Britain’s PUPIL SLICER have been a whirlwind of underground heavy music for a number of years now, so with the release of their third LP Fleshwork they’ve really become a part of the furniture. Having already passed through searing grindcore on the outstanding debut release Mirrors, and a more conceptual melodic metalcore record with their fantastic sophomore release Blossom, it’s time to see whether an album that was meant to be the best of both worlds has really hit the nail on the head, or whether SLICER will be going back to the drawing room. Before digging into individual tracks, let’s the record as a whole. Trying to bridge the gap between the first two LP’s is no mean feat, what with the vast scope seen between not only the premise and intent of each, but also the nearly entirely disparate sonic styles. However, Fleshwork does a remarkably good job of not only melding the two, but also advancing both in a manner that feels both meaningful and deliberate. This record sounds something akin to a CONVERGE record that has spent an awful lot of time in the presence of THE DILLINGER ESCAPE PLAN, but with a more overt focus on making the listener uncomfortable within their own skin. To sum it up rather succinctly, the band commented about the themes within; “How much pain can you inflict on yourself and others before you cease to be human? There is no limit; all of the worst things to happen to the human race have been caused by its own members.” That said, digging into the record does jar even the most prepared. Early single Heather kicks the door in on an abrasive ride that makes it to 36 minutes, and acts as the salt before the wound of Gordian takes the listener for a violent sprint into Sacrosanct. The opening trio is a razor-sharp barrage of blackened, bloody metalcore that pulls no punches and furiously romps into action. It’s particularly gratifying to hear the refreshed lineup firing on all cylinders - KATE DAVIES is as good as they have ever been, both on guitar and vocally, whilst JOSH ANDREWS and LUKE BOOTH run amok on drums and bass respectively. The midfield trio of Innocence, Black Scrawl and Nomad don’t allow much breathing room either - on a nine track record, it’s remarkable the potency PUPIL SLICER have attained at keeping the listener’s attention even without much let up - the momentary let up on Innocence being the most notable thus far, but even that is eventually let go and sent into the void by an unholy sonic amalgam, which will doubtlessly be an incredibly cathartic moment to play live. The final three tracks are a separate entity. The eponymous Fleshwork acts like some sort of industrial behemoth enacting grave vengeance upon an entire civilization, with a gargantuan riff leaving us entirely at the behest of the band, whilst White Noise does allow for time to survey the wreckage. Finale Cenote is an uncomfortably epic eight minutes - blending the unsettling atmospherics of NINE INCH NAILS’ most unhinged moments with black metal, post-metal, and a decent dose of that Converge-esque sound, it closes the record superbly, leaving things feeling just a half-step away from resolved in an altogether perfectly thematic manner. Dealing with the oppression of those who are poor or queer, disabled or people of colour, Fleshwork is a grandiose work which, quite frankly, our government would do well to take heed of. Combining delicate subject matter, overpowering musical excellence, and a level of abrasion that, whilst not completely unheard, feels like a level above anything we’ve seen from the band in the context it’s provided. A powerful, poignant, and potent effort from Pupil Slicer. Score: 9/10 Fleshwork was released on November 7th 2025 via Prosthetic Records. Words: Jasmine Longhurst Photos: Pupil Slicer

Over the past two years, San Francisco’s CHOKECHERRY have appeared on multiple tour lineups, made their mark at several festivals, and now, it's finally time for the release of their debut album. The best way to experience this record is front to back, uninterrupted and no distractions. It ties in everything from punk rock to dream pop to shoegaze with some clear nods to some hardcore legends throughout some moments. We float into the album with opening track Porcelain Warrior. Its dreamy guitar intro and hazy vocals build up to a chorus that showcases how flawlessly IZZIE CLARK and E. SCARLETT LEVINSON can blend their vocals. It’s one of the slightly longer tracks coming in at exactly four minutes, a length that can sometimes risk feeling repetitive, but they’ve managed to keep its momentum all the way through to the end. They take a sharp turn with Major Threat, the last song to be released prior to the album. Being a louder track but keeping that dreamy vibe and being vocally inspired by TURNSTILE’S BRENDAN YATES, this track was built to be performed to a rowdy crowd - one that would be going just as hard as the audience at a show for said hardcore band. Only two tracks into the ten-track album and we have seen the range that CHOKECHERRY have to offer. One of the records standout moments, Secrets, delivers a raw and emotional punch. A consistent theme throughout this record is way each song builds, never leaving you disappointed. At its halfway point, there’s an ethereal moment where the whole band shines in unison, making you want to replay this one section repeatedly. The second half of the album takes a more upbeat turn with a notable punk rock influence. The moment You Love It When kicks in, you know it’s going to be a fan favourite. The vocals, reminiscent of HAYLEY WILLIAMS and CHLOE SLATER, bring in a fierce tone that has been underlying since the start. This switch to a more intense tone prevented all the tracks from sounding like they were blending into one, and they made the switch at the perfect time. We are led out of the track with delicate yet powerful riffs allowing the song to fade out the way it came in, creating a full circle moment. February is one of, if not the most chaotic song on the album, in the best possible way. It switches effortlessly between whispering to full blown intensity, keeping your attention throughout. As this is one of the louder moments, it makes you reflect on the fact that this isn’t a huge band of people - as well as delivering vocals, CLARK is on guitar and LEVINSON is on bass. It’s inspiring how they both manage to fill up so much space in these songs and makes you picture what a CHOKECHERRY show would play out like. The album ends on a note that we were expecting: the title track that ties everything together, Ripe Fruit Rots and Falls. Like the album itself, it starts off melodic and builds up into an explosive conclusion. This track has a sense of nostalgia built into it with some spoken extracts placed throughout, creating a sense of connection and conversation with the audience whilst also adding a personal touch. It's always a great moment when a title track closes out an album - it feels like the story has officially come to an end. This is a beautifully produced and well-crafted album. At first, the album’s ten tracks made it feel short, but CHOKECHERRY make up for it with the track lengths. Only one of them falls under 3 minutes, adding a depth to the listening experience making it feel slightly more cinematic. It flows like a story and creates a sense of connection without any filler tracks. A perfect listen if you’re a fan of anyone from LUVCAT to JACK OFF JILL to POPPY. With how well they put together their debut album, these guys are ones to keep an eye on. The balance between everything they gave us makes it one of those projects you must listen to in full every single time. It would be no surprise if in the next couple of years, CHOKECHERRY became a well-known name in the scene. Score: 8/10 Ripe Fruit Rots and Falls will be released on November 14th 2025 via Fearless Records. Words: Isabella Jacklin Photos: Whitney Otte

Chicago-based velvet-grunge space rock collective LAVISHER are back with their second album Aligned & Vital, a record that showcases their unique ability to paint lush, distorted realms where beauty and decay dissolve into a swirling river of sound. From the first track, singer, songwriter, and guitarist GAVIN CUSHMAN III and drummer BENJAMIN STANDAGE provide a record which captures an expansive blend of vibrant tracks that fuse retro charm with forward thinking soundscapes. No Sign Of Mine wastes no time setting the tone for the album; grungy, raw, and steeped in the DNA of bands like ALICE IN CHAINS and SILVERCHAIR. With Preemptive Waltz, the band plunges into a swirly landscape of gritty textures and complex grooves, fusing grace with grit. Accompanied by a visually arresting video, described by frontman GAVIN CUSHMAN III as a “personal torment fever dream,” Sultry stands out as a richly atmospheric track. We hear layered textures and with a brooding undercurrent, which evokes the haunting solitude of rain-slicked city nights driving through the city, offering a compelling glimpse into LAVISHER’s darker sonic terrain. Ancients opens with a slower, more relaxed vibe than its counterparts, leaning more into the melody. While its placement feels slightly out of sync with the surrounding tracks, it offers a moment of calm in an otherwise charged landscape. Way Too Much introduces a distinct shift in tone compared to its neighboring tracks, injecting a fresh energy into the album’s sonic palette through its intensified guitar presence and more simplistic lyrics, compared to the rest of the record. With its heavy riffs and reverb-soaked textures, it channels a rawness reminiscent of SICK JOY. This track is easily one of the album’s standout moments and our favourite track on Aligned & Vital. Charmer sustains the intensity but dials back the tempo, embracing a 90s grunge aesthetic that feels right at home among the album’s gritty textures. It’s a slow burn, but one that smolders effectively. Ironically, the track Gritty is perhaps the least gritty of the bunch. While it doesn’t quite match the rawness implied by its name, its punchy chorus ensures it still leaves a mark. Howl is another slower start track on Aligned & Vital; beginning in a subdued fashion, but gradually building with melodic guitar lines and clean, post-rock inflected vocals. It’s a slow bloom that adds depth to the album’s emotional range Title track, Aligned & Vital continues the descent into slower tempos, but thrashing guitars eventually rise to the surface, lifting the track with a sense of urgency. Its lyrics may be simple, but they’re well written and effective. Detached is a punchy, riff driven track that fuses thunderous guitar work with melodic hooks, Lavisher’s trademark fusion of raw intensity and ambient depth further than other tracks on the record. It kicks off with a playful, offbeat riff and some glistening guitar flourishes, anchored by a toe-tapping groove. Driven by a standout chorus and rich harmony vocals, it’s one of the songs that stick with you. Redress emerges as the most impressive track on the record, an emotionally resonant closer that leaves a lasting impression, which is a shame as it is the final song. Its seamless blend of evocative lyrics and powerful guitar riffs strikes a chord that earlier tracks struggle to match. It’s a bittersweet triumph, making us wish more of the record maintained the same richness and precision in sound. The album explores emotional duality, weaving together threads of nostalgia and bold experimentation. LAVISHER’s sound pays homage to the likes of QUEENS OF THE STONE AGE and A PERFECT CIRCLE, while echoing the atmospheric depth of DEFTONES and the raw edge of FAILURE. Score: 6/10 Aligned & Vital will be released on November 14th 2025 via Nefarious Industries. Words: Lou Viner-Flood Photos: Lena Jackson

On the third floor of Bread & Butter, the iconic Shoreditch café in London, Ian Shelton, frontman of MILITARIE GUN, leans back and smiles. There’s a calm to him that contrasts the turbulence behind the band’s latest record, God Save The Gun—a project that’s unflinchingly human, darkly honest, and, at times, surprisingly funny. Shelton has spent the past three years crafting the album, wrestling with addiction, trauma, and cycles of self-destruction, all while trying to find moments of self-belief amid the chaos. Unlike the band’s 2023 debut, Life Under The Gun, which casts the vocalist as a witness to hardship, this record instead turns the lens inward. He’s no longer just observing—he’s the protagonist of his own unraveling. “I thought I was playing a character,” Shelton admits. “But it was becoming my reality. Right before recording, I realized I was really losing control and needed to do something about it. When I read back the lyrics, they were saying, ‘Yeah man, you’re fucking up.’” The album opens with the raw confession “I’ve been slipping up” on B A D I D E A, a line written late in the process but perfectly capturing the record’s emotional core. Shelton reflects, “Our songs are emotionally honest—they reflect what I’m living through. That track came at the right moment to embody it.” For much of the writing, he tried to mask his experiences behind a character, but by early 2024 the boundary between fiction and reality blurred. “The more I wrote, the heavier it weighed on me. By the time I got to the song God Save The Gun, I knew I had to live the words. Otherwise, it’d be ironic or untrue.” Themes of collapse and confidence, self-destruction and self-belief, run throughout the record. Shelton explains that the three-year writing process allowed ideas to emerge naturally. “Some of the earliest tracks, like Fill Me With Paint and Kick, explore seeking validation and reflecting on trauma,” he says. “I don’t write with premeditation—these ideas surfaced subconsciously. It wasn’t until the record was complete that the themes became clear.” Kick in particular wrestles with Shelton’s complicated childhood—where he once used his past as justification for self-destructive behavior, he now found himself embracing it. The band wrote God Save The Gun over three years, giving Shelton the time to process his experiences fully. “The biggest thing we had was time,” he explains. “We’re always writing songs, so we only make a new album when the songs are ready—not rushing anything.” However, he doesn’t write with premeditation. “I might have a lyric or a title, but that’s it,” he says. “Everything else comes from my subconscious as I start singing.” Recurring motifs—addiction, trauma, self-doubt—emerged naturally, and only after the album was complete could he identify the overarching themes. “Without three years to process everything, it wouldn’t be the same,” he reflects. “I’d have had to rush through all these experiences that ultimately took years to work through.” Alongside bandmates William Acuna, Waylon Trim, David Stalsworth and Kevin Kiley, collaboration was crucial to shaping the sound. Working with creatives Phillip Odom, James Goodson, Riley MacIntyre, Nick Panella and others, gave Shelton the chance to refine the songs collectively. “Phil pulls honesty out of me—if a lyric’s too guarded, he’ll push me. Riley ensures the emotion comes through. James and I work intuitively, and Nick helped solve a songwriting puzzle for God Owes Me Money. These people bring out parts of me I didn’t know existed,” he says. The album’s cover art depicts Shelton as a cult leader offering salvation, subverting the idea of a charismatic rock ‘n’ roll messiah. “It’s about the impossibility of external salvation,” he explains. “Ultimately, only you can change your life. Cults, religion, and recovery are often sold as solutions but can undermine your mental health. I wanted the imagery to reflect that tension—the wish that someone could take it all away, while knowing you’re the only one who can.” Tracks like I Won’t Murder Your Friend confront heavy subjects with unflinching honesty. Shelton calls it “a dressing down of suicidal tendencies. Music often glorifies martyrdom, but I wanted to flip that perspective. Suicide hurts others. Writing the song forced me to live by that standard myself. It was about taking that option off the table.” The album’s emotional arc moves from introspection to empathy, from self-absorption to noticing others’ struggles. “After I Won’t Murder Your Friend, it felt natural to progress to Thought You Were Waving and beyond. It mirrors the challenge of stepping outside your own pain and seeing what others are going through,” he says. This tension between isolation and outward-looking connection threads through the record, giving it both narrative and emotional cohesion. The climactic title track, God Save The Gun, functions as both narrative apex and personal reckoning. “Your people love you, they don’t let it show / and I know you’re out of control,” Shelton sings, addressing various characters, though he admits he was the one who needed to hear it most. “You shouldn’t have to wait until your life is completely destroyed to try to improve it, and I don’t want to lose what I’ve worked for because I have a drinking problem.” Its final lines—“If you want to keep your life, you gotta let it go”—resonate as both warning and credo. Despite the darkness, Shelton approaches the album with absurdist humor, likening it to a comedy in the vein of The Royal Tenenbaums, where real pain is filtered through wit and timing. “Comedy allows the heaviness to be approachable. You can see something painful, but through a lens that makes it easier to process,” he says. Three years of writing, countless collaborators, and a personal reckoning later, God Save The Gun stands as a record of confrontation, catharsis, and transformation. Shelton’s honesty, vulnerability, and vision create an album that refuses easy answers, inviting listeners into the messy, beautiful complexity of a life being lived—and survived. Words: Mia Gailey Images (Including The Cover): Nolan Knight Cover Design: Robert Halls With Thanks To: Prescription PR

NATIVE JAMES is a solo project that seem to be on countless playlists, line ups, and one’s not to miss lists. Melding together British Grime and Metal to create something quite spectacular, NATIVE JAMES is taking the music circuit by storm, and my goodness is this a storm like no other. Having only been on the music scene in this live band form for just over a year, it’s incredible to see the artist and his live musicians to make such noise. Hot off the tracks of the second release, NATIVE JAMES has embarked on a UK tour to showcase his EP Confessions Of A Sinner. Packing out shows in an intimate barrierless room the energy felt alive. The blended audience of both rap and metal fans can usually feel somewhat unusual, however this gig was to be something quite special. It felt like a bubbling atmosphere where audiences would experience a show of such uniqueness you almost had to be there to understand just how brilliant it was. KITE THIEF stormed the stage supporting NATIVE JAMES and had the crowd jumping within seconds. Loud, unapologetic and full of fire, their set was impossible to ignore. The band’s energy never once dipped, feeding off the room and giving it straight back. Every chorus hit like a punch, with the audience shouting right along, new fans were created instantly in that room. The female vocals stood out in particular, powerful and clear above the grit of the guitars. It was a confident, high-energy performance that proved KITE THIEF know exactly how to own a stage. They interacted with fans of their set immediately afterwards at the merch table adding a small town charm and humbleness to their electric performance. Right after the energetic set, NATIVE JAMES exploded onto the stage with the song Fallen. With guttural screams, head banging and rap filled verses, this was the textbook example of just how to blend two genres together. The live band allows the metal riffs to shine through whilst the vocalist has vocals that just lend to this hybrid of clean screams and sharp raps, that would leave any veteran vocalist wishing they had this much stage presence. The artist hails himself as a blend of anarchy, black culture, and metal music and this couldn't have been more accurate throughout the show as mosh pits are incited and statements are made throughout. Every breakdown felt like a rumble of thunder and every slick verse came with such precision you couldn't help but wonder how he had only been playing live with the band for such a short time. Throwing back to his initial singles, the songs Mugen Train and Hammer showcased that the talent didn’t develop slowly over time, it was there from the beginning. And it’s only getting better as he went from strength to strength with songs off his new EP such as GTFU and Do What You Want. The former allowing NATIVE JAMES to get the crowd jumping and the latter getting the crowd chanting as the bass line pumped through your chest. Between songs, the vocalist and the band interacted with the crowd like old friends; cracking jokes and bringing the audience into such camaraderie that left the whole venue moving around together. The moment the last song came to an end, you could feel that this show wasn't quite over, despite what the setlist said, with the audience demanding an encore. With so few songs to his name, the vocalist allowed the audience to pick what song was repeated, which resulted in the venue coming alive one last time. NATIVE JAMES is an artist that needs to be on everyone's radar. With announcements for shows and festivals such as Download 2026, the only way is up for this genre defying project. Add him to your Spotify list, check him out at a show, just don't skip him as NATIVE JAMES is causing a disruption to the scene and you don't want to miss out. Words: Laura Davies, Lauren Wenham Photos: Lauren Wenham

In one word, California quintet AUDITORY ANGUISH have devoured on their Sophomore EP AFA. Spanning only 5 tracks and a barely-over 11 minute runtime, AUDITORY ANGUISH craft memorable tracks blending wonderfully the shredding-based melodies of death metal with the unrelenting speed of hardcore. To open is the title track AFA, which vocalist DAVID MONTES informs us stands for "Auditory Fucking Anguish" as an introduction for the first breakdown that AUDITORY ANGUISH treat us to on this EP, which bounces along its tempo set by a cowbell beat then swapping between faster and slower progressions as if lightly showing off. The first full track on the project is Chained in a Hole; the first of two exemplary hardcore track names, the second being album closer Unrelenting Blade. Chained in a Hole is also the first example of the blend between hardcore and black metal that AUDITORY ANGUISH have instilled into their work, managing to be melody-heavy while keeping the deep hardcore vocals and builds to bleeding breakdowns. Its follow up Clementine is punchier, leaning more into the hardcore of the soundscape: trading guitar melodies in its intro then picking it up into the first verse and breakdown to produce sweet windmill juice. Clementine is well balanced in its vocals and breakdowns, with crisp round-the-kit fills from drummer ABE MENDOZA and closes out with a cool sample of a rewinding tape, though the plughole-winding down to close it out was a disappointingly standard choice. Tierra Santa leans more into a black metal soundscape in its introduction, though it doesn’t take long for the beat to drop and the tempo to hit an unrelenting speed. The star of this track is MENDOZA's drumming, however: the touch of using chimes in lieu of a hi-hat adds a range of sound to Tierra Santa, then as the breakdown rips into the second half the taps on the hi-hat break up the instrumental sections perfectly. Furthermore, the speed at which he hits the double bass/snare lines warrant repeat listens, then the fills themselves rocket launch around the kit in such as way you barely register MENDOZA changing the drum line completely. Unrelenting Blade closes AFA, with a slow-turned-chaotic opening minute resolving into a chorus backed with a beautiful guitar solo that transcends into an anime-opening style movement. The final minute of AFA is a stomping build as the riffs get more frantic before hardcutting to nothing; the remaining tension feels somewhat effective, though is frustrating as the EP clicks itself off. AFA felt like a breath of fresh air for hardcore: an EP able to control the chaos of hardcore and incorporate the melodies and beauty of black metal without either element overpowering the other. Some of the production choices on AFA were not to taste, but as a sophomore EP this almost self-titled project feels like a perfect introduction to a quintet ready to make their name in the global scene. Score: 8/10 AFA will be released on November 14th 2025 via Creator-Destructor records. Words: Julia Brunton Photos: AUDITORY ANGUISH

Emotional metal has never felt better. THE PLOT IN YOU brought the very best sad metal bands America has over with them on this European tour. With numerous sold out dates and all others getting close to selling out, the fans across the continent have been showing their love for all bands on the lineup. Heavy feelings and heavier breakdowns was the theme of the tour and it delivered on all fronts to massive success. CANE HILL are regulars on the UK scene despite hailing from the swamps of Louisiana. The metalcore mob loves it across the pond, saying it every time they are over here. As their set started, an alarm sounding as their set began was all the more motivation for them to play even louder. Ripping into the colossal opening riff of 2020’s Power Of The High got the crowd moving instantly. The set focused primarily on the songs of their most recent album a piece of me i never let you find., and playing through half of the tracks on the album went down great with the crowd, bringing with them the energy and belting the lyrics back at vocalist ELIJAH WITT. If you are familiar with CANE HILL sets, you know about them getting “slutty” and dedicating a slower song “to the fellas”. Closing out their set with The Midnight Sun, they left the crowd in great spirits for the rest of the night. If CANE HILL are a band you are not keeping a close eye on, you are missing out. The self proclaimed “sad metal band” are doing big things and keep growing stronger with everything they do. SAOSIN are juggernauts of the post-hardcore scene. Having been around since 2003, they are veterans of the game, but have not lost any of their passion over the years. Nineteen years after the release of their self-titled album - sorry if that makes you feel old, the songs are still getting a huge reaction. Opening with the iconic Sleepers brought out big cheers from the crowd and hoards of people singing along to every word. That energy from the crowd was matched by the band. Rhythm guitarist and backing vocalist BEAU BURCHELL was beaming from ear to ear throughout the set, whilst both him and lead vocalist COVE REBER were having a lot of fun with fan interactions between songs, as well as making sure everyone knew the correct pronunciation for the band name. Playing You’re Not Alone, REBER was emotional because of the overwhelming love the crowd showed for a song that is so meaningful to him. Closing out with the iconic Seven Years from their 2003 debut EP Translating The Name left the crowd wanting more great music and ready for the rest of the night. Even now, SAOSIN are still as strong as ever and ready for more years of greatness. CURRENTS are a band that have gone through many lineup changes, but that monumental feeling that makes them who they are has prevailed - even without any founding members remaining in the band. The band embarked on this tour off the back of releasing their latest EP All That Follows on Halloween, which gave a lot of the tracks a live debut. The crowd were loving hearing new music with a huge pit erupting throughout the whole set. Bodies flying everywhere pumped up the band to use the whole stage and encourage more movement from the crowd. The audience responded by having a sea of surfers coming over the top at all times. Vocalist BRIAN WILLE had command of the crowd, using hand gestures to separate the pit, ready for it to fly into action for the breakdowns. This latest EP and run of shows is proof that they are stronger than ever and still constantly growing as a band. They left the crowd full of energy and very ready for the headline of the night. THE PLOT IN YOU are a band that should need no introduction, having been going strong and growing since their formation in 2010. In the fifteen years of their existence, founder and vocalist LANDON TEWERS has been putting his heart into the band, which has paid off by the band being a huge success. Setting off on this European tour with many sold out shows is a proof that the Ohio band has a loyal following across the world. A lot of attention to detail has gone into every aspect of their live shows with elaborate staging that added a great atmosphere to the set. Opening the set with Don’t Look Away from Vol. 2 brought the crowd to life from the visceral opening scream of TEWERS, with the crushing riff from guitarist JOSH CHILDRESS hitting straight after, sending the moshers into a frenzy. Following it up with Divide from Vol. 1 gave a chance for singing along as well as chaotic pits. In 2024, the band released 9 tracks through 3 EP releases as part of their Vol. series. These songs were a key focus of the set, which the fans were loving. Going back to their beloved 2018 album Dispose for THE ONE YOU LOVED slowed down the moshers but got everyone in the room singing along. The set slowed down most when TEWERS sat down on a wooden chair, illuminated only by a lamp above his head, to play acoustically and get everyone in their feelings for the bands latest single Silence. The rest of the band joined him on stage one by one for the big finish of the song which had the crowd loud and emotional. The band closed out the night on the viral sensation FEEL NOTHING, which made the crowd give every last bit of energy they had left. The room was bouncing from front to back and by the end of the song there was a feeling of euphoria in the air. Complete strangers who will never see each other again were embracing because they knew that together they had just witnessed something spectacular. You are doing yourself a disservice if you haven’t seen THE PLOT IN YOU live. It’s more than just a show, it’s a narrative and emotional journey you will never forget. Words: Alex Long Photos: Tyler Whiting

Remember, remember, the 10th of November - that isn't quite right, is it? Some things are hard to commit to memory, but these recent singles, with their catchy choruses and punchy instrumentals, certainly aren't. It's been an exciting month so far, and it's barely the second week. Who knows what else November will have in store for us? As Everything Unfolds - WHAT YOU WANTED (ft. Dani Winter-Bates) AS EVERYTHING UNFOLDS are on a roll as of late - they’ve released three singles since summer, and each one hits harder than the last. WHAT YOU WANTED carries their familiar clashing of melodic vocals and striking metalcore intensity, featuring BURY TOMORROW’s DANI WINTER-BATES in another great contrast; his vocals are guttural, and take centre-stage for a section before CHARLIE ROLFE’s haunting style becomes the prime focus again. This track is a good sign for AS EVERYTHING UNFOLD’s trajectory - when the eventual, as of yet untitled, third album graces our ears, we will know exactly what to expect; euphonious, beautiful vocals and relentless progressive metal beats as their eternal companion. Words: Naomi Colliar Duff Blackbriar - The Fossilized Widow (Parlor Piano Version) If there is anyone who can reimagine their own songs in a way it brings a whole new perspective to it, it is no doubt the Dutch powerhouse BLACKBRIAR. Rewriting one of its most successful songs from its latest album A Thousand Little Deaths, Fossilized Widow, into a Parlor Piano Version, the focus shifts only on ZORA COCK’s captivating vocals and piano skills, bringing out the beauty and melancholy of the lyrics. Accompanied by an original music video upon release, the song is set to pick the attention of everyone who listens to it. Words: Katerina Stepanikova Black Coast - Overflow Gutbusting is the business of Stoke-On-Trent’s BLACK COAST, and from the opening note of Overflow, it hits you right where it needs to. A new era, and with it, a stripped-back and intentional addition to the narrative continued from 2021’s Outworld. Whilst starting slowly and menacingly, it soon picks up with intense ferocity. Opting for loud and clear choruses, jabbed with their iconic, intense screams, the hero of the moment is their capacity to produce excellent guitar riffs, which soar brilliantly in the mix. An underrated torchbearer for the UK underground, making their moment with yet another searing statement. Words: Amber Brooks Bratakus - Turnstile (ft. Chris Dangerous) BRATAKUS are formed of a pair of sisters - one on guitar, the other on bass; they’ve never had a drummer, instead relying on programmed beats for their tracks. Turnstile changes this with the feature of THE HIVES drummer CHRIS DANGEROUS, and injects a new shot of energy into their frenetic, riot grrrl formula. The dual vocals are relentless, grimy, and create a strong, hard-hitting chorus that sticks with us despite the track’s short runtime. BRÈAGHA and ONNAGH CUINN are a great example of DIY punk ethos - a theme likely to persist through their upcoming debut album Hagridden, to be released in February next year. Words: Naomi Colliar Duff Four Year Strong - Whiplash FOUR YEAR STRONG are back with their new single Whiplash. And what a change of pace it is, the new sound is heavy but still with that Four Year Strong energy that we all know and love. And that breakdown outro... just damn! Unexpectedly hits you in the face. The video is a lot of fun. A completely unexpected sound with this one but it really did hit. It will definitely have the fans in the pit whilst they’re on tour next year. Words: Kayleigh Hadley Hayley Williams - Showbiz As the saga comes to a close - but the war is very much ongoing - final track Showbiz is HAYLEY WILLIAMS’ attempt at reparation. Not for the narrative that has unfolded within the course of her latest release, Ego Death At A Bachelorette Party, but as something pure and anthemic to make the most of this heartwrenching chapter. Tender as always, but with the same comfort as warming your palms as you come in from the cold, there is a numbness - pleasant, tactile and unapproachable - that is superglued together with nostalgic OWL CITY electronics. With the physical release of her record, Showbiz finalises an entire experience that, without compromise, reminisces about the time she took on the entire world and won. Words: Amber Brooks Heriot - Commander Of Pain Gross, grimy and overcast - the heavens spew open with drawn-out guitar riffs, and a slow, ghastly introduction to the new era of HERIOT. This is the first single since the phenomenal Devoured By The Mouth Of Hell album, and it is a bloodbath. Released in the wake of their upcoming US tour with TRIVIUM, this SLAYER-soaked track is pure evil. Aiming to seek and destroy with a menagerie of snarling guitars, it gains momentum with the arrival of the Swindon metaller’s signature piercing screams. Fast and commanding, the track finishes with a menacing call to action with a damaging breakdown. America is not yet ready for the rapture, but it is coming sooner than they think. Words: Amber Brooks Idiocy - You Mean Nothing To Me Coming out of the verdant pastures of the Notts DIY scene is IDIOCY. Their latest single release is a nihilistic angry ode, to you, or is it me? You Mean Nothing To Me was released on 7th Nov and is full of their characteristic raw and scratchy guitars, distorted and powerful drums and dystopian lyrics. Through the centre of this track is a guitar sound akin to a liquid ripple, introducing an echo of dark shrieking, behind the raspy vocals. A contrivance of morbidity with a gentle throbbing of despair - the essential autumnal backdrop. An enticingly trashy, noise rock band, IDIOCY have decisively chosen not to put this latest single out on the controversial monolith of music depreciation, Spotify. A brave choice for an independent band in the 2020’s, where most only pay lip service to anti- war/corporate ethics. The band are putting their money where their mouth is, bravo! The song is available on other streaming platforms, and on Bandcamp. Words: Alana Madden Lø Spirit - Aløne LØ SPIRIT has released Aløne, the first single of the long awaited album to be released next year. You may know his music from a massively successful song by DABIN named Hollow. If you're in search of a chorus that will be stuck in your head for days, look no further. The track follows a raw yet relatable story of a relationship not going as well as you hoped and slowly watching it fall apart. Of course, this also wouldn't be a LØ SPIRIT song without a hard hitting bridge, and this one has a groovy melodic solo. Words: Lucas Grayson Mallavora - Waste This is MALLAVORA’s world, and we are living in it. Signed to Church Road Records and with their debut album, What If It Never Comes, on the way, second single Waste is a face-melting example of a band who should not be fucked with. Thrown into their murky depths with an all-encompassing scream, vocalist JESSICA DOUEK stuns, pulled into the alluring undertow of siren vocals and anthemic growls. The band have produced their most damaging track yet, and as a commentary on the impossible expectations placed on women, it is a statement piece that the band are far from reaching their heights. Words: Amber Brooks Milange - Front Row MILANGE are experimental to their core - they ask the question ‘What if you poured flavours of punk, jazz, alt-rock, and more into a blender and watched it spin?’ It’s a wholly unique smoothie that sticks out from the crowd in Glasgow’s impressive music scene. They have a reputation for their live shows, with tracks like Front Row existing only in the setlists of their gigs - until now. An electric riff leads us into a rolling drumbeat, and HONEY’s enticing vocals bring us to a killer chorus; “Take it from the top, and dance until you drop!”, a line that commands us to groove along with it, following every instruction the singer gives. This is a ridiculously catchy tune, and with their upcoming EP Till You Drop (titled from this very track!) on November 29th, we can expect much more of this unorthodox yet ferocious energy. Words: Naomi Colliar Duff New Found Glory - Treat Yourself NEW FOUND GLORY are back with another offering from their upcoming album Listen Up, with Treat Yourself. The track is one to remind us to stop being so hard on ourselves, especially when things are tough. It’s got quite a fast pace with some killer riffs which we’ve come to know New Found Glory for. For the third track, it’s a great serving of a message a lot of us need. It's great to have them back after a six year break with a fresh new full length. Words: Kayleigh Hadley Pale Waves - Zombie After a long time playing this track at live shows and receiving overwhelming support, PALE WAVES have officially released a cover of Zombie by THE CRANBERRIES. HEATHER perfectly encapsulates the raw passion and emotion of the original track, her vocals flips flawless and her tone gentle yet angry. They released the cover as an homage to DOLORES O'RIODAN as they state THE CRANBERRIES had a heavy influence on their approach to their own song writing. After performing their cover at Reading Festival it was televised by the BBC and racked up thousands of views so it's clear to see why the band pushed for an official release. The cover is captivating and a beautiful gift, speaking to the times of the current political climate along the way. Words: Amy Smyth Sunday Best - Margins London post-hardcore darlings, SUNDAY BEST dazzle with the new track Margins. Trilling with cascading riffs and no room for compromise, this new addition to their debut Death & Divinity Mixtape gives space to the queer and POC voices who feel underrepresented in the alternative music scene. Opting for a slower emo-infused sound that spills into an almost LOATHE-esque pre-chorus, the defining moment of the song comes with the fatal lines: “I exist in the margins / until you cross me out.” In their own words: “This is more than just another song for us. It’s a call from SUNDAY BEST to all the members of marginalised communities to be proud of who they are in the face of overwhelming opposition.” Words: Amber Brooks Shadowvale - Bloodbound Bloodbound is the first release from SHADOWVALE’S upcoming album due in early 2026. Opening with their signature heavy, sludginess and dark riffs, this new single however, has a much rawer feel than previous releases like Midas. Managing to push back and forth through the varied tempo changes seamlessly, the band's sounding super tight! The far ranging vocal talent of LARA KELLY runs through the track, veining it with her hostile and threatening gravel, scuffing up our ears, just how we like it. The band have promised some surprises on the new album, alongside their more familiar sounds, heard on Bloodbound, blending high energy, aggressiveness with their dark sludgey grooves. SHADOWVALE have been bestowed many a genre label from across the metal spectrum, which leaves us intrigued on what else they might have inline for us! Words: Alana Madden Editor: Naomi Colliar Duff Photos: Various Artists

Newcastle hardcore showed out for Higher Power in an evening filled with punchy performances and controlled chaos. From the inaugural set of geordie quintet Dissent to the learned stage presence of Higher Power the energy seeped through the walls of The Grove. The evening opened with Dissent, a by-the-book hardcore outfit native to Newcastle who had no trouble inspiring violence in The Grove; the spin kicks had pints spilled within minutes while the windmills and cartwheels were so large most of the room's capacity made room for them. Surprise to The Grove when their frontman admitted that this was their first ever live set - armed with 4 songs and a commanding stage presence they warmed the room up with ease and reeked of potential. The follow up was Test of Patience, a Glaswegian outfit happy to use the 4 hour drive across the border to convince The Grove to get closer to the stage. Their brand of hardcore was deep and swinging groves with some hard rock melodies mixed in that lended itself to a dance two step as well as a kicking one. Most captivating though was their frontwoman: her vocals were a cut above with a gravelly undertone to her deep scream, while her presence was cheeky and active be it crouching on the stage or the touch of doing a cover and letting The Grove grab the mic and join in. Test of Patience stood out from the Higher Power supports, proving their frontwoman’s points of starting a band with your friends and the fruits of it. Set number three belonged to Existence, coming all the way from Sweden to the now full Grove and hitting some more military feeling metal; not personally a favourite but definitely a fan favourite as the windmills started turning. A sweet quirk of Existence was one of their guitarists playing like he was in a pop punk band, spinning with his guitar and jumping on beat as if he was desperate to leave his town. Despite this, their presence was minimal, sticking to the music apart from thanking the other bands performing and, of course, free Palestine. Higher Power’s forty minute set was balanced between the pensive hardcore of their earlier projects and the hardcore emo that makes up their newest album There’s Love In This World If You Want It. The newer tracks came more in the beginning - with the caveat from frontman Jimmy Wizard that they appreciate that everyone loves the oldies - but the pensive melodies carried through the room to gentle headbangs and dancing couples as the notes of ‘All the Range’ lifted through the walls. The majority of the evening was spent in the pensive hardcore mentioned before; the 6 calls to “fill this space” halfway met by the filling of the pit when ‘Shedding Skin’ and ‘Young Escapade’, but mainly not adhered to to make sure there was space for them. As for Higher Power they brought their own energy with ‘Shedding Skin’ having bassist Ethan Wilkinson shaking what mother gave him to the line of gig goes before him while ‘Low Season’ saw the crowd pool in front of Wizard to sing along into the microphone. Their crowd work was silly, including an odd bit about intentionally putting your shirt in your jeans pocket and asking the crowd to get silly before explaining that the next track (‘Better’) was about struggling with addiction. For his final yap Wizard mused about being a band for 10 years, asking the crowd if anyone happened to be under 10 (they weren’t) before closing with Absolute Bloom; a breath out for The Grove before heading home at a reasonable 10:15 for a weekday. Higher Power Newcastle was a love letter to the North East hardcore scene and a beautiful example of the scene when it works: local independent venues hosting independent promotion giving local talent the opportunity to play among the seasoned who have turned the genre into their careers. The crowd was energised and welcoming, moshers who fell were picked up, and the warmth felt once the show was over was enough to ignore the sticky cider that stretched up to the armpit. Words: Julia Brunton

BEN QUAD’s music can be defined as a warm embrace of nostalgia. Their upcoming album evokes the joy of cycling through hit music stations and finding that special band that really resonates with you. Wisher, BEN QUAD’s upcoming album, pushes their midwest emo boundaries by introducing elements of pop, driving the band out of their typical sound, and perhaps expanding the comfort zone of their fans. Wisher is the band's second full-length release after their debut album I’m Scared That’s All in 2022, and they'll be embarking on a double set of tours with first KOYO and then ARM'S LENGTH in support of the release. The album reveals itself as if it was written as a complex heartfelt love letter to someone of deep importance. The opening track What Fer? sets the tone for the album. It opens with gentle acoustic guitar and finishes with a flawlessly executed guitar solo, which can be interpreted as the growth of desperation to understand a relationship, matching the lyrical pleas for communication. Did You Decide to Skip Arts and Crafts? is, at its core, pure warped tour sentimentality. It channels the emo energy of the greats of the genre, (A DAY TO REMEMBER, TAKING BACK SUNDAY, AMERICAN FOOTBALL, to list a few) taking listeners straight back to the early 2000s, but with a modern, refined twist. Within can be found a version of this older emo guitar playing and drumming, but under the new influences of modern technology and high standards of production, in order to construct a carefully thought out piece of music to cater to both new and old generations of emo fans. Released on November third, the single Very Big In Sheboygan reveals personal perceptions of intense yearning and desire. The lyrics read as a beautiful ode to struggles of distance with truthful statements like “now I'm finally coming home” and “When you’re not around I feel like someone else”. The instruments perfectly complement the meaningful optimism of the lyrics, setting a hopeful tone with intricate guitar riffs and uplifting drumming. Following Very Big In Sheboygan, the track All Your Luck continues this romantic journey of the band indulging in more mellow melodies. In contrast to the previous song, it displays the thrill of a long awaited reunion, demonstrating this commitment to a partner. Delving deeper tells us about the feeling of having someone you consider to be a perfect partner, and the desperation of allowing your partner to see their worth, despite the listener knowing it all along. Hopefully, it inspires listeners to understand that they “deserve better” and that they are adored by someone, if not by themselves. Wisher’s tracks flow seamlessly into one another, subconsciously weaving a story of needing someone, being with them, and later getting over them. The final track I Hate Cursive and I Hate All Of You is overflowing with the heartache of losing someone. Instrumentally, this is represented quite overtly by the song being one of the more aggressive tracks on the release, showing the anger felt in the moment. The song feels raw, authentic, and abrasive, making the song connect very powerfully. It's laced with emotion, and showcases the band's ability to engage in a variety of techniques, which make this song an absolute standout. The band has a clear direction on this album and are consistently evolving their sound. It's refreshing to see an emo band provide positive songs on love and loss in a genre that is oversaturated with sad, cautionary tales, although that isn’t to say fans wouldn’t appreciate hearing more vulnerable mournful music (like their past album) in the future. Make sure to follow BEN QUAD’s musical journey to see their expansion in talent and sound as it is clear they have a promising future. Score: 8/10 Wisher will be released on November 14th via Pure Noise Records. Words: Alix England Photos: Ben Quad

With eight albums already under their belt, the Southern California quartet OF MICE & MEN show no sign of slowing down, with album nine Another Miracle out this week. These guys have a legacy to uphold, with their self-titled debut reaching the grand old age of 15 years old and still being hailed as one of the great albums of the metalcore generation. Their career has been pretty steady since then - the soon-to-be nine full length albums as a band speaks for itself - alongside multiple tours with iconic bands such as SLIPKNOT and LINKIN PARK. Another Miracle is completely self-made, with the album being mixed and mastered by the band’s own AARON PAULEY. For a lot of artists, being entirely in control of every step of the journey is the dream, and we can see here that the band have chosen their own vision and artistry over asking some sought-after producer to come in and take the reins. Lyrically, Another Miracle is an exploration of loneliness, of depression and anxiety that a lot of listeners will relate to in some capacity, and feels like a development of plenty of their previous work. To likely no one’s surprise, the first track of Another Miracle - titled Waltz - is, in fact, a waltz. Not many metalcore songs are written like this, but with punchy drums, a euphoric sound and in parts a musical theatre-esque drama and expressiveness, it is certainly memorable. The repeated lyrics of “A waltz for the withering, A dance for the damned, A psalm for the suffering, A jubilee of despair.” give an element of foreshadowing as the album begins. The second track Troubled Water is not the cover you may have expected from the title, but does include lyrics that refer back to the iconic SIMON AND GARFUNKEL hit, with “Over troubled water, I won't lay me down“ harking back to a true heavyweight of popular music. Lyrically, this is one of the more personal tracks, with impressive vocals to match. Safe Water contrasts this and is more hopeful, possessing a nostalgic early 2010s feel to it, while Hourglass feels like nothing more or less than a textbook track for both the band and the genre. Wake Up is slower and less exciting than the songs that precede it - whilst it does feel reminiscent of Deftones, it doesn’t have enough power behind it to hit as hard as its potential inspiration. Despite this, the lyrics are very encouraging and offer an optimistic outlook for the future. What follows it is Flowers, and although the electronic part is an interesting and welcome addition, it’s not enough. Something feels missing, although it does pick up partway through. However, title track Another Miracle is heavy, anthemic, and compelling. Losing the sluggishness of the songs before, it sounds like it was born to play live, and it almost begs for an audience. Now that we're beyond the slower songs, things start to gain more momentum again with tracks such as Contact, Parable, and Somewhere In Between, which are all both catchy and commanding. Parable is the strongest of the three, whilst the latter has a real old school metalcore charm to it. Penultimate track Swallow’s breakdown is a highlight, showcasing ascendent vocals and crashing drums by VALENTINO ARTEAGA. The supposed big finale Infinite is more of the same - it has some standout moments, but nothing too daring that would otherwise push it above the parapet. All in all, these tracks will resonate and bring comfort to longtime listeners and those invested in their career. There’s a solid body of work here that puts the band in a vulnerable state, and demonstrates a great sense of artistry and drive to produce the album themselves. Whilst there are some notable segments, there’s nothing too flashy and musically this LP does feel very safe. The main take away from this experience - rather than considering the lack of evolution the band have taken - should be to take on the lyrics and keep going, power on, and use art as a creative outlet when things get tough. Score: 7/10 Another Miracle will be released on the 14th November 2025 via Century Media Records. Words: Danielle Henderson Photos: Of Mice & Men

London’s FALSE REALITY are not a band interested in half-measures. Since their formation in 2023, they’ve become one of the city’s most explosive live forces. Their upcoming debut album, Faded Intentions, is a record that finds clarity through chaos, shaped by years of immersion in the scene and unafraid to rip up its rulebook. Pulling together threads of every corner of the alternative ecosystem, from beatdown and thrash, to grunge and even shoegaze, hardcore rarely feels this cinematic. Speaking of cinema, the album opens not with intense vocals or instrumentals, but with a century-old voice. Taylor Holmes’ 1915 reading of Rudyard Kipling’s ‘Boots’, the same version used in trailers for ‘28 Years Later’, rattles through distortion like a ghostly transmission. It’s a clever move: part homage, part horror, part warning. Then, before you’ve quite adjusted, a scream tears through - “FALSE REALITY’s back!” - and the record detonates. From there, Frozen sets the tone for the record’s balance between precision and atmosphere. Its serrated riffs hit with the speed and tightness of early thrash, but underneath sits a hazy melodic pull that hints at those shoegaze and grunge influences the band weave through the chaos. Vocalist RACHEL RIGBY’s performance is commanding and venomous, yet somehow measured, her delivery twisting from barked syllables to full-bodied roars that never lose clarity. The record’s midsection digs into its darker, more disorienting terrain. Reality Slips, arriving as the fifth track, plays like a turning point. Its driving rhythm and dissociative chorus capture that push and pull between control and collapse. RIGBY’s voice cuts through the mix with both power and precision, her phrasing slipping between exhaustion, accusation, and something close to despair. The track is heavy but hypnotic, as if the ground is giving way beneath it. Then, Sonder changes the temperature completely. Drenched in distortion and reverb, it turns shoegaze textures into something meditative and eerie - proof that FALSE REALITY can stretch their sound without losing focus. When Out Of Time hits, the band reassert their aggression. Guitarist DAVE CONNOLLY channels the ferocity of early METALLICA and SLAYER, but keeps it contemporary with clean, dynamic transitions. The rhythm section, delivered by JOE CORNWELL and LOUIS DALE, gives the record its propulsion; they know exactly when to leave space and when to pile on, and this track showcases that beautifully. By Worth It, RIGBY is at her most emotionally exposed. “I’ve watched you burn a thousand times in my head, I’ve prayed for your downfall, prayed for the end,” she screams, the line sounding both like a confession and exorcism. Faded Intentions closes its final act with two of its most potent statements. Cost Of Spite hits near the end of the tracklist, and it’s one of the album’s fiercest moments. The crushing breakdown and spat lyrics aren’t just aggression, they’re defiance written from frustration with how effort and identity are still too often judged through gender, race, or sexuality. Then, the last track, Every Gaze, pushes that rage inwards again, landing somewhere closer to revelation than release. By these closing moments, Faded Intentions has revealed itself as more than just a debut. It’s a statement of identity from a band that knows exactly where they come from and where they plan to go, with each track feeling like a different response to disillusionment. Taking us through anger, grief, defiance, and numbness, we see an undeniable emotional intelligence beneath the noise, and the recognition that catharsis doesn’t mean closure. RIGBY’s vocals are the album’s beating heart. She doesn’t just front the songs, she inhabits them. Her delivery swings from snarled lines that border on spoken word to guttural howls that sound physically ripped from her throat. There’s real technique in her control, but what makes her performance so powerful is how unfiltered it feels. In a scene that’s still largely male-dominated, her presence hits with extra weight. Hardcore has always been about community yet it still struggles with inclusivity, and RIGBY’s voice cuts straight through that contradiction, reshaping what strength sounds like. There’s a sharp self-awareness to everything FALSE REALITY do. The lyrics circle around betrayal, disillusionment, and transformation, but the record’s real subject is perception itself: what’s real, what’s constructed, what happens when the line between the two disappears. The band’s imagery plays with those same ideas: the blue screen album art, the layered textures, even the name FALSE REALITY. It all works toward a single point of tension - how do you hold onto authenticity when the world keeps distorting the picture? It’s tempting to call this record a reinvention of hardcore, but in all honesty that undersells what it achieves. Faded Intentions feels more like an expansion of sound, of perspective, of who gets to hold the microphone. FALSE REALITY have delivered a record that doesn’t just speak to the present moment but redefines it, transforming personal fury into something collective and unmistakably alive. Score: 9/10 Faded Intentions will be released on November 14th 2025 via Hassle Records. Words: Zuzanna Pazola Photos: Rachell Smith