For anyone still reeling from the aftermath of CODE ORANGE's now-legendary Download Festival set and their shocking subsequent announcement of an indefinite hiatus, the emergence of NOWHERE2RUN feels less like a footnote or epitaph for that band and more like a natural mutation of the sonic evolution first present in 2020's Underneath. Born as CODE ORANGE’s in-house visual collective - the team responsible for the band’s dystopian livestreams, warped media experiments, and razor-edged aesthetic - NOWHERE2RUN always operated on the sideline, shaping the world that surrounded the music. With their new EP, What Did You Do?, that creative energy has found a new vessel. It’s a project that doesn’t just pick up the pieces but reconfigures them, fusing the digital paranoia and industrial abrasion that defined late-era CODE ORANGE with a new sense of direction and autonomy. It's something solely unique, yet instantly recognisable to fans of the band. At its core, NOWHERE2RUN is the brainchild of JAMI MORGAN and ERIC "SHADE" BALDEROSE the creative pairing that drove CODE ORANGE's evolution from hardcore insurgents to industrial shapeshifters. What Did You Do? takes the experimental instincts that pulsed through Underneath and The Above and locks in on them completely. Every idea that once lurked in the margins of those records - the metallic crunch and the feverish digital noise - is now front and centre, pushed to grotesque, exhilarating extremes. The result is something drenched in sweat and static, pulsating like a club set in a collapsing server room. It feels ripped straight from Blade’s blood-soaked dance floor - fitting, given their recent BLOODRAVE events that have turned their live shows into something between performance art and ritual, and attracting masses of newly devoted fans. The guest list on What Did You Do? is as stacked as you might expect. New Jersey punk-rap duo HO99O9, Zambian-Canadian Polaris Prize winner BACKXWASH, and avant-pop producer LECX STACY all make appearances, each adding their own strain of volatility and experimentation to the already vibrant mix. These collaborators don’t just decorate the record - they amplify its intent. Each addition brings a different language of abrasion and intensity, aligning perfectly with JAMI and SHADE's clear new vision of hybrid extremity. Together, they push NOWHERE2RUN beyond the confines of any single genre, turning the EP into a melting pot point where hardcore, industrial, rap, and electronic fury all fold into one feverish bloodstream. Making this release so incredibly hard to pin down, yet ever more intriguing and a joy to listen to. Unsurprisingly, it’s the guest features that hit the hardest on this record. HO99O9 and BACKXWASH feel completely at home in NOWHERE2RUN’s world of serrated electronics and body-moving chaos. Their contributions to What Did You Do? don’t just complement the sound; they sharpen it. Somehow they elevate the duo's sound to untold new heights. Both artists have carved out distinct paths in the heavy music underground with their genre-blending releases, and these collaborations feel less like crossover moments and more like natural convergences. The standout, Little Prince (ft. Ho99o9, Kamiyada+), injects a surge of energy whilst slowing the tempo down ever so slightly, creating a tense, swaggering moment of release on an otherwise relentless record. It’s a perfect balance of control and chaos. What Did You Do? ultimately feels like both a rupture and a rebirth for JAMI and SHADE's musical creativity. It's a statement of intent across 6 tracks from two artists refusing to stagnate or remain quiet in the aftermath of their past work. Where CODE ORANGE once blurred the boundaries between hardcore, industrial, and performance art, NOWHERE2RUN tears those boundaries down completely. It’s visceral, deliberate, and unapologetically confident. A project born from the same creative restlessness that made CODE ORANGE so compelling, but now free from the weight of expectation and the confines of any one genre. If this EP is any indication, JAMI and SHADE haven’t just moved on; they’ve built the next stage of the machine. As much as we will miss CODE ORANGE, NOWHERE2RUN is a welcome new project from two of heavy music's most boundary-pushing artists. Score: 7/10 What Did You Do? was released on 31st October 2025 via Nowhere Recordings. Words: Andrew Nile Photos: NOWHERE2RUN

Even though the German band UNPROCESSED have made many laps around the sun, this might only be the beginning. From selling out headline dates across Europe and North America to supporting world-class acts such as POLYPHIA, IN FLAMES, and SPIRITBOX, the four-piece seem to have gathered up even more energy and fresh driving force. Their new album Angel continues to expand the already diverse array of styles and musical techniques, taking the mastery and excellence to a completely different level. UNPROCESSED is truly for everyone: metalcore first and foremost, they bring in influences from progressive rock, math rock, hip-hop, electronic dance - and what else their hearts desire - blending it all in a way that makes perfect sense once you hear it. The theme of Angel aims to explore all the various meanings of the word. For one, this concept is typically used to portray a real person as divine and heavenly by idealising them. On the other hand, it could also tell a story of an angel expelled and cast out from Heaven, with devilish and demonic images from songs like Solara playing into the contrast. The musical composition of the album reflects this as well, where many angelic serenades are constantly interrupted by heavy breakdowns - turning into such polyphony of sounds that could only be described by the image of a multi-eyed ‘biblically accurate angel’ if you ever see one. Just going into the album, we already get blown away with 10-metre high tsunami waves of guitars that perfectly set the tone for the next 50 minutes. MANUEL GARDNER FERNANDES has been playing the instrument since the age of three, and his advancements in songwriting have definitely not gone in vain. But what might be even more striking is his vocal range - the instant switch between the demonic and angelic voices and back again would leave the listener wondering whether it is only one person behind it all. Sacrifice Me and Snowlover are both prime examples of the above with some of the catchiest melodies, because UNPROCESSED did not forget that even a metalcore listener needs something to sing along to. One of the biggest hits on Angel would certainly be Solara, featuring a strong appearance from ZELLI of PALEFACE SWISS. For the singer, this track was an exploration outside of his usual deathcore comfort zone, and it turned out to be a successful one. It is what you would subconsciously expect every time you see or hear any collaborative work - not only for the initial composition to be outstanding, but more so for the invited artist to elevate it even further by bringing their own unique perspective and talent. UNPROCESSED have also experimented on Solara musically by introducing drum and bass instrumentals into the mix for the first time, blending it perfectly in their original style. Another remarkable addition to the album is Beyond Heaven’s Gate, which the band released as the final single earlier this month. Here, the signature guitar virtuosity slightly diverges from its tech-infused sound and almost goes into midwest emo territory. This lets the song develop a melancholic but dreamy atmosphere - a perfect soundtrack if you struggle finding music to accompany a rare occurrence of sunny weather. The lyrics follow in a similar vein, exploring the theme of afterlife and eternity, with bittersweet undertones of both worry and solace those reflections may bring. Away from the singles, the deep cuts on Angel might be worth even more precise attention. Where I Left My Soul would cater to any BAD OMENS fan who likes to soak up raw, gut-wrenching lyrics paired with the most intricate vocal performance. It is certainly one of the highs of the album, although you might accidentally come out the other side feeling the lowest. Other songs like Your Dress and Perfume share a similar lingering feeling, invoking a multitude of emotions that add a lot of depth to the album. One thing is clear, all of these tracks simply beg to be featured in a post-apocalyptic movie finale. Last to mention, but absolutely not the least remarkable track would be Head in the Clouds, featuring JASON AALON BUTLER of FEVER 333. Rest assured, it is one of the musicians whose involvement in anything would almost always be transformative to the project. The instrumental of the song reflects both worlds; the more hip-hop side of FEVER 333 layered on top of the signature UNPROCESSED sound. Although this makes the energy of Head in the Clouds feel slightly out of place as regards to the continuity of Angel, it is nevertheless a wonderful standalone work to be put on repeat. The word ‘unprocessed’ could very well describe the raw and fresh quality of music that the band release, that they write it from the heart, without letting the outside world interfere. ‘Unprocessed’ could also be the feelings and emotions expressed in their work, which is arguably the best place to create art from. Overall, Angel falls in line with both of these points, its extraterrestrial nature ready to captivate more and more listeners. It also brings UNPROCESSED even closer to being the next generation of metalcore legends, on the cusp of a breakthrough. Score: 9/10 Angel was released on 31st October 2025. Words: Mariia Bulkina Photos: Unprocessed

Often compared to HOLDING ABSENCE, CASKETS and UNDEROATH, with their atmospheric melodies, heavy breakdowns, and experimental sounds, the UK’s most emotionally resonant post-hardcore band LASTELLE are heading upwards fast. Best known for their cinematic soundscapes and raw lyrical depth, the band has been captivating audiences across the country on their Exist UK Tour, which took them to Exeter, Glasgow Sheffield and more. We’re diving into the heart of their live performances, creative process, and what lies ahead in our chat with guitarist, JONJO WILLIAMS. As the band prepared for the tour, crafting the perfect setlist became both a creative challenge and a strategic decision. With the recent release of Exist Vol. II, it was clear that the new material needed to take centre stage. “We knew we had to lean into the Exist stuff,” JONJO explained. “Especially with the track Exist just dropping, it made sense to open the set with that. It felt like the right way to introduce the show.” But this wasn’t just about showcasing the latest songs. As a headline tour, it was also a chance to honour the band’s journey and long time fans. “We wanted to keep in some of the older deep cuts,” he said. “It was about building a set that spanned everything we’ve done so far.” Pacing was just as important as song selection; “You don’t want to blow through all the fast stuff at the start and be left with only slow songs at the end, or the other way around. It’s about weaving a bit of a narrative into the set, making it feel like a journey.” This tour marked their first headline run of this scale, and while it came with its own set of challenges, it was a challenge they embraced wholeheartedly. Opening each night with Exist was a bold move and a bit of a gamble. “It’s a slow build song, so you really want the end to hit like it’s meant to,” JONJO admitted. “I was nervous. You never really know how a song’s going to land live until you’re up there playing it. But it worked and the end kicked off the energy just like we hoped.” As the tour unfolded, the band was struck by the transformation in their audience; “It was our first headline run in about four years,” he reflected, “Back then, we felt like this tiny band just trying to get people to notice us. This time, it felt like people were actually coming to see us. That shift was massive.” The difference was noticeable in every city, JONJO told us, “It felt like we’d crossed the threshold from trying to get people to find out who we are, to playing for people who already knew and cared. That was a first for us, and it was honestly amazing.” Among the standout moments, the London show naturally took the spotlight. “That show was wild as it was our biggest headline show ever. The crowd was just electric.” But it wasn’t just the big venues that left an impression. “Glasgow was this tiny room, maybe a third the size of London, but the energy was just as intense. People were singing along, loud as ever. It felt just as special.” Reflecting on the tour, there was a sense of gratitude and awe. “This year’s been a real turning point. We’re aware of the new platform we’re on now. It’s something we hadn’t reached before and we’re so grateful for it.” One of the most unexpected highlights of the Exist UK Tour came from a track the band hadn’t anticipated would resonate so powerfully: Bitter Seeds. Known for their emotionally introspective sound, this heavier, more aggressive song stood out as a crowd igniter. “It’s definitely one of our angrier tracks,” JONJO shared. “We’ve always leaned into sorrowful or reflective tones, so we weren’t sure how Bitter Seeds would land live.” The song’s ambient middle section sparked an overwhelming response and it soared. “We had way more people singing along than we expected,” he said, still sounding surprised. “It’s one of our favourite songs to play live because it’s so energetic, and seeing the crowd react like that, just singing out loud, moving with the music, it was incredible. It felt like the room really came alive.” The tour itself was a milestone with it being the band’s first proper headline run. “We’ve spent the last three years opening for other acts, trying to get our name out there,” he explained. “This tour felt like we were finally collecting the fruits of that labour.” Stepping into the headliner role came with its own lessons. “You get to the venue earlier, you leave later, and there’s a lot more to juggle in between,” he said. “We made a conscious effort to support the other bands on the bill, many of them are friends or people we’ve met in the scene - but you’re also trying to find time to eat, rest, and stay on top of everything.” Despite the packed schedule, the band carved out moments of fun. “Before the Sheffield gig, we went on a cave tour with BLIGHT TOWN, who were touring with us. It was great fun and a nice break from the routine.” With the release of Exist Volume II, the band feels they’ve reached a new level of visibility. “We’ve definitely got more eyes on us now,” he said. “It’s been a slow, consistent journey - not an overnight explosion - but I think that’s made us appreciate every step.” Looking ahead to 2026, the band is focused on continuing to build that momentum. “We’ve got some exciting plans that haven’t been announced yet, but they’ll hopefully push us to that next level,” he teased. “The Exist cycle has helped us connect with new listeners, and now we want to bring the music to places where those people can see us live.” One of those places is London, where they’ll perform Exist Volume I and Volume II in full at the Fighting Cocks, an intimate venue with a capacity of 150. “It’s going to be a beautiful way to round off these two releases,” he said. “A celebration of everything we’ve built so far.” When asked who’s been dominating his playlists lately, JONJO lights up with enthusiasm. “BLIGHT TOWN have been in constant rotation for me,” he says. “We toured with them recently, and they were just fantastic every night. I discovered them earlier this year when we were announced on the same bill for a show. I checked them out, and was immediately hooked. They’re brilliant live, and it’s been great having their music around during the tour.” He’s also been spinning the debut album from LONESOME, another band rooted in the UK scene. “They’re friends of ours, and I’d say they’ve got a sound that’s kind of like ours but expansive and mellowed out. It’s a wicked album.” Another standout is ALL EARS AVOW, a Swindon-based band whose lead singer CLAIRE runs a studio the band has rehearsed in. “We actually filmed our live performance video for Silence at her studio,” he recalls. “They’ve just released their debut album Horrors too, and it’s really good.” As for bigger names, one recent experience stands out above the rest. “I saw SIGUR RÓS at the Royal Albert Hall in London,” he says, still in awe. “They’re one of my all-time favourite bands. That show was a bucket list moment; full orchestra, the organ, the atmosphere, it was the most immense sound I’ve ever heard. A lot of our ambient, atmospheric influences come from them.” LASTELLE have spent the years since their inception building a dedicated fan base and with the plans ahead for the next year, they show no sign of slowing down. With the recent release of Exist Vol. II and the end of their headline tour, they are sure to be inspired and ready to see what comes next, and we're very excited to follow that journey. Words: Lou Viner-Flood Photos: Lastelle, Ashlea Bea

Since bursting into the UK alt-rock scene in 2021 with their debut EP ‘These Days Mixtape’, Leicester based trio Mouth Culture have made an immediate and unforgettable impact, blending the raw catharsis of angsty rock with the restless energy of pop punk. Since then they’ve kept themselves firmly planted in the scene, having even joined You Me At Six on their farewell tour. With no shortage of top-tier explosive material, the high voltage new kids on the block have made it known loud and clear that they are the ones to watch, showcasing knockout performances at 2000trees, Download, and Truck Festival last year. Now, armed with three acclaimed EPs under their belt, and a trio of hot off the press singles (‘Ratbag’, ‘Regret 101’, and ‘Picking Wings Off A Butterfly’), Leicester’s latest and loudest exports are about to kick off the opening night of their first UK headline tour. Joined by Heart Sauce, another one of Leicester’s up and comers, and Leeds’ answer to contemporary midwest emo Beauty School, this new chapter begins at Bristol’s very own show boat Thekla. Heart Sauce, the self described “piss-pop” band, opened the night seamlessly. With fans arriving out of the cold by the bucketload, vocalist Ellis soothed chilly bodies to the tune of velvety smooth vocals, accompanied by dreamy disco inspired guitars, groovy basslines, and bouncy rhythms. Wasting no time getting the crowd warmed up both metaphorically and literally with their spirited and witty stage presence, they dived headfirst into their setlist for the evening. Featuring songs from their 2024 EP ‘Fools of Life’, their smash single ‘It’ll Probably Be Fine’, and an all new untitled song informally dubbed on the setlist as “Song in G”, they provided nothing short of a stellar start to the night. Beauty School were the next act to grace the stage of the boat. In their first live appearance since July, the Leeds rock six-piece launched into their set with the adrenaline-fuelled tune ‘Day of Iva’ from their recently released heartfelt sophomore album ‘From Now On’. It didn’t take long for the Beauty School fans in attendance to make themselves heard, their voices infused with passion and excitement as they chanted along word for word. Declaring the attendees as their “guinea pigs”, the band mercilessly ripped their way through a setlist filled with all new material from their latest album, evoking the fans to up the ante on the energy levels. After wrapping up a standout performance of the cathartic ‘Old Rotten Teeth’, during which one fan in particular made his way through the crowd to the front of the stage on a mission to hand vocalist Joe Cabrera his phone to take a video from his stage perspective, the lads took a humbled and emotional moment to express their gratitude to the audience. Standing on the edge of the stage, Cabrera spoke directly to the crowd saying “this is your night, and we wouldn’t be able to do this without any of you, so enjoy it and get what you want out of it”. Pits began to swarm as they ended their set on a high with fan favourite ‘Pawn Shop Jewels’. We absolutely cannot wait to see what Beauty School do next, with hopes for a headline tour of their own on the horizon. The air was electric as the lights dimmed, with anticipation pulsing through the veins of the crowd as Mouth Culture were just moments away from kicking off their first UK headline tour set. The band crashed onto the stage to the sound of the Jaws theme and iconic quote from the film “we’re gonna need a bigger boat” which served not only as a clever nod to the venue, but also as a signal of meteoric set opener ‘Sharkbait’ from their sophomore EP ‘Mishaps Of My Mid Twenties’. Intensity levels stayed high as they danced through ‘Dead In Love’ and ‘Little Wednesday’, finishing the three-song showcase of anthems from 2024 EP ‘Whatever the Weather’ with ‘Happier’. Showing no signs of slowing down, they catapulted into the live debut of ‘Picking Wings Off A Butterfly’, sending fans into a frenzy of excitement being the first to hear it performed live. Murmurs and whispers of speculation flowed through the crowd as the band teased the intro of a song they “haven’t been able to play live for a very long time”, and as they launched into ‘Paradise’ the fans' speculations were confirmed with screams and cheers. If the energy levels weren’t already enough to rock the boat, they certainly were during fan favourite ‘Don’t Pull Up’. Fans appeared up on the shoulders of one another, as the crowd opened up and the pits charged through the room. After gracing the lucky fans with the second live debut of the night in the form of unreleased track ‘On and On’, the band exited the stage to the sound of explosive angst anthem ‘Cherry Red Rage’. Naturally returning for an encore, they ended the night on an electrifying note with all star performances of ‘No Shame’ and ‘Ratbag’. Words and Photos: Sarah Henry

CREEPER have done it all; they’ve taken us through stories of shady disappearances and immortal gangs, of fallen angels and prophecies, and hungry, horny vampires in the night. But one thing they’ve never done is a sequel - on Halloween night, that changes. Sanguivore II: Mistress of Death may not be a direct follow-up as the name suggests, but as a spiritual sequel, the themes that permeated Sanguivore course rapidly through the dead veins of this record’s body. Here, the band set out not to reimagine themselves again, but to dive further into the extravagant theatrics that the first record established - and they do so remarkably. A darkwave-infused synth beat brings us into the beginnings of this story, with haunting strings courtesy of the City of Prague Philharmonic Orchestra to follow. CREEPER have always worn their influences on their sleeves, from their early AFI-esque sound to Sanguivore's epic rock ballads in the manner of JIM STEINMAN - here, the roots of the latter stand strong as opening track A Shadow Stirs leads with a spoken-word intro from goth legend PATRICIA MORRISON. It’s a thin tightrope, paying homage to your musical inspirations without sounding derivative, but the band walk it with finesse. Following the grand, cinematic intro is title track Mistress of Death. It's easy to picture Sanguivore II through the lens of film - it’s absolutely dripping with eighties horror nostalgia. If this record was a movie, this would be the backing to the classic training montage scene. We can picture it already: the titular huntress arming up a crossbow, sharpening her axe, pumping iron and staring daggers at mugshots of our vampiric band. This fully sets the scene for what we can expect from this record - it may be a cheesy, direct-to-video sequel, but sometimes that’s the perfect way to spend your night. The next three-track selection takes us through prior-released singles. Blood Magick (It’s a Ritual) asks the question: what if BELINDA CARLISLE had discovered that in fact, it was hell that was a place on earth? It’s a ridiculously catchy, goth-rock tune that we’ve been humming to ourselves since its release months ago. Headstones follows, the single that kickstarted this all - for good reason. It’s a huge standout on this record, with electric axe riffs taking the forefront - IAN MILES and LAWRIE PATTISON are locked in a fiery duel, and JAKE FOGARTY’s relentless drumbeat is an ever-present antagonist. This is the band’s essence dialled up to eleven. Prey for the Night capitalises on that, with its soaring, glam-rock chorus and WILLIAM VON GHOULD’s Dracula-incarnate vocals. A killer saxophone section soon kicks in, sounding like it’s been ripped from the Lost Boys. Daydreaming in the Dark, despite the album’s dark subject matter, opts for a glittery approach, with a softer, lighter overall sound that doesn’t do much to stand out. Parasite is its opposite, a classic rock anthem that’s built on a chanting chorus designed for arena-level crowds. Grimy riffage introduces a BON JOVI, It’s My Life-type sound, and VON GHOULD turns up the camp with his refrain of “suck, suck, suck!” It’s incredibly on-the-nose, entirely unsubtle - it’s incredibly fitting for an album like this. Razor Wire follows with another cinematic approach; a crowd cheers as our eponymous antagonist makes a grand appearance - HANNAH GREENWOOD is given a chance to shine in her role of vocals as she steps into the role of the Mistress of Death. Prey for the Night experimented with saxophone, but here CREEPER go all the way into a jazzy serenade lead by GREENWOOD’s powerhouse vocals. If there was one critique to be had about Sanguivore II, it would be that she isn’t given nearly enough focus outside of this track. There’s an interesting element introduced with a brief interlude, From the Depths Below - a televised preacher warns about the perils of rock’n’roll, and how satanic powers are at work with the band’s music. These interludes are a common theme in CREEPER’s discography, and usually inform the stories their albums tell - here, the interlude plants the record firmly in the satanic panic era of the eighties, where bands like BLACK SABBATH and IRON MAIDEN had accusations hurled at them and protests in the name of banning their music. Our vampire band take the heat in this instance, though they may be closer to the devil than the real-world examples given. It would’ve been interesting to see the band delve deeper into these themes instead of using them as a backdrop - but perhaps we may still see that explored in a future release. Eagle-eyed CREEPER fans may have noticed another recurring trend in their discography; in every album or EP, one track begins with the word ‘Black.’ We've had Black Heaven, Black Moon, Black Mass, the list goes on; here, it’s The Black House. There’s shades of THE CURE to its instrumental, while the vocals hail back to the original Sanguivore in all their gothy glory. The televangelist soon appears once more, backed by soaring guitars and a rolling drumbeat - it’s as if the band is actively mocking his words, interrupting his vicious sermon with their instruments. The Crimson Bride gives us another standout track, a groovy bassline from SEAN SCOTT carrying the track’s immense weight. The chorus is massive, as it’s been for nearly every other track in this record, but when it fades out, we’re brought into the slow, gentle strums of Pavor Nocturnus. A slow ballad, ruminating on death and mortality, this feels like Sanguivore II’s answer to its predecessor’s More than Death. We’ve seen the words "it's only rock and roll, but tonight it could take your life" plastered all over the band’s marketing and merch, and suddenly as the chorus echoes that line, it all makes sense. GREENWOOD’s work on the keys shines here as the album reaches its crescendo, and distorted guitar riffs soon become the central focus. The track’s title forms the chant of a gospel choir, and PATRICIA MORRISON returns to bookend the album with a not-so-subtle reference to Sanguivore’s opener Further Than Forever. This was a bold venture for CREEPER; Sanguivore found them harnessing an energy unlike anything they had done before, but instead of changing up their sound, opting for a different approach on their following musical endeavour, they doubled down on the theatrical, satanic blood-soaked rock’n’roll. This record doesn’t set out to establish new ground, but to capitalise on what’s come before. Sanguivore II: Mistress of Death holds some of CREEPER’s best work yet, dashing between frenetic axe riffs and towering orchestration, to harmonic vocals and anthemic chants; all elements the band have toyed with before, except here they’re pushed to their limits. Vampires may not age, but CREEPER certainly do, and they do it like a fine, blood-infused wine. Score: 9/10 Words: Naomi Colliar Duff Photos: Harry Steel Sanguivore II: Mistress of Death will be released on 31st October 2025 via Spinefarm Records.

If you haven’t heard of TRIVIUM by now you must be living under a rock - they are an American heavy metal band from Orlando, Florida who are known for blending elements of metalcore, thrash metal, and melodic death metal. TRIVIUM gained major attention with their 2005 album Ascendancy, which featured hits like Pull Harder on the Strings of Your Martyr. Since then, they’ve released several critically acclaimed albums, including Shogun, In Waves, and What the Dead Men Say, earning a reputation for their mix of melody, intensity, and strong musicianship. They remain one of the leading modern metal bands, respected for their energetic live shows and consistent evolution in sound. Even though they have been going for over 20 years, they continue to pull out fresh music which consists of banger after banger. Bury Me with My Screams showcases TRIVIUM's immense talent and willingness to tackle personal struggles, with MATT HEAFY channelling recent hardships into a powerful performance. The track blends the band’s signature thrash energy with a haunting, melodic chorus, while ALEX BENT's precise drumming and dynamic riffs keep the song intense and evolving. Struck Dead (Pain Is Easier to Remember) may carry an emotional title, but the song itself is anything but subdued. It bursts to life with a sudden, powerful impact a dense wall of sound driven by PAOLO GREGOLETTO’s deep, resonant bass and ALEX BENT's relentless, precision drumming. BENT’s double-kick technique adds an earth shaking intensity that defines the track’s energy. It’s a commanding, tightly executed piece and a clear highlight of the EP. The EP concludes with Six Walls Surround Me where TRIVIUM delve deep into their darker sensibilities. It begins delicately, almost classical in tone, providing a moment of calm after the intensity of the earlier tracks. But at over seven minutes long, that calm soon dissolves into a powerful storm of emotion and weight. The result is a track that feels claustrophobic, crushing, yet undeniably cathartic. It reinforces that TRIVIUM aren’t trend-chasers - they face their inner turmoil directly, transforming it into something both brutal and beautiful. This EP captures TRIVIUM at their most powerful and introspective. Each track showcases a different facet of their artistry. Together, they form a cohesive and compelling statement that highlights TRIVIUM's technical mastery, emotional honesty, and unwavering commitment to evolving their sound. It's fantastic to have new music from them; it’s been a long wait since 2021, but it was worth it. Score: 8/10 Struck Dead will be released on 31st October 2025 via Roadrunner Records. Words: Ciara Hicks-Evans Photos: Trivium

There are quite the vast variety of bands who combine alternative music with more EDM-like elements. Most of these bands are metalcore acts who use these electronic sounds to enhance their breakdowns so that they sound more epic or give the songs a general party atmosphere. This is where Swedish band SOLENCE stand out, and on their latest album, ANGELS CALLING, this is more evident than ever before. There are party songs here, a ton of breakdowns and guitar solos proving why on these ten tracks this band is one of the most innovative in the scene right now. ANGELS CALLING kicks off with the title track. A sub three-minute-long song packed with massive melodies and an especially catchy main riff and chorus, which is elevated by the synths courtesy of JOHAN SWÄRD who adds an extra layer of vocal melodies over the guitar riff. The breakdown here is a mix of brutality and melody once again as the synths continue to take over the song with a simple yet memorable melody which will ease your ears before the final chorus returns to wrap the track up. The following track Where Were You..? is just as catchy or perhaps even more so than the opener. The chorus here is introduced at the beginning of the song with just an acoustic guitar accompanying it, before the song builds up towards the monstrous guitar solo, which despite it only being mere seconds long, is fantastic and truly showcases just how good DAVID STRÄÄF is on this record. MESS is where the album takes on a different approach. This track is less electronic and has much more of a bombastic pop-punk attitude. The drums here truly carry everything and almost feel as if they are duelling with the vocals, which is very noticeable in the verses. The synths here get another chance to shine in the spotlight as the instrumental section on MESS is a keys solo which, interestingly, is one of the more extended solo sections on this album. With that being said, the synth solo on this track makes it one of the biggest highlights on ANGELS CALLING. Wish You The Worst is an absolute banger in every aspect. The musicality in the first verse and choruses are all very basic chord progressions and familiar drumbeats. This not only helps the song flow better but adds to the satisfaction of the chorus, which is sung to perfection by frontman MARKUS VIDESÄTER. This time, a guitar solo takes over for most solo section on this track, and it is melodic yet extremely technical without taking away from the simplicity of this track. Where this track does slightly lack however, is the breakdown. The breakdown here still sounds like an incomplete demo as upon listening to it, you can clearly hear breaks of silence between the sections in it. Despite this hiccup, Wish You The Worst is one of the catchiest songs on this record and because of its hook, this song is a must listen. All of the Pain Must Go is the undisputed party song on ANGELS CALLING. Right from the get-go, the synths deliver a punchy yet contagious melody. The chorus will make you jump out of your seat and dance… however you want to of course! The drums are once again simplistic but deliver some fast-paced drum fills. Once again, the keys get a solo which adds to the overall vibe and energy of this song which is the perfect segue into the last chorus which is somehow even more energetic than the previous couple of times the hook made itself known. ANGELS CALLING is an album which solidifies SOLENCE as a true force to be reckoned with when compared to other electronic metalcore bands. This album exudes confidence, passion and is a consistently fun listen. Some of the songs are not as consistently energetic, and there is an interlude which may take away from the overall listening experience, but without the interlude and the following track, this album truly is phenomenal. SOLENCE were introduced to many through their cover of IMAGINE DRAGONS' Warriors. It has been a few years since then, and upon listening to ANGELS CALLING, the vast improvement is completely noticeable. The band sound more focused and passionate as ever before here. You can clearly hear every element on this record, and every member of the band gets a standout moment in what'll be one of the most enjoyable listens you will have this year. Score: 8/10 ANGELS CALLING will be released on 31st October via Better Noise Music. Words: Itay Gilad Photos: Solence

SICK is the fourth album by German pop punk artists INDECENT BEHAVIOR, coming off the back of touring with bands such as NECK DEEP and ZEBRAHEAD. Consisting of twelve solid tracks of classic pop-punk music, it’s a trip down memory lane with a solid grasp on all the things that made the sound stand out when the genre first appeared on the alternative scene. On the concept behind the album the band said: "We live in a world full of impressions. What seems like an ocean full of possibilities to some is incredibly overwhelming, oppressive and unfair to others. There is no escape from the mass of unfiltered information that rains down on us every day. No light at the end of the dark news tunnel. No clear way out of the labyrinth of options, which instead of freedom only brings excessive demands. SICK was created precisely from these thoughts and is an album for everyone for whom it sometimes just gets too much. Who feel like they are living in a world that they simply don't understand. For all people who are looking for a place where they can feel understood and comfortable." This commitment to a safe space for escaping the sometimes painful realities of everyday life is a spirit the band embodies across the board, referring to themselves as a “familiar place where you forget your worries and fears…and simply be yourself.” The album starts with Grown Up, which roots the listener in this escapist skate shop and side parting reality through heavy use of drums and strong instrumental. Immediately setting the scene with lyrics such as “We’re grown up pop punk kids / that never seem to get old, grown up emo kids that never do what they’re told”. Before following up with Not In A Lifetime, which feels like a quintessential (updated) high school crush ballad. Its sister track later on in the album, I Fell In Love Every Weekend, capitalises on similar emotions. After Chaos we come to Sick, the titular track of the album, which addresses the themes of exhaustion and isolation head-on through its chorus of: “And I’m so tired of feeling sick / What’s wrong with cutting loose in a world that’s full of shit / Yeah I’m so tired of feeling sick / It’s not the best, I know, but the life I wanna pick” Along with lyrics calling out murder, politicians and, most relatably, people who show up uninvited to your parties. It sports a stripped-back monochromatic music video, with each band member being given solo shots to the camera, which works well with the powerful hook and catchy melody. The next track, Give Me Everything, features AIR DRAWN DAGGER, an electro-emo angst-pop collective from the UK. On Give Me Everything the vocals of INDECENT BEHAVIOR's HENRICK BERGMANN are complimented by DAGGER’s MAISIE in a way that feels energizing and unique. It’s a collaboration that comes across as natural, with a sense of genuine synergy across the two projects. Following on Shoot is a definite high point of the album, carrying a different energy with the use of a repetitive melody and raspier, more introspective vocals that provide a grit missing in many of the other tracks. Followed by a strong chorus and a hefty amount of guitar and bass, courtesy of CHRISTIAN NOß and DENIS SELZER. The track definitely leans more towards metal than the rest of the album, but in doing so it demonstrates a creative range that keeps listeners engaged. The rest of the album continues with Pointless, Black Water, No Direction and If I Had Two Lives, before finishing on The Story Never Ends, a collaborative track with indie rock band ALL TO GET HER from Switzerland. Overall, the album does what it sets out to do and does it well. There are times when this leads to feeling a bit one note, but it’s a note the band are incredibly skilled at playing and perfecting. Score: 6/10 SICK was released on 26th September 2025 via Long Beach Records. Words: Q Cummins Photos: Indecent Behaviour

We're nearing the end of October now - and creeping ever closer to every goth's favourite time of year, Halloween. This year, it's sure to bring more treats than tricks, like these recent tracks we've already found in our buckets of sweets: 5 Seconds of Summer - Telephone Busy 5 SECONDS OF SUMMER usher in a new era with Telephone Busy, the third single from their upcoming album EVERYONE’S A STAR, out November 14th 2025. Ahead of a massive world tour kicking off in March 2026, the band tease a sound that bridges their Sounds Good Feels Good and Youngblood eras with a sleek, modern pulse. A shimmering, synth-drenched beat underpins seductive vocals and alt-rock swagger, creating something that feels equal parts like a nightclub anthem and an arena-ready hit. It’s sexy, intoxicating, and undeniably confident. The track practically drips with hot girl summer energy, while showcasing 5 SECONDS OF SUMMER’s most intriguing evolution yet. Words: Zuzanna Pazola ALT BLK ERA - Okay (Cyber Racing) The sister duo from Nottingham ALT BLK ERA is back with a new single Okay (Cyber Racing). From addictive beats to head-lingering lyrics, NAYROBI BECKETT-MESSAM and CHAYA BECKETT-MESSAM came prepared with the full force of a song. Taking rapidly over all social media with their iconic “We put girls on game okay. We put a ***** back in her lane.”, the highly anticipated release brings a fresh perspective onto modern British rock. Currently on EU and UK tour supporting PENDULUM, the band duo has been gaining more and more attention with every new set. Words: Katerina Stepanikova Bad Omens - Dying To Love The Richmond, Virginia metalcore massive BAD OMENS release third single Dying To Love, following other singles they have dropped in the last few months. Yet again they don't fail to impress with this one. It's possible these songs are in the lead-up to an upcoming album, as this flows nicely into the previous single Impose - as well as the music video having similar dark lighting and tones. The track has relatable lyrics with "I've been dying to love, one more second is enough” showing that when you're in a not-so-great place, even one second of love can be enough. It almost feels like a call back to previous single Specter's lyric “Do you feel love?” Of course it wouldn't be a BAD OMENS release with out a hard-hitting breakdown and synth that stands out in a way that allows the bridge to sound even more eerie leading into that breakdown. Words: Lucas Grayson The Devil Wears Prada - Everybody Knows THE DEVIL WEARS PRADA not only have a potential AOTY contender on their hands with Flowers but also a SOTY single with new release Everybody Knows. They take a different route almost entirely with this being different from their whole catalogue. Singer JEREMY DEPOYSTER has changed up how he sounds over the years, but these faster verses make the single stand out. One thing that does stay consistent with the band here though is if a music video features MIKE HRANICA playing guitar, it's going to have at least one heart-wrenching lyric - this trend continuing with the line “Maybe I'm happy but that never lasts.” Words: Lucas Grayson Foo Fighters - Asking For A Friend Off the back of their tour announcement in North America with QUEENS OF THE STONE AGE, the FOO FIGHTERS have released a new single to mark the start of a new era. With a couple years out of the game - aside from an anniversary single earlier this year - the band are back to show they're hungrier and stronger than ever. Asking For A Friend takes them back to their roots with a melancholic descending riff and layered melodic vocals. The song springs into action for the second half jumping between a double tempo free for all and then reverting to the classic rock chorus seen in the first half. This track offers everything that the FOO FIGHTERS are, never keeping stagnant and rocking till the last moment. We only hope this indicates more new music is in the works, ready for their tour! Words: Amy Smyth South Arcade - Drive Myself Home SOUTH ARCADE are back with one of their heaviest bangers yet. The group have been on the rise in the punk rock community and are solidifying their place as a staple in the British scene. Drive Myself Home is a track full of distorted vocals, gritty guitar riffs and bass loaded dark instrumentals. Lead vocalist HARMONY offers her tough full bodied vocals as the lyrics speak through themes knowing when to quit. Each section of the song has its own identity with half time beats, empty choruses and a bridge that almost feels nostalgic in its melody. Drive Myself Home is their 3rd single this year and we hope this will lead into another EP or possibly a full album, only time will tell but we look forward to their next move! Words: Amy Smyth Story of the Year - Gasoline (All Rage Still Only Numb) STORY OF THE YEAR return back to a heavier sound with their first single since A Silent Murder in 2023. Gasoline (All Rage Still Only Numb) is the first single on their album A.R.S.O.N out February next year. The track has some bendy guitar riffs and some heavier ones throughout. It also has some screams from DAN MARSALA that haven't been heard since the bands 2017 album Wolves. Despite this heavier theme, the song does have quite a melodic bridge, along with a synth intro and outro. This is a welcome return of the band, and a nice first single and teaser for the upcoming album. Words: Lucas Grayson Paleface Swiss - Let Me Sleep Let Me Sleep is the latest single from PALEFACE SWISS’ upcoming The Wilted EP, and fans of this band won’t be disappointed. The track kicks off with an immediate barrage of screams, blast beats, and lyricism delivered to you with an absolute torrent of aggression. This single and the upcoming EP were written during their recent tour across the globe and aim to expand the band’s previous album, Cursed, but don’t expect a handful of B-sides being palmed off as a new EP, Let Me Sleep proves that. It’s brutal, emotional, and further pushes the band’s sound. Plus, if you’re fans of SLIPKNOT's Iowa era, you’re going to dig PALEFACE SWISS even more. Words: Aaron Richardson Editor: Naomi Colliar Duff Photos: Various Artists

If there's one word to describe WITCH FEVER, it's relentless. They've spent the last few years making appearances with other modern heavyweights in the UK alternative circuit like BIFFY CLYRO, NOVA TWINS, and CASSYETTE, and they're currently on a two-month arena tour across the EU and UK with rock titans VOLBEAT - this is a band who have an innate, fierce energy, especially evident in their never-ending live performances. On their sophomore album, FEVEREATEN, they capture that electric atmosphere in a way that's emotionally cathartic, heavier in intensity, and overall, bigger than anything they have done before. In the three years since their debut album, Congregation, it's clear that WITCH FEVER have grown in a myriad of ways; in emotional clarity, musical talent, and lyrical prowess. Kickstarting this record is DEAD TO ME!, a track that begins with the whining of guitar before a heavy drumbeat leads us into the initially-melodic vocals of AMY WALPOLE - before long she's bursting into the shouty chorus where there's a palpable rage that she sends coursing through our veins. The familiar breakneck pace of their debut is intertwined with slow, deliberate riffs - there's a definite doom metal element in this track, emblematic of the band's genre-blending abilities. Before we can recover from the intensity, we're led into the steady build-up of FINAL GIRL. Distorted wails bring us into a track that flows seamlessly from vocal harmonies to intense, grimy riffs. This will turn out to be a recurring theme in the album - the clash of meditative rhythms and verses spilling over with vitriol. Through the religious themes of WITCH FEVER, this is heaven and hell. 2022's Congregation saw the church of WALPOLE's childhood as a physical entity, realised through remembrance. Here, it's conceptual - the church is judgement, shame, the eternal feeling of observation; the lingering fear that you're being watched, and followed by unseen eyes. "That kind of thing doesn't go away," says the singer, even long after she left the church that instilled the feeling into her. This is the direct influence that creates the album's title, FEVEREATEN - it's the essence of being consumed by something inside you that you can't free yourself from. When it comes to tracks like THE GARDEN these religious elements are overt. Here the Garden of Eden is interpreted as an allegory for female liberation, against a backdrop of slow core fused with heavy alt-rock. It's a haunting track that leaves us reeling from the emotional breakdown even after it's wound down. Back-to-back tracks NORTHSTAR and DRANK THE SAP double down on the crushing walls of sound and sonic assault - ALISHA YARWOOD hits us with sprawling, textured riffs, duelling with ALEX THOMPSON's filthy basslines, while the crashing drums of ANNABELLE JOYCE are a relentless beat that serves as a force to be reckoned with. Following track Safe holds a raw tenderness in its vulnerable lyrics, an especially poignant ballad that stems from a personal relationship of WALPOLE's. Here, the quartet step out of their comfort zone and into a field of experimentation. Fading into the background are the metal-adjacent influences that permeate their discography, and taking the forefront are elements of soft shoegaze and soul-stirring verses steeped in catharsis. Title track FEVEREATEN emphasises the album's themes in its opening words. "I thought I'd gotten over it, but it consumes like I was born for it," sings WALPOLE. The quiet meditation on her emotional state soon leads into a fury-filled chorus in what becomes a vicious cycle between tranquility and wrath. A strong enough cycle between states that it persists through the anger-fuelled BURN TO HIT and SEE YA NEXT TUESDAY the latter of which is by far the heaviest in this track list. The breakdowns are unabating, and each one ignites a brighter fire within us before ultimately culminating in the track's full ignition and subsequent destruction. REPRISE ties in gothic elements with spine-chilling, sinister instrumentals that fluctuate between quiet and haunting, and imposing brutality. Splinters of the Lord's prayer are embedded in the lyrics, twisted into a takedown of religious mentalities and the false condemnation of women marked as witches. AMBER then returns to the lonely quiet of SAFE, carrying the same despondent reminiscence of a past relationship through sweeping, gloom-tinged instrumental sections. It all soon finds an end in I SEE IT. The experimentation reaches its peak here, and elements from all across this album meld together into a brutal hurricane of noise. The imagery is abstract, and the song strays away from any sense of usual structure or form. The instrumentals are harsh and storm-battered, and the vocals are increasingly manic, at the height of aggression and sheer cathartic rage. For this track's production, WALPOLE and THOMPSON ventured up the infamous Pendle Hill and channelled guttural screams into a dictaphone - sometimes, what you need is to let the world hear your rage. The track soon fades out into distorted whispers that linger on the wind, and we're left to recover from it all with just the distant sound of rainfall for company. FEVEREATEN is WITCH FEVER at their strongest; emotionally raw and still bleeding, experimental both instrumentally and lyrically, and emerging from this emotional battlefield of trauma with a sound that truly defines the band. This release sees each member of the band properly harnessing the power of their instruments, with extra-dynamic drum patterns, increased noise and texture to the guitar riffs, and lyrically, a sense of refinement that tops all their previous releases. This has been three years in the works, and it shows. With the release of FEVEREATEN on the horizon, the band's musical expedition reaches new heights, and if this is the journey they're taking us from, we'll be there every step of the way. Score: 9/10 FEVEREATEN will be released on 31st October 2025 via Music for Nations/Sony. Words: Naomi Colliar Duff Photos: Witch Fever

Power metal giants Helloween celebrate their 40th anniversary with a European tour, joined by heavy quintet Beast In Black. Now, that’s how you throw a birthday party, and we were invited. As for the cherry on the (birthday) cake, Helloween were promoting their 19th full studio album: ‘Giants & Monsters’, which launched on August 27th 2025. With a repertoire this massive and a two hours set, we were gifted a stadium-worthy show. Theatrical outfits, monster fights and glorious songs: there is no better way to get ready in the lead-up to THE goth holiday! Beast In Black did not miss the mark. After a strong Bloodstock set in 2024, the globally acclaimed and two times platinum album certified band came back on our grounds to support Helloween on their 40th anniversary tour. Here is the Beast In Black recipe: a melody that makes you want to go on an epic quest, some magnificent guit’hair’ography moves (yes, that’s a word) and an otherworldly singer reaching notes so high only werewolves can hear them. That is exactly what we got with hits like ‘Blind and Frozen’, One Night In Tokyo, the eponym ‘Beast In Black’, or the Diablo IV x Berserk collaboration anthem ‘Enter The Behelit’, from which OOR had the honour of receiving a limited-edition vinyl. Yannis Papadopoulos (vocalist) blessed us with a headline tour announcement: Beast In Black will be back in London on October 26th 2026 at the O2 Forum Kentish Town for the release of their upcoming 4th album. Papadopoulos ended the set with a special shout out to Helloween for bringing them on tour, leading into their final song, ‘No Surrender’. A chanting crowd welcomed the pumpkin kings as the lights went down. The stage was filled with screens and lights, giving us a spectacular show, which started with a video of old album covers celebrating 40 years in the industry. As each musician stepped onto the stage, followed by vocalists Michael Kiske and Andi Deris, the crowd got wilder and wilder, finally erupting in applause and screams when the first notes of ‘March Of Time’ filled the room. We were treated to an array of old and new songs and everything in between, accompanied by a striking light and video show, interaction from all band-members, splendid riffs, powerful beats and breathtaking vocals. And with a great sound, you could hear all of it intensely from any part of the floor. Some of the fans present that night (myself included) might have not been born for a good part of the band’s career, but we can say for sure that Mr Kiske and Deris sound as good as they did in the early days of Helloween. ‘Ride The Sky’, sung by guitarist Kai Hansen, hit us like a slap with an intense vocal performance that summoned an army of crowd surfers. The set was also balanced with power ballads like ‘Into The Sun’, showing once again how diverse metal can be. By the way, have you ever seen a pumpkin-man having a boiling bubble bath in a cauldron? No? Well, that’s just a normal sight at a Helloween gig. After ‘Universe’, which Deris said was his personal favourite from the new album, and yet another fan favourite ‘Hell Was Made In Heaven’, the “interval special” started. Dani Löble’ impressive drum solo literally shook the crowd to its core. Even the drum-kit itself was something else: everything you think belongs on a drum, double it, and you’ll get the fastest kicks in town. Whilst being a rock show staple, the drum solo also gave a well deserved rest to a non-stop chanting crowd, who was as ready as ever for ‘I Want Out’, the band’s most played song on Spotify. Seeing all the fans singing together on a hit like this really is what makes metal special. ‘Heavy Metal (Is The Law)’ and, of course, ‘Halloween’ were a perfect end to the main set, followed by a 4-songs encore, including ‘A Little Is a Little Too Much’ and we can tell you a lot of Helloween is definitely not enough! Well, that was one fricking hell of a birthday party! It was one of those shows that leaves you a bit empty (but in the best way), because how can you go back to reality after a soul-altering experience like this? We highly recommend checking out Beast In Black’s 2026 headline tour, which is already on sale, they can only get better and bigger. We hope to see Helloween back on tour soon again. A show like this deserves an even bigger venue, dare we say a stadium, or at least a festival’s main stage. Words and photos: Claire Cabanac

Hailing from Massachusetts, one of the veterans of metalcore, Killswitch Engage grace the OVO Wembley Arena for one of their biggest headline shows to date. Bringing Decapitated, Fit For An Autopsy and Hatebreed with them, making for a seriously strong metalcore line-up, with plenty of pits, screams and fun to be had. First up, Decapitated took to the stage bathed in thick smoke and mood lighting; the singer belted out one giant scream as the band ignited into an insane opening song; certainly owning the space of the mighty arena. It’s safe to say they had heads bopping with their style and talent; though not very unique in their approach to metalcore, the vocalists strength of unclean vocals and the bands consistency in the song playing make for very good promise in the future, maybe this is a band to keep an eye on. Following on, Fit For An Autopsy upped the ante, with a crazy energy that emanated through the arena; this band definitely began the pits and made sure the audience were warmed up, and the energy was absolutely reciprocated, creating a really cool atmosphere that set the tone for the rest of the show. It’s safe to say this band are loud, they are proud and they are unapologetically metalcore; top tier screams, breakdowns, and composition from these guys. Next up, a clear underdog favourite for the crowd, Hatebreed came out with their massive inflatable demon as a backdrop and an undeniable energy that the audience absolutely lapped up. The pit grew tenfold, the sound got turned up and Hatebreed did NOT stop moving as long as they had breath; completely complimenting their music, it honestly felt like being punched in the face over and over again in the best way possible. With lots of steam shooting out from the stage; mad breakdowns, walls of death and even more inflatables with them throwing out Hatebreed beach balls, these guys made for an incredible set. Finally, Killswitch Engage came to the stage and impressive doesn’t do them justice; they had an insane production, impeccable timings and Jesse Leach’s vocals were perfect, the screams and notes were hit perfectly capturing the bands more melodic tunes for this audience to soak up.  Not only that, they brought together setlist covering not only their new album but a whole range of their hits include a 5 song run at the end of the set that would make any Killswitch Engage fan go crazy, ‘In Due Time’ opened up this streak, followed by ‘This Fire’ which was so graciously accompanied by CM Punk visuals in the background to appease all the very many wrestling fans in attendance. ‘My Curse’ was next, bringing with it raw unfiltered energy from the crowd, who were eating the performance up. followed by ‘The End Of Heartache’ and ending on the brutal ‘My Last Serenade’, which closed off the epic night and made the band a staple arena act.  Words and Photos: Ben Blisset