From across the pond American progressive metalcore band BORN OF OSIRIS are back in London for the first time since early 2024. Making their way around the UK on their Europe tour, offering more than twenty shows, they took a stop at one of the most iconic venues in London when it comes to the alternative scene, The Underworld Camden. Just approaching the venue you could see long beards and battle jackets gathering and talking about the upcoming show. Having formed in 2003 the band are more than experienced with hundreds of live shows under their belt. This tour comes off the back of their 2025 seventh studio album release Through Shadows, taking their tour around the world to perform a balanced mix of brand new songs along with good oldies, pleasing every fan old and new. Before that of course they had three warm up acts ready to give the crowd a night full of metal calamity. First to storm the stage was LARCɆNIA ROɆ, the deathcore band who have travelled all the way from the USA to play this tour. The group only started releasing music in 2024 but have garnered a pretty big following and their lack of experience does not at all show in their live shows. Deathmetal is a broad genre but by definition you would not expect these guys to have you jumping and shaking your ass. As they played their set you could see more and more people drawn in from the bar area of the venue, enticed by their catchy beats. It was clear a lot of the crowd were not familiar with their discography but it was even more obvious that that did not make a difference and the room thoroughly enjoyed the set. The band themselves sported a unique fashion with their drummer in a mask and one of the guitarists with a dental mouth guard giving them an eerie presence in the room. Lead vocalist RYAN VAIL flaunted his vocal variety with pig squeals and demonic growls, both bone shattering in frequency. The floor moved throughout the set with many battled jacketed metal heads throwing themselves around the pit, the band even managed to open up a wall of death towards the end of their set. As the first band closed fans rushed to the bar, grabbed a pint and then shuffled back to their spot, making sure not to miss AVERSIONS CROWN. The nights line up truly was from all around the world with this progressive deathcore quartet being all the way from Brisbane. Just as their drummer warmed up you could see an exchange of nods of approval around the room and it must be said JAYDEN MASON was an absolute beast throughout the set with destructive beats, fills and breakdowns. In regards to the set itself, it was absolute death metal inhalation that spread across the venue like wildfire. When asking the crowd who has listened to their new EP there was an overwhelming response from the crowd, despite being the second on the rung of bands up for the night. They of course took multiple moments to get the band hyped up for the bands to follow as well as the band preceding them. The floor responded to the artists' havoc on stage with their own, a variety of mosh pits continued to open up across the venue for the duration of their set, the energy never dipping for more than a moment between songs. The last opener up was WITHIN DESTRUCTION coming from Slovenia with a set that provided the most musical diversity from the rest. The band centers around deathcore but takes influence from metalcore, nu-metal and many more, bringing in many electronic samples and their set was riddled with anime references, which of course we loved. The fandom clearly showed up for this band with the general visual of the front few rows switching around just for the duration of their set, that is not to say that those in the front before left, just simply kindly let the big fans in front. The band have two vocalists, one doing the majority of the growls and screams while the other brought a more melodic and metalcore vibe to the live sound. The pit stayed alive right through their set without any instruction from the stage as they kept the energy high from all angles. They also took a moment to play a slightly slower song, Incomplete in homage to some of the family members that were able to make it to the set. After hours of obliterating deathcore build up, BORN OF OSIRIS were finally climbing the stage. The band were all coordinated in all black outfits as they took their places, the tension building in the room as the track Bow Down began to play and the room erupted into metal chaos. From the very beginning every person in the crowd was singing along, throwing their fists in the air to the beat, the diversity in the crowd making a chorus that filled the room impressively being heard over the blasting Underworld speakers. The band themselves were continuously moving despite there being five of them on the cramped stage, even the drummer was throwing his head in windmills while never missing a beat. The guitarists all danced around each other taking turns to use the space to headbang and come to the front of the stage to shout along with the fans. Everyone in the room was up off their feet either jumping or moshing to the beats that mixed deathcore with electronic throwing in blast beats from all sides. The carnage progressed with songs like Follow The Signs and Empires Erased from thor earlier discography - 2007 and 2011 respectively. The band took a moment mid-set to bring drummer CAMERON LOSCH to the front of the stage to receive some applause and of course hand out a couple of drumsticks. Along with lead vocalist RONNIE CANIZARO these two are the only members left of the original line up that debuted in 2003. Songs both old and new ravaged the venue while the crowd filled the floor, the energy so explosive it felt like the venue could burst at the seams any moment. The flashing lights on the stage added to the atmosphere flawlessly as the two live vocalists - RONNIE CANIZARO and DAN MARINARO - layered together creating a texture for live performance. Eventually the band announced that they were towards the end of the setlist which received possibly the loudest boo the Underworld had heard - for good reason of course. They played Under The Gun from their 2019 album as well as Abstract Art from 2017 before leaving the stage. The lights went dark and of course the fans cheered for an encore, causing the band to walk on just one more time. Machine released in 2013 has remained a fan favourite since release and this show immensely at the live show. The crowd erupted just from the intro, those who had thought the show really had finished before the encore sprinting back into the venue from the bar and exit. Every fan in the room knew the words and sang them together with their friends, clearly bringing a bout of nostalgia just from its riffs. As they finally exited the stage bowing and waving and promising a hastily return to London, the house lights finally came up and the show ended. The energy in the room lingered as observers shared their thoughts of the set with not a negative word to be said. Along with those fans we hope to see BORN OF OSIRIS return soon but of course they have a busy year ahead of them first. Words and photos: Amy Smyth

The Fallout is a metalcore explosion from Manchester trio THE HARA, embodying the angst filled depths that come with isolation and its consequent loss of trust in others. The soundscape is heavy, both in its low power chords and its synth-infused breakdowns, and lyrically stays heavy in discussions of toxic relationships and pessimistic acceptance of feeling like garbage. Album opener Trophy wastes no time, introducing the huge soundscape beneath whiny clean vocals (complimentary) and the first taste of the ethereal guitar shreds that are some of the best of this album can be heard. The first standout track is its follow up Easier to Die, impressing immediately with a punchy opener and a brassy snare drum and Josh Taylor’s solid screamed vocals that make up the chorus - a refreshing switch of convention from metalcore song structure. The angst shows through in its lyrics - “It’s easier to die than it is to want to live” - which creates a testimonial energy that lasts throughout the rest of The Fallout. As The Fallout hits its stride, it’s hard not to hear the similarities or inspiration that The Hara may have taken from scene dominators Bring Me the Horizon. The synth infused power chords with breakbeats, larger than life choruses, even the distinct Yorkshire brogue contribute to this equivocation. THE HARA pull these conventions off perfectly, though the similarity in the soundscapes do leave some wanting for a distinctive note in their sound. Twist the Arrows showcases THE HARA’s prowess in their breakdowns, with melody driven metal guitars mixed with synths and a 4 bar drum fill at the end of each chorus that scratches the itch in the brain. On the note of the drumming it mixes perfectly with the synths used throughout Twist the Arrows, and its final breakdown was perfection with the reintroduction of the shredding to reach crescendo, though dampened slightly with the sudden finish of the track. Its follow up Stay comes in with the scream that impressed earlier on in The Fallout, with a clean/scream call and response and a spacey feel that injects some variety at this point in the project. This said, the main weakness of The Fallout comes to the fore: the beginnings of many of the tracks don’t capture the ear, which is a shame for the quality of them once they get started. Going back to the Yorkshire brogue - sometimes Taylor’s cadence sounds very much like Yungblud, which takes the ears aback when the vocals are atop the metalcore soundscapes of THE HARA. This said, after Stay, album highlight and second single The System rings out. The broken beat intro opens for a punchy pop punk first verse with the vocals spat out as the track builds. The lyrics paint a picture of disaffection with forced conformity and everything needing to be done to prop up the status quo (“maybe I’m designed to waste away/are we all designed to waste away”). What makes The System stand out is its breakdown: its build starts with a sample that sounds more like hard house than drum and bass, a welcome change in the electronic metalcore space, before exploding into a stabby breakdown with a china lead and prog-style shreds. Screaming about breakdowns and becoming a shell of oneself make up the final bridge as well as the return of the sample from the beginning to craft pretty much a perfect song. The last act of The Fallout is the strongest, starting with Psycho Killer, a campy yet angsty track about falling so far into isolation you begin to begin to feel like a silent and disturbed individual. The chorus is mixed to sound as if the vocals are being muttered into a megaphone, detailing being a killer in the dark, atop a drum led spooky soundscape that contrasts the slowed tempo and lighter verses - it feels very Ice Nine Kills without the textual references. Next is the most recent single Kings, a conventional ‘you’ll fall eventually’ kind of breakup song, then Bury Me starts to ring out: a straight power ballad packed with angst such as in “My guardian angel is a little unfaithful to me”, and the reintroduction of the breakbeat in the postmix. THE HARA flex their breakdown muscles again in the breakdown for Bury Me, with that breakbeat in the breakdown led by another china-led drumline (the best bit about metalcore). Flagship single Violence with As December Falls, coming in with the beloved china lead to craft a headbanger with layered vocals about two people being too toxic to one another. The anger at the subject can be felt in the rawness of the vocals from Taylor and Bethany Hunter Jiménez, while the chord progression swings right until the end to create an addictive track we wish was longer than 2:32. Follow up Intergalactic Generation takes a more conceptual approach to the problems of the current generation - that life is a “simulation/handcuffed by creation” with the strong inference of being anti AI that as a writer is easy to get behind. It's fitting also that they drop the electronic elements present in the rest of The Fallout, then the finale Enemy keeps in with thematic music with a frantic opening to pair with lyrics describing being chased. The guitar work comes into the fore for the finale, with the shreds and runs adding groove to the unapologetic heaviness to the soundscape. Enemy is a high energy closer with the breakdown to seal the deal, including divine midphrase beat changes before The Fallout comes to a hard stop. The Fallout is THE HARA carving out their place in the metalcore space, making apparent their skills both instrumentally and creating pull-no-punches breakdowns. While in some places their influences felt a little too on the sleeve, and some of the intros did not fully captivate, The Fallout holds attention from beginning to end while the rawness and angst in its lyrics make THE HARA the perfect place to go for any Metalcore fans looking for their next fix in the clean vocal end of the subgenre. Score: 7/10 The Fallout was released on 23rd January 2026 via Mascot Records. Words: Julia Brunton Photos: Cosmic Joke

If there’s one band out there that should have more attention than they get, it’s MOTHER VULTURE. The band always get recognised for having infectious energy on stage, and with their newest album, Cartoon Violence, it's only on the up from here. Making sure 2026 will be their year by kicking it off with the release of their latest album Cartoon Violence, we spoke with guitarist Brodie Maguire to discuss the creative process and the evolution of MOTHER VULTURE. The band have had an extremely packed past year or so with festival appearances and releasing singles. Brodie reflects on their busy 2025, “We went out to the Netherlands at the start of this year and did four dates, then we’ve just got back from Belgium in December. We also did a couple of dates with SKINDRED over the past year.” This influence is heard on the record, as Benji Webb features on the interlude, Corporate Programming. “We got Benji from SKINDRED to do a bit of narration for one of the tracks, which came from being on tour with them, which was pretty cool.” Whilst this was a massive triumph, they did face some struggles with recording the album. Brodie reflects, “Being in a band and having to work a nine-to-five alongside it makes juggling things pretty difficult.” All band members having different schedules whilst trying to write and record an album isn’t going to be easy for any band, but MOTHER VULTURE made it work. “When we did the drums, Georgie, our vocalist, wasn't there, and then we did all the guitars, the bass and the vocals separately in our home studio.” Cartoon Violence was also almost entirely self-produced, with SIMON JACKMAN (LASTELLE, BLOOD COMMAND) mixing it. Speaking on how different making the record was, Brodie explains, “All of the recording, apart from the drums, we did ourselves at home. So it’s been a little bit weird not working with each other in that sort of sense. Usually, when we do record, we're in a room together. It's been pretty chaotic.” Talking further on the making of the album and having to sit with it unreleased for so long, Brodie tells us, “I'm going to get a sense of relief from getting it out there. When you make an album, you're always sat on it for so much longer than you want to be, because by the time that the first single comes out, ideally you want the album to be done, if not very close to being done. "We've been sitting around with this thing for what feels like a really long time, because you have to take into account getting the vinyl made, which can take months and months.” Cartoon Violence may just be what MOTHER VULTURE was made to sound like, and fans knew this from the first few singles. “I would say especially the first track that we put out, Slow Down, that was a bit of an indicator that we were taking things in a slightly different direction, at least in terms of the production value and how we were recording things. It's a bit darker and that seemed to go down really well. We got to work with Fender and Gretch on the Phoenix track, which is exciting, especially for a guitarist.” When discussing how many songs they had written in total for the album, they had around seven that didn't quite make the cut, as they had to shorten it down to the ones that they felt fit the album the best. “We maybe had like 17 tracks in total at one point, we kind of whittled it down to the best ones. But they might see the album after this one, because there's some potential in those ones.” MOTHER VULTURE has always been praised for their stage presence and live show in general, this would stem from the connection all of them have. Instead of saying which artists influenced them when writing the album, they all influenced each other with ideas, and the fact that all their music tastes are so different made the album become a little bit of something for everyone. Brodie expands on how this affects the writing process, “What kind of happens is, Chris will come along with an idea for a song, then I'm doing second-hand listening to what Chris's influences are. Based on what he's writing, I will come up with an idea or what will end up following up on another song that he's written and vice versa. Chris isn't massively into classic rock like I am necessarily, but he ended up writing Phoenix, which is arguably the most classic rock-sounding song on the album, just because that's the way we bounce off each other and influence each other.” This is the album for you if you like a little bit of everything in your playlists. It also features some MOTHER VULTURE inside jokes. “We kind of in our heads always liked the idea of getting a bit more comedy and a bit more silliness into the albums. With a title like 'Cartoon Violence,' it just seemed like this was a good opportunity to do it.” MOTHER VULTURE will be heading out on a run of UK shows in February. For the setlist, Brodie hints there will be songs for all old and new fans out there. “I think most people could appreciate, if you go and see a band, and they don't play any songs that you know or too many new songs, it can be a bit of a drag. The art of it is just to find the balance between getting new stuff out there and not bogging people down with too many songs.” CARTOON VIOLENCE is out now on all streaming platforms. “We're just really excited for people to hear it, I think we could all agree that it's the best thing we've ever made. We like the first album a lot, but I think this one captures a lot more of what this band is about.” MOTHER VULTURE are on tour next week. Find tickets here. Words: Isabella Jacklin Photos: Mother Vulture With Thanks To: Cosa Nostra PR

With less than a year since their debut album Sorrows was released, CWFEN (pronounced Coven)’s gothic doomgaze sound has been praised for its dark and addictive tunes, and in that time the following has only grown. The Scottish four-piece supported FAETOOTH on their tour last year in some of their biggest shows to date, and with some shows planned to support the great PARADISE LOST in a couple of months, there is no sign of them slowing down any time soon. As part of a short tour of just two dates, after a three day tour at the beginning of December last year, the band visited both Cardiff and Leeds. On a drizzly January evening we got the chance to witness them in a little venue on the last night of this mini tour. The lineup consisted of two local bands, ACCEPTANCE and HELVE, and then finally CWFEN. First on the bill was ACCEPTANCE, and with smoke billowing through the room we were treated to a group of very intense, very talented musicians. The tracks were long, and at points the vocalist seemed possessed, as if being taken over by the music. With a rather cramped stage there was the chance to spread out as lyrics were screamed into the pit. “This one’s really depressing, so good luck with that.” brought a few chuckles, before launching into the next song. As the set draws to its end, the vocalist falls to his knees in exhaustion, having given their all. Next, it was time for HELVE. Where ACCEPTANCE was more urgent and full of anguish, HELVE was a little more dialed back and heavy in a different way, giving a mesmerising performance. There was even less space on the stage with an extra band member than the group before, which gave the perfect excuse to yet again use the front of the pit as a secondary stage. The band presented a set full of delectable doom that you could not look away from in fear of missing something. At one point the crowd were all leaning in to catch a glimpse as the guitarist used a screwdriver over the strings to create a drawling addition to the track being played. If it was even possible, the room filled even more as CWFEN made their way to the stage, dodging equipment as they went, all settling in and taking their place. Bodies eased us into the night, and as the steady rhythm built, the magnetism grew. Vocalist AGNES ALDERN sounded hypnotic and as her voice ascended into a haunting scream we all stared in awe. Her smudged, blackened eyes stared back, the whites of them flickering in the light. As the intro riff of Wolfsbane kicked in, the energy in the room was electric, and drummer RÖS RANQUINN delivered some of the slickest grooves you’ve ever heard. Throughout the entire set there was a sea of nodding heads, completely transfixed. There was minimal chat on stage but it was not necessary; the band’s smiling faces between songs were all we needed. The new unreleased track Revenge went down a treat, followed by the show stopper Whispers. Unrelenting bass from MARY THOMAS BAKER made for an alluring gothic sound you could not get enough of. Each song landed just as well as the one before, the whole band on top form. Embers brough the atmosphere to a whole new level and the doom-y riff brought by the band’s guitarist GUY DENUIT was truly captivating. Finishing on a rage note, Rite bursted in to grapple the audience one last time. The layering in this track was stunning, with the contrast of AGNES’ wails over the dreamlike backing sounds of GUY made a fulfilling and satisfying ending. CWFEN are truly a band you experience, the live versions of every track were immaculate. The natural reverb of a live setting only makes the performance more special. This is a really exciting time for the band, with a great record behind them and obvious hints to release more music soon, alongside a packed year so far of shows. Everything they have achieved so far has been so well deserved, and we are so lucky to have them. Words: Danielle Henderson Photos: Klaudia Skalska

Outbreak darlings SUPERHEAVEN returned to Manchester with a seismic serenade of feeling. Amongst the polite buzz of this evening's proceedings, right from the moment that the symphonic whirr shook the O2 Ritz at the beginning of their set, it's clear that the Pennsylvania collective wants you to feel their shoegaze sensibilities right at the core of your chest. There's a numbness that comes with wanting to be a part of the moment, oversensitised to the weight of those signature riffs pulling the crowd to-and-fro with the relentless ebb-and-flow of the pit. In this bittersweet bliss, SUPERHEAVEN's grunge-inspired sound is a life raft to a misunderstood generation, let loose on the thrill of losing themselves to brilliantly melancholy music. Supports BALANCE AND COMPOSURE are no strangers to the gaze. With 2024’s With You In Spirit, the band returned after nine years with their uniquely bleak brand of folky alt-rock. In a live context, learning towards the cooler tones of this latest record, we don’t know if this translates entirely on stage. The band left a lot of room to fully dissect the texture of the record, with impressive trills and moments that in the UK would not be out of place in The Wicker Man soundtrack. (YOUNG FATHERS 28 Years Later style). When the band decided to get out the autotune, it felt odd and removed from the purity of those honest lyrics. The result was more of an emotional headbanger, no pits needed. Did it build to the energetic fury that followed with SUPERHEAVEN’s set? Not really, but closer Notice Me, was the track that began to bring their set together. It’s a shame that this was a little too late. Both BALANCE AND COMPOSURE and SUPERHEAVEN, from Doylestown, Pennsylvania, feel uniquely rooted in this sentimental hometown circuit. Their grunge roots scream stark comparisons to NIRVANA and ALICE IN CHAINS for a modern generation. From the claymation visuals projected onto the back of the stage, it is clear that this is going to be a tender set, making their return to Manchester that much more sentimental. 2025 marked the release of their self-titled debut, evoking a richer, faster-tempoed noise, away from the shoegaze-inspired sound of 2013’s Jar and 2015’s Ours Is Chrome. The set was an almost-even split of all three records, even with the first two albums being over ten years older than their latest release. It was a feely, pulpy mess of the best of SUPERHEAVEN’s work, with their performance taking just over an hour of the Mancunian’s time. From the opening chorus of Sponge, the room erupted into smooth movement. In response, the crowd was kinetically wonderful, flowing in time to its steady beat. With riffs hitting so much harder live, it lived up to the well-lived stereotype of going to a rock concert to experience loud guitars. Whilst sounding great, they also could be felt, reverberating the entire room, sending the entire upper mezzanine shaking. The next tracks, Leach, Downstring and Cruel Times followed suit in style and feeling. The same could be said for Life In A Jar, until the music stopped quickly to assist someone in the crowd. With several minutes of the band trying to mellow the audience, but also help in the situation, it threw the set off-kilter. The band were clearly shaken, with the band’s Jake Clark clarifying afterwards that “it’s not every day you see someone lying there”, before swiftly continuing their set. It took a little while for the band to get back on their feet, several tracks before fan-favourite Youngest Daughter spun the room back into motion. A collective headbanging gave the room that feel-good feeling. As a four-piece, they control the room with ease, with both guitarists, Jake Clark and Taylor Maddison, fronting the band’s sound. Zack Robbins has the ever-impressive job of drumming and providing backing vocals. Whilst bassist Joe Kane was seemingly the only one without a microphone, but their presence provided the emotional pulse of the operation. The strength of the band lies in their awe-inspiring ability to connect with the crowd. In bigger pauses, the band fills the room with cinematic rumbling, which pays off fantastically in anticipation of their next song. Towards the end of their set, this seems to pick up the motion of the crowd as the aggressive Numb To What Is Real pushes the pit back immensely far. You’d think, with their legacy at Outbreak, there would be far more two-steppers, but this was more of a high-energy push pit. The dynamic duo of In On It and Poor Aileen, the closer of 2015’s Ours Is Chrome, bring the set to a fitting conclusion. It is clear that SUPERHEAVEN are a band that is built on intention, felt immensely internationally. Words: Amber Brooks Photos: Jack Walsh

Two years after the release of Abyss Pt. I in September 2023, German metalcore wonder ANNISOKAY returned with the highly anticipated Abyss Pt. II in April last year, closing their epic trilogy only seven months after with Abyss - The Final Chapter as the main focus of their European headline pilgrimage. While tonight’s show in The Key Club may have been the smallest stop so far, the Leeds metalcore community made it their personal mission to make it feel like anything but. Backed by their German brothers, THE NARRATOR, and UK support HEART OF A COWARD, the intimate show carried the energy of something much larger. First on the bill was THE NARRATOR kicking off with Drawn, Conned & Deceived, giving the crowd whiplash from the opening bouncy riff, ending with a deliciously heavy breakdown, inducing stank faced nods of approval from the early birds in the crowd. Whilst the crowd swelled in numbers, frontman FABIAN JOCHUM’s growls were wonderfully visceral and intense, his playful energy radiated throughout the whole set, the happiness infectious and engaging. The fans in the front wasted no time in lapping this up, ceremoniously opening up that pit. With a now packed venue, they launched into their latest release Aurora. The front row seemingly knew every word, turning the energy up to eleven with some heartwarming fan interactions. They closed their set with Purgatory, JOCHUM exclaiming “If you know us, you know this song, let me hear you!”. The audience doing exactly as they were told, echoing ROB HOPPE’s dirty clean vocals, reinforcing that this is definitely a fan favourite. Joining ANNISOKAY makes this their biggest tour to date, proving their ability to be more than an opening act. THE NARRATOR will return to the UK in October of this year with their first UK headline show. HEART OF A COWARD was up next, taking the stage with anthems like Hollow and Mouth Of Madness. While vocalist KAAN TASSAN’s unwavering live growls resonated throughout the venue with a quiet confidence, the crowd seemed to be holding back, their energy on a low simmer. However, this reluctance did not last long, the community doing what they do best and delivering pit after pit with joyful aggression. Ending the set with Deadweight, TASSAN commanded the audience to scream “I DON’T GIVE A FUCK” right back at him, which seemed to reignite the room and reliably set the tone for the headliners. After plunging the Key Club into darkness for the entirety of Shake It Off by TAYLOR SWIFT, ANNISOKAY finally graced the stage, wasting no time in bringing the show back up to one-hundred. Opening with Into The Abyss and Throne Of The Sunset, treating fans to the sugar and spice contrast of CHRISTOPH WIECZOREK’s soaring cleans and RUDI SCHWARZER’s venomous growls. Following on with Ultraviolet, Silent Anchor, and My Effigy, all solid anthems off the tour's namesake - the set really showcased ANNISOKAY’s storytelling prowess and the conviction in their performance. The walls of The Key Club were dripping with sweat as the opening riff of H.A.T.E began. The crowd obeyed as SCHWARZER beckoned them closer, diving head first off the stage with no hesitation, rightfully putting his trust into his loyal fans as they carried him the length of the venue. SCHWARZER may have missed his original cue, but the spectacle; met by amused headshakes from his band mates, more than made up for it as he collected high fives and fistbumps on his surf back to the stage. Ending with an epic encore of Get Your Shit Together, Coma Blue, and STFU, a final gut-punch of energy was injected into the room, with hardcore fans almost drowning out SCHWARZER himself, screaming the lyrics right back at him, the lack of a barrier between the stage and audience only emphasized the raw intimacy and intensity of this moment. Behind the iron wall of fans at the front, chaos opened up with a well needed circle pit, spanning the width of the venue and melting into flailing destruction with Get Your Shit Together’s brutal breakdown. When the lights eventually came back on, the sea of sweaty, tired, but satisfied faces confirmed that ANNISOKAY, HEART OF A COWARD, and THE NARRATOR knew exactly how to put on a show. The catharsis of the sets clearly seen in the grins flocking towards the merch stands, and out into the night. The UK leg of this tour definitely brought ANNISOKAY’s trilogy to a satisfying close, setting the standard for shows to come. Words and photos: Alice Kenwright

Tucked away in an old industrial complex on Glasgow’s West End, SWG3 stands as one of the city's most iconic live music hubs. The location and biting cold did little to deter a snaking sea of belt chains and black clothing from flooding in to catch a lineup not to be missed. The contrast outside was striking, with a subdued folk show unfolding in the TV Studio, while anticipation for something heavier was brewing in Galvanizers. Californian metalcore unit STICK TO YOUR GUNS and fast-rising post-hardcore outfit STATIC DRESS promised to spend the first half of the evening paving the way for deathcore titans PALEFACE SWISS to celebrate their newest album, CURSED, and to deliver a performance to remember. With a lineup this strong, it's not surprising that much of the 1250-capacity room was packed out before the first opener even considered hitting the stage. Hailing from Orange County, STICK TO YOUR GUNS burst into action with an explosive vitality, launching straight into Diamond, the title track of their 2012 record. Strobing lights synced tightly with frontman Jesse Barnett's sharp screams, immediately crafting a visceral, all-encompassing experience. Despite the short set, the band’s relentless energy proved to be infectious, producing thirty minutes of raging mosh pits and pure metalcore bliss. During Invisible Rain, BARNETT demanded the crowd split in two, attempting to ignite a wall of death for the breakdown. However, with such a short warning, the moment did not reach its full potential. Heading into Spineless, they dedicated the song to fellow bill-mates STATIC DRESS, which was a far warmer gesture than the title suggests. A lone Gandalf costume in the pit prompted an iconic moment of comedy when BARNETT demanded the crowd two-step, with many audience members prompting to record the moment rather than the band. They later also dedicated Against Them All to headliner PALEFACE SWISS, honouring their long-standing friendship. They explosively finished with Nobody, the intense, powerful momentum they fostered continuing. The stage design left little room for doubt that Leeds post-hardcore unit STATIC DRESS were next. Scattered with early 2000s TVs, the set signalled the band's nostalgic aesthetic. After the TV’s flickered with static, they meandered onstage dressed to mirror the era, most notably frontman OLLI APPLEYARD’s belt featuring the early 2000’s DVD logo. They delved directly into face. from early in their discography. As the set progressed through fan-favourites such as Push rope and Death To The Overground, APPLEYARD’s repeated calls to ask the crowd to jump were gradually met with diminishing enthusiasm. CDP was dedicated to headliners PALEFACE SWISS, but they took a brief moment to acknowledge STICK TO YOUR GUNS. APPLEYARD excitedly said that “They’ve made this whole scene a better fucking environment… The fact that we’re billed after them, I’ll never fucking get over.” Following the chaos, the band briefly shifted gears, with the smoking lounge redux version of such.a.shame. This significantly slowed the pace, and following it with connor felt abrupt. They closed with the powerful crying, demanding “fifty fucking bodies over the barrier”. In a unique moment of crowd-control, APPLEYARD began counting down mid-song. After calling out, “We need twenty more!”, the room was successfully reinvigorated, earning a raucous round of applause as the set came to a close. The room filled with the ominous sound of ticking clocks as strobing lights cut through the haze, anticipation crackling throughout. As PALEFACE SWISS stormed the stage, they detonated into I Am A Cursed One, instantly igniting the pit and the crowd roaring. The room intensified with Hatred, pushing the room deeper into chaos. Much of the set was a journey throughout CURSED, however, long-time fans were also rewarded. Before diving into The Rats, frontman MARC ZELLWEGER teased, “We never play our older stuff… so you have to prove it's what you want or we’ll never do this again.” This ultimatum worked, with the most ferocious pit of the night bursting at the seams. During Let Me Sleep, ZELLWEGER commanded the crowd to drop to the floor, saying, “You know what to do when the beat drops.” This resulted in a rare and jaw-dropping moment where not a single person was standing, much to the clear amusement of the security staff. This moment was followed by an unplugged, acoustic version of River of Sorrows with longtime friend of the band RON DERIS; a much-needed moment of calmness. This calm was fleeting, as the full production gradually thundered back in. Energy surged once again, as the members of STICK TO YOUR GUNS rejoined the stage for Instrument of War. Coming to the end of the set, PALEFACE SWISS momentarily left the stage. Almost immediately, ZELLWEGER jumped back on and joked, “We’ll never do that rockstar shit,” before promising to play their biggest song. The pit never let up during Please End Me, and as the final notes rang, a satisfying wall of death accompanied. It was the perfect conclusion to an exceptional lineup and proof that PALEFACE SWISS have not even begun. Words: Chloe Sodeau Photos: Jack Norris

As the year came by, the French MOTOCULTOR FESTIVAL was back in London once again with another of their big tours across Europe. And this year, the co-headlining stars of the show were the Italian champions of parody metal NANOWAR OF STEEL and the Mongolian folk-metal powerhouse UUHAI. Supported on the London date by LONE SURVIVORS, MORPHIUM and DEUS EX MACHINA, the evening promised a journey through metal from the start. The Underworld in Camden Town was not busy at all before the first support band of the night took over, but that did not stop DEUS EX MACHINA to bring their all to the crowd. Originating from Singapore, the femme-fronted band gained huge popularity internationally over the years, and although their lineup changed extensively, the current one, consisting of PRASHANT RYAN JOSEPH (lead guitar), NEIL HALLIDAY (drums), HERMAN RZAR LEE (rhythm guitar), VIVEK GOVIND (vocals) and JUSSI AHOKAS (bass) is indeed a very strong one. Not having much time to truly showcase their work, the band played only a handful of songs before making space for the next band, but in that short time, they managed to make the crowd move, and even knock off a cymbal from drums that was put back by GOVIND. Expressing their gratitude a lot, it was evident the band was moved by the support of people, who came to see them opening the night. After a quick change-over, it was time for MORPHIUM to finally show London what Spanish metal is really all about. The crowd slightly increased in size before the set started, but there was still plenty of space on the floor, as many people rather stayed on the platform facing the stage. Once ALEX BACE (vocals), FREDERIC TORRES (guitars), JAMES LAMB (guitars), DIM (bass) and SEBAS LIMONGI (drum) took over, The Underworld saw thirty minutes of heavily harsh vocals, ear-piercing riffs and unstoppable snare. In between songs, BACE expressed gratitude for the chance to play the iconic venue, as well as talked about other things, which made the performance feel more personal. As they were the second supporting band, their performance was over quickly, but it was with no doubt a memorable one. The third and last supporting band, LONE SURVIVORS, took over the stage not long after the previous band, but they saw an increase in the crowd as well, as more fans were coming in to ensure they see both headliners of the night. The French metalcore four-piece did not hold back as FRANÇOIS LESCUYER (guitar) and OLIVIER CRESCENCE (bass) started shredding the riffs immediately, while JÉRÉMY PIAU held the beat steady with his drums and ARTHUR ROHOU combined his harsh and clean vocals. The floor started moving more than before, but even with multiple attempts, the band was not lucky to get a moshpit that night. Nonetheless, it was still a memorable performance that had put the band on the radar of many metalcore fans, and definitely a big night for them, as they were the main headliners. After three great support bands, the time finally arrived for The Underworld to welcome the Mongolian metallers UUHAI on its stage. And what a welcome it was with massive cheers and applause. Although the band was formed in 2020, they quickly gained popularity overseas, so it was no surprise that many in attendance were excited for this moment. Consisting of OTGONBAATAR DAMBA (drums), KHURTSGEREL DAMIJANRAV (horsehead fiddle, throat singing), ZORIGOO BATTSOOJ (horsehead fiddler, throat singing), SARUUL TSOGT-ERDENE (vocals), BATBAYAR DULAMSUREN (percussion), DALAITSEREN NASANBUYAN (guitar) and ANAND NARANBAATAR (bass), UUHAI is going in the footsteps of their ancestors with the incorporation of throat singing and traditional instruments, while embracing the modernity with the fusion of metal in their work, creating a sound that is touchingly unique. And their live show was no exception, as the show was energetic, engaging and worthy of bigger space. The band had released their first album Human Herds right before the tour started, so it was no surprise the songs played that night were all from it. From their hit song Khar Khulz, to Dracula, to the self-titled track Uuhai, the band held a ruling hand over the floor, and even received the first moshpit of the night that could not be stopped afterwards. In those almost sixty minutes UUHAI was given, all the fans united thanks to their touching music and the atmosphere in the room felt lighter, as if all the troubles of life suddenly disappeared. The performance was a worthy of co-headline and made everyone present long for more, As the night was coming to an end, the second headliner of the night, and last band on the bill, the almighty NANOWAR OF STEEL, finally made their way to the filled venue. If there was anyone wondering what the Italians were doing in London that night, the answer would be all of them went to see NANOWAR, as the amount of people speaking in their native language was absolutely higher than usual. Starting the set with the self-titled song Nanowar and lots of steam coming out from the machines, the energy they brought was incredible and maintained to stay the same for all thirteen songs. The enthusiasm of the crowd from the start was unmatched and it was no surprise that the members CARLO ALBERTO FIASCHI (lead vocals), RAFFAELLO VENDITTI (co-lead vocals, miscellaneous sound effects), VALERIO STORCH (guitars, keyboards, backing vocals), EDOARDO CARLESI (bass, backing vocals) and ALESSANDRO MILONE (drums) started interacting with them immediately, adding a personal touch to the evening. Bringing in many of their well-known songs such as Stormwarrior Of The Storm, Pasadena 1994, Norwegian Reggaeton and Il cacciatore della notte, as well as their latest addition Genghis Khan (The Genghis Khan Song to End All Genghis Khan Songs), while giving the audience a one-of-a-kind performance that even big power metal names would not be ashamed of, NANOWAR OF STEEL proved that metal does not have to be always serious, while also publicly standing against the growth of AI bands with the song HelloWorld.java. As the end swiftly approached and NANOWAR OF STEEL started to play their closing song Valhalleluja, FIASCHI started assembling a table from IKEA on the stage, in accordance with the lyrics, and let it go on its journey across the venue and moshpit. All five members jumped into the crowd right after the song ended to start a big conga line, crowning the evening as a successful infiltration of the isles, as they played in Grimsby and Southampton the previous days. UUHAI and NANOWAR OF STEEL are two completely different bands, yet they both accomplished to inject the venue with unity and enjoyment, as they took over the crowd in an instant. The MOTOCULTOR FESTIVAL’s Tour Across Europe has become a huge staple of the European scene by now and this year, they once again outdone themselves. Words: Katerina Stepanikova Photos: Ben Blissett

Monday nights in January aren’t exactly known for their excitement. Especially right after New Year’s, when most folks are still shaking off the last bits of holiday excess, too much turkey, too many drinks, not enough sleep. I’ll admit, I wasn’t expecting much. But walking into the Motorpoint Arena for Biffy Clyro, something felt different. It was like Nottingham had been holding its breath, waiting for this moment, fifteen years since the band last played here. In band years, that’s practically an era. The buzz in the air was real, not just hype. These guys have already shown they can own massive stages, headlining Download Festival twice. Now, three decades and ten full-length albums deep, the Scottish rock veterans are back on the road, touring last year’s album, Futique. It comes after some rough patches for the band, but the new songs aren’t weighed down; they’re about starting fresh, rekindling old connections, and figuring out what still keeps their fire burning. First up came the punk duo SOFT PLAY, kicking things off in the most unexpected way, the arena speakers suddenly filled with the gentle, choir like strains of the classic hymn All Things Bright and Beautiful. For a split second, it felt like we'd wandered into a church service instead of a rock gig, almost serene, almost funny. Then, without warning, it smashed straight into their own ferocious track, All Things, pounding drums and snarling energy. At the peak of the chaos, drummer and vocalist Isaac Holman leaned into the mic and bellowed, “How the fuck are you doing, Nottingham?!” It was a Monday night, sure, but plenty of people had clearly shown up ready to lose it. Tracks like Mirror Muscles and Isaac Is Typing… followed, and that's when the first real mosh pits erupted down front, bodies flying, grins everywhere, the room properly coming alive. Midway through their set, SOFT PLAY’s Isaac Holman dives right into the thick of the crowd, surfacing somewhere deep in the pit. Grinning like mad, he shouts out to the sea of faces: “People always used to yell at us; Oi, where’s your bassist, you Cockney wankers?" The place erupts in laughs and cheers; he's owning the old digs head-on, turning the joke back on the doubters while reminding everyone why this two-piece duo packs such a punch. Classic Soft Play raw, funny, and totally unapologetic. By the end, the Monday blues were long gone, and the place was ready to explode. The trio from Kilmarnock deliver a striking entrance that's worlds apart from the standard arena rock routine. Right from the start, the entire stage is shrouded in cascading white drapes, forming this enormous, dreamlike fortress effect. When they kick off with A Little Love, the band members first show up as towering, shadowy outlines behind the cloth, ramping up the anticipation until the track reaches its explosive peak halfway through; at which point the fabric dramatically falls away, exposing a vast, tiered setup complete with staircases and elevated platforms that let the performers roam and command the space. Hunting Season rolls in next, illuminated by those sweeping, epic lights, setting the stage for Simon Neil to rip into the iconic, razor-edged riff of That Golden Rule. The energy surges with pulsing strobes and those powerful, live violin flourishes slicing through the intensity. Deeper into the gig, the production for Space gets wonderfully atmospheric, complete with visuals that make it seem like rain is actually falling over the crowd. In the realm of massive venue spectacles, this just hammers home what fans have known forever: Biffy Clyro nail it with style, originality, and real sophistication every time. The setlist was a proper celebration of everything Biffy: old favourites, deep cuts, and a solid chunk from the new album Futique. They opened strong with some heavier newer stuff that got the pit going early, then dropped into the classics. Biblical was ridiculous. Simon stood up on that staircase, the whole arena singing back so loud it drowned him out for a second. Proper spine tingling moment. The closing run was pure euphoria. Bubbles into Many of Horror, the confetti cannons went off, the place lost its mind, and 10,000 people screaming "We are Biffy fucking Clyro!" together is one of those things you don't forget. Simon's final shout of "Have a great 2026!" before they left the stage felt genuine, like he meant it. Biffy aren't trying to rewrite rock history every night, they just deliver massive, heartfelt anthems with a connection that still feels genuine after all these years. From a quiet start to total pandemonium, this was the perfect kick off to the year. Words and Photos: Kieran Atkinson

BEYOND THE BLACK are no typical symphonic metal act. Their mix of symphonic and at times electronic elements set them apart from other bands within this subgenre such as EPICA. The German outfit also rarely visits the UK. The last time the band toured the country was in 2022, and that was a co-headline with electronic metallers AMARANTHE. This time, though, BEYOND THE BLACK have returned to the O2 Ritz, the same venue they co-headlined with their Swedish friends, but as proper headliners, and with a production that is almost arena worthy. Support came from metalcore band SETYØURSAILS, and SERAINA TELLI, making this tour opening show one to remember. Starting the festivities was hard rock two-piece SERAINA TELLI. This set was full of passion. SERAINA sang her heart out and alongside drummer MIKE MALLOTH, they delivered a set full of catchy bangers. About halfway through the set, the versatile vocalist introduced a keyboard into the show to play a ballad, which led into the synths being more prevalent in the show, and this is when the crowd really started to get into the music. Towards the end, the crowd were fully engaged with the performance, and gave the two musicians a raucous response when they finished their set. It was evident that the crowd expected a heavier, perhaps more energetic opener, but what they received instead was a melodic, fist pumping hard rock show, which should have lasted perhaps fifteen minutes longer. After a very brief wait, the SETYØURSAILS intro tape started playing, and seemingly out of nowhere the band members ran onstage. What followed was an action-packed performance which left absolutely no prisoners. Frontwoman JULES MITCH constantly jumped up and down, danced and ordered the crowd to move around, encouraging moshpits to cause havoc inside the venue. Musically though, the lack of guitar solos was made up by the other band members also jumping around and commanding the stage. The true highlight of the set was when JULES told the crowd to scream “Fuck off” to the band, which led them into playing the song of the same name. This left the crowd delighted ahead of their final couple of songs in their setlist meaning that their job as the main support act this evening was done, and fiercely at that. Once SETYØURSAILS left the stage, the longest wait of the evening begun, and with a massive curtain being raised, it was only a matter of time before the highly anticipated headliners showed up. The curtain did drop about ten or fifteen minutes before they would come on, meaning that this was done simply so that the crew could check that everything was good to go. These last few minutes flew by though, and in no time, BEYOND THE BLACK arrived. Kicking off with Break The Silence, the band tore through their new songs effortlessly, alongside older songs such as Songs Of Love And Death. Frontwoman JENNIFER HABEN danced non stop, constantly smiling, but the true standout on that stage was lead guitarist and harsh vocalist CHRIS HERMSDOERFER. He crushed through each solo effortlessly whilst being fully intimidating onstage. This time though, he had a bigger role in the show than he usually does, as about halfway through the main set of the show, he joined JENIFFER at the front of the stage to play the first verse and chorus of Wounded Healer, followed by the live debut of a new ballad called Ravens. The main set closed with In The Shadows. This is not only one of the most iconic BEYOND THE BLACK tracks, but it is also one of those songs which get recommended for new listeners who are just getting into heavy metal music. After this phenomenal, yet a little muffled rendition, a three-song encore, which ended in their typical show closer Hallelujah. Ending the first show of the Rising High Tour in a way which the crowd adored, and left everyone in the venue asking for more. This was a show to remember. The production was arena worthy, with a massive screen raised high above the drum kit adding a magical, colourful element to the show outside of the lighting which made sure that each song had a different colour in the set, and both openers delivered performances which left everyone more than satisfied. This proves that BEYOND THE BLACK have not just risen high, they have risen to the heavens, and are well on their way to playing much bigger venues. Words: Itay Gilad Photos: Lauren Wenham

At last the long awaited seventh full length album by metalcore legends CRYSTAL LAKE is upon us. After the album was first announced in 2024 following their move to Century Media Records, there has been a lot of buildup leading up to this moment. With four of the eleven tracks released already, there’s plenty to look forward to ahead of the album’s release. The lineup for this band has consistently changed over the years, although this is no bad thing. Each time the band evolves whilst keeping the heart and soul of the band’s message intact. After Ryo Kinoshita’s departure in 2022 due to personal reasons, new vocalist JOHN ROBERT CENTORRINO has stepped up to the altar and delivered the calibre expected of a band at this level. The Weight of Sound is both a rebirth and also a nostalgic celebration to the original CRYSTAL LAKE sound that fans know and love. With this record we see a solid foundation of what the band has achieved so far, and their ability to harness their sound and approach it in a fresh new way. The album hosts a plethora of guest artists including the likes of Jesse Leach (Killswitch Engage), David Simonich (Signs of the Swarm), Taylor Barber (Seven Hours After Violet, Left To Suffer), Myke Terry (Fire from the Gods, Volumes), and Karl Schubach (Misery Signals). Alongside Guitarists YD and MITSURU, bassist TJ, drummer GAKU and vocalist JOHN ROBERT C. we are treated with a stacked set of musicians. Everblack sets off the album and by no means eases you in gently, with brutal vocals from the start that lead into a punching breakdown. The anthemic voices in the middle bounce off the melody as the brutality returns to end the track. Bludgod featuring Taylor Barber follows, which has no struggle keeping the energy going. The song is teeming with synth-y infused flashes of ground rumbling blast beats by drummer GAKU. Tracks Neversleep and King Down contain pounding, unforgiving metalcore goodness helped along by Fire From the Gods vocalist Myke Terry. The Undertow offers balance, beginning with a melody that fuses into a break of serenity and harmony that bleeds perfectly into the title track, The Weight of Sound. This track is the thematic centrepiece of the album and packs the biggest punch emotionally, there’s something about it that really hits you. The accompanying music video is also worth your time, it highlights the hard work and sacrifices of being away from home for long periods in this career, whilst celebrating the connections created by music between artist and fans. Crossing Nails hints at a classic style CRYSTAL LAKE melody and its cascading, fuzzy riffs are a standout element. Dystopia showcases a dramatic and atmospheric touch that has impressive and effortlessly cool clean vocals to match. Sinner is a multi-layered track that touches on the light and dark, with welcome slower almost anthemic moments. Contrastingly Don’t Breathe contains booming rhythms and mammoth vocals that will leave you breathless. From here the track mellows out to a reflective loop before blooming into the final track. As soon as it starts Coma Wave makes you feel as if you’ve transcended to another dimension, with clean vocals right off the bat joined by a solemn piano. Soon the track crescendos to the metal sound we’re familiar with, though the piano continues as a jazzlike accessory. This is definitely the most experimental track of the album, but it pays off; this is something very unique and special. The Weight of Sound is a strong, powerful album that is absolutely worthy of your time. There’s no mystery as to how these guys receive such international recognition, they are able to create music that emboldens togetherness and harnesses immense energy that reaches fans all over the world. The Weight of Sound will be released on the 23rd January 2026 via Century Media Records. Score: 8/10 Words: Danielle Henderson Photos: Jesse Kojima

The Japanese metalcore five-piece CRYSTAL LAKE formed in 2002, and in that time they have solidified their place as one of the world’s leading bands in the genre. In the last 24 years the band has evolved and adapted to get where it is now, and through this they have created a distinctive sound which will be amplified further as their latest album, The Weight of Sound, comes out this week. The band are due to embark on a full co-headline tour with metalcore giants MISS MAY I starting next month, which will double as a release tour that is covering a huge chunk of the UK and Europe. We caught up with vocalist John Robert Centorrino to chat about the upcoming album, the tour, and everything in between. With John living in the States and the rest of the band living in Japan, we wanted to know how that worked when creating an album like The Weight of Sound. John: Everything is digital. We pretty much connect through a group chat. And we meet up for tour and what-not but they’re naturally very strict so everyone is just encouraged to be prepared before we tour so we don’t require to meet up. Today being able to connect so digitally, so realistically, makes it very easy to keep the gigs flowing, you know? We send files back and forth to each other all the time. I know since we haven’t jammed in a long time this time we’ll probably try and practice at a venue. Hopefully we get access the day before. Day one, you know? Considering this distance between them, we wanted to discover the process needed not only to work on the album but how this affects decisions made for touring and being on the road. This covers how to establish a compelling show complete with stage direction and creating an atmosphere. Not to mention one of the most important things: the setlist. John: So we give the vibe based on what we’re playing. So when we play songs like Watch Me Burn, Apollo, Lost in Forever, I will try to remember to smile. I don’t always remember! But I usually will try to remember to smile in those songs, and that kinda gives it a little more of a lightheartedness. So, I mean, it really is just depending on how we’re gonna vibe the set. I’m building a set right now, I’m sure that YD (Guitarist) is building a set also. I’m sure Mitsuru (Guitarist) and Gaku (Drummer) are putting together sets. We’ll see what happens. I want mine super cinematic, I want an interlude with, like, things happening, y’know what I mean? So, like, we’ll see if I get my wish. I think that’d be cool, though. I wanna play some old songs. Although a few of the songs from the new album have already made their stage debut, we were curious to find out which of the new songs the band were most excited to perform on stage. John: I’m really excited to play Neversleep. Very excited to try out Everblack or Don’t Breathe or Undertow. We’ve played Sinner before, you can find Sinner live on YouTube. We played it, like, a year ago at this point. I love playing Sinner live, because Sinner live is a little bit different vocally than the way it is on the album. I love playing it live! Lots of highs, it’s a lot of fun. The Weight of Sound is packed with guest artists from bands such as KILLSWITCH ENGAGE and SIGNS OF THE SWARM just to name a few, we were eager to know how such collaborations came about, and how these were recorded. John: A lot of them are just my homies, you know what I mean? Like David (Simonich) and Myke (Terry) are dudes that I’ve known for a long time including Taylor (Barber), I’ve known those guys forever. I was just kind of going through my friends and seeing who was available and who wanted to do it. There were a lot of other people who I was talking to that we just couldn’t line up because either we were on tour or they were on tour or we weren’t ready or however it was. And then I wound up making friends with Karl (Schubach) from MISERY SIGNALS over Instagram. I forget if I asked him or he asked me but we made that happen, and then we wound up connecting with Jesse (Leach) and then it just all fell together really, really, really well. Jesse’s part is really cool because it fits him really well. I think all of the guest spots fit the vocalists really well, it brings them out in it. I love that. I like them all. This album is the first full length album since the vocalist lineup change in 2022. We asked about how this may or may not have affected the direction for the band, in terms of genre and the band’s sound. John: The other CRYSTAL LAKE music kind of rides that same sort of line; they have this classic kinda vibe going on. Same thing with Helix, Helix in itself is very much a melodic-heavy album. It’s got very heavy songs like you would expect a modern metal band to have, but then at the same time it kinda sounds like an album from 2005. It’s got that vibe of that classic metalcore, but in a good way, in a fresh way, not in a repeated way. And I feel like this album has the same thing, just in a different way, you know what I mean? ‘Cause we kinda do a lot of different things on this album. I think there’s more heavy songs on this album than on Helix, and that’s just because you guys liked Disobey so much. It’s like, alright, fuck it, we’ll write some more heavy songs! And that’s kinda why we’ve been riding a line with like Denial // Rebirth and Blüdgod and Dystopia. We’ve been riding that heavy line, we’ve just been having fun. I think the difference in this album is it’s very balanced between heavy and light. The last album was very light or melodic. This album is very balanced between light, and I would say that really, it was just as hard, if not harder, for us to do this one than it was the last one because we’ve never worked together, but we had a lot to live up to. As a bit of fun, we asked if there was one song that you would recommend to someone that didn’t know about the band or were just discovering CRYSTAL LAKE, which tracks would John pick? John: From The Weight of Sound I would say Undertow, Everblack, and Coma Wave. That’s a good balance of everything that this band does. Those three songs are kind of everything. This chunk of heavy, this chunk of light, you know what I mean? I think that works. So far we’ve discovered that The Weight of Sound plays on the heavier side but still holds a lot of balance that new and old CRYSTAL LAKE fans will be able to sink their teeth into. Beyond this, we were interested to know John’s final thoughts and aspirations ahead of the album’s release. John: I guess I hope that everyone takes the time to listen to it. These guys put a lot of work into this music and the amount of time and energy that it took me to be able to play with a group of guys like this, it took me forever. Like my life was leading up to this moment. I’m really proud of all of us, I’m so happy to be able to be in this band and I can’t wait for you guys to hear what we did. Because I think this is what you wanted. This is what I wanted, and I’m pretty sure this is what you guys wanted too! And to finish, beyond the upcoming tour, we wanted to know if there were any festivals lined up for the summer ahead. John: Not that we can say out loud but fingers-crossed that we get a ton of them. If not this year, definitely next year. So we’ll see how that goes. CRYSTAL LAKE’s seventh studio album The Weight of Sound releases on 23rd January via Century Media Records. The band will be joining MISS MAY I for a co-headline tour starting in February. Words: Danielle Henderson Photos: Jesse Kojima With thanks to: Crystal Lake and The Noise Cartel