With the release of their third studio album ‘Parasites And Butterflies’, Nova Twins have taken on their biggest headline tour yet; at O2 Forum Kentish Town, bringing this new album and sound to their fans with many sold-out nights and adding more respect and notoriety to their name. We headed down to London for their biggest headline show to date and in none other than their hometown. They had friends Ashaine White and Hot Wax supporting, with Ashaine’s strong vocals coupled with her hard riffs, she made for an insanely strong start to the night, bringing a cool trance vibe to her rocky sound. It generated a nice atmosphere that almost felt like a complete genre switch from Nova Twins, but still captured that dark, gloomy vibe given by the Twins’ Alternative Rock. Next Hot Wax took to the stage, with their heavy bass and punky vocals, bringing a much more upbeat sound as they rocked the stage with their high energy and seductive sound. Only real compliant to be had about these guys is just the poor sound balance, which is unfortunate because you could really see and hear the pure talent on stage; the best place to see these two would absolutely be in a small, sweaty venue where you can feel the raw energy they give off. Finally, Nova Twins stepped out to their biggest crowd, opening with a couple of songs their aforementioned album ‘Parasites And Butterflies’ before taking it back to one of their original hits, ‘Taxi’, which split the audience in half as they wasted no time jumping and pushing to the song, which shows how as hard as nails these girls are. The set continued off with they hitting off more and more hits for the setlist until it hit quite a somber note as they announced their drummer for past 6 years, Jake Woodward, is leaving the band with this, their biggest headline show, being his last with them; making for an emotional moment they shared with their fans as they thanked him for all his work with the band. This announcement did not stop momentum however as Georgia and Amy brought the audience’s back up to dangerous levels with their ever so catchy tune, ‘N.O.V.A’ followed by them crowd surfing for as they rocked their instruments above the crowd, before finally brining it to their closer ‘Glory’ and with one finally burst of confetti, Nova Twins have closed off a new chapter with their career reaching new heights and I’m sure they’re only going to get bigger. Words: Ben Blisset Photos: Anna Goley

When JACK BALFOUR SCOTT founded LEAP five years ago, no one knew the band would soon become one of the most important bands on the British modern indie-rock scene. With the help of ADAM MASON (guitar), DECLAN BROWN (bass) and HECTOR COTTAM (drums) and SCOTTS’s diverse cultural influences, the band quickly formed its significant musical presence and soon released its debut EP. This October, the four-piece released its highly anticipated debut album Entropy, and has already been met with high praise from both critics and fans. In support of Entropy, the band emerged on their UK and Europe tour with the talented TALLY SPEAR, and the sold-out London date at Village Underground was their last stop before heading to the mainland. Opening the early night with good vibes, TALLY SPEAR brought onto the stage her emo-infused pop-rock. The venue was already packed full and her songs were not unfamiliar for the crowd, as they sang each song in full, making the set in her hometown even more special. From her hits like Self Confessions and Pretty, to a new, unreleased song Typical Me, every second brought more energy, passion and excitement not only from TALLY, but from the fans as well, as they were jumping around, waving their hands and having a blast with the quick rising star, whose set was only thirty minutes long, but did not skimp back on amazing riffs and drumming. Around half past seven, the lights turned off once again, signaling that LEAP is ready to come onto the stage. The whole Village Underground burst into massive cheers as they were welcoming the band on stage, who immediately followed with their song Over & Out. Followed by some of their older songs like Show Me The Way You Love, Fistful Of Money and Where The Silence Goes, as well as songs from their latest release like Exit Signs, Waste Your Love and Eclipse, the four-piece showed off their already wide roster of songs, which were all sung by all seven-hundred fans lyric-to-lyric. Throughout many fan interactions, tears and very aggressive moshpits, JACK, ADAM, DECLAN and HECTOR showed their undying passion for music and their talent, that is only increasing with every new release, and they projected their intoxicating burst of emotion and energy into the performance. The headline show was a prime example of why LEAP is currently one of the most relevant and influential bands. Bringing in an unforgettable atmosphere, big presence and love for their fans, the band managed to make the evening legendary from the very beginning. TALLY SPEAR was an excellent choice for support, as her songs are lyrically relevant, as well as melodically engaging, and she really elevated the whole experience to new heights. Words: Kat Stepanikova Photos: Samira Dominika Tafija

Older generations have always claimed that fashions come back around, whether the scooter, the yo-yo, or denim. The same could be said for music. Music that was once a hit a few decades ago comes back around and finds a new audience. SPIRITUAL CRAMP and their latest offering RUDE is somehow new but also wouldn’t seem out of place in the mid-00s. For those unfamiliar with SPIRITUAL CRAMP, in a nutshell, they’re an indie punk band, but to dig in a little deeper, they’re a band that manages to pull influences from several decades of punk, whether it’s punk from the 1970s/80s, dance punk from the mid-00s, and modern San Francisco indie punk. It’s an eclectic mix of influences that all coherently intertwine to create something that’s equal parts nostalgic but also fitting perfectly within today’s modern world. Kicking off the album is the intro track I’m An Anarchist which doesn’t really do the rest of the album justice, especially if you were to come into this album blind. While less than two minutes long, the meat of the track kicks in at 0:38, and it’s somewhat anticlimactic, especially when taking the rest of the record into account. It’s a sort of 80s SEX PISTOLS-style punk track, which feels like it gives off the wrong impression when the rest of the album contains much better tracks, such as At My Funeral and True Love (Is Hard To Find). That’s not to say I’m An Anarchist doesn’t have its place on the album, but it definitely feels like a hard shell to crack to get through to the softer, tastier meat of the album. Fortunately for SPIRITUAL CRAMP, they’ve been leading the promo run for this album with the singles At My Funeral, Young Offenders, and Automatic. One thing that SPIRITUAL CRAMP can be applauded for is evolving its sound without forgetting the band's roots. You can listen to their first EP Mass Hysteria, and still hear similar elements found in RUDE, the only real differences being that it’s a little more polished, and it’s also a step up from their debut self-titled album. RUDE is jam-packed with upbeat punk anthems that wouldn’t seem out of place in an A24 coming of age teen movie. It’s also just one of those albums you’ll want to get up and dance to. For those of you who missed out on the dance-punk era of the mid-00s where bands like THE BRAVERY, BLOC PARTY, and FRANZ FERDINAND were ruling the roost, you’ll be able to experience it for your very own - minus the sticky booze-soaked floors of your local student union. That’s one thing to love about this album; it’s so incredibly catchy. There are a handful of big-room sing-alongs in this album, like the ad-lib hooks found in You’ve Got My Number (Bada ba ba…!) and “Everyone is driving me crazy” in the track, aptly named Crazy. Overall, RUDE is a really interesting listen with influences being pulled from a smorgasbord of punk that could easily slide in alongside some of the greats of the modern punk movement (MILITARIE GUN and HIGH VIS), as well as some of the greats from a few decades ago (BLOC PARTY, THE MACCABEES, and FRANZ FERDINAND). Now, does anyone know when the next student union Indie/Rock night is? Score: 7/10 RUDE is October 24th 2025 on Blue Grape Music. Words: Aaron Richardson Photos: Sarah Davis

With a recent US tour under her studded belt and a UK & Europe run on the horizon, brat punk Bi-con Delilah Bon is charging full steam ahead. A force of nature in platform boots, she sat down with us to talk about her new EP ‘PRINCELESS PRINCESS’, the global political climate, and why Delilah Bon is no longer just a character - she’s a lived identity. When Delilah Bon boarded a plane to the US for her recent tour, she carried more than just her instruments and bright stage outfits; she carried uncertainty. Messages on social media flooded in from her fans, with some pleading with her not to travel there, warning of danger and political unrest, while others insisted it wasn’t as bad as it seemed. “I had no idea what I was walking into,” she admits. But what she found was a community desperate for her voice, which speaks unapologetically to the marginalised, silenced, and the enraged. Before the tour, Delilah wrote on her social media that she had crafted a political track aimed directly at the state of America under the Trump administration. But she explained she decided to not release it before the trip, fearing it might jeopardise her entry into the country. “It’s the first time I’ve ever felt censored on social media,” she says. “I speak my mind all the time.” This tension between expression and suppression echoed throughout her journey. However, the warmth she was shown by her fans, who thanked her for giving them hope in a time of fear and erasure, made the risk worth it. “As soon as I got home, it was a real moment like ‘I did that. I really did that.’” Her latest EP, ‘PRINCELESS PRINCESS’, is a manifesto of defiance and self-discovery. It flips the classic fairy tale on its head, rejecting the heterosexual notion that salvation comes in the form of a prince. “We’re finding a lot of fun in figuring out who we are and what we can bring to our own lives,” she says. Delilah no longer sees herself as a character, it’s her reality. “I am, every single day, Delilah Bon.” Her authenticity surges through tracks like ‘Dragon’ where she confronts sleep paralysis, stress, and self-doubt.. “When I first started out, it was me on my own,” she recalls. “Now, whenever everything feels overwhelming, I can just put a message out and say I feel overwhelmed.” Her fans respond with gratitude, thanking her for speaking out on issues often ignored in everyday conversation like feminism, the ongoing genocide in Gaza, women’s rights. “Sometimes you feel a little bit isolated,” she says. “But they remind me I’m not alone.” It’s clear that her main motivation is the ever growing community around her, both online and at her shows. Online hate has become part of the job, but Delilah knows how to turn the venom into victory. A Twitter troll once called her “an evil, hate-filled female.” She loved it so much, she scrapped her original album title, Villain, and renamed it after the insult. “This man has since blocked me so he’s never seen that he named my album!” Her track ‘Bush’ is a raw reclamation of teenage trauma. At just 12 years old, she was shamed by a boyfriend for not shaving, branded “dirty” and “diseased” by her school ‘friends’. “That memory haunted me,” she says. “It was like this demon that lives down there that I must hide.” But through conversations with other women, she realised the shame wasn’t hers to carry. “Writing ‘Bush’ was just so freeing because now I don’t care.” It’s always been clear that lyrics are Delilah Bon’s weapon and this EP pushes that even further. In ‘Cinderella’, she delivers the devastating line: “He’s not a friend, he’s just a guy with a dick and he’s trying to get in your bed.” It’s sadly drawn from personal experience; Delilah was sexually assaulted by someone she considered a friend. “I haven’t sung about that yet,” she says. “But ‘Cinderella’ is angry and fun. People will scream those lines.” She also finds joy in the theatrical. “I have a bush so wonderful, so magical, so me,” she sings in ‘Bush’. “I’ve always been interested in theatre and acting,” she says. “This EP allowed me to be a little Disney princess.” Live performances are where her power truly ignites. ‘Dead Men Don’t Rape’ is a standout song. It’s intense, emotional, and deeply connective. “I lock eyes with people and I’m always thinking, what’s your story?” she says. In America, performing ‘Not the President’ became a moment of shared intimacy. “We were singing to each other. It just feels insane that we’re all in this room; we’re all so passionate, we’re all so similar in our experiences.” As for what’s on her playlist right now, Delilah is constantly discovering new voices. She’s into Slow Funeral and The Neighborhood Kids, a politically charged hip-hop duo from San Diego. She’s also excited about Changeline, who will be supporting her on tour in France. “I think she’s going to absolutely tear it down.” Delilah Bon isn’t just rewriting the fairy tale, she’s torching the old script and building something bold, angry, and beautiful in its place. She will be storming through Europe and the UK this October and November, bringing Gen Z riot grrrl fury and hip-hop fire to the stage. Her rage-empowered EP ‘PRINCELESS PRINCESS’ is out now on Trash Queen Records. Words: Lou Viner-Flood

The last time Heart Attack Man graced Leeds with their presence, it was in the grassy paddocks of Temple Newsam via the Key Club stage. The band played a nine song set, including the newest singles from ‘Joyride The Pale Horse’ and nearly blew the roof off! Their set was electric and fully echoed the atmosphere being curated by the tent bursting with old and new fans alike. In the months since the release of ‘Joyride The Pale Horse’, Heart Attack Man return to our shores again for a full fledged tour, this time with UK outfit Iota. Hailing from Bristol, Iota play a versatile alt-rock sound blending densely packed, fuzzy shoegaze riffs with powerful yet dreamy vocals. Iota’s stage presence is fantastic and it’s clear from watching them perform how much they thrive in this environment. Their newest single ‘Heaven’, in particular, is a knockout of a song, with an amazing hook and vocals so strong you can feel them in your chest. Iota are absolutely a band to watch out for and check out if you haven’t already. We’re already beyond excited for our next opportunity to catch one of their shows! As the anticipation for Heart Attack Man’s set begins to build, the increasingly spirited crowd stir, drunkenly singing to the PA’s music while the bands guitarist, Ty Sickels tries desperately to do a last sound check to ensure accurate levels. The anxious excitement and drunken fever of the room gives way to baited breath as the lights dim and the band takes to the stage. As the band jumps straight into the explosive ‘Lay Down And Die’, a horde of energetic fans nudge this DIY venue crowd into arena mode, allowing the room to break out in a collective hysteria of movement. Bodies bounce and pogo around, limbs flail and passion-strained voices almost reach choir status. Before long, a lone diver has risen above this human mound, taking to the stage's edge and beckoning those nearby to move closer and catch them. The band seems to capitalise from this wave ofbnthusiasm as they hurl themselves from banger to banger off their albums ‘Freak Of Nature’ and ‘Fake Blood’. Songs such as ‘Like A Kennedy’ and ‘Out For Blood’ get colossal crowd singalongs. Any discerning niche music fan will tell you there really is nothing better than being at a show surrounded by a like-minded fellowship who know the lyrics back to front! Between songs, the band entertains the audience with many musings surrounding their time in the UK. According to frontman Eric, "Leeds is the LA of England" - Now, don't come for us Blackpool but we feel like you've been robbed there! Additionally, among the banterous dialogue for the evening (because even Heart Attack Man know that northern audiences spoil their bands with the loudest chants), were the classics ‘YORKSHIRE!’, ‘ERE WE GO!’ - and others that we can't print for legal reasons. There was also a special mention from the band members to Slam Dunk for organising this frenzied fiasco. Heart Attack Man have thoroughly solidified themselves as one of the best bands to see live across the pop-punk and punk rock stratosphere. Their sets are full of boundless energy, hammering hooks, tight compositions and an undeniable atmosphere full of tension and release. It’s impossible to quantify just how they manage to do it. Every album is timeless, every show is unforgettable. If you have the opportunity to see Iota and Heart Attack Man, we strongly suggest making the trip to one of their shows whether it be on this current run or any future tours that will undoubtedly follow. Words: Spencer Cunningham Photos: Katerina Stepanikova

Almost one year ago today, LA-based goth-rock band DEAD POSEY released their debut album Are You in a Cult? to great praise and acclaim. Since then, they have been relentlessly spreading their darkness across the world, with tours in their homeland of America, numerous festival appearances, and support slots. It feels right that on the anniversary month of their first full-length release, this rapidly-rising duo would return to the UK for their biggest ever headline tour - and especially fitting that it should fall on the spookiest month of all. The Damned and the Dead tour brings us to iconic Glasgow venue King Tut's on a cold October night, where fans in black eagerly await their fix of dark-driven alt-rock. The night begins with a slightly rocky start - twenty minutes past the advertised door time, and we're still in the queue with the double doors firmly shut. To their credit, venue staff speed things up by checking tickets and giving wristbands in the queue, so when the doors eventually open, it’s a speedy entry process. Up the lengthy stairs we head. Waiting at the top are hometown rockers BRIELLE. Lead singer BETH SIMPSON is wrapped up in a dozen glittery belts, and is a sight to behold as she works magic on the keys. Spread out evenly across the stage are their drummer, bassist, and all the way on the opposite side is their guitarist - a strong force leading the band into an electric live performance of Without Me, a track that has crowd members nodding their heads to the rhythm even this early in the night. Following is recently-released single BREAK, the heaviest song of their set, and one that has the crowd synchronised in a rhythmic clap echoing throughout the small room as the drums pound on. Wrapping up their performance is the first cover of the night - a mesmerising rendition of ALANIS MORRISETTE's You Oughta Know, a staple of the band's setlists. It's a reimagining that carries shredding riffs and powerhouse vocals, and as BRIELLE leave the stage, we're left wondering why they haven't headlined this very stage yet. Second up is a fittingly-spooky band hailing from further south in the UK, THE CRUEL KNIVES. Fans wait by the barricade for them to take the stage, but instead an ominous, foreboding instrumental intro - the theme from Kubrick's The Shining - creeps through the speakers and fills the air. It's theatrical, dramatic, and we know exactly what we're in for when the band finally makes their appearance. Up against a stack of amps almost as tall as him, guitarist SID GLOVER kickstarts the set with The Life That We Made. Fiery riffs compete for attention with TOM HARRIS' striking vocals, and relentless drumwork leads us into Overdose. As the song ramps up in intensity, an extended instrumental duel takes centre-stage and fans are enraptured by the sight. Between banter about blackberry Jack Daniels and interactions with long-time fans, the band treat us to several other bangers like Itchy Trigger Finger in all its high-speed intensity, and finisher Crawl, which has the crowd truly alive and singing along through the frenzied chorus. It's only a short wait for the main event, and before we know it, the makeshift fabric screen draped across the back of the stage flickers to life with a projection. A countdown appears, one of those old-school greyscale ones you'd see at the start of film reels. Down and down it goes, until it fades into a montage; a compilation of clips from horror films - some classics, other ones lesser-known - takes the main focus. Soon gracing the stage are dark-rock duo, clad in leather and lace, DEAD POSEY. DANYELL SOUZA takes the microphone, and TONY NOVA steps into the fray armed with his electric guitar. Both are illuminated in a bright crimson. The stage of King Tut's may be small, but this production already makes it feel massive. They kickstart the night with crowd-pleaser sorry i'm not dead, a strong, darkwave-infused teaser for the night they have in store for us. The stage presence on show with DANYELL is hypnotising, and she moves to the rhythm as if possessed by the music itself. Following that up is Zombies, the track the tour takes its namesake from - "I'm only down with the damned and the dead," we hear over TONY's shredding on the guitar. Heavy rock shakes the room, and DANYELL interacts with each and every fan in the crowd as she graces the barrier, grasping hands, locking eyes, even beckoning those at the back to come forward so she can reach them too. Before long we're led into the second cover of the night - the band's heavier, goth-rock reinvention of classic Blue Monday. A track that already goes hard in its original form, and yet when DEAD POSEY blast their way through the chords, they manage to take it to another level. The riffs are electric, and the atmosphere is on fire tonight. The command DANYELL has over the crowd is immense, and that's further put on show when she introduces the next track with the words "we're going to have a seance." She asks for the house lights to be brought down, and phone torches to be held up. Everyone complies. As TONY leads into Darkside, the entire room is lit up only by the miniature lights in the crowd's waving hands. When the stage lights slowly come back to life, Russian Roulette blasts through the amps with its tight yet heavy tones, before leading into another fan-favourite, Holy Roller. Hands are back in the air now - with the absence of phone torches - swaying side to side in time with the beat. The band begin to rip into, fittingly, Can't Take Me Down, as a younger fan is chosen from the barrier and summoned to the stage to crowd surf. Taller audience members flock to the front to catch her, and soon, to guide DANYELL herself across the room on a sea of hands. The crowd interaction continues with She Went Bad, as numerous other fans are beckoned forth to stand onstage - much to the annoyance of venue security. With a crazed look in her eyes, DANYELL resembles, in both appearance and sheer presence, an eerier JOAN JETT. As she announces their last song, she speaks a few words about the political climate in America, and proceeds to unite the crowd in saying that "we the people are stronger together." A chorus of "Fuck yeah!" fills the air, and the band tears into their final track Welcome to the Nightmare. With the heavy turnout for this incredible show, DEAD POSEY have proven themselves as a promising act in the alternative rock sphere, and we can only hope to see them continue to grow as time goes on - in a few years, we could be seeing them on an arena stage, and they'd feel right at home. Words: Naomi Colliar Duff Photos: Nicola Small

Modern metal is an ever-evolving genre, and it’s bands like TSS that are helping to expand the horizons of what is truly metal in this fast-paced world. TSS bring together elements from Rap, emo, synth wave, neo metal and even phonk, blending them all with modern metal and creating something entirely unique. They've been in the scene since 2016 and have had the chance to open for ASKING ALEXANDRIA back in 2018 and been signed to Fearless Records, joining a bunch of other great alternative artists. The French band also brings influence from popular genres such as K-pop, having multiple vocalists and incredible style with a clear aesthetic that they stick to through and through. This unique strategy has given them an, although small, cult following, with fans keen to be near the front and to make it to as many shows as they can. It's no secret that in many places there are links within the fandoms when it comes to metal and K-pop, but you truly see it come to life in their crowd. The End of Time tour marks their first-ever headline tour as well as their first-ever headline show in London! As the crowd gathered, a range of band shirts could be spotted from all different genres, people of all genders and ages with all different styles, gathered to rock out to one band. Fans had already secured their barricade spots from the moment the doors opened and spanned to a few rows back, with people bagging a good spot even with such a small venue, 600 capacity. The lights dimmed, and the crowd broke into cheers as PAVÉ took to the stage, the female-fronted metalcore band hailing from Manchester had already caught the eyes of many, even having a feature with Radio 1 on BBC Introducing. Some fans were in the crowd already sporting their merch and ready with open ears the moment their set started. Right from the start, the band had an impressive stage presence with all 4 of them moving around and interacting with one another and the crowd. As time went on, you could see them loosening up and getting used to the stage. The crowd invited them brilliantl,y despite most likely not knowing them, they received many cheers for each song. Lead vocalist ALANYA was the main gem on the stage; her vocals were loud with very little distortion so if there were any mistakes they'd be heard, but there were none to take note of. She had incredibly stable vocals, always staying on pitch while dancing and jumping with the music, very impressive to see for a band with such little experience. PAVÈ gave it their all, and the crowd helped them along the way from singing lyrics they knew, to clapping along to even opening up a few mosh pits. After their set, the latecomers made their way into the venue, filling out the gaps and getting their spots for the main act. Having a sing-along with the preshow playlist that included bangers from bands DAYSEEKER, ARCHITECTS and KNOCKEDLOOSE. The lights went down and an overwhelming G note played from the stage, playing Welcome to the Black Parade to warm up the crowd, which got everyone singing along before their instrumental build-up started and the lights went down. The music began to build, and the lights flashed faster and faster, building the adrenaline of everyone in the room before the band came out onto the stage one by one, each receiving a cheer of their own. They opened with one of their biggest singles released in 2023, Would You Be My Therapy. You could instantly feel the excitement in the room as fans started singing even the French lyrics! The band were dressed in modern punk outfits with large shoulder pads, cropped leather jackets and various studs in all places possible, truly looking the part. TSS have two vocalists who they utilise live, giving each their moments to shine whilst the other can prepare or layer the vocals, giving a great texture to the live tracks. JOHN FINE handles all the brutal raps as well as the tame and soothing vocals, while MATTHIEU KIRBY brings the strong and high-pitched melodies as well as the screams. Varying between pig squeals, fry screams and raw melodic screams, his voice handles it all perfectly, impressive and unsuspecting from his exterior charms. JOHN had the whole crowd chanting in French to assist with one of his raps, the mic being clean and showing off his precise pronunciation of every syllable. One part of the show saw a short technical difficulty, which drummer HUGO PEIX decided to fill with a freestyle drum solo. Fans erupted in applause as the music finally kicked back in and the band restarted as if nothing ever happened. Mosh pits continued to open up and widen without a word of instruction from the band. They continued to play their hits such as Fatasize, KILLING ME and Notes in the dark; from their latest album END OF TIME, which the tour is named after. KILLING ME got a particularly loud response with most fans in the room singing every word as loud as they could. The band asked the crowd to open with one more circle pit for the last song, which spanned both sides of the room. It was amazing to see how the group have cultivated a loyal and passionate audience over here in London, despite any language barriers and not being able to come to the UK often. The last track they gifted was Something In The Way, which got huge screams from the crowd despite being released in June of this year. It's not often you see such recent tracks getting the loud reactions rather than their older songs that perhaps people have had more time to fall in love with, a great sign of good music and a fanbase thirsty for more. The lights show, along with the music, was very well put together, the kind that can be imagined even in bigger venues and still be impressive. A first-ever headline show in London, but you wouldn't even think it, the band owned the stage, unwavering in their talent and confidence. We hope to see TSS return to London to play even bigger venues and spread their noise. Words: Amy Smyth

There’s a strange electricity around LEAP right now, the kind you only get when a band feels on the cusp of something bigger. For the past two years they’ve been grafting across the UK and Europe, tearing up tiny venues and festivals with sweat-soaked, chaotic sets that turn strangers into family. That energy has been building, feeding a fanbase that doesn’t just listen but connects, and now it’s been captured in full on Entropy - the band’s long-awaited debut album. The record arrives self-released, and that independence feels important. There’s no gloss of a major label sheen here, no sense of compromise. What you hear instead is the sound of a band still running on instinct, on grit, on pure hunger. Entropy is messy in places, rough around the edges in others, but that’s exactly why it works. It’s an album that sounds like it was made to be lived through, not just listened to. The journey starts with Over&Out, a track that doesn’t just open the record but detonates it. It’s a full-tilt blast of riffs and pounding drums, like the lights going down and the first roar of the crowd. From the first second, it feels less like a song and more like a declaration: this is who LEAP are, and they’re not easing you in gently. That momentum slams straight into Play Dead, a swaggering punch of noise and sweat. It’s rowdy, loose, almost unhinged - the kind of song that makes more sense in a packed venue than it ever could on headphones. And that’s the beauty of it: LEAP know how to bottle the atmosphere of their live shows and pour it straight into a track, making you feel like you’re shoulder-to-shoulder in the pit even if you’re alone in your room. The mood starts to shift with Exit Signs, which bristles with restless tension. It’s jittery, like pacing through the night with something gnawing at you, shadows lurking in every corner. Then comes Waste Your Love, where the noise dials back just enough to let vulnerability creep in. JACK SCOTT's voice carries more weight here, almost bruised, reminding you that beneath the chaos and bravado there’s a raw, emotional core. By the time Do Or Die crashes in, the pace has picked up again, all urgency and grit. It feels like a song written with a chip on its shoulder - daring you, or maybe daring the band themselves, to keep fighting through. Then, right at the heart of the record, comes its most fragile moment: I Was Never There. This is the album’s gut-punch. Stripped-back and haunting, it peels away the chaos to show LEAP at their most exposed. Scott’s vocals feel cracked, on the edge of breaking, and that vulnerability makes the song hit harder than any wall of sound could. It’s the kind of track that lingers long after it ends, heavy in the silence it leaves behind. That silence doesn’t last long, though; Sinking Feeling, the monster single that first teased the album, crashes in with dancefloor-ready beats wrapped around lyrics full of dread and anxiety. It’s LEAP in their purest form: upbeat, anthemic, and built for movement, yet lyrically locked into the kind of honesty that cuts close to the bone. It’s a contradiction - joyful and desperate at once - and that’s why it works so perfectly. The back half of Entropy feels like the band stretching their wings. Messages thrums with nervous energy, while Energies experiments with flashes of electronica threaded through the rock backbone, proof that LEAP aren’t content to be boxed into one sound. Then comes The Downfall, an eruption that feels cinematic in scale. It’s huge, crashing, built for festival stages - a track that captures both devastation and euphoria at once. It’s the storm before the calm, leading into the closer Eclipse. As an ending, Eclipse doesn’t resolve the chaos so much as release it. It feels like the deep exhale after holding your breath for nearly an hour, the lights coming back on after the final song of a gig, leaving you a little dazed but buzzing. It doesn’t try to tie everything up neatly, and it shouldn’t. LEAP have never been about neatness. They’re about catharsis, and that’s exactly what Entropy leaves you with. LEAP’s debut is messy, chaotic, vulnerable, and alive. It’s the sound of a band refusing to polish the edges, choosing instead to capture the sweat and grit that has built their reputation. Across its eleven tracks, Entropy swings from full-throttle chaos to quiet devastation, always with that undercurrent of hope - not the cheesy kind, but the real, lived-through kind that comes from admitting you’re broken and finding joy in the wreckage anyway. Entropy feels like both a reward for the fans who’ve carried them this far and a promise of what’s still to come. LEAP are only just getting started, but this debut makes one thing clear: they’ve already found their voice, and it’s one worth shouting with. Score: 9/10 Entropy was released on 3rd October 2025. Words: Mia Gailey Photos: LEAP

SABATON. Legends. How did we get here? To understand Legends is to understand what happened to this band in the years leading up to its release. When Carolus Rex hit the power metal scene in 2012 it was shaken to its very foundation. Sweden’s SABATON had already earned a reputation with Attero Dominatus (and yes, the Latin remains indefensible), but Carolus Rex was where the vision cohered. The low-register vocals, the dense keyboard layers, the military themes delivered with staunch conviction, all of it locked into place. They were the loudest historians in metal. It told the story of the Swedish Empire’s rise and fall with the pomposity of an opera and the tact of a historical record. To this day, it stands as a masterpiece of maximalist power metal, an album that leaves no room for air, yet breathes all the same. From there, the band faced a fork in the road; evolve or entrench. They chose to move forward, although the SABATON sense of 'forward' meant doubling down on what gained them popularity. 2014’s Heroes narrowed the scope from empires to individuals. It’s an excellent record, packed with muscular riffs and heart-swelling hooks, yet the sense of majesty from Carolus Rex could not be replicated. Still, consistency was never Sabaton’s hamartia. It was complacency. Around this point, probably out of fear of becoming stagnant, they flirted with experimentation on The Last Stand. The most notorious of these experiments was The Lost Battalion, where they replaced the drums with the sounds of machine guns. It’s a decision that confounded fans, and seemed too 'far out'. The song itself works as a concept, even if it stumbles as an anthem. It’s catchy, clever, but strangely hollow, its novelty outpacing its potential for greatness. Then came Blood of Bannockburn, the first Sabaton song in major key, a song so inexplicably happy in tone that fans wondered if the band had started satirizing itself. The tonal whiplash was genuine. People wondered: “What were they thinking?” When the full album arrived, the narrative solidified. The title track and Winged Hussars immediately drew attention. Both are quintessential SABATON ; sweeping, movielike, and revelling in their vivid imagery. The Last Stand recounts the Protestant sack of Rome in 1527, while Winged Hussars recounts the lifting of the siege of Vienna. They’re massive and shamelessly fun tracks. Yet they also introduced some of the more negative aspects of the future, such as gimmicky choruses and songs built around hooks rather than riffs. These songs also became instant meme material, appropriated by internet crusader LARPers who, naturally, missed the point entirely. SABATON’s curated grandeur, meant to evoke the tragedy and scale of history, warts and all, became fodder for online culture to remix and recycle to its whims. Then came their World War I two-album detour, and something inside the machine got stuck. The motivation is there, but the execution reveals creative fatigue. It’s as if the band was drowning in its own hype, doomed to repeat the same battles a la Edge of Tomorrow. Songs began to repeat their predecessors with slight adjustments to make sure they weren’t overt derivatives; Steel Commanders borrows the main riff from Shiroyama, Seven Pillars of Wisdom mirrors The White Death, The Great War reworks Carolus Rex, 82nd All the Way uses parts from No Bullets Fly, and Stormtroopers recalls 1648. The patterns multiply until to the seasoned fan they become impossible to ignore. That’s not to say there aren’t good songs on those albums, but for every good song there’s two uninspired ones to contend with. And so now we are up to speed with 2025’s Legends, with a new label and guitarist Thobbe Englund back in the saddle for the first time since The Last Stand, time to see if they have learned their lesson and can break out of their funk. The album is a showcase of notable people throughout history, focusing on individuals or groups ranging from the west to the far east for the first time, which in itself is a huge step for the group who tend to keep things more euro-focused. Within the first few seconds of opening track Templars there are familiar contours of 1648, but then it spurls into a rousing hook, it has a nice choral flavour, and the ‘Deus Vult’ kiddies already love it, so it succeeds. No points for guessing what the next track, Hordes of Khan, is about. It’s a strange entry in the SABATON canon; a tonal departure from the band’s past concerns with mercy and humanity (No Bullets Fly or Christmas Truce for instance). Here, “no mercy is shown” is delivered with just as much vigour. The song itself is fine. A pretty straightforward heavy metal number, that doesn’t take much advantage of its setting. It seemed like there was a potential for more eastern instrumentation that wasn’t realised. Next is A Tiger Among Dragons - talking personally a bit, I am a massive fan of the Chinese Three Kingdoms period, and had extremely high hopes for this one. Not only that, but to have a song about the flying general himself, the master of Red Hare, the terror of Hulao Gate, and the lord of Xiapi castle, Lü Bu, is amazing. This one is different, it’s actually more subdued than expected. If you were expecting a fast-paced ode to Lü Fengxian cutting his way through Cao Cao’s poor militia, then you’re mistaken. Staccato riffs, tactical pacing, a calculated sense of tension punctuated by pounding war drums. The band’s grasp of the subject matter feels tenuous (“A legend untold?” They do know this is the national epic of China, right?), but the gesture alone feels refreshing. It’s an enjoyably different romp with a slightly more progressive tint than we’ve seen for a very long time (and a jaw harp!). Then comes Crossing the Rubicon, a keyboard-saturated song on Julius Caesar defying Pompey and… crossing the Rubicon, complete with “the die has been cast” references. The realm of Rome in metal is held firmly by Canadian death metallers EX DEO, so SABATON does not try to tread on their toes here. It’s unfortunately quite forgettable, with its grandiose tone never penetrating the armour to reach the heart. I, Emperor tackles the tale of the greatest general who ever lived, Napoleon Bonaparte. And it's about time too; what took you guys so long? This track thrives on a marching backbeat that trods around like an elephant. You can practically hear the map of Europe crumpling under the Grande Armée’s heels. Unfortunately, the lyrics reduce the most complicated general in history to a string of playground boasts, with zingers like: “I will conquer all/I will rule you/I’ll win… the war/I will destroy you/.” SABATON once made their name on specificity and visceral imagery to bring you closer to the action; dates, battles, place names, the thrill of detail, and the absence of that here feels like a departure from their ethos. It’s an overall simplistic song that lamentably doesn’t give l'Empereur the grandiose history lesson he deserves. Why on God’s green earth SABATON decided to give their high-intensity thrashy number to Joan of Arc of all people, I will never understand. Maid of Steel (pun intended) reimagines the maid of Orléans as a whirlwind of death to the Plantagenet interlopers, if you hadn’t heard of her before this song then you’d assume she was some kind of cyborg. Regardless, it is a Coat of Arms-ey speed metal feminist bonanza that’s over before you can even process what just happened. More of this pace in the future, please. The Impaler sounds like it came straight off of The Art of War, as it has inherited that same lumbering pace, although lyrically it’s much less like madlibs and seems like there’s an effort to tell more of a story here. Even though SABATON lauded the mass genocide of Genghis Khan in the previous tracks, here the act of impaling is seen as slightly more lamentable. The guitar solo here is also quite beautiful. It’s probably the best song on the album. Go figure. The next song, Lightning at the Gates, describes the long march of Carthaginian general Hannibal Barca over the alps with his elephants to invade Rome in the 3rd century BC. This one is possibly the most cannibalistic song they have ever released, with the main riff being a poorly hidden expy of Uprising mixed with Hearts of Iron, complete with “as the winter’s drawing near…”. It’s shameless, really, and the fans seem to be eating it up, but quite a few are noticing the similarities. This could have very easily come from a SABATON song generator, sounding altogether well-trodden and derivative. I speak as someone with a deep love for this band, brazen cannibalisations like this are hindering them from evolving their sound. The legend of Hannibal deserves better than this. Things do not improve with the next song, The Duelist, about legendary Japanese Ronin duellist and author of the ‘Book of Five Rings’, Miyamoto Musashi. This is basically Saboteurs. Yeah, there are some differences, but down to the riffs and the structure, it’s essentially the same song with a different coat of paint. Another wasted potential for an amazing historical figure that probably won’t be revisited by them. I’m not mad, I’m disappointed. The next song, The Cycle Of Songs, is a bit of a doozy - a song about Senusret III, an obscure Egyptian ruler from the Twelfth Dynasty, known primarily for his campaigns against the Nubians. This is quite an odd choice. He’s not exactly a very well-known pharaoh, and to have a song this epic feels like the strangest creative choice on the album so far. To think, this could have been the Napoleon song. The result is surprisingly strong: towering riffs, an unexpectedly ripping guitar solo, and a sense of scale that feels natural. The entire affair is confounding. At least it’s one of the better songs on the album. Finally, Till Seger. The organ hums; the choir swells. Gustavus Adolphus returns, the Lion of the North, Der Löwe aus Mitternacht, and with him, a sense of circular closure. Like Ruina Imperii before it, it’s sung entirely in Swedish, the track deliberately recalls the motifs of that 2012 classic. It’s both homage and self-assessment. A poignant way of showcasing where the band is musically compared to many years ago. To listen to Legends is to listen to a band that can’t seem to come to terms with their own power. Expansive in theme, conservative in sound, and intermittently brilliant in spite of itself. I’m sure that there will be a “history edition” of this album soon, maybe a web series detailing the history of each track. That’s all well and good. But the music comes first. And behind the historical veneer hides a deep creative inertia. It’s the sound of a group that understands exactly what it’s capable of, yet seems terrified of what might happen if it strays too far from the proven formula. There is nothing I want more in this world than for SABATON to succeed - they defined my teenage years and married my love of history and metal into some incredible material. To see them a decade later, still wading through the same sonic trench, invites a different kind of question: not how did they get here, but why are we still in the same trench? To take influence from yourself is not a bad thing at all, Sabaton could thrive not with bringing back riffs, but themes, returning to the sweeping epics in their more SAVATAGE-influenced days, or to resurrect the pulse-pounding monsters like Night Witches and Ghost Division. They could follow the same rediscovery arc as BLIND GUARDIAN, who recently reembraced their speed-metal roots with renewed vitality, perhaps they could revisit the blistering album pace of Coat of Arms. But Legends plays it too safe and too self-conscious. Its singles, the assumed centrepieces, are among the least inspired tracks the band has ever released. But oddly the songs that haven’t been released as singles seem to be the best ones. They may sound similar to their previous outputs, but moments on songs like The Impaler and A Tiger Among Dragons hint at a more progressive future for the Swedes if they committed to it. Until the next one, I have hope. Hope that their best album is yet to release, And maybe, just maybe, they’ll have the courage to march toward it. After all, what’s the price of a mile? Score: 6/10 Legends will be released on October 17th 2025 via Better Noise Music. Words: Kiarash Golshani Photos: Sabaton

There's a new chill in the air outside, and the dark is arriving a little earlier with every passing day - it's a sign we're well and truly nearing the end of the year. Still, that doesn't mean that the few months remaining don't have a lot for us to look forward to, including recent track releases like these! Artio - The Devil You Know Feat. Cody Frost Ahead of their much anticipated new album Soul Riot, set for release in early 2026, Leeds powerhouse ARTIO have teamed up with CODY FROST for the explosive new single The Devil You Know. Lead by RAE BRAZILL's piercing lyricism, the track challenges the systems that exploit and undermine artists, transforming resistance into a powerful reclaiming of strength and self-determination. With hard hitting attacks of the scene with lines like “Spend all their time watching Daddy do investing, all I got is luck and manifesting”, this track is an unapologetic introduction to what we can expect from Soul Riot. Words: Lou Viner-Flood Aviana (Feat. Eddie Berg) - WORLDS PULSE The part-masked metal ensemble from Sweden recently released their outro track, WORLDS PULSE, alongside the announcement for their fourth album VOID coming out at the end of the month. Joining them on this track is the king of multitasking and fellow Swede EDDIE BERG, vocalist and violinist of alt metalcore band IMMINENCE. Powerful throughout, the track leads you on a journey through layers of electronic melodies and ruthless, unforgiving breakdowns. The clear standout element is the blend of HOLMQVIST and BERG’s mix of clean and fry vocals effortlessly harmonising over each other. Violin quavers over earth-cracking cyber surges leaving you empty as the track fades out and reaching for that replay button to see if that actually just happened. Words: Danielle Henderson BEAR - Shapeshifter The Belgian crew in BEAR are known, amongst the right circles, for their glorious grasp of hefty slabs of dizzyingly aggressive music, and their latest track Shapeshifter actually feels like both more and less of the same. With twisting time signatures and riffs that intertwine over themselves across multiple instruments, along with growled vocals that trade off with cleaner lyrics, there is no room for predictability, nor time to slow down. It’s all or nothing from the get go, and whilst it’s not quite as much of an all-out-assault as usual, it’s still a blistering sub four-minute rager that’s well worth digging into. Words: Jasmine Longhurst Castdoubt - Cracked Relative newcomers on the scene, CASTDOUBT have very recently dropped their debut single - it's a perfect introduction to the band, and to what we can expect from them. There's no waiting around for the rhythm to kick in; from the start we’re hit face-first with sheer deathcore intensity, and increasingly brutal growling vocals. The drums are relentless, and the riffs are filthy. It's a shorter track and clocks in at only two minutes, but that only leaves us wanting more. This may be the first we're seeing of CASTDOUBT, but rest assured, we're not casting any doubt in saying they're one to watch. Words: Naomi Colliar Duff CHERYM x Uninvited - Sofa Bed CHERYM and UNINVITED have teamed up to make a lesbian yearning classic on Sofa Bed. With its wilting chord progressions and a conundrum that queer women know all too well - a crush on an affectionate friend who has only expressed interest in men. It’s angst tailor-made for pop punk, with gorgeous harmonies from CHERYM’s HANNAH and UNINVITED’s JAY in its choruses suiting Sofa Bed to autumn walks with your headphones on and long showers after a sleepover with your current crush alike. Words: Julia Brunton Dry Socket - MB Uptempo hardcore punk is a glorious thing, and in their usual fashion, DRY SOCKET have plenty of the goods for the discerning listener. Their latest EP Violencia Split has just been released, and it’s a gutpunch that fits into less than six minutes of your time. Opening track MB is over before you know it, yet still longer than half of the EP - and it’s a spittle-flecked, pissed off ode to everything happening in the world. Your blood will be pumping after this, so chuck it on and go for a run that you’ll never even realise you did. Words: Jasmine Longhurst Frank Turner - Giraffes #1 Following the release of his 10th album last year, his 3000th show earlier this year and preceding the release of his highly anticipated new run of rarities coming in November, aptly titled The Next Ten Years, FRANK TURNER'S latest single release is a cover of his friend and label mate CHRIS T-T’s Giraffes #1. Departing from the keys and softer sound of the original in favour of continuing his previous cover tradition of simple production and power chords on a simple acoustic guitar, TURNER, alongside harmonies from CHRIS on the chorus, brings attention to the rallying lyrics of “stick your neck out, stand up taller” that still feel as relevant in our current political climate as it did upon its original release over 20 years ago. A wonderful tribute to one of his early influences and supporters. Words: Liv Styles God Alone - Tony Gawk Hailing from across the way in Cork, Ireland, GOD ALONE are experts at blending abrasive mathcore, frenetic post punk, dance rhythms, and anything else that feels right into concerted efforts to demolish buildings. The final single released before their latest album The Beep Test, Tony Gawk has set the standard high with plenty of abrasion and furious sonic warfare. Guitars that, even in the quietest moments, run a nerve-jangling melody, before all hell breaks loose into a full-scale attempt to burn out every amp in the venue - or both your headphones, depending on how you’re listening. Words: Jasmine Longhurst headcage - like glass The post hardcore quartet from Newcastle are making waves with their latest single like glass. Following a string of releases over the last few months, like glass has become the pinnacle of their career so far. With a chord progression in the chorus that will tickle all the right parts of your brain and the dreamlike tone of vocalist LEYUM PATTISON this track will stick in your mind for days after hearing it. Like Glass is just the track for those looking for something new and refreshing with a hint of early 2000s nostalgia. HEADCAGE has finally found their sound and there’s no going back. Words: Danielle Henderson Holy Wars - Metamorphosis Through trauma and grief, great art is often made. The new track Metamorphosis from alt-rock LA band HOLY WARS is no exception. Written following the loss of vocalist KAT LEON's parents and sister, the track is a perfect showcase of the emotive intensity that comes with closure and reinvention, with the ultimate question being asked “How do I exist in metamorphosis?”. Thunderous guitar riffs and pounding drums drive the track with raw, haunting energy, accompanying the deeply personal lyrics. Words: Lou Viner-Flood Ice Nine Kills - The Laugh Track “So join the parade, turn that frown upside down.” From songs about horror movies to infamous villains, ICE NINE KILLS has a multitude of cult songs under its belt. With adding the almost symphonic-like The Laugh Track into its repertoire, the band offers a unique perspective into the mind of one of the most influential villains of all times, The Joker. Combining its signature guitar riffs with the lead singer SPENCER CHARNAS’ voice, the final product brings in a beautifully haunting melody just in time for Halloween, while also unveiling more from the band’s upcoming album, that is already highly anticipated. Words: Katerina Stepanikova Kila Kosa - Pulse KILA KOSA is a newly formed band from South London, instantly setting the bar high with the release of their debut single Pulse. It is a blend of classic nu-metal and metalcore riffs, with raw vocals and punk SOFT PLAY-like energy spreading throughout the whole song. Both Pulse and its music video have strong production right away. The frontman ANTONI FRANCO, for one, has previously been writing music as a solo artist. KILA KOSA appears to be the next experiment, however not lacking some prior knowledge and experience. The band also recently played their debut set at New Cross Inn, and although the tunes were still unfamiliar, the crowd was left no choice but to mosh like it was their favourite act. Words: Mariia Bulkina LEAP - Do or Die London based LEAP are talking about the ties between friendship and music and needing to do or die in their new single Do or Die, from their debut album Entropy. Blending crushing guitar lines with heavy percussion and driven by verses like “Steppin' outside like we're famous, show the whole world that we're made of steel”, it’s clear to see why this track is the bands favourite and is a shining example of why you should keep an eye on these guys, as this is surely only the beginning. Words: Lou Viner-Flood Pinkshift – Authority Problem Rowdy punks PINKSHIFT are back with Authority Problem - their first single since releasing their sophomore album Earthkeeper. In just over two minutes they pack in punchy punk verses full of system defiant lyrics and bouncy breakdowns. In true PINKSHIFT style there is an addictive air of condescension towards the establishment they hate, shown through the “ne ne ni neh neh” hook running through the first bridge and chorus as well as Ashrita Kumar’s delivery of “you don’t want me here?/You want me away?” in the final verse/breakdown. This is a very strong single from the Baltimore trio; the setlist for their winter/spring tours is looking solid already. Words: Julia Brunton Rob Zombie - Punks and Demons Needing no introduction, the iconic ROB ZOMBIE has once again blessed fans with his newest single Punks And Demons. Known for his theatrical horror themed music, this single is no exception, featuring his standard vocal distortion and pitch shifting tactics creating a recognisable aggressive sound. Instrumentally, the guitars are full of heavy chunky riffs combined with electrifying fast paced drumming which immensely adds to the angsty atmosphere. It is abundantly clear that the song has heavy punk influences. Although catchy, the lyrics leave much to be desired with short verses and many choruses containing the repetition of “Punks and demons! Satan! Satan!”. With the release of The Great Satan coming in February 2026 fans must be eagerly waiting to see what ROB ZOMBIE will produce next. Words: Alix England Spanish Love Songs - Cocaine & Lexapro SPANISH LOVE SONGS are back for the first time since 2023's No Joy with double single Cocaine & Lexapro/Berlin leading up to the release of their EP A Brief Intermission In The Passing Of Time in November. They make their comeback with a new alternative rock track featuring KEVIN DEVINE. The track has standout lyrics in "The problem is not a problem till you call it by name" that can really be about any kind of problem - which is a pretty universal message. With melodic clean guitar riffs thought, DYLAN SLOCUM's vocals are well partnered with KEVIN's much softer voice. Yet again, this is another earworm from the band. Words: Lucas Grayson Unprocessed - Beyond Heaven’s Gate Known for their highly intricate guitar and bass riffs, UNPROCESSED’s latest track does not disappoint. Beyond Heaven’s Gate is the fifth single released ahead of their new album Angel out on Halloween. Starting with a modern rock approach the track evolves into the 5-piece’s progressive signature style and it is seriously catchy. Hammering drums accompany mind bending grooves and melodies. The track questions our existence and opens up to the possibility of other realms beyond our comprehension looking down on us, ending with you having a slight existential crisis but also humming the hook over and over. Words: Danielle Henderson Editor: Naomi Colliar Duff Photos: Various Artists

Victim 2 is the fifth album by Ohio-based band A KILLER’S CONFESSION, following up 2024’s Victim 1. This time the killer is returning to share remorse, his righteous kills having turned into an indiscriminate murder spree after his first murder. The album begins with the track Hopeless Grey, an upbeat entrance that immediately sets a strong tone. It’s a strong combination of drums, vocals and the sort of electronic guitar that heavily reminds us of early 2000s alternative music videos - the kind where bands are superimposed onto CGI cityscapes with a strong emphasis on primary colours and the sort of early century cyber-futurism that has since become its own nostalgic subculture. This is reflective of lead band member WAYLON REAVIS’ own creative process. The former MUSHROOMHEAD vocalist says that when it comes to genre: “I don't like doing the same thing over and over... I like to experiment. I like to try to invent something new, take something that you know and mix it with modern metal. I'm not trying to create a new genre, but I like to be challenged and hear new things. If it rings in the ears and it makes you bob your head, it's good. It don't matter what style it is. I think a true artist should be interested in expanding themselves and where they can do anything they want. That's where AKC really excels.” A similar sound can also be heard on later tracks Hollow and The Suffering. But the next song on the album is In Case of Emergency. Which immediately pivots the listener back into the realm of more traditional metal. We pick back up with intensive vocals, raw sound and aggressive guitar followed by, around the two minute mark, a shout and sudden pensive silence. While this song has a similar mix of ‘light and dark’ to Hopeless Grey, it plays with extremes instead of layering the two which forces more listener attention. After this, we take another turn to the retro through Hollow’s emphasis on electronic-sounding vocals and synths, before arguably the best track on the album, Facts. Facts has a strong instrumental and a ridiculously fun hook in a repeated growl of “I BRING YOU FACTS”. It feels like a perfect pit song, and immediately brings up the energy, particularly when it comes to the bridge: “Eye to eye / The facts don't lie My principles are carved in stone / To each their own I testify / On which I'll die My principles are carved in stone / To each their own” Overall the ideal song for amping yourself up for a particularly intense gym workout. Next up is by far the most popular track to come out of the Victim 2 project so far, AKC’s cover of NIRVANA's Heart Shaped Box. This is, fortunately or unfortunately, by far the best song on the album. The cover allows the space for the whole band to display their technical prowess in a way that feels almost as good as the original, giving the track a definite A KILLER’S CONFESSION spin while still paying homage to one of the most influential bands in history. The second half of the album post-Heart Shaped Box is more similar sounding. While there are some stand-out moments such as the high energy vocals of Headstone; interesting horror movie sounding chimes in Baptized by the Fire; incredibly impressive drums in Darkside. Many feel like callbacks to previous tracks. Headstone has another pensive (if not more upbeat) bridge around two minutes in; Darkside has a repetition of “hate” and “fate” that feels similar to the earlier track Facts, while The Suffering as mentioned earlier calls back to the 2000s synthy sound found on Hopeless Grey. Towards the end, Endless Silence has some of the best lyrics across the album: “Looking at the floor, this is something that we've done before Lock and load, I'll go to war, it's something I've been waiting for And I'm sure that my bullets never miss Now we stand and we look at the dark abyss” However, it feels like the choice to sing rather than rap is a missed cross-genre opportunity. Finally the album finishes with Hand of God, a pensive summary of the album’s main themes and reflections. As a standalone project it’s a 6, almost 7. But if held at gunpoint and forced to consider it in context of the story AKC are trying to tell, then it’s a 5. It’s a solid album with enough feel-good fight songs to keep the lights on at the most moderate of metal bars, but falls a bit short of selling us on a deep and meaningful narrative about a murderer. Score: 5/10 Victim 2 was released on September 19th 2025 via MNRK Heavy. Words: Q Cummins Photos: A Killer's Confession

With traces of trip-hop, d’n’b, techno and metal, Endlessly is the second formal album release for SCALER (discounting the remix of their 2021 EP Flood). Consisting of ten synth packed tracks with features from artists including AKIKO HARUNA, ART SCHOOL GIRLFRIEND, TLYA X AN, ELDON and SHADOW STEVIE, the Bristol act have returned - but will it have us listening to it endlessly? Describing the album SCALER said “Endlessly is an album made to be experienced as an album: an enthralling journey from start to finish, something to soak in.” This is apparent in the album layout alone, notably on tracks such as Broken Entry and Sinking In. Both start by carrying over the sounds of the previous track, causing a seamless transition that then blends into the tone and atmosphere of the next song. It's both tone and atmosphere that hold such a prominent role throughout Endlessly, with many songs such as quiet when it speaks, where industrial and ambient soundscaping build an immersive listening environment without vocals, while tracks such as Broken Entry, (yearn), cold storage and Ravine play with distorted sound sampling to create a sense of presence. For the majority of the album there’s a feeling of tension, fast-paced bpms with thundering layers of distortion, hypnotic looping and a rollercoaster of pressure. Each thundery fast-paced track giving way to moments of pensivity, echoes of voices turning to fading whispers. (yearn) is perhaps the best example of this, layering choir vocals that sound almost haunting over a heavy breakbeat sound that builds through into a cacophony before suddenly fading into nothing. It’s a track and an album that would feel just as fitting to hear in a futuristic streetracer-style video game, as it would in a sweaty warehouse rave at two in the morning. When it comes to collaborations, Evolve seems to be the band’s favourite child. Speaking about its production, JAMES RUSHFORTH said: “The strange bells in the chorus were the first element that set the scene, they created the perfect backdrop that inspired the rest of the song. Talia's amazing melodic choices make the song a standout moment on the record - the harmonies and backing vocals throughout the track envelop you further into the swathes of emotion… I was trying to encourage everyone to sit back a little and rely on songwriting more than sonic warfare, a practice we’re not particularly well versed in… We had visualised an expansive abandoned cityscape being flooded, a sense of no future or past. It felt like a mental state.” Evolve also has a visualiser. Starring and edited by TLYA X AN it warps and distorts her silhouette to the rhythm of the track. Showcasing both TLYA’s vocal talent and multimedia artistry, while Salt (ft AKIKO HARUNA), Mirage (ft ART SCHOOL GIRLFRIEND) and Sinking In (ft SHADOW STEVIE) all have their own unique appeal. A real highlight from the album is Salvation ft ELDON. The song itself is covered in static with heavy reverberation and a haunting repetition of piano chords. ELDON’s vocals, alongside intense guitar riffs, add a layer of punk to the sinister. Bringing the album to a place that feels political and nuanced with a message of global grief, corruption, deception and brutality. Finally, the tension eases with the last track on the album Ravine. Looping into echoes as the album reaches a sense of quiet finality. Endlessly is a great release. It brings a lot to the table and manages to be experimental without falling into the traps of being too pretentious or avante-garde that it loses sight of its audience. There’s a repeatability to it and a strong reflection of the Bristol scene it aims to capture in the process. Score: 7/10 Endlessly was released on September 26th 2025. Words: Q Cummins Photos: Scaler