EMPYRE’s growth is going to be exciting to watch. THE RAVEN AGE take to the stage, the pit prepared for their arrival and they open with Forgive & Forget, showing off their quintessentially melodic metal sound to the hundreds of people who had followed them along their musical journey, before playing one of their latest singles, Hangman. Bassist MATT COX’s supporting vocals, often growling, contrasted with lead vocalist MATT JAMES, who sounded like he belonged in a metalcore band from time to time, giving THE RAVEN AGE’s songs a unique and novel sound. Angels in Disgrace spiced things up a bit, with twin harmonies and high tempo instrumentals, pumping up the audience even more for their packed encore. After some clamour for an encore, THE RAVEN AGE returned to the stage, accompanied by former guitarist TONY MAUE, who harmonised and growled whilst performing Serpents Tongue with the band, giving the song interesting textures and energy. Followed by a drum solo from drummer JAI PATEL, who gave his all, using up every cymbal and tom in his arsenal. Closing with the sombre Grave of the Fireflies, reflecting the mood of the band as GEORGE HARRIS is set to leave the band, the pit turn on their phone flashlights to mimic fireflies as the band play in this lineup for the very last time. THE RAVEN AGE getting to where they are now is truly commendable, having supported IRON MAIDEN on previous tours. But as DID COLES from EMPYRE pointed out, THE RAVEN AGE were not always at this point. They were the opening band that were often overlooked at one point, performing at bars and various smaller venues. You never know what gems you will come across if you ignore the opening band. Words and photos: Atoosa Salamat

From the moment 2025 kicked up a fuss, making its rowdy and rambunctious entrance, so too did Brighton bruiserweights LAMBRINI GIRLS. With only ten days into January, we were blessed with the unapologetic debut Who Let The Dogs Out, a triumphant wrecking ball of a record sent straight into the fractured foundations of British society. It was here that the age-old, authentic fundamentals of punk snagged themselves around vocalist Pheobe Lunny’s tongue, as the band seethed about toxic workplace practices, the rising constrictions on queer rights globally, and the damaging nature of gentrification that was causing havoc far too close to home. With their long summer firmly underway, it seemed like there was nothing that Lunny and bassist Lilly Macieira-Boşgelmez could take on. Rabble-rousing at Glastonbury? Telling it how it is at Reading and Leeds? World domination from the sun-baked festival stages of Australia, South Korea and Italy? You bet - they do it all and more! This entire year has belonged to the Girls - and by extension the gays and the theys - with a second UK tour this winter becoming the much-anticipated victory lap. In Manchester, we take a course in Cuntology 101, schooling the stratospheric rise of a band on course to make the 2026 bills of Coachella, Primavera and 2000 Trees. Adding to the impressive rotating supporting roster, including CLT DROP, ENOLA GAY and M(H)AOL, was British Canadian post-punk duo SHELF LIVES. In anticipation of their debut album, Hypernormal, the eclectic thrill of the band’s electronic indie leanings resulted in a slow-burning release of queer infused anthems. Whilst starting timid and tender, with fizzy lyrics that seared with hot takes and Gen Z garble, the tone would seismically shift into daring dance tracks that noticably bounced the floor of Manchester’s beloved Ritz. Anticipating the headliner's high-strung ferocity, SHELF LIVES adopted art-pop branding and came off even sweeter with a punk-centred core. Descending into the crowd during their final track, this shindig proceeded to kick off with considerable candour from front to back. As the bright stage lights ascend, Maciera and touring drummer Misha Phillips start the unmistakable call to arms of opener Bad Apple. Arriving later than her bandmates, Lunny circles the stage, eyes wide, arms flailing in a David Byrne-esque way; the suit she wore was just a coincidence. Shouting garishly “MAN-CHES-TER”, the three strained syllables that were just as gritty as the feeling that they were made for the vocalist. Here, we see LAMBRINI GIRLS at their best. Hungry and unapologetic, scathing and glitzy, with terrorising those who put the band into boxes firmly in mind. With the triumphant " Officer, what seems to be the problem?" came a manifesto of carnage, an artillery of words that allowed the venue to be torn apart. Whilst Company Culture is dynamite, erupting into a frantic high-energy wall of death, Help Me I’m Gay turns the serious punch of the previous tracks into euphoria. Giving the band a chance to acquaint themselves with the “queer legends” in the crowd, as Lunny preaches a safe space for LGBTQIA+ people from the pit. With soft colourful lighting, Maciera pushes the rowdy rock riffs (made possible by Lunny adorning a guitar for the moments that matter), gets the entire room revelling, including the poor souls left in the Ritz rafters. Unfortunately for them, right in the centre is where the party is happening, and they can watch it all unfold as the pit all know how to have a good time. As tracks gleam with the promise of a young band that’s on its way to stardom, there is a constellation of provocative messages that shine throughout the set. In some ways, they speak on behalf of their crowd, unified on the importance of speaking up for victims of sexual harassment during Boys In the Band, the ongoing support of the Palestinian people, and later, as Phillips takes centre stage as to express the impact of politics on trans lives, the impact is refreshing and cool against the radio-friendly front of today's society. From their new album, Who Let The Dogs Out, Lunny and Maciera are the band at their most fully realised yet, cutting deep to the bone with tracks like Love and No Homo give clarity on individual queer experience. Cuntology 101, the self-serving confident anthem, is played with great enthusiasm, as the band puts down their instruments and makes the most of the moment. Encoring with Big Dick Energy, sending the night off with transparency and visibility, before punching the final optimistic notes and dispersing into the cold night. It is clear that LAMBRINI GIRLS are authentic, embody the true essence of punk and redefine its meaning for an entire new generation. Selling out the Ritz with only one album to hand is in itself a demonstration of the band’s unparalleled power. But here's the real message of the evening: If you - too - think you have Big Dick Energy, you should probably go and get that checked out. Words: Amber Brooks Photos: James Smith

Dacara showcased their growing confidence and musical depth with anintimate pre-launch event at BrewDog Manchester, followed by a commanding headline set at Rebellion. The evening worked as both a preview of what’s to come and a solid reminder of how far the band have come. The BrewDog launch set the tone early. Fans gathered to try the band’s new collaborative beer, chat with the members in a relaxed, personal setting. The atmosphere built a sense of anticipation that carried naturally into the night’s main event. The night kicked off with Contramotion, and they were a brilliant choice to open the show. They came out swinging, no warm-up needed, and immediately had people paying attention. Their set felt tight but still raw in the right ways, the kind of performance where you can tell the band is genuinely enjoying themselves. By the time they wrapped up, the room was already buzzing, and you could sense they’d won over a chunk of the crowd who might not have known them before. After a quick changeover, Matter of Mind hit the stage, and the whole vibe shifted up a notch. Being a local band, they clearly had a homefield advantage. The cheers they got before even playing a note said it all. They fed off that energy straight away. From the first song onward, the crowd was fully locked in: singing along, jumping, shouting, just completely immersed in it. Matter of Mind has this knack for making a room feel smaller in the best way, like everyone’s part of the same moment. Their set flew by because every track felt huge, and the band didn’t waste a second keeping the momentum going. By the end, people were genuinely hyped for the rest of the night, and you could tell the bar they’d set wasn’t going to be easy for anyone to beat. Overall, both bands smashed it. Contramotion set the stage perfectly, and Matter of Mind took that energy and ran with it. It was one of those nights where you leave feeling like you’ve seen something special, and wishing the show didn’t have to end. During the final interval, while everyone was buzzing and waiting for the main event to hit the stage, something absolutely wild happened. Honestly, one of the most bizarre things I’ve ever experienced at a gig. Out of nowhere... A FLASH MOB. Yes, an actual flash mob. The speakers suddenly blasted Rot by Dacara, and before anyone could make sense of it. People in the crowd jumped into this surprisingly well-rehearsed choreography. It took a second for everyone to realise it wasn’t just random dancing, it was a full routine, and it was brilliant. The whole room lit up. People were cheering, laughing, filming, joining in halfway through, you name it. There was such an unexpected moment, but it worked perfectly. By the time they finished, the energy in the venue had shot through the roof, and you could feel the crowd buzzing even more for the headliners who were just minutes away. Rebellion turned out to be the perfect battleground for the headline set, Intimate enough to feel personal, yet big enough to handle the band’s full force energy. The room packed out fast with a crowd that was mixed, loud, and fully locked in. The lighting setup wasn’t just good; it was next level hands down the best I’ve ever seen in Rebellion, blasting the room into something way beyond its usual vibe. And that catwalk? A catwalk in Rebellion. Who would’ve thought? It landed like a statement piece, bold and impossible to ignore. With razor-sharp sound and flawless technical work, every spotlight landed where it mattered most: on the music. Onstage, Dacara looked assured and in control. Their interaction with the crowd felt genuine but never forced, complementing rather than competing with the music. Vocals came through strong and clean, while the guitars, bass, and drums locked together with impressive precision. Even the more intricate transitions felt effortless, a sign of a band sharpening their craft. The setlist blended established favourites with unreleased tracks, giving long-time supporters something familiar while offering a promising look at the next chapter. The newer songs were met with enthusiasm, suggesting the band’s upcoming releases are likely to land well with both existing fans and new listeners. The crowd remained engaged throughout, quietly attentive during the more detailed sections and fully involved when the band pushed the energy higher. Their response made it clear that Dacara can hold a room and keep it invested from start to finish. Taken as a whole, Dacara’s Manchester double-header showed a band hitting an important stride. From the warm, conversational tone of the BrewDog pre-launch to the full force delivery at Rebellion, the night highlighted their range, professionalism, and growing momentum. It was a performance that entertained, impressed, and hinted at bigger stages on the horizon. A well executed, confident set reinforcing Dacara’s upward trajectory. Words and Photos: Jack Norris

DUST’s SKY IS FALLING arrives as a statement of transformation from a band that has always refused to settle. Emerging from Australia’s burgeoning wave of genre-defiant artists, dust first captured attention with their abrasive, instinctive approach to post-punk, fractured rhythms, serrated guitars, and a saxophone that drifted between dissonance and dream. But SKY IS FALLING marks a shift: not a departure, but an expansion. It’s a record that stretches their sound toward free-jazz textures, shoegaze density, electronic experimentation, and a sense of introspective melancholy that feels both lived-in and freshly confronted. Instead of chasing one direction, DUST embrace contradiction as their guiding force. The result is an album that listens like an internal monologue, restless, nostalgic, agitated, searching, and one that invites the listener into the band’s ongoing dialogue with themselves. The title track, Sky Is Falling, serves as the emotional and thematic blueprint for everything that follows. Its slow, deliberate progression feels like the band inching toward collapse, with JUSTIN’s vocals weaving tightly around ADAM’s saxophone lines. LIAM’s looping bassline and KYE’s steady, penetrating drum pattern form a steady pulse beneath the surface turbulence. The lyrics fixate on two people trapped in a push-pull dynamic, unable to align their worldviews or bridge the growing emotional gulf between them. This tension between hope and resignation, connection and disconnection, echoes throughout the entire record. Sky Is Falling opens the album not with explosive force but with a creeping sense of inevitability, a quiet unravelling that sets the tone for dust’s evolving sonic and emotional landscape. If the opener leans outward, exposing the friction between people, Aside pivots inward, exploring the friction within the self. Where Sky Is Falling stretches toward catharsis, Aside does the opposite, sinking into a muted, restrained melancholia. Breakbeat rhythms shape its pulse, and a Windows-95-like intro gestures toward post-humanism, a subtle suggestion of digital ghosts haunting modern identity. In contrast to the spiralling emotional volatility of the first track, Aside occupies a single, steady emotional hue, less dynamic, more meditative. It’s nostalgia not for the past itself but for the feeling of solitude in a world moving too quickly to catch. The comparison between the first two tracks is striking: Sky Is Falling is the storm, Aside the soft, overcast calm that follows, where you take stock of the wreckage but cannot yet rebuild. Fairy emerges as the bridge between these opposing energies. It shares the introspective tenderness of Aside but brings back the emotional swell introduced in Sky Is Falling. The verses are controlled, nearly hesitant, but the choruses open up into shimmering dream-pop, with guitars influenced by ETERNAL DUST, BITUMEN and LOVE SPIRALS DOWNWARDS bleeding into saxophone and synth textures. The track feels weightless yet heavy, grounded yet otherworldly, a blur of memory and emotion. Lyrically, Fairy leans into childhood recollection, though not in a sentimental way. Instead, it examines the confusion of nostalgia, how remembering feels both comforting and destabilising. If Aside searches for stillness and Sky Is Falling grasps at connection, Fairy floats in between, unable to land but unwilling to drift away. That tension becomes sharper in Day Tight, a track that turns dust’s introspective lens back on itself. Where Fairy and Aside yearn for clarity, Day Tight questions whether this longing is real or merely a cultural script. JUSTIN critiques the self-help mindset, its cycles of diagnosis, self-correction, and endless internal digging, while simultaneously acknowledging his own entanglement in it. This self-awareness adds a necessary edge to the album, grounding its softer moments with a more cynical, even humorous, undertone. Compared to the hazy tenderness of Fairy, Day Tight feels sharper, more grounded; compared to the emotional unravelling of Sky Is Falling, it feels more resigned. It’s the moment where the album admits that introspection can sometimes be a trap as much as a tool. Everything converges in In Reverie, the album’s closing track and its most hypnotic. The doubled vocals create an eerie, autotuned shimmer, comforting yet uncanny, while the saxophone and guitars intertwine with gentle insistence. The track absorbs elements from its predecessors: the emotional unease of Sky Is Falling, the restraint of Aside, the dreamlike glow of Fairy, and the self-awareness of Day Tight. But rather than resolving these tensions, In Reverie simply lets them settle. A spoken-word outro eases the listener out of the album’s spiralling introspection, offering a quiet release without a definitive conclusion. Together, these tracks create a body of work that is not linear but conversational. Each song reframes the emotional landscape of the one before it, creating an evolving narrative about nostalgia, self-reflection, longing, and the fear that nothing inside us can be fully fixed. SKY IS FALLING is not an album of answers, it’s an album of questions, honest in its contradictions and compelling in its refusal to settle. dust have crafted their most nuanced work yet: melancholic, confrontational, forward-leaning, and achingly human. Score: 7/10 SKY IS FALLING was released on 10th November 2025 via Words: Mia Gailey Photos: Andrew Briggs

After years of navigating the music industry on their own terms, SET IT OFF has fully embraced independence, emerging with a self-titled album that feels like a declaration of creative freedom. No label, no restrictions, just three musicians from Los Angeles via Florida taking complete control of their sound and vision. With a career built on relentless touring, multi-million streams, and a fearless approach to genre-blending, the band now presents a record that is heavier, bolder, and more authentic than ever. This album is not just a collection of songs; it is SET IT OFF’s unfiltered identity, a fearless statement of who they are and who they intend to be. The first track, Pathological sets the tone for the entire record. It opens with an aggressive energy, driven by tight percussion and jagged riffs, announcing that this is not the SET IT OFF of previous polished pop-rock experimentation. JON LUNDIN’s production brings a gritty clarity to the track, ensuring that each instrument lands with impact while maintaining the melodic sensibility that fans have come to expect. The song immediately immerses listeners in the band’s newly aggressive sound, a sound that feels carefully honed yet raw and unfiltered. Following this, Punching Bag exemplifies the band’s unique ability to combine ferocity with accessibility. The song’s riff-heavy structure delivers visceral power, yet CODY CARSON’s vocals glide between vulnerability and defiance with ease. It’s a track that could dominate radio charts while simultaneously igniting arenas, a testament to the band’s years of honing their live performances. Similarly, Wolf In Sheep’s Clothing [REBORN] revisits a fan-favorite track but infuses it with renewed aggression and energy, bridging the band’s past with their present and showing that SET IT OFF is both reflective and forward-looking. However, the album’s emotional and thematic centrepiece is Rotten. The track embodies the ferocity of SET IT OFF’s new era, addressing the corrosive nature of inauthenticity and exploitation. CARSON explains that the song is about people manipulating others for personal gain, a theme delivered with brutal honesty. Musically, Rotten combines arena-ready choruses, chunky riffs, and breakdowns that hit with precision, making it one of the heaviest and most emotionally resonant moments of the album. It is simultaneously cathartic and confrontational, giving listeners both a visceral thrill and something to think about long after the track ends. Switch and Fake Ass Friends further explore themes of personal struggle and social tension. Switch impresses with its dynamic structure, seamlessly transitioning between soaring choruses and intricate guitar work, while Fake Ass Friends pairs biting lyrical commentary with a deceptively catchy melody. These tracks illustrate the band’s ability to confront darker themes without sacrificing their knack for hooks and memorable melodies, a skill that has always been a hallmark of SET IT OFF’s sound. What’s In It For Me? and Evil People continue the album’s momentum, showcasing the band at their heaviest while allowing moments of melodic reprieve. The rhythm section, driven by ZACH DEWALL on guitar and MAXX DANZIGER on drums, anchors the album’s energy with precision, giving CARSON the freedom to navigate between raw intensity and soaring emotion. Vicious Cycle and Creating Monsters maintain this balance, exploring betrayal, resilience, and the cyclical nature of conflict, both internal and external. The thematic depth across these tracks gives the album cohesion, allowing it to function not just as a collection of songs, but as a narrative journey. The closing tracks, Parasite and Worst Case Scenarios reflect the band’s maturity and unflinching honesty. By the end of the album, it’s clear that SET IT OFF has not only discovered their authentic voice but is unafraid to confront uncomfortable truths. Musically, these tracks combine melody, aggression, and rhythmic complexity, leaving listeners with a lasting impression of both intensity and craft. The album’s self-titled nature is a deliberate statement: this is the definitive expression of SET IT OFF at this stage of their career. What sets this album apart is its ability to encompass the full spectrum of SET IT OFF’s musical identity. CODY CARSON describes the album as an amalgamation of everything they’ve attempted over the years: pop, rap, punk, and rock coexisting in a way that feels natural rather than forced. Every previous release acted as a stepping stone, but this album consolidates their influences and experiences into a sound that is uniquely their own. It is not only heavier and more aggressive than anything they have done before, but also more personal, more vulnerable, and more fearless. Set It Off is more than just an album; it’s a declaration of independence and artistic maturity. The band has taken full control of their creative direction, producing a record that embodies both their musical evolution and their personal growth. Each track carries an emotional weight, a combination of catharsis, anger, reflection, and triumph. By blending arena-ready choruses with intimate lyrical moments and complex instrumentation, the album successfully straddles the line between mainstream accessibility and underground authenticity. In short, SET IT OFF has created an album that fully lives up to its self-titled status. It is a culmination of years of experimentation, risk-taking, and relentless work ethic, now distilled into a body of music that feels fearless, uncompromising, and unmistakably them. Fans new and old alike will find something to connect with here, whether drawn to the heaviness, the melody, or the lyrical candour. Set It Off is not just a statement of where the band is, it is a promise of where they are headed. Score: 10/10 Set It Off was released independently on 7th November 2025. Words: Mia Gailey Photos: Set It Off

Off the back of a string of supporting tours for the likes of The Hives and Green Day accompanied by the festival run of a lifetime; Bad Nerves take on a headline tour filled with sweaty venues perfect for the atmosphere they create, we headed down to their London date to see how they did. With the gig being held in the absolutely beautiful O2 Empire Shepards Bush, Split Dogs opened the stage bringing a punk presence that is genuinely refreshing to see, they were absolutely unapologetic, from the singer's energy to the guitarist's pure aggression within his riffs, this band fit perfectly into the bill certainly covering the punk sector with a lot of spoken word and fun melodies that made for a great opening act. Next up was quite the vibe change, with the eccentric Balancing Act who immediately brought tone down to deliver a more atmospheric set; with the singer moving like Jagger and the rest of the band giving off a cool vibe, that was reminiscent of bands from the 70s era of Psychedelic Rock. Though pits were absent here unlike the last set, Balancing Act delivered a powerful set that only highlighted their pure talent, music that filled the hall with glide guitar, reverb vocals and a blend of indie and swim drumming that was only ever completed by complex and interesting bass-lines that make them seem like the calm before the storm. And a storm Bad Nerves definitely brought to the venue. Opening with Television, Bad Nerves did not waste a second luring their fans into a frenzy that turned the venue upside down as it descended into one of the most chaotic sets the band have ever pulled off. Energy levels were high throughout the entire set and its honestly a commendable feat that the band had no pause and just gave it their all throughout the entire set not letting up for their whole hour on stage. They swiftly moved playing 3 more hits from the first self-titled album, that began the crowd surfing and oh boy it did not stop, you honestly had to feel bad for the security at the front as not one single song was without at least three crowd surfers. One thing that stood out at this show was genuinely how diverse the crowd was, people from all ages and backgrounds attended this show – even one of the bands grandfathers was in the stands – the show was an absolute brilliant unity of punk, pop and rock fans to blow off some steam for an hour. It’s undeniable the gravity that Bad Nerves have, with lots of new fans entering their orbit and we are all but sure that, this band is going to go into the stratosphere with their wild energy and unapologetic nature. Words and photos: Ben Blisset

This November was a perfect time to frequent London’s Alexandra Palace: Turnstile and Electric Callboy, having both crushed it earlier this month, now finally pass the microphone to the legendary BAD OMENS. With ten thousand pairs of eyes up upon him, NOAH SEBASTIAN is reminiscing about their last time taking over the city — almost three years ago at the 500-cap Dome — the two tours feel like polar opposites, each with their own charm. After their rapid ascension in the charts and people’s hearts, the Virginian four-piece had no choice but to upscale their production accordingly, making every penny truly worth it and putting on a stunning show of a lifetime. Opening up for the night are what could be classified as veterans of metalcore in comparison, THE GHOST INSIDE. Although only the first on the bill, the band play a whopping 10-song setlist; it is quite refreshing to see both supports being honoured equally with a proper chance to shine. The crowd seems to be in approval, as many here are already long-time fans of the band. Starting off the set strong with Avalanche, they move onto more recent material such as Washing It Away and Aftermath. In between breakdowns, JONATHAN VIGIL takes time to express gratitude to everyone throughout their journey — having played half of London’s iconic rooms and theatres by now, conquering Ally Pally at last feels extra special. Overall, TGI’s set couldn’t run more smoothly — even the unfamiliar folk are swinging their heads in rhythm and silently appreciating the beautiful lighting. After a must-have Engine 45 “for the old-school fans”, the band begin to wrap it up, ending on a high with the captivating Death Grip. BILMURI is always an interesting choice for a heavy metal lineup, but it keeps proving itself to be the right one. Although technically a one-man project of JOHNNY FRANCK, it has evolved into an inseparable orchestra with its own agenda that involves somehow being both obscene and wholesome at the same time. After recently opening for SLEEP TOKEN and their own solo run, the band have also gathered a large loyal fan-base who do not hesitate to bring it all to the dancefloor. Although their music falls more into the alt-rock and indie genre, songs like EMPTY HANDED still let us get the heat out with the occasional heavy riff or metal screams. GABI ROSE is quite a star in her own right, with a sax solo in BLINDSIDED, and even a whole singing verse in ABSOLUTELYCRANKINMYMF’INHOG. The whole set is filled with a lot of clapping, hands swaying, people standing up on their friends’ shoulders, and of course some moshing and crowdsurfing. The tough energy that BILMURI presents online fades away instantly in the strobe lighting and gets drowned in the smoke — it is simply a fun, happy time and an exciting place to be. After another short intermission, it is finally time for BAD OMENS to make an absolutely gorgeous, cinematic first appearance. Specter marks the beginning of an era, starting off slow and quiet to allow space for NOAH to fill the room with his raw, piercing screams, clinging onto the floor as if he cannot bear the weight of it himself. The minute the show begins, the crowd is holding their breath simply in shock of how beautifully it is all orchestrated. The massive screens surrounding the stage, multiple cubic structures hanging over their heads, pyro and smoke machines for every main chorus — the scale of it is clearly stadium-fit, and it is a rare but needed blessing for Alexandra Palace. Thousands of voices unite in singalong to Glass Houses and THE DEATH OF PEACE OF MIND, after which arrives a short break. Our eyesight is redirected onto the screens side-stage to let us watch short film clips with little to no explanation. The aesthetic resembles the music videos from recent releases, and it elevates the suspense even further. BAD OMENS have previously stated that an album is coming, with possibly quite extensive runtime — and as we can assume, more of the storyline unveiling. Building their own world and lore and lacing it with tension and vagueness is starting to be a popular trick amongst the scene; nonetheless, it is clear from the live reaction that the fans love it, as long as the original ideas keep flowing. Furthermore, it adds another element to the show: the lucky feeling of watching history unfold before your very eyes while the band is still in a limbo state. Not to forget, BAD OMENS are here first and foremost to crush the night with their performance, continuing the set with the fresh out of the oven Dying To Love and Left For Good. The songs off their past album The Death… are not left behind either, receiving some of the biggest feedback from the crowd. A sea of phones rises up during CONCRETE JUNGLE and Nowhere To Go, which at this rate might present as quite a problem of the TikTok music generation. While other attendees express resentment over the constant filming blocking their view and not letting them enjoy the moment — without choosing sides, at the end of the day, this phenomenon is another clear sign of how much love the fans pour into the band, doing anything to capture the feeling and let the music stay with them for longer. What It Cost / Like A Villain mark the beginning of the end, and everyone mentally prepares to soak in the last few songs. The vocalist runs a quick survey, looking how many people have seen BAD OMENS before, and for whom it is only the first time. The split is pretty even, but leaning towards the latter, highlighting the importance of this tour once again. Even though the album is not finished, the band could not hold it off any longer, and any fans who joined more recently deserved a chance to ingest the last breaths of the past eras too. After Impose comes a long and silent encore, following the band coming out to close off with the loud, eardrum-shattering Dethrone. And just like that, the lights are back on, and we hear Everybody Wants to Rule the World by TEARS FOR FEARS on our way out — everybody surely does, but only few can make it happen. BAD OMENS will continue to evolve and surprise us all, but just tonight, they undoubtedly already ruled the world of those 10,000 Londoners with no exception. Words: Mariia Bulkina Photos: Bryan Kirks

Tucked away in the basement of the Leeds Student Union is the Stylus, a respectably sized 1,000 capacity venue spread across multiple floors that each pack a punch. A sea of old-school metalheads and corpse-paint-draped goths were shuffling in, having braced the November bite to experience a night of nothing short of pure nostalgia. Tonight belonged to the Italian gothic metal legends LACUNA COIL. Celebrating 30 long years in the scene, the ‘Sleepless Empire’ tour acts as both a showcase of their tenth album and a retrospective of their most iconic work. Joined by long-time friends, Puerto Rican nu-metal unit NONPOINT, the lineup felt like an early-2000s time capsule. Amid thick fog and eerie blue lighting, the stage was scattered with the uncanny crow skulls from the headliner's newest album’s artwork. When the room finally went black, the crowd roared with anticipation. With nearly three decades in the game, veterans of their genre NONPOINT bounced out with a bang and a level of certainty in themselves that can only be forged with time. Lead vocalist, Elias Soriano, initially strolled onto stage with a can of Carlsberg in hand, but that casual stance quickly evaporated when he shouted, “Are you fucking ready to party, Leeds?!” As a psychedelic, early 2000s-esque graphic of the band's name shone onto the screen behind them, the opening notes of their 2014 hit ‘Breaking Skin’ rang out, and the entire band leapt in unison as the beat dropped. Unfortunately, their impressive raw energy was quickly undercut by a flawed sound mix. Soriano’s powerful and aggressive live vocal style, relying more on intense growls instead of the clean lines of the studio tracks, consistently drowned out other instrumentation. Their attempts to hype up the crowd also quickly lost steam, being hampered by too much repetition. Before launching into ‘Dodge Your Destiny’ from their 2018 album ‘X’, Soriano took a brief moment to introduce the band. This led to a running joke claiming they were nu-metal giants KORN, a joke that landed the first time, but repetition quickly dulled its effect. The decline in crowd engagement was most clear during their mid-set cover of Phil Collins’ ‘In The Air Tonight’, with noticeably fewer arms seen waving in the air and voices heard singing along. Despite these hiccups, the set came to an explosive close with their time-defying smash hit, ‘Bullet With A Name’, before they bounded off-stage to a warm applause. After a swift changeover, the atmosphere shifted. It was time for the main event, and the crowd knew it. Enveloped in corpse paint, each band member slowly crept out onto the stage as the tune of ‘Layers of Time’ filled every crevice of the room; an ominous introduction to their set. The setlist leaned heavily on older favourites such as ‘Reckless’ and ‘Kill The Light’, punctuated with notable moments from their newest album, including ‘Hosting the Shadow’ and ‘In the Meantime’. Before ‘In Nomine Patris’, Cristina Scabbia, lead vocalist, took a moment to attempt to create a ritualistic sense of calm, with the lights dimming and whispers into the mic of, “I repent… for my sins…” This atmosphere was swiftly interrupted by an impassioned fan shouting, “Cristina! Bellissima!” Whilst both Scabbia and co-vocalist Andrea Ferro fully embodied their dark alter-egos, bringing an impressive level of theatricality, the other band members' regular trips to the sound desk throughout the evening in between songs disrupted the immersion. Scabbia paused to acknowledge the difficulties of creating music outside of the mainstream in the 90s, particularly as a female-fronted band from Italy. “People would tell us we couldn’t do it… and we’re so glad we ignored them and did it anyway,” she said, before leading the crowd through a chant of “we fear nothing”. It acted as a powerful bridge into ‘Nothing Stands in Our Way’, serving as a fitting and emotional pre-encore closer. While waiting for the band to reemerge, chants of “vogliamo di più”, translating to “we want more”, echoed across the venue, to which the band surprisingly cheerfully obliged. They returned with a fierce run of tracks, consisting of ‘The Siege’, ‘I Wish You Were Dead’ and ‘Swamped XX’, before closing the night with the haunting melodies of ‘Never Dawn’. It was an enchanting and impassioned ending, proving that they have endured so long for a reason. With NONPOINT delivering a raw and kinetic energy, and LACUNA COIL bringing the darkness and drama they’re known for, the night left a memorable impression. Words: Chloe Sodeau Photos: Neve Saltmarsh

“Let’s keep this love here, let's keep this connection between us, none of this AI bullshit.” urges Masato Hayakawa of coldrain as the crowd is wrapped around his finger, hanging off every word. Back for their first headline shows in six years, the five piece Coldrain from Nagoya made their great return with a short UK and EU tour to accompany their latest EP which was released lastmonth. Tonight, in Manchester’s Rebellion we have a sold-out show, the band’s biggest headline show in the UK so far. First up on the bill was NOISEMAKER from Sapporo, longtime friends of coldrain. Despite forming in 2009 this surprisingly was their first time playing shows in the UK, making it a lifelong dream trip for them to be on this tour. Being an opener can be hard at any capacity, but NOISEMAKER had no issue with this. Despite it being only 6:30pm the whole crowd was jumping along, the band’s energy so infectious that everyone was up for joining in on the fun. It could have easily been mistaken for a headliner performance. A mix of the known J-rock genre combined with some rap elements makes up their identity, with ‘Name’, their most popular song, lighting up the room effortlessly. There was a slight shift in the atmosphere as all black donned four piece REVNOIR confidently took to the stage. Lead vocalist Maxime Rodriguez-Medallo graced the stage looking a lot like the late George Michael, kitted out in strong framed tinted glasses and a floaty frilled blouse. Their sound was very melodic with ghostly effects echoing from their Deftones-esque choruses, with tracks such as ‘Revenge’ and ‘Bang Bang’. Whilst there were a handful of dedicated fans in the middle of the pit, it felt a little forced to have two calls for a wall of death in such a small set. Another anomaly was when the band left the stage in an attempt to do an encore situation where the entire band left the stage to return a while later with a Stanley cup in hand, ready for their final song. By the time it was Coldrain’s turn, you could feel the excitement brewing. This is a band that newer fans have been wanting to see for a long time, confirmed when asked “who is seeing us for the first time?” and the majority of the room raised their hands. They have had more global opportunities after signing with Century Media Records earlier this year, and so far have played a few European festivals, but this is only the beginning. Opening with FREE FALL from the new EP Optimize, the quintet gently eased the crowd into what would be a seventeen-track long setlist that covered the new, old and everything in between. Sweaty, unprompted chaos filled the evening as every anthem was blared from both the crowd and the stage. Singing along was fully encouraged, and the masses happily obliged. Each member had their spotlight moment with cheers for the various solo parts they had over the course of the set. A highlight for fans of their older work, The Revelation was played from the 2013 album of the same name; the heavier breakdowns caused scenes as the venue head banged in unison. Many of the band’s openings from popular anime shows were played; the track MAYDAY went down a treat with Hayakawa fondly commenting that a lot of people might have found the band through the song. In a brief moment of quietness, we heard the cover of Alanis Morisette’s ‘Uninvited’ which soon crescendoed and charged into the next energetic track. Anime tattoos aloft, their final song of the night, ‘Vengeance’ had wall-to-wall interaction as you’d never seen. A true euphoric moment that made a great night for all involved. Overall, the new EP Optimize was scattered throughout the night. It complemented their other discography, earning the name of the tour suitably. The mutual love and respect between the performer and the audience were evident throughout, and their magnetism on stage was unparalleled. It is clear that they love what they do, even after 18 years, and the crowd responded well to that. It’s safe to say that the scene in the UK has a hunger for Japanese music, especially if the huge crowds for the likes of bands like SiM and Survive Said The Prophet at Download this year are anything to go by. Let’s hope they keep their promise to keep coming back for us to welcome them with the reception they deserve. Words: Danielle Henderson Photos: Cate Neves

With the ever-colder winter nights drawing in a biting chill, we caught a performance that blasts off with Halestorm taking over the BP Pulse Live in Birmingham. Known for electric live performances and continuous tours, the Pennsylvanian Grammy Award winning band is commanding stages all over the world in their Everest tour. Kicking off the night is our first support from Kelsy Karter & The Heroines. The band’s front is Kelsy Kater, who grew up in Australia, whereas the rest of the members of the band: drummer Sebastian Boyse, guitarist Matt Peach and bassist Tommy Gent all grew up together in Derby, England. It’s certainly an interesting mix but blended together perfectly and with all the confidence and stage presence to captivate any level of crowd. Bloodywood are next, with an infectious sound and attitude that has the crowd moshing from the very start to the end of their set. With traditional Indian dhol drums and sound mashed together with metalcore, a fusion you don’t expect- but find it fits perfectly. A niche that speaks to many of being different and outcast because of following your dreams and passions, a true icon of modern metal and barrier-breaking. A white cloth hangs blocking the stage from view, a steadily building rhythm of ‘Black Sabbath’ as a nod to Black Sabbath who are from Birmingham. Suddenly, the silhouettes of each band member are projected amongst flashing backlights, stretching to the very top of the ceiling with an arm up and the sign of the horns, Lzzy Hale front and centre. Flanked on either side by guitarist Joe Hottinger, bassist Josh Smith and on drums Arejay Hale. Blasting straight into ‘Fallen Star’ as the cloth is ripped away and members are revealed behind it. The staging nods to the newest album cover for Everest, mountainous and with a winding path that leads up to a demonic figure engulfed in shadow that resides at the summit of these mountains. ‘Love Bites (So Do I)’, the Grammy Award winner for Best Hard Rock/Metal Performance in 2013, is still just as infectious. Accompanied by green confetti that rains down across the stage and crowd, from the opening notes to soaring lead vocal moments, only showing why they deserved that win. Taking every moment to connect with each other and the crowd, pointing, strutting and commanding the stage, each a powerhouse of modern rock. Jets of fire bursting from the stage, an unexpected but welcome aspect for the second half of the track, and used throughout the rest of the show. Taking a more slowed and spotlighted moment for Lzzy Hale, ‘Like a Woman Can’ is a drawn back and vulnerable performance. A red keyboard is brought out front and centre, Lzzy stands under a bright spotlight that focuses our attention on the more raw and unfiltered lyrics. A seductive and intimate song that focuses as a tribute to bisexuality and an awakening of understanding one's sexuality. Understandably, for a Birmingham gig and for Lzzy’s connection to Ozzy Osbourne, the night is filled with many tributes and dedications. During the introduction of ‘How Will You Remember Me?’ is noticeably a highlight of this, with the singer encouraging a chant of “Ozzy” which echoes loudly around the arena. “This is for the late, great, Mr Ozzy Osbourne. This is called How Will You Remember Me?” Mixed with an entire audience quickly turning phone torch lights on to sway along with the slow song and touching lyrics, “What will be my legacy?” and “Life goes on in memories”. A poison chalice, a twisting serpent cape and deep heavy chanting, ‘Rain Your Blood on Me’ is a darker twist in the performance. A war cry and primal scream against the constraints of female empowerment and societal expectations. Halestorm aren’t afraid to speak up about the topics and politics that matter to them. Taking a moment for Arejay Hale, a drum solo alone on stage, where we are encouraged to make history with the “first ever Birmingham drum mosh pit”. And while the mosh may be small, the dedicated few are shouted out and cheered on by all and with an accompaniment of thunderous drumming no less. Closing their set with ‘I Gave Your Everything’, pics flying into the audience, wide smiles and still the high energy they have rocked the stage with all night. Matt Peach on guitar effortlessly soaring through an intense, melt-your-face-off solo that has everyone in awe. It’s a surprisingly emotionally intense song, and they play to the beats of it perfectly while keeping the crowd in the palm of their hand. Taking back the stage for our encore with Lzzy opening with “This one’s for Ozzy”, before playing a cover of Ozzy Osbourne’s ‘Perry Mason’. Starting respectfully and true to the original before taking it to an infectious, loud Halestorm twist that has everyone singing along at the top of their lungs. “Here’s to Ozzy Osbourne, Here’s to Birmingham. Here to rock and roll. Here’s to us. Here’s to all of us tonight!” An entire crowd of outstretched arms to the ceiling, a slow sway that carries across the scale of the arena. Passionate fans join in word for word for a perfect slower encore number that connects everyone in the crowd, no matter what their background. Ending on ‘Everest, from the new album, with insane belts from Lzzy that soar and last an infinite amount of time with the power of a true rock star behind them. Halestorm are a true icon of what modern rock should be. Still paying tribute to those before them who have inspired, yet having firmly carved their own sound and inspiring others in their journey. Mixed with indisputable stage presence and charisma, we can’t wait to catch them at the next gig! Words and photos: Tyler Whiting