Heading out for their second headline tour, many fans were lucky enough to catch LA-based fairy doom band FAETOOTH at their London show this Valentine’s Day. In celebration of their latest album Labrythine, the band were joined by post-rock quartet LEMONDAZE and post metal four-piece COLTAINE, both of whom also recently added to their collection of sound. Under pink and yellow lights, Cambridge born and London based shoegazers LEMONDAZE kicked off the night. Playing from their EP subtext, released only two months ago, Rosie’s vocals were perfectly layered over heavy guitars, guided by the loud drum beats. Seamless tempo changes and tight instrumental interludes purposefully peppered in the set hooked the crowd. Their set was short, but certainly packed a punch, leaving fans with a hunger for more. COLTAINE are no strangers to commanding a room. With around a hundred played shows under their belts, this Germanic four piece knows very well how to grab the room's attention. Summoning listeners into a doom ritual, lead vocalist Julia Frash emerged on stage. Veiled in the darkness of her hooded jacket, silence fell on the crowd as the haunting sound of bells from Tiefe Wasser filled the room. Building up the tempo, this quartet delivered a tight, well thought out performance. It moved with the grungy sound of the previous act, blending folky vocals to create something darker on the stage. As if traversing deeper into a dark forest of sound, the band’s ability to seamlessly switch from smooth vocal extensions to guttural screams kept the set energised and fresh. Like a rapunzel of metal, Julia Frash’s headbanging brought a fiery, cadent energy that transfused to the crowd, who eagerly lapped up the sound. Closing out their UK/EU tour, with London as their penultimate show, FAETOOTH mastered the stage as their own. Before the trio took to the stage, the crowd was treated to MOZART’s Requiem in D Minor. A song synonymous with judgement, death and a mass for the dead, this set the scene for the band's own hauntingly beautiful masterpieces. Opening with the first track from their sophomore album, Iron Gate, a crescendo of Rah Kanan's drums built up steadily and quickly to a guttural release of vocal sound. Before returning to the sounds from their first album, Remnants of the Vessel, FAETOOTH guided the enthusiastic audience through the first part of Labrinthine. Echoing vocals and flawless harmonies were met with wild cheers from the crowd, and rightly so. Each track locked followers into a captivating trance, where the songs seamlessly fused together and the room collectively moved to the heavy rhythms. Often, singers Jenna Garcia and Ari May turned to each other, playing for each other as much as they were playing for the crowd. "We're gonna get sad, and then we’re gonna get angry” Jenna Garcia instructed the crowd, slowing the energy down to the more melancholic She Cast a Shadow. The slow guitar riffs wove around the steady drum beats, measured and unhurried. It was as if the instruments were holding their breath, waiting, until breaking into a powerful exhale of layered vocals evoking spirits from otherworldly plains. Closing out the set filled with rage, fan favourite Echolalia blasted through the room. As if waiting for permission, the crowd took this as a sign to really let loose under the powerful bursts of the heavy strobe lights. FAETOOTH brought a strong catalogue of sound. Their set flowed effortlessly, each song a strong statement - a showcase of whimsical metal doom. This night was certainly a love letter to the ethereal, the melancholic and ominous rage of metal. Words: Mary Horner Photos: Atoosa Salamat

Hastings alt-rock trio HOTWAX released their debut album Hot Shock almost a year ago today, to the praise and acclaim of both fans and first-time listeners. They embarked on the Hot Shock tour as they set out to celebrate their album, and to further attention and support for a cause very important to them: the Music Venue Trust. The charity exists to protect and preserve grassroots venues, and they made sure the tour dates had an extensive selection of them - like historic Edinburgh venue, the Caves. It was a cold, damp night in the city as the eager fans entered the venue, and after a short wait, the opener entered. JEANIE AND THE WHITE BOYS took the stage with an inherent swagger, emphasised by touches of style like the guitarist’s indoor sunglasses. They burst immediately into their song Queen Bee, and the eponymous front-woman sparked an electric atmosphere with her immense stage presence. Halfway through their set, she took the time to introduce herself and the band, announcing “I’m Jeanie, they’re the White Boys.” Later, Jeanie produced a tambourine, holding it high in the air and shaking it like a rattlesnake. She led the fans through songs like Don’t Look Now and Psycho Killer, in-between jokes about how predictable it was that all their songs were about men. They wrapped up in an intense musical frenzy, an intense wall of sound that left the crowd surging with energy and ready for the main act. As HOTWAX arrived on the scene, it became increasingly clear that everyone gracing the stage this night was a style icon. Lola Sam matched the star straps of her bass to a pair of starry shorts, and Tallulah Sim-Savage strutted out in ruby-red heels that would put Dorothy of Oz to shame. The band were confident, assured, and needed no introduction as they cut right into the killer riffs of Hard Goodbye. As they reached Tell Me Everything’s Alright, the crowd was utterly captivated, singing along to every single word. Strange To Be Here was another crowd favourite, sheer energy emanating from Alfie Sayers as his rapid-fire drumming competed with guitar and bass for dominance. It certainly did not feel strange to be there on this electric night; it felt right. The band then slowed the pace with Change My Name, a good breather in the otherwise relentless, fast-paced setlist. After, Tallulah switched out her guitar for a beautiful black, velvety one, and they moved into Dress Our Love, with a groovy bassline to set the scene. By this point in the night, the room was bursting with kinetic energy; the two women were interacting directly with front-row fans, leaning over the sizeable amps at the front of the stage as they locked eyes with crowdgoers and sang Treasure. That lively environment was exacerbated when the opening riffs of She’s Got A Problem rang through the venue walls. Halfway, deliberate, focused breakdowns took the main focus, and even those in the crowd who were not excitedly joining the chorus were compelled to nod their heads to the rhythm. As the set drew to an apparent close, vocalist Tallulah took the time to bring attention to the Music Venue Trust; she stated that this is what was important to them, and that so many venues are shutting down, especially small, grassroots ones they have played before. To finish off her speech, she told the crowd to support venues and go to gigs, before she segued into the next song by saying that they used to play it a lot in small venues. The intense set came to an end with A Thousand Times, and the band left the stage. The set was not over yet though, and crowd-goers knew that; they were familiar with the age-old trick of the encore, and chants of “one more tune!” soon turned into “here we fucking go!” to which Tallulah emerged and remarked “that’s a new one!” The fans were then treated to the gentle strums of Pharmacy, and Alfie took up the egg shaker before returning to the drums for One More Reason. His drums were matched only by the rhythmic clapping of hands as Tallulah climbed from the stage into the eager, awaiting arms of the crowd. The band burst into their final, and most-anticipated track, Rip It Out, and it was immediately clear this is what everyone had been waiting for. A mosh pit formed almost instantly, a flurry of bodies hurling themselves around the room. As Lola led into the breakdown, she even joined the pit herself. If there is one thing to be said about HOTWAX, it is that they can make a room feel alive. The atmosphere they left was so strong it lingered even when they left the stage for the night. HOTWAX are undoubtedly going to keep steadily rising to the top, but even when they are playing to massive crowds, in venues with immense capacities, we know they will still take the time to support and play the grassroots venues they started their journey in - the ones that make live music what it is today. Words: Naomi Colliar Duff Photos: Robert Halls

On Somewhere In Between, MOTHICA isn’t reinventing herself for the sake of aesthetics. She’s documenting survival. As the debut release on SharpTone Records, the EP could have leaned into spectacle - heavier guitars, bigger hooks, louder statements. Instead, what makes it land is the tension underneath. This is a record written in the aftermath of relapse, rehab, cancelled tours and the uncomfortable quiet that follows chaos. You can hear that lived reality in every track. Evergreen Misery opens with motion. There’s something deceptively buoyant about it - shimmering production, a hook that sticks quickly, but lyrically it establishes the emotional thesis of the EP. Misery here isn’t episodic; it’s perennial. Compared to what follows, this track feels observational. It names the pattern. It doesn’t yet try to break it. The guitars are present but controlled, giving the sadness shape without overwhelming it. It’s the entry point into the spiral - honest, but still slightly guarded. Then WEAPON pushes deeper. Where Evergreen Misery identifies the cycle, WEAPON confronts the role she plays within it. The production is heavier, more insistent, reflecting the all or nothing mindset MCKENZIE ELLIS has spoken about - that fatalistic pull between self-preservation and self-destruction. Compared to the opener’s restless melancholy, this feels sharper and more confrontational. It’s less about being stuck in misery and more about acknowledging how easily pain can become something you wield against yourself. The guitars bite harder here, aligning with her long-held desire to blend pop songwriting with grittier textures. Save Your Roses shifts the frame again. On the surface, it plays like yearning - an explosive, dynamic anthem that feels built for live rooms. But as ELLIS has explained, the song disguises addiction as romantic longing. The verses capture the intoxicating pull of substances, mirroring her experience navigating sobriety and relapse. In comparison to WEAPON, which internalises the blame, Save Your Roses feels like a plea outward. The line “Don’t save your roses for my grave,” inspired by a fan telling her to give people their flowers while they’re here, reframes the EP’s earlier darkness. After naming misery and weaponising self-destruction, this track asks to be seen before it’s too late. Its explosive production - crafted with ELLIOT POLOKOFF - contrasts deliberately with the lyrical heaviness, making the vulnerability feel louder, not lighter. BULLET pulls the energy back inward but intensifies it. If Save Your Roses is outward-facing, almost communal, BULLET feels solitary and volatile. The tension coils tighter; the guitars feel more serrated. This is where the anger she described channeling after rehab surfaces most clearly. Compared to Evergreen Misery, which moved with a sense of resigned rhythm, BULLET sounds cornered. It embodies the frustration of realising how far things have spiralled - the moment of reckoning after numbing emotions for too long. It’s arguably the EP’s emotional peak, where vulnerability and aggression fully collide. The title track, Somewhere In Between, closes the EP not with triumph, but with question marks. After the volatility of BULLET, its restraint feels intentional. The production leaves more space; the vocal delivery feels less armoured. Thematically, it addresses the central tension ELLIS articulated while making the EP: how do you exist in the middle when you’re wired for extremes? Compared to the explosive plea of Save Your Roses and the confrontation of WEAPON, this song doesn’t try to overpower the chaos. It sits with it. It acknowledges depression, recovery, breakup and industry anxiety without promising resolution. Across the five tracks, there’s a clear emotional arc. Evergreen Misery introduces the cycle. WEAPON examines complicity within it. Save Your Roses reframes addiction through longing and urgency. BULLET embodies the anger and fallout. And Somewhere In Between attempts to find stillness without pretending the darkness has disappeared. The songs don’t contradict each other; they mirror different stages of the same struggle. What makes the EP compelling is that it doesn’t glamorise relapse or despair. ELLIS openly speaks about cancelling her first headline tour to enter rehab, about the phobia of flying that fuelled pill addiction, about almost quitting music entirely. That context bleeds into the record. The heavier guitars aren’t aesthetic, they’re cathartic. The pop instincts aren’t commercial compromise, they’re survival tools. There’s intention behind the collision of explosive production and poetic, vulnerable lyrics. This is MOTHICA choosing not to run from the darkness she’s long been drawn to, but to repurpose it. Rather than positioning sobriety as a clean finish line, Somewhere In Between portrays recovery as messy, nonlinear and deeply human. It doesn’t resolve the tension between light and dark. It acknowledges it. And in doing so, the EP earns its title. It lives in that uncomfortable middle ground, not fully healed, not fully broken. Just honest. Score: 8/10 Somewhere In Between will be released on Friday 20th February via Sharptone Records. Words: Mia Gailey Photos: Mothica

There’s a particular kind of courage in building momentum slowly. No viral overnight explosion. No manufactured rebrand. Just years of graft, evolution and quiet defiance. For Bristol-based alt-metal band MALLAVORA, the recent surge of festivals, radio sessions, fashion week appearances and mounting press attention doesn’t feel like a breakthrough. It feels like the groundwork is finally beginning to breathe. “We still feel really small,” vocalist Jessica Douek says with disarming honesty. “It doesn’t feel like we’ve arrived anywhere. It feels like it’s just starting.” That perspective makes sense when you trace the band’s origins back to 2015, when guitarist Larry Sobieraj first conceived the project. Years of writing, refining and reshaping followed before Jessica joined in 2019. Since then, the sound has grown heavier, more intentional and deeply personal. What began as a hard-rock leaning project has become something far more expansive — and far more vulnerable. It’s a band built quietly, patiently, and now beginning to reach outward without compromise. At the centre of Mallavora’s current chapter is their debut album, What If Better Never Comes? — a title that doesn’t posture or dramatise. It confronts. The record grew from Larry’s experience of developing long COVID in 2022, an illness that forced a sudden recalibration of daily life and future plans. Writing wasn’t intended to become an album. It was survival. Instrumentals formed first — raw, instinctive, written without roadmap or expectation.“We didn’t know we were making a record,” Jessica explains. “It was just a way of dealing with something overwhelming.” Ironically, the title track came first. Only later did its question reveal itself as the thematic spine. When Jessica began writing vocals, the phrase surfaced almost involuntarily: What If Better Never Comes? “It’s the thing you’re scared to say,” she says. “When your health changes. When your life shifts in a way you can’t undo. That fear underneath everything — what if this is it?” The first time they listened back, both of them cried. Not because it was dramatic. Because it was true. That honesty runs through the entire record. Jessica brought her own lived experiences — chronic illness, disability, neurodivergence — into the writing. The album doesn’t feel like a confession; it feels like a conversation. Instrumentals and vocals operate as equal emotional forces. Strip one away, and the tension would still hum. Sonically, alongside bassist Ellis James and drummer Sam Brownlow, MALLAVORA move through progressive builds, melodic restraint and sudden, tectonic heaviness. The weight never feels performative. The intricacy never drifts into indulgence. Every shift serves something internal. Their influences mirror that duality. Larry’s foundation is firmly metal — the scale of OPETH, the force of GOJIRA, the aggression of LAMB OF GOD. Jessica’s musical upbringing was different: 60s rock and soul filled her childhood home — ELVIS PRESLEY, CHUCK BERRY, SAM COOKE. Metal didn’t enter her life until 2019. She didn’t begin screaming until 2022. “I kept thinking the songs needed it,” she laughs. “So I figured I’d learn.” That instinct — to step toward what feels necessary rather than comfortable — defines MALLAVORA’s identity. Comparisons to SPIRITBOX or LOATHE make sense, and listeners often note flashes of SYSTEM OF A DOWN in their tonal pivots. Jessica cites MY CHEMICAL ROMANCE as a touchstone for emotional intensity. But MALLAVORA aren’t chasing genre alignment. They’re chasing emotional accuracy. Mallavora at 2000Trees 2025, shot by Simon Arinze They no longer write riffs because they sound good. They write because something needs to leave the body. That urgency was unmistakable on their 2023 single Disorder, a blistering reflection on how disabled people are treated and perceived. Jessica worried it might be too unfiltered. Instead, it connected globally. Messages poured in from listeners who felt understood for the first time. Vulnerability, they realised, wasn’t weakness. It was infrastructure. With that connection came responsibility. MALLAVORA made a clear decision: they would not headline venues that weren’t wheelchair accessible. It’s a stance that complicates booking routes, particularly for an emerging band, but it isn’t negotiable. “If our audience can’t physically enter the space,” Jessica says, “then what’s the point?” For a time, she herself used a wheelchair. The barriers weren’t abstract. Advocacy, for the band, isn’t branding. It’s a lived experience translated into policy. The album carries that same refusal to soften uncomfortable truths. Yes, it circles fear. But it also pulses with defiance — a quiet insistence on continuing regardless of outcome. When asked to describe the record in one word, Jessica pauses. “Transformative.” It’s ambitious, but not inflated. MALLAVORA aren’t building toward a spike. They’re building something durable — rooted in lived reality, sharpened by persistence, sustained by intention. On the 8th of May, they’ll headline The Exchange in Bristol — the largest show of their career so far, performing the album in full. It’s a venue they once supported at. A familiar room, now reframed. Progress, for MALLAVORA, isn’t spectacle. It’s an accumulation. The question remains: what if better never comes? Their response is quiet, but unshakable. Create anyway. Words: Mia Gailey Cover Photo: Derek Bremner Photos: Simon Arinze Cover Design: Robert Halls With Thanks To: Church Road Records, Since Always Press and Sammy Urwin

The night began early at Rebellion, with A COLD NIGHT FOR ALLIGATORS kicking things off at seven o’clock on the dot. They played to a small but positive crowd, one that had clearly been won over by the end of the very first song. A COLD NIGHT FOR ALLIGATORS came out punching, delivering high energy and a surprisingly big sound for the early slot. The vocalist referenced the earliness of the gig multiple times, much to the crowd’s delight. Despite several technical issues that would go on to plague all three bands, they kept the audience engaged throughout and warmed the room up perfectly for what was to come next. Next up were TAYNE, easily one of the most energetic bands of the night. The singer and guitarist must have completed at least a thousand spins over the course of their set, throwing themselves relentlessly into the performance. Unfortunately, ongoing technical difficulties meant the vocals were extremely difficult to hear in the mix. Despite this, the crowd still enjoyed what they could, with a medium-sized mosh pit opening up at one point. TAYNE excelled at crowd engagement through constant movement and humour, though they were ultimately let down by production issues. The lighting in particular felt lacking, with heavy smoke and minimal illumination making it difficult at times to see the band on stage. This contributed to a slightly underwhelming feeling post performance, which was a shame given their clear potential. On a positive note, both TAYNE and A COLD NIGHT FOR ALLIGATORS spent much of the evening at their respective merch tables after their sets and were genuinely lovely to everyone who stopped to speak with them. Finally, it was time for the main event, MØL. By this point, both the room and the upper floor were packed with fans, with conversations circulating about whether the band would play their latest album in full or focus on older material. The excitement was palpable, and MØL did not disappoint. From the moment they took to the stage, MØL were firmly in control of the night. While they too experienced minor technical issues, these were resolved quickly and did not detract from the performance. The lighting, sound, and the vocalist’s energy combined to create a captivating and immersive set. Multiple mosh pits formed throughout, often directed by the singer using his microphone stand. The frontman proved to be a commanding and charismatic presence, effortlessly engaging with the crowd while maintaining vocal intensity. The balance felt natural and unforced. MØL opened their set with the powerful Hud and Penumbra, an inspired choice that immediately set the tone for the night, before closing with the fan favourite Bruma, bringing the show to a triumphant end. Words and photos: Lauren Wenham

It's been four years since Hong-Kong based, shoegaze dreampop band LUCID EXPRESS have released their first full album. Their second album, Instant Comfort, has been released to portray the bands growth in those years and show what they've really learnt from their short time in the music industry. It's the kind you'll want to listen to a few times to really hear all the elements to each song. Distorted guitars ring out through the intro of Promise Me, echoing and creating a dramatic space that is eventually filled by drums and electronic melodies as well as sweet, layered vocals. As shoegaze usually does the song jumbles everything together with noise making it feel dense yet still the track keeps the dream pop energy, light and airy and almost psychedelic. The end of the song drops into thick guitars, bringing a melancholy layer underlying the last chorus as the song ends. Take Heart starts with a faster pace following a similar structure starting with guitar then drums and eventually vocals. The melody and underlying chords create a more hopeful sound than the last track using more of the major scale with sharp snares and a sprinkle of hi-hat taps all bringing the energy up. Distortion and reverb still play a large part in the track despite the light instrumental keeping that traditional shoegaze hum in the background. The third track brings a clearer guitar melody, the guitar almost singing by itself rather than repeating a riff. Something Blue manages to really curate a particular feeling within a listener, like a spot of sun on a rainy day. Thickness is added as the track flows making it feel grand and open, almost drawing out the vocals but not quite, LUCID EXPRESS seem to have perfected a balance between the two. Set Back comes in harder and heavier than other tracks, with screeching guitar solos littered through the track and a more melancholy melody leading it. This is the shortest in the album but packs a lot into that short time, repeating its vocal lines and riffs it sticks with you through the rest of the album. Stars in the Car brings back that echoing psychedelic guitar and a deep bass almost reminiscent of an 80s ballad bringing a certain nostalgia. The vocal melody slides around the scale feeling like a dragging as the guitar riffs become denser before almost dropping out completely for a moment at the end of the chorus. The vocals layer with a full drum beat in the second half of the song changing the atmosphere completely, with an almost unsettling feeling flowing behind all the noise in the forefront. Aster continues with the same psychedelic and nostalgic vibe as the last but intensified slightly, following its name in making itself feel like an outer space journey. A guitar solo rings through the latter half of the song, singing on its own and creating a melody without vocals. The instrumental continues till the close of the song and really gives you a moment to appreciate all the intricate layers that build together to create the complex sounds you hear as they drop out one by one to end out the track. Faux Sweetness cuts in and out with choppy vocals and riffs, it really stands out from the rest of the album and is unique in many aspects. An acoustic guitar underlays the entire track switching between a very small amount of guitars; it almost has the opposite effect to the other tracks, where the others feel grand and open; this feels contained and small. Dark Glass is the most intense shoegaze of the bunch with a howling instrumental weaved throughout and densely distorted riffs. The lyrics take up almost no space in the track where others might have been led by vocals; this one is overtaken by its hypnotic instrumental with the vocals as decoration. This is our personal favourite here at Out of Rage with a huge range of sounds being stitched together so well, not feeling overwhelming but filling every nook and cranny with noise it is a great display of talent in producing and song writing. The final track on the album continues the descent bringing everything into a turbulent ending. Instant Comfort has dissonant chords, tonnes of layering and contortion at every point imaginable. A pummeling bass drum builds bringing every other instrument with it, all the components used through the song crashing together for an almighty and abrupt ending. Despite their short time in the industry, LUCID EXPRESS have managed to curate a great balance between the genres that influence them to find a somewhat unique sound within a packed and growing subgenre. Each track brings a similar yet individual feeling along with it, it's a very emotive album, the kind that could soundtrack a whole life. The band have a great year ahead of them and we hope to see more and more growth through the release of this album into whatever they plan to release next. Score: 9/10 Instant Comfort will be released on 20th February 2026 via Kanine Records Words: Amy Smyth Photos: Lucid Express

There is lightning over the Tatras. Thunder roars high above the mountains of Slovakia once more, as the deluge of the venerable DEHYDRATED storms once more from the highland slopes directly into our ear canals. A tempest straight from 1991, their entry into 2026 with the compilation Victims: Over 30 Years Of Sickness is not just a waterfall of past and present hits: but a clear sign their best work is soon to come. While not boasting any new material, the compilation is a great teaser for things to come, and despite the DEHYDRATED name, leaves listeners refreshed and rejuvenated in a way perhaps only classic death metal can. With indeed over thirty years of experience, the compiled history here is more an adventure through time and space than just a simple listen-along. Divided into two separate CD’s and beginning with their latest shrieks into the world of sound, the listener begins with swift and eloquent introductions to the current cast: JANEK BEZOVÝ on joyously jazz inspired bass, ROMAN LAŠŠO and his unstoppable drumming that comes to define much of the tracks on Victim and After The Funeral, and with equal pomp the oldest and newest blood. BRAŇO JURÁK’s deft skill in mastering shattering, quintessentially death-metal riffs should be no surprise; being the oldest continuous member of DEHYDRATED, all the way from 1991. MAŤO BENKOVSKÝ’s vocals, on the other hand, come from 2022; and despite only four years tenure, clearly display a mastery of the most old-school, guttural screams as demanding of a band with a name such as DEHYDRATED. With a drummer and bassist from Trenčín, a vocalist from Trnava, and the august guitarist from the original Piešťany where the band first formed, Victims: Over 30 Years of Sickness takes one through a diverse feast of different influences, local metal traditions and new approaches that work tremendously well when combined by a band for whom the unity found in music matters most, from their first-ever 1992 Demo, Festered Find, all the way to their newest album, Victim; tracking how each member of DEHYDRATED, past and present has left their mark on the band’s sound and culture. For this reason, Victims: Over 30 Years of Sickness offers two unique approaches: whether to begin with CD One, or CD Two. The first includes three of their albums from the second half of their discography: covering Victim (2025), the EP And Death Shall Have No Dominion (2019) and Resurrection (2017). Having reformed with the deservedly loud release of Resurrection, it well informs the newest, polished and eloquent sound of DEHYDRATED, with all the experience of the current cast audible throughout. CD Two by contrast covers DEHYDRATED’s raw, truly classic recordings: thrashing ballads that take one directly out of the studio and into the damp, sweat-filled maelstrom of a Nitra basement club- in all the right ways. Including their final release prior to their hiatus - Ideas (1997) -the DEHYDRATED half of the Fuckland/Burnt split (1994) and the aforementioned classic Festered Find (1992) demo. The compilation not only allows old and new fans to experience their favourite approaches to death metal, but provides a most-interesting insight into how the sound of such a band changes; how the styles, trends and ideas of the past reflect into the future, and how the new still holds fast to its’ bountiful lineage. With such a catalogue, it would be near impossible to cover all the vicious, gravel-spitting poetry on offer; but special mention must be made for Cold and Bleeding, the titular And Death Shall Have No Dominion, and The Glory’s Hangman. From the haunting, undead opening to the EP and the frozen death-march and the violence manifest in the executioner’s glory, these three tracks are modern DEHYDRATED at their best: impressive control over the bpm and sheer punch ensuring any listener headbanging along with soon find themselves lunging their entire body forward instead, snarling smile plastered wide across the face. It must be noted, however, that the compilation is but that. An easily accessible joining of the best of both old and new makes such a valuable album, but it is the unfortunate reality of time constraints that tracks and albums were not re-recorded and re-mastered for this release. This makes the age of some of the tracks on CD Two particularly audible: and while the near-feral noise reverberating from that Nitra basement is certainly audible art to behold, it leaves a little to be desired for the more casual listener. This is not just a complaint, but an admission: we want to hear more of the esteemed quality that is DEHYDRATED! CD One does more than introduce; it proves seeing what comes next is well worth waiting for, and we shall track it so with great interest. Score: 6/10 Victims: Over 30 Years Of Sickness will be released on the 20th of February 2026, via Paragon Records. Words: Jakub Tomasz Czaicki Photos: Dehydrated

TWAT UNION’s Don’t Blame the Peach is feminist punk packed with personality, finally bringing fan favourite tracks into their growing fanbase’s headphones and musing on everything from the change in how the world perceives women as they age to sneaking some self love in between work from home meetings. Don’t Blame the Peach opens with WFH, starting with a power chord riff and a smirk in KATE MAC's voice as she whispers “wanking from home” as an introduction. As this would suggest, WFH’s theme is having a cheeky wank while in the home office, and is packed with office based puns; KPI meaning kinky porn intake was the one that got an audible laugh on the first listen. The tongue and cheek in the lyricism carries well as the subject matter gets a little heavier in follow up Tiny Shorts, covering catcalling within the context of contemplating feminist theory while walking in booty shorts and having a man dare to interrupt your flow. Tiny Shorts in particular shows the skill of TWAT UNION’s lyricism despite its cheeky veneer - the contrast between the innuendo of “big deep thoughts” and the sensual “oh my god” ad libs in the second half when discussing the lack of sexual interest in the perpetrator of the catcalling was resonant, and the balance of levity when discussing the heavier topics was well struck at the end with the “would you look at the thoughts on that one” ad lib at the end. The middle of Don't Blame the Peach is where the anticipated recording of Period Sex sits: a fan favourite live, it is a mainly-spoken-word piece atop a tempo-climbing riff that matches the chaos spiral of the track’s story. The premise is evident in the title, while over the verses MAC starts with the joy of meeting a man happy to satisfy her needs at any time of the month before waking up the night after and realising the towel of safety had disappeared and the stains had hit the sheets. By this revelation the whole track has devolved into high speed screechy guitars as MAC considers blocking the man then blaming him for the towel-pull as she runs down his street. The lyrics of Period Sex exemplify the grounded comedy woven into TWAT UNION’s music: “I’m horny, lubricated, and I might even cry after” for the comedy; and the EPs namesake line “You wouldn’t blame the peach for getting the juice down your hand” screamed with the exasperation of a crash out is a testament to the feeling that TWAT UNION are writing what they know with great effect. Penultimate track and single Pay Me More stood out sonically, with its angsty feeling and thread of trying not to say sorry when advocating for yourself in the workplace. As with Tiny Shorts the levity through jokes is balanced well with the pit in the stomach that the confrontation portion of the track develops - “don’t beat around the bush when we’re talking about pay” garnered a chuckle while the portion of her smiling through the pain of creating a whole Powerpoint just to be paid equally hit home in the real experience of being a career-focused woman. The cut off call and response of “sorry” woven throughout is effective in crafting the anxiety and offsets the on the nose nature of the open discussion of workplace discrimination. Closing out Don’t Blame the Peach is W.I.T.C.H, which muses on the hormonal changes of aging, from the perception of a confident adult woman becoming more and more unsavoury to the angry urges of PMS becoming harder to quell. The second verse stands out with the witch imagery being woven less directly, with the justification for stewing soup being because of batch cooking and the punchline of liking how the kitchen broom feels between the legs, then Don’t Blame the Peach closes with MAC's screams of “I’m melting”. Don’t Blame the Peach is as delightfully cheeky as it is resonant to the experience of women with their feet firmly landed in adulthood, where reckless office decisions meet the genuine fight to excel as they deserve, sonically MAC's tone when she sings is a richer low tone, matching perfectly with a 70s punk soundscape that feels refreshing within the current modern punk scene. The main thing missing from Don’t Blame the Peach is BETH HOPKINS and TESSA ALISON's horns - hopefully they’ll be more present on TWAT UNIONs next stint of live shows in the coming year. Score: 7/10 Don’t Blame the Peach will be released on 20th February via Alcopop! Records. Words: Julia Brunton Photos: Lily Doidge

Kent groove metal crew STRUCK/DOWN have been grafting for this moment. Since dropping From Demons back in 2021 and following it up with To Witches in 2023, they have quietly built a reputation through Bloodstock appearances and support slots with RAGING SPEEDHORN. Now they are stepping up properly with their debut full length, Queue For The Cure, landing 20th February 2026 as a self-release. If you sit somewhere between MASTODON, LAMB OF GOD, and the crunch of early 2000s METALLICA, you are going to want to pay attention. Straight away, Queue For The Cure feels confident. Not over-polished, not trying too hard to prove a point. Just solid, groove-led heavy metal that knows exactly what it wants to be. Opener One Last Drag sets the tone with thick, coiled riffing that feels built for a packed venue with sticky floors and no breathing room. The guitars from PETE MCLARNEY and IAN SPURRETT lock in tightly, favouring weight and rhythm over unnecessary flash, which works massively in their favour. Previously released singles sit comfortably within the flow of the album rather than feeling like obvious streaming bait. The Slog still hits with that stomping persistence, all driving drums and clenched-teeth energy, while A Queue For The Cure leans into the band’s hookier instincts without sacrificing bite. There is a clear understanding here of how to write a chorus that sticks without softening the edges. Latest single Leach is arguably the emotional core of the record. The band describe it as being about “today's abundance of fakery and fickle perspectives, artificial views, selfish uses of alleged kindness, a care coated sheep on a manipulative wolf.” It is a sharp concept, and the execution matches it. The main riff feels tense and slightly unhinged, like it is circling something ugly. LINDEN TWYMAN delivers the vocals with grit, but there is control underneath it. He is not just shouting for the sake of it. There is intention in the phrasing, especially when the track drops into more groove-focused sections that let the rhythm section breathe. Lyrically, the band dig into emotional drain and the kind of low-level toxicity that creeps into everyday life. On Leach, they expand on “parasitic types exploiting the kind and the anxious,” which feels uncomfortably current. It is heavy music with something to say, but it never slips into preachy territory. The frustration feels real rather than performative. Elsewhere, Who Stole The Sun? and Eat the Fear, Drink The Worry keep that darker introspection running, pairing weighty subject matter with riffs that feel deliberately grounded. Low gives bassist WILL MIHR more room to shine, bringing a thicker undercurrent to the mix, while This Tall to Ride injects a bit more pace and urgency to stop the album from settling into one tempo. Production wise, the album strikes a strong balance. Produced, mixed and mastered by PETE MCLARNEY, it sounds clear without feeling sterile. You can hear every instrument, but there is still grit in the edges. In groove metal, that balance is everything, and STRUCK/DOWN mostly nail it. If there is room for growth, it is in pushing further beyond their influences. At times, you can clearly trace the DNA of their inspirations, and while that is not a bad thing, a few more risks would have elevated the record from strong debut to undeniable breakout. That said, this is a seriously assured first full length. With Queue For The Cure, STRUCK/DOWN prove they are not just another UK heavy band filling a slot on a festival line up. They have the riffs, the hooks, and the thematic weight to stick around. If you are into groove metal that feels current without forgetting where it came from, this one is absolutely worth your time. Score: 8/10 Queue For The Cure will be self released on 20th February 2026. Words: Kelly Gowe Photos: Struck/Down

There are heavy bands, and then there is SYLOSIS. For nearly two decades, JOSH MIDDLETON’s riff machine has been operating at a level most bands do not even attempt to reach. After 2023’s A Sign Of Things To Come reminded everyone exactly why they matter, SYLOSIS are now gearing up to drop their seventh studio album, The New Flesh. If the title track cracked the sky open last year, new single Erased kicks the door clean off its hinges. Let’s start there. Erased feels urgent in a way that only deadline pressure can produce. The band have said, “Erased was one of the last songs to be written for the album. As we were approaching the deadline to get everything submitted there was a pressure there that really helped shape this song into something special.” You can hear that tension baked into the riffs. It is tight, coiled, and constantly threatening to spill over. When the chorus hits, it is massive without feeling forced. It is one of those moments that will absolutely detonate live, especially with the UK and European run culminating at O2 Kentish Town Forum. What makes Erased stand out is how naturally it balances precision and power. The main riffing has that unmistakable SYLOSIS bite, technical but never indulgent. The middle section, which the band call “one of our favourite middle eight sections that we've ever put together,” genuinely earns that confidence. It shifts gears without killing momentum, adding texture rather than just piling on weight. If Erased is anything to go by, The New Flesh is shaping up to be a serious statement. The record opens with Beneath The Surface, which wastes no time getting straight into punishing grooves and rapid fire aggression. Across the tracklist, titles like All Glory, No Valour, Spared From The Guillotine, and Circle Of Swords hint at themes of conflict and consequence, while closer Seeds In The River promises something more expansive and cinematic. What sets SYLOSIS apart in 2026 is that they do not just rely on brutality. Yes, the riffs are destructive. Yes, the drumming is relentless. But there is melody threaded through it all, and a level of song writing maturity that keeps things from becoming one dimensional. The press notes describe the album as “brutality and catchiness in perfect symbiosis,” and that feels accurate. Hooks are embedded inside the chaos, not awkwardly bolted on top. There is also a sense of momentum behind this release that cannot be ignored. A full UK and European headline tour alongside REVOCATION, DISTANT, and LIFE CYCLES, followed by a North American run with BLEED FROM WITHIN and GREAT AMERICAN GHOST, signals a band operating at full throttle. These are not small rooms, and these are not small line ups. SYLOSIS are stepping into 2026 with serious intent. If there is any critique to level at this stage, it is more of a challenge than a flaw. SYLOSIS have set their own bar dangerously high. When you are this consistent, the expectation is constant evolution. From what we have heard so far, The New Flesh sounds harder and sharper than its predecessor, but the full picture will depend on how deeply the album explores the dynamics hinted at in Erased. Right now though, it feels like SYLOSIS are not just maintaining their legacy but actively reinforcing it. The New Flesh has all the makings of a record that will dominate setlists and year end lists alike. If you want skull rattling, technically sharp, emotionally charged modern metal that refuses to water itself down, this is it. Score: 9/10 The New Flesh will be released on 20th February via Nuclear Blast Records. Words: Kelly Gowe Photos: Jake Owens

Getting the crowd started at the Utilita Arena in Cardiff, all the way from Perth, Australia, were metalcore outfit MAKE THEM SUFFER. Initially the band looked a little small in comparison to the size of the stage that they had to play with. But that feeling abated by the time they hit the first breakdown in Ghost Of Bones. Frontman Sean Harmanis is a Duracell Bunny of intensity and he spent the whole time darting back and forth between the gloomy corner that Alex Reade’ keyboard was set up in, to the front riser where he would absolutely cut loose. Their set was tight, it was frantic, it was everything you want from an opening band; sadly it was all too brief for our liking, just seven tracks is all that could be squeezed into the thirty minutes that we had with the band. Oscillator had the crowd jumping up and down, there was one particular section of the audience taking it to the extreme by appearing to run line out drills, perhaps they were trying to catch Steve Tandy’s eye for a callup during Wales’ next match at the Principallity Stadium. Penultimate song was the mega Erase Me, the final drop saw the music cut and the crowd, acapella style, arms aloft screaming the lyrics back to Harmanis who stood at the front of the catwalked stage jetting out into the audience absorbing every word like it was powering him up for the huge anthemic finish “Why would you save me? I’m not worth saving, You’re suffocating, So just erase me”, this song in particular is meant for nights like this, a moment shared between five-thousand like minded souls. The final song from MAKE THEM SUFFER was Doomswitch, the vibes in the crowd were now nearing critical mass, the security at the barrier were given a real workout with the number of crowd surfers sent in waves to the front, and even the Slam Dunk Cookie Monster was spotted getting up and over the top a number of times. With a slight shift in tone it was on to DAYSEEKER, with some of the more aggressive hard edges knocked off, their brand of metalcore leans more into synth’s and melody and at times a distinctly emo vibe; the change in pace acting as a pallet cleanser between the huge bouts of energy experienced before hand and were eagerly in anticipation for for the headline act. If the band's performance had to be summed up in one word, it would be captivating, the way that Rory Rodrigeuz was able to hold the crowd, every member of the audience fully locked in and hanging onto every word that was belted out on stage. Burial Plot saw Rodriguez asking everyone to pull out their phones and raise their torches up into the air, illuminating the entire arena in the process. But the biggest reaction from the crowd came in the later half of the set when arguably the band’s biggest hit to date, Sleeptalk got an euphoric spin. The audience’s time with DAYSEEKER came to an end with a tribute from Rory to his dad, Dennis Rodriguez, and the emotional Neon Grave. The, in comparison to the rest of the lineup, subdued set was perfectly placed to allow those congregated in Cardiff to collectively take that metaphorical deep breath before the plunge that would be MOTIONLESS IN WHITE. The first inkling that the evening was close to the main event, Alice Deejay’s Better Off Alone being pumped into the room, the whole venue, fans, stage crew, security and bar staff all bopped along joining in on the beat with the “do do do do do do dooos”. 2000’s club banger out of the way, the sound cut, the lights went out and all eyes were fixed on the stage in anticipation of the next dose of unserious aura, the meme central as the big screens lit up with the bands logo alongside OIIA OIIA (Spinning Cat) hurtling its way through the galaxy. All of this had got the crowd so worked up, by the time the headliners, MOTIONLESS IN WHITE, had fully emerged and got straight into Meltdown they were virtually ready to explode. The shows production was phenomenal, the lights were mesmerising, the visuals on the big screens totally captivating, there were pyrotechnics, there were confetti, there was fake snow and the Cherry Bombs at points spinning fire at other causing sparks to fly from their collective crotches with angle grinders; all of this before the eyes of the fans were even able to fully take in what the band themselves were doing on stage. Dressed predominantly in black and very much active on stage, trading standards may need to have a word with the band about their name. It would be hard pressed to find a metalcore band with a fan base as dedicated as those fans of MOTIONLESS IN WHITE, so it was surprising to hear that in the band's twenty year history, this was their first ever time making across the Severn Bridge to play a show in Wales. And the band were making the most of assimilating into the local culture, Mr Chris Motionless himself orchestrated a rendition of Oggy Oggy Oggy early on in the night, followed up by holding the Welsh flag aloft on stage alongside the Cherry Bombs during Scoring The End Of The World. The set was filled with bangers from start to finish and although Sign Of Life, Voices, Afraid Of The Dark and Another Life were all played, the biggest response of the night from the crowd probably came for Slaughterhouse. Chris reminded the crowd that he will say two words, and they just had two words to scream back, “One Mutilation”....... the roar from the crowd of “Under God” was something that took everyone aback, Chris included, who commented that he could hear that even over his in-ear monitors. The set came to a close with Eternally Yours with Chris at the front of the stage tossing roses out, one by one into the crowd, and there were even rumours of a proposal between two fans in the middle of the pit during the song. Words and photos: Simon Arinze

Metal is truly at its finest when it has its tongue firmly planted in its cheek. The tour was billed as Heidenfest, a celebration of all things folk metal with a lineup of five bands, and it would be no stretch to say the evening could be categorised somewhere between a festival and a standard gig. The crowd was a collection of metal heads who just wanted a fun time. The first band of the night was THE DEAD CREW OF ODDWOOD, bringing their acoustic folk metal to open and set the mood. Their setup was built on double bass, accordion, flute and metal drums. The music is what you want to open a night of folk metal with - tales of drinking and fighting epic monsters. It was a short set of everything you would expect. Despite being an acoustic band, they still retained their metal feel through passion and speed, and it is not every day you see someone shred on an accordion. Next on the lineup was TROLLFEST, who hit the stage dressed in pink flamingo inspired garb. Their set was simply just fun chaos. Songs about flamingos and - in a true folk metal style, drinking. The band brought an infectious energy of pure joy through every track they played. Musically, they primarily stand out thanks to the use of saxophone, which gives their music an extra dimension of chaos. The band led the crowd in dances and a record attempt for the longest conga line at a metal gig - the record was not broken, but the line nearly crashed into itself from its length. If this were a more traditional festival, this would be the part where everyone ran through muddy pits to be a bit silly, but luckily at this time of year it was indoors. The third band of the night was HEIDEVOLK. The band utilises the power of two vocalists, making the stage seem more dynamic than usual. Their style is on the heavier end of folk metal, yet they were not the heaviest band on the bill. Unusually the majority of the band’s lyrics were in Dutch. Thematically it was folklore based, complete with the band using shields on stage. It was another shorter set as there was the challenge of fitting five bands into one bill. The set featured a range of tracks from their discography, including some of their rare English language tracks. The band showed who they are and what makes them HEIDEVOLK. The second to last band was FINNTROLL, who brought their mixture of folk and black metal. Unfortunately, for this tour their vocalist Mathias "Vreth" Lillmåns was unable to join them, but luckily was replaced by the more than capable Mathias "Kistelach" Dahlsveen, who blended into the band seamlessly. The microphone stand was decorated with skulls and featured a built-in smoke machine, creating some interesting visuals. The music was heavy, which whipped up the crowd into a frenzy. The whole venue seemed to join in on some level with the pit. The band’s stage getup featured them wearing elven ears which hopefully allowed them to hear how loud the crowd was. At first glance they could be the night’s headliners with how the crowd seemed to enjoy them. Their music is uniquely “FINTROLL”, as it has a certain dynamic quality other folk metal bands seem to lack. As the heaviest band on the bill, they managed to keep their power for the entire set. As it contrasted with the rest of the lineup, it did make the bill seem more festival-like by standing out musically. FINNTROLL are everything you want from a combination of black metal and folk and they put everything they can into bringing it live. The headliners of the evening were the folk metal legends KORPIKLAANI. The best way to describe them would be a metal party band. Their music is as folk metal as it comes, songs about drinking featuring violin and accordion, after all their biggest song is called Vodka. They brought a true party atmosphere to the stage as soon as they started. Early in the set they played the fan favourite The Man With the Plan which caused the audience to sing and dance along with every lyric, as it is one of the band's few true metal classics. KORPIKLAANI are one of those bands that are a staple of metal festivals, so headlining their own mini festival makes a lot of sense. They know how to entertain on stage. Everything is the right side of cheesy, just enough to make you smile enthusiastically. As the band’s set went on they used the middle of the set to play some of the lesser known tracks. Although these were not as popular or really sing-alongs, the crowd still enjoyed them as it was all distinctly KORPIKLAANI. The set did lose a slight bit of momentum at this middle point, as the band’s better known songs stood head and shoulders above the rest in the minds of metalheads. As the set drew to a close they ended on the legendary track Vodka, which left the crowd to have one last burst of energy before departing to their normal live. It was the well deserved finish after six hours of metal on a Tuesday night in the middle of February. Words: Will Freeman Photos: Katerina Stepanikova