“This is Ritual Arcana and we’re setting ourselves free” claim the trio from the US. Ritual Arcana is a new project by some of the leading faces of doom. An album packed with, in their words, “a cauldron of hard rock, doom, and the supernatural.” The lineup includes vocalist and bassist SHARLEE LUCKYFREE (formerly of MOTH), SCOTT "WINO" WEINRICH one of the legendary faces of doom on guitar, and OAKLEY MUNSON on drums (formerly of The Black Lips and Old Testament). WINO has had an impressive career over the years being involved with acts such as The Obsessed, Saint Vitus, Spirit Caravan, Place of Skulls, The Hidden Hand, Shrine Builder, and Premonition 13 to name a few. And now, Ritual Arcana. In a quick turn around and aptly, you might think, the first single was released on Halloween last year, and in the run up to the album’s release we have been presented with three singles and a music video for each; Ritual Arcana, Subtle Fruits, and Wake The Goddess. There is a very strong sense of identity with this release and the band as a whole. Everything is adorned with symbolism and graphics containing bold hues of red and yellow, and nearly always with a key, a sword, and a feather. Hints of the supernatural and darkness are sprinkled amongst the group visually as well as lyrically. Ritual Arcana starts with a hard rock centric track, with intense guitar breaks that become a staple as the album goes on. Occluded, Free Like A Pirate, and Summon The Wheel each volunteer a slightly bluesy structure that gives the sense of similarity. Throughout, SHARLEE’s vocals are consistent and exude a beautiful tone that complement the steady drums from MUNSON and the echoing guitar of WINO. Berkhana shows off more of a doom side with a solid and unforgettable drum beat accompanying as the song plays out. Track five, Mistress of Change, is five minutes of spooky, raw moments intertwined with evocative, fuzzy rhythms. Subtle Fruits, one of the other preleased singles, has a doomy and hazy aura that draws you in. Alongside the screechier vocals and atmospheric, wavering guitar this track is truly memorable. The haunting guitar solo reverberates through you as it wavers and hesitates as the track closes. Tracks Road Burnt and Judgement XX contain the catchy style you’ve become more and more familiar with as the album goes on, and the latter has a decent guitar solo you’d be sorry to miss. Finally we have Wake The Goddess, containing lots of wavy sounds and glimpses of a darker attitude. The funky psychedelic moments sound freeing, in contrast with the compelling shouts from SHARLEE. Overall there are a few gems, although a lot of the songs feel quite safe and confined by their own rules. The standout tracks being Subtle Fruits and Wake The Goddess, accompanied by their respective music videos, you begin to get a chance to experience the voyage the band is trying to take you on. The visualisation of the band is stunning and the detail is commendable, with songs that transport you to their spiritual world. Ritual Arcana will be released on the 23rd January 2026 via Heavy Psych Sounds. Score: 7/10 Words: Danielle Henderson Photos: Ritual Arcana

There are no other subgenres within alternative music quite like progressive rock and metal. There is a variety of factors that make this kind of music so unique. From the complex and unorthodox rhythmic patterns to the atmosphere some bands like to incorporate, prog is one of the most complex genres of music to pull of effectively. HAMASAARI are one of those bands who like to make their songs sound very grandiose on top of the ambience they emit, and on Pictures, the band deliver a record that is easy to follow along to, on top of creating a thrilling atmosphere throughout. Pictures starts off with Below The Lightnings, a song that has a truly melancholic feel whilst maintaining a very subtle doom rock vibe. The passages this opener has intertwines this atmospheric heaviness with that doom rock sound. This is especially noticeable upon hearing how the different verses are connected. The track builds up to an ending which includes its heaviest section, as well as its softest section, which is ultimately how it ends, with dual harmonization between the fantastic vocals performed by Jordan Jupin and an acoustic guitar. The following track, The Wild Ones, starts off gently, once again highlighting the vocals before the full wall of sound approaches. This gets repeated before the first bridge arrives. This musical passage is carried by the drums, as there are some epic fills here, and one of these fills leads into one of the most progressive moments on the album. A stripped back section with a folky sounding electric guitar is played as the drums play one of the more complex beats on this album whilst the vocals softly murmur the chorus vocals, right before the song ends with the full, heavy chorus being repeated to make sure it is drilled into your brain. Frames kicks off with a soft yet percussion driven first verse, which builds gradually. This is something that is not yet heard on Pictures. The chorus that follows is extremely catchy and is not overly challenging to follow for a prog metal song, which is a really nice touch, especially for someone who may not be as familiar with this complex kind of music. The bridge here is mellow and melancholic once again but features some more amazing drum fills and guitar riffs. When the vocals return, the track reaches its peak, both in terms of how heavy it is, but also in how emotional it sounds. The passion is well and truly felt here, which is why this is a must listen track for prog fans. The album finishes with a track that starts off by showcasing how good the HAMASAARI rhythm section is. Even though the guitars are still present, for the first couple of minutes almost, most of what you can hear beside the vocals, are the bass and drums. This sonic change continues after the chorus, as the second verse has an identical vibe to the first. The bridge on this track though is where things get even more unique. This is the most progressive part of the song, as the drums play a very bizarre beat, to carry the section forward until the final chorus plays. Closing the album in a proper progressive manner. Overall, there are elements to love on this record, and musically each member of the band shines at some point, but Pictures is an album that seems to be designed for people who are trying to get into progressive metal. This is especially noticeable because of the fact that the music is easier to navigate and predict. Another predictable aspect of this album is the fact that the majority of tracks here follow this soft, to loud, to soft structure which makes the songs predictable, even though some of them are fantastic. If you love your prog, this will be a fairly easy and enjoyable listen, and newbies to this specific music style will easily be able to follow each track. But with that being said, progressive metal can be more complex than this, and that is the beauty of Pictures, because it is so easy to follow, time flies when you listen to it, and not every band who plays this extremely technical style of music can say that they have achieved that. Score: 7/10 Pictures will be released on 23rd January 2026 via Klonosphere Records. Words: Itay Gilad Photos: Regine Cadillac

ARTIO are a band that refuse to be ignored; since their signing to Slam Dunk Records in 2021 and recent signing with Lab Records, they’ve graced the support slots for alternative scene favourites like AS IT IS, VUKOVI and MOTHICA. They expertly blend genres with vocalist RAE BRAZILL’s soaring vocals and perfectly crafted electronic soundscapes and heavy instrumentals from Producer/bassist IEUAN JONES, lead guitarist ROB ARKLE and rhythm guitarist JAI AKHURT. Their second album Soul Rot is a testament to this. Born from a period of depression and exhaustion, linked to the constant need to ‘perform’ for the algorithm, SOUL ROT is an honest, cathartic, almost spiritual release. Often artists are afraid to open an album with a heavy track, but The Devil You Know (feat. CODY FROST) comes in screaming, setting the tone for the rest of the album. Released as the first single from the album, the track is an instant barrage of frustration, self‑preservation, and defiance against a scene that demands compliance and exists through exploitation. The entirety of Soul Rotting is the repetition of “Please call me back, my soul is rotting”. These were the words BRAZILL sent to a friend during a period of burn out which kicked started the concept of Soul Rot, but the song is presented with the voices of fans after the band requested recordings on their Discord channel. A transitional track so early in the album is unusual but it works so well, with the different accents and inflections of the community that surround ARTIO interlaced with an electronic element, which is almost metronome in sound. The metronome continues into the third track Bite Down, a further catharsis fuelled sound, inspired by post top surgery euphoria, with this being the first song written for Soul Rot. Featuring the first screams from BRAZILL on a record, the final breakdown is an incredible release of energy and intensity that cuts straight through the noise. The second track on the album to have a feature, Full On Fight For Fun (feat. AS IT IS) sounds like a beautifully powerful love song at first; pop punk in delivery, obviously influenced from the inclusion of PATTY WALTERS and BEN LANGFORD-BISS, but this is not about a romantic partner, RAE has stated it’s all for their sister, which makes the track even more beautiful with lyrics like “We’ll drench the old house in gasoline/Haunt these halls just you and me”. If Only They Had More Chance To Take Flight (feat. CJ of LOVE RARELY) is another track with a powerful feature. Leeds local CJ lends their vocals to the track about the exhaustion and patronising nature of being part of an industry that always wants more and more from you as an artist. The track is the second shortest on the album, after transitional number Soul Rotting; which feels like a middle finger to the industry as shorter tracks don’t usually get the air play or the audience that the longer tracks do as they are out of the norm. We all know how the world is a hellscape for many reasons but across the globe, the trans community is under constant attack. O Negative was written by BRAZILL after a TikTok they posted ended up on the wrong side of the app; which meant they were met with the most disgustingly hateful transphobic vitriol from absolute strangers. It’s an honest and heartwrenching track; you can hear the emotion in BRAZILL’s voice as they sing and as much as it’s an incredible song, it’s a difficult listen. We are treated to another incredible feature in Seven Suns (feat. KAHAL), a song which relies heavily on spiritual references. Lyrics like “No more ripping up of razors with ballpoints/ ‎Spiralling into the void” hits heavy for any listener who has ever struggled in certain ways; the line will send goosebumps down your arms and a shiver down your spine if you can relate. KAHAL’s inclusion adds an almost hidden background to the track, as if they are the false god that RAE is tired of praying to. Soda returns with the densely crafted electronic soundscapes producer/bassist IEUAN JONES expertly provides; and whilst it is another great track, it doesn’t quite land as heavily and passionately as the tracks preceding but is a shining example of the extent of BRAZILL’s vocal range. In contrast to the unguarded and ache-laden delivery of O Negative, Let it be a Void throws the hate back to the source with a middle finger and a reminder that “‎We all end up in the same place in the end”. It’s brave and transparent, a sharp and incisive statement, that intertwines fury, detachment and self preservation into something freeing. Incision Site features some welcome backing screams, along with harmonised vocals and repetitive electronic sounds, with more soul metaphors. RAE’s more gentle vocals close out the track, which gives the feel of an end of album track, yet there is still more to come. Vertebrae is another powerful and honest track; presenting a stark, unfiltered look at the emotional weight of watching everything come undone around you, as it happens, and being mostly unable to stop it. The track is another look into BRAZILL’s frustration at their creativity being demanded of them and sets the boundaries of what they are willing to deliver. Death Stems (feat. goodnighttheskye) is the final track with a feature on the album and it delivers, heavily. The spoken-word delivery of Leeds-based poet goodnighttheskye features the themes of the album; the deep seated rot and the energy-leaching of a music industry that demands a constant presence and the everlasting churning of creative pieces. The closing line of ‘For I am all I know, and there is nothing wrong with me’ hits the listener with the reminder that though the world is on fire, they are only human. Algae Bloom again features the themes of blooming and rotting in tandem; delivered by BRAZILL’s softer vocals and heavy backing from JONES alongside lead guitarist ROB ARKLE and rhythm guitarist JAI AKHURT, featuring an incredible play of words with ‘You call love, I call it necromantic’. Closer Room Tone delivers a similar power that opener The Devil You Know (feat. CODY FROST) introduced the album with, accompanied with images of a spiraling world that is being fought against, with intersplined vocals finishing each other's sentences. BRAZILL’s strong vocal range is perfectly showcased in this closing track, which ends the album with the listener wanting more, which let’s face it, is what we always want. Soul Rot is an album rife with catharsis; it is deeply honest and raw, discussing the constant battle to perform for the algorithm whilst keeping boundaries and choosing your own path without apology. The album is just the start for what ARTIO have ahead of them for 2026; it’s confident but intimate and delivers a message to remember your humanity. Score: 9/10 Soul Rot is out on 21st January via LAB Records Words: Lou Viner-Flood Photos: Artio

KID KAPICHI get personal on 4th studio album Fearless Nature, using moody indie sounds to get introspective on the end of frontman JACK WILSON's toxic relationship and the new headspaces the loss placed him in. Fearless Nature comes as KID KAPICHI's line up changes for the first time, marrying the themes of change within their latest project with the evolution of the band as a whole; KID KAPICHI have taken their growing pains and created something beautifully raw. KID KAPICHI open Fearless Nature within their comfort zone - an anti-Trump track with a floor lead that calls out those who voted him in for his second term. “Turns out the first one was better than the sequel” is delightfully catty, and the use of the dial up turn every 4 bars adds a tension that compliments the angst that opens Fearless Nature. The angst continues in follow-up Intervention, which features a static-radio speak layered into the harmonies throughout the final mix that offers depth throughout its second half. From here is where Fearless Nature starts to focus inward, where Shoe Size sets the post-breakup scene with “I’ve been day drinking all night long” upon a moody soundscape with punchy power chord guitars and swinging low verb drums. WILSON's lyrics artfully recount his return to the town with cowboy references (“side saddle/knee highs/yee ha/ that’s a free ride”) delivered with a resigned tone of voice. This matched with the yearning chorus strikes a resonant balance between the surface level fun and the lower-level hurt of being recently single. This will be the lightest that this theme is portrayed throughout Fearless Nature; Worst Kept Secret explores the moment that the relationship is over, using a “call me” motif in the lyrics to explore the final fights and discussions that put I Know it’s Over by THE SMITH's back into regular rotation. Worst Kept Secret moves between the hurt and the anger of this emotional period, utilising strings and piano without foregrounding them to create the tight chested feeling that the period comes with. A couple tracks later KID KAPICHI serves If You’ve Got Legs, a rockier track speaking to a failed last ditch attempt seeing WILSON walking out the door for good. The introduction of lower notes and guitar solos craft anger in the final beat of the relationship, but the reflections don’t end here. Worst Kept Secret gives the impression that it is the gut punch of the breakup tracks, but the real wound comes on penultimate track Saviour. Speaking at wanting his ex to be WILSON's saviour, he airs out the shortcomings of the relationship - “I was confusing, you were misleading/two sides of the story partly true” - while littering tear-jerker anecdotes of having clothes returned unwantedly and admitting he could not do any better for her but not wanting to be without her. Saviour is a gut punch soundtracked by gentle pop beats and live mixed vocals that conjure images of hugging one's legs against a doorway in the hallway. The growth on Fearless Nature isn’t limited to the romantic, with tracks such as Stainless Steel speaking on being flesh and blood with a focus on authenticity. The funky bassline, building power chords and upped tempo is a welcome change of pace and still has killer lines such as “do you live in silence with words unspoken/scared that when you pull the chord the parachute won’t open”, though the metaphor of stainless steel falls a little when contrasted with to being real. The introspection is not all objective, with tracks including Dark Days Are Coming. The off beat guitars and moody drum lines speak to tell tale depression symptoms of long days in bed and a voice that won’t quiet. It’s paired with Patience which covers the agitation of the cocoon that life changes bring - the to-the-bone desperation to get moving sooner and faster. The pacing of Patience is agitatingly slow; fitting thematically but making it hard to listen to on repeat. Fearless Nature closes on an optimistic note with rabbit hole, a reflective anthem plotted around returning to your home town and managing the memories that conjure up. It’s heavier on the pop and synth sounds that have been present throughout the album's final tracks, and draws threads through the ways in which people stop themselves climbing down the rabbit hole of despair as they grow. It’s chipper while honest and punctuates Fearless Nature well by staying optimistic within the hurt it has detailed. As a whole, Fearless Nature is an honest project about growth through adversity, packed with moody synths and indie rock that perfectly soundtrack the trenches that WILSON has trudged through to make it. KID KAPICHI fans will be satisfied with this last hurrah of their original line up as well as the new vulnerability in the lyricism. Score: 8/10 Fearless Nature was released on 16th January 2026 via Spinefarm Records. Words: Julia Brunton Photos: Chris Georghiou

The SA80A2 may be the current standard issue firearm of the British army, but the vicious barking out the barrel of RIFLE’s debut self-titled album is more than enough to claim that crown for themselves. FLYNN’s war drums, the rapid assaults on guitar from ALBERT and LOUIS, the march of ROSS on bass- it all compliments the screaming barrage straight from MAX’s lungs in a beautiful, beating cacophony; all too indicative of the best influences from the UK’s Anarcho- and Oi!- punk histories. RIFLE’s debut mosh through British working-class infuriation and anger in the classic punk style may show that the plight of the SHARPs and anarchists of the 80s is a horror continued into the 2020s - but equally shows that the hate for the system is far from dead, only refurbished for the modern age. Those familiar with the aggressive skanking of the hardcore scenes will find themselves very much at home throughout the L/P: a continuous fast-paced charge of growling sound reverberating through each track, giving near no moment to rest during RIFLE’s sonic barrage. From Soldier Doll to Gauntlet Of Hate, the listener is permanently on a hair-trigger edge, a harmony of sound at one end bobbing and weaving in a dimly lit, oak-furnished pub with fists raised and bloodied, at the other a grand maelstrom held together on the brink, as if the band’s instruments themselves were deep, deep in the pit. RIFLE wear their history and identity on their sleeve, from politics to London sound, and all is brilliantly discernible through the grit-filled chaos. There is no chorus across any of the tracks that does not inspire a chanting, bellowing singalong, marching alongside the band against the fascistic systems artists since before even the U.K. SUBS have been punching up at. No King provides a grand hooligan marching-drum beat for freedom, showing no time for the melancholy of oppression in favour of raw, pub-fed pumping action. Worthless provides one of the fastest, most movement-inducing tracks of the album, with the backing vocals inflicted by THE CHISEL in association complementing the JOHNNY ROTTEN-esque lyrics from MAX, without any of the PISTOL’s grimier affiliations. Their anger is not just for show, either; the Rifle LP’s stretch of war songs inflict audio carnage against the status quo, its oppressive yeomanry and petulant charlatans in an authentic, angry, and truly British way. Particularly relevant in RIFLE’s list of rebellions, United State shouts harshly, poignantly against the current growing authoritarianism and apathy of the Western world, demanding progress and the exposure of the ruling classes’ terror in a righteous, most-earned anger. RIFLE are no posers, showing precisely why the barrel of hardcore remains smoking- for “no human being is illegal”, and certainly, how do “you lot sleep at night?” The heart sown directly into their sleeve is audible throughout each song, Bastards echoing well the venerable EXPLOITED; Beat The Bastards may have been released in 1996, but its bloodied demands are just as prevalent, just as frantic, loaded into the RIFLE’s magazine. A sort of dry, violent anger, classic to pub punk reverberates throughout the entire album. There is one, merciless exception, however. The longest, most distinct sound on the album, Cease And Desist. The album’s longest track begins as any other, albeit its slower opening pace inspires a more cautious rage, before exploding into the RIFLE standard. As the track continues however, its heaven-directed screams change spectacularly - dry anger to wet, vicious chanting of almost jubilant rage turned into a sinister, vindictive rapport. No longer listening to a singer bellowing into a microphone, but a megaphone, the listener is transported to a cobbled street where each word becomes a cutting, protesting wound, reminding the listener of their first life-changing time hearing CRASS’ legendary and blasphemous Reality Asylum, beamed directly from 1979. RIFLE’s debut is guaranteed to grip the listener for its entire duration, the punk equivalent of a wood-furnished pistol grip in quality and savage comfort. Score: 8/10 Rifle will be released on 16th January 2026 via YEAR0001 Records. Words: Jakub Tomasz Czaicki Photos: Jack Taylor-Gotch

By the time Live From Suffocate City was recorded, THE FUNERAL PORTRAIT were no longer the band knocking on the door—they were standing inside the room, taking stock of what they’d built. What began as an opening-slot act playing to a few hundred people had quietly evolved into chart-topping singles, festival mainstays, and a fiercely loyal following that doesn’t just support the band, but actively inhabits their world. Captured at their first-ever Suffocate City Town Hall Meeting during a sold-out hometown show at Atlanta’s The Masquerade, this album documents a moment of arrival without ever slipping into self-congratulation. This is not a victory lap. It’s a pressure chamber. From the outset, Live From Suffocate City feels urgent, volatile, and alive. There’s no easing into it, no gentle framing device. The crowd is already roaring as Generation Psycho tears open the set, establishing the tone in seconds; loud, unfiltered, and razor-focused. The band sound tight but unrestrained, feeding off the chaos rather than trying to control it. You can hear the hunger in the performance, the sense that this night matters. That momentum carries straight into You’re So Ugly When You Cry and Paper Mache Man tracks that balance theatrical menace with emotional exposure. Live, the edges feel sharper, the sarcasm darker, the vulnerability harder to ignore. The Masquerade doesn’t feel like a venue so much as a shared space of release, with the crowd responding not just to the hooks, but to the feeling underneath them. Blood Mother marks a tonal shift, leaning into something more ominous and suffocating. It acts as a hinge point in the set, pushing the performance from spectacle into something more intimate and confrontational. That transition pays off with Voodoo Doll the emotional centre of the album. A song rooted in the pain of loving someone lost to addiction, it hits differently in a live setting. JENNING's vocal delivery is raw without being indulgent, and the audience response transforms the track into a communal reckoning. It’s not catharsis as escape - it’s catharsis as confrontation. From there, the album refuses to loosen its grip. Chernobyl and The Crash arrive back-to-back, detonating with controlled chaos. The guitars feel industrial and abrasive, the rhythm section relentless, yet nothing feels sloppy or overstated. This is a band that understands pacing, knowing exactly when to overwhelm and when to pull the listener deeper under. Flowers In The Attic offers one of the record’s most immersive moments, pulling the set into darker, more introspective territory without sacrificing intensity. It’s followed by Alien which lands as an anthem for outsiders without ever feeling hollow or performative. The sense of belonging in the room is palpable - not forced, not marketed, but earned through years of shared experience between band and fans. Stay Weird injects a defiant sense of identity into the set, less a novelty and more a declaration. In this context, it feels like a thesis statement for the band’s entire ethos: embrace the chaos, reject the polish, and wear your difference like armour. The closing stretch of the album confirms exactly why THE FUNERAL PORTRAIT now command rooms of this size. Dark Thoughts carries the weight of the band’s rise, its chorus hitting with the confidence of a song that’s lived many lives already. Holy Water erupts as the undeniable anthem it’s become - massive, communal, and charged with belief - while Suffocate City doesn’t simply end the set, it claims it. The song feels less like a finale and more like a declaration of ownership over the world the band has created. The inclusion of Casanova as the final track is a smart, almost mischievous choice. It doesn’t offer closure or resolution; instead, it sends the album out with a sharp grin and unfinished business. It’s a reminder that this band isn’t done evolving, and that comfort has no place here. Live From Suffocate City isn’t about capturing a flawless performance or chasing nostalgia. It’s about preserving a fracture point - when ambition met belief, when a band realised the crowd wasn’t something to win over anymore, but something that had already arrived. Raw, theatrical, and emotionally exposed, this album stands as proof that THE FUNERAL PORTRAIT's rise isn’t hype - it’s history in motion. Score: 8/10 Live From Suffocate City is released on 16th January via Better Noise Music. Words: Mia Gailey Photos: Angelo Joseph

Born out of Nevada, one of America's hottest and harshest states, the blackened deathcore crew OV SULFUR know a thing or two about the pain of seemingly never-ending, scorching sun. That experience has clearly put them in good stead for their sophomore LP Endless, which considers the premise of eternal suffering and the various forms it could take - for example, the age-old philosophical quandary of eternal life and what would actually happen were one to really live forever. With a brief intro, coming in at under two minutes is Endless//Godless, and it acts perfectly as a summation of the sonic onslaught the listener is about to be exposed to. The blackened deathcore style of their debut hasn't been removed, but has instead been broadened - within the chaos, there are moments of melody, clean vocals, and sections that are clearly deliberately restrained, so that those truly insanely heavy moments hit all the harder. Second track Seed shows off more of this approach, with moments of melody interspersed with the brute force of their usual approach. Vocalist Ricky Hoover has rejoined the band and plays off of guitarist and vocalist Chase Wilson excellently, allowing both to maximise their own vocal talents without detracting from the other. This then makes its way into Forlorn, a behemoth that throws everything the quintet have at the listener. From the symphonic elements found within, the searing guitar lines, and the sombre lyrics about the unstoppable passage of time, OV SULFUR are streamlining their approach to make it easier to distil the story they're telling, whilst safely keeping their musical core intact. Tracks four and five are somewhat disparate in their sounds - whilst the former, Vast Eternal, follows the same path as the previous three tracks in its blackened deathcore brutality, the latter Wither dispels much of the pummelling weight of the band and takes the scenic route through a much less aggressive sound, giving the guitarists fingers a very well-deserved rest. Speaking about the themes across the record as a whole, and specifically lead single Evermore, Ricky had this to say: "When coming up with the theme for 'Endless', which is basically endless suffering and the various ways that could rear its ugly head, we questioned what it would be like to have endless life. This kind of allows it to be a bridge to our earlier anti-organised-religion material, as eternal life is a major tenet of many religions. In THEORY, living forever sounds incredible, but stop and think about what would come along with it: the death of your loved ones, the world around you gets worse (politically and physically), and no doubt eventual insanity from the eternally stacking heart break. 'Evermore' encapsulates these thoughts, building as the character reaches the point of insanity. Fortunately, it mirrors the build of the song, too. We knew it had to be our album launch single." Ricky was joined by Chase, who added "When I finished recording it, I kind of laughed at the whole thing. It was fun to write. We have a really fast melodic riff to start the thing off, go into a beefed-up chorus, and then top it all off with a slam-style breakdown to shake things up. It's kind of all over the place in the best way possible, because as different as these parts are, they work together." He's not lying either, whilst the track does twist and turn in various ways, bringing a number of different sounds to the fore, they all end up working together deceptively well - and the gnarly breakdown that comes right towards the end of the track really does top things off. From there comes a three track run of features - track seven is Dread, featuring Josh Davies of INGESTED throwing his mic into the ring, before Bleak sees CARCOSA's Johnny Ciardullo follow suite, only for Alan Grjna of DISTANT to follow up on the penultimate track A World Away. Each brings their unique style of heavy vocals with them, injecting some new tones and timbres into the bloodstream of Endless, and Bleak even brings a guitar solo that could just about have been tracked by a much younger version of AVENGED SEVENFOLD. As all things do - with the exception of the album's themes - the LP must come to an end, and it does so with Endless//Loveless in the greatest departure from their core sound so far. Utilising acoustic guitar alongside singing that borders on crooning at points, even drummer Leviathvn displays highly restrained parts across the finale. This dramatic variation feels like a breath of fresh air after having been drowned in gutturals and blast beats, so even the majestic solo towards the end still feels bright and airy in comparison. As the record makes its way to a close, it does feel that - even though the brunt of it is made up of blistering deathcore - that the most memorable moments will be those two much softer tracks. The band were certainly spot on that Evermore is a highlight, but it may well stand out that much more precisely because of its proximity to Wither. This is of course no bad thing, but may suggest that the band could well consider even more breathing room on the next record. Pummelling metal is always enjoyable, but you can't hear how truly heavy it is without something right next to it to compare it to. Score: 7/10 Words: Jasmine Longhurst Photos: Ov Sulfur

Very few instruments have crossed the undefined cross-cultural barrier of communication like the electric guitar. Like a fire from heaven, when in the possession of certain mortals you realise it’s a tool from a higher plane. It’s capable of so much, it speaks different languages depending on who's got their hands on it. There aren’t many places where this is more apparent than the Sahara, where the language it speaks is one of an unpretentious love for the experience of music. You may have seen the videos online as you scroll down the endless video rabbit-hole; groups of Tuareg men in the desert at night, nothing but pitch darkness for miles, the only light coming from the band and the circle of people around them. The guitars played by people who aren't thinking about landing a record deal, they’re just playing because the music soothes the soul, because it's the sound of who they are. This is the world of Tishoumaren, or Assouf, or what the occidental ethnomusicologists have denoted as “desert blues”. It is a long and much-covered story, but to those unfamiliar, Tishoumaren has captivated the world of music in the last few years. It is a genre that has existed for a number of decades, with the pioneers working with limited resources. The Tuareg people are a nomadic Amazigh people from the western Saharan region who have been fighting for their very existence since the partitioning of French West Africa. From the background of the Tuareg rebellion, trailblazers like IBRAHIM AG ALHABIB traded blank cassette tapes and crude mp3s on flip-phones of their virtuoso guitar playing synchronised with traditional Tuareg music. As a result, you get a genre of danceable songs that feature spectacular playing. When the Tuareg rebellion ended in the 90s, the bands truly began to take form, and now many of the groups are prominent in certain musical circles. Bands like TINARIWEN, BOMBINO, LES FILLES DE ILLIGHADAD and MDOU MOCTAR tour North America and Europe now, end up in vinyl collections next to the VELVET UDNERGROUND and THE STOOGES, and get written up in music magazines alongside the greats of rock ‘n’ roll. They all have incredible stories of their own and are worth looking into. More recently, however, new Tishoumaren groups have been emerging and finding great success online, bands like ETRAN DE L'AÏR, SONGHOY BLUES, and the subject of this review, IMARHAN. Few seemed to be moving this genre into the future like IMARHAN. Hailing from a southern Algerian city and the gateway to the Sahara, Tamanrasset, IMARHAN's mission is to expand what has been placed there by their predecessors, injecting psychedelia, folk, and funk into the mix. They have had only three other albums before, but their most recent one is Essam (meaning lightning in Tamasheq). It proposes to push the genre ahead, but does it succeed? Let’s find out. The opening track, Ahitmanin is a stripped back affair, a treated acoustic guitar plucking away along the vocal line in C#, with some ambient synths simmering underneath. It evokes the image of a sand dune being gently blown over, a slow and deliberate number. It serves as a nice overture for the album, something gentle and subdued. The next track and lead single is Derhan N’Oulhine, a love ballad that rides upon a phased-out beat and a clean electric guitar. There are loops of claps and what sounds like a traditional Tuareg drum, the tinde, the whole arrangement is almost like a pocket orchestra. It really is the heart and soul of this album, an absolutely beautiful number as well as infectiously catchy. The hooks on this thing are absolutely unprecedented, and when it picks up, so does your heart. You don’t have to be fluent in Tamasheq for this one to move you, it is definitely the highlight, proof that sheer emotion transcends the barrier of language. Tellalt is next, an ode to a type of rare acacia wood used by the Tuareg people. Between the fingerpicking, it has quite a reggae pacing to it, with the guitar carrying a double skank rhythm throughout the song. The final verse really hits from the heart; “One day, the truth will appear/Our country will come back to its people/And our flag will be raised.” Moving stuff. The next song Tamiditin is another stripped back one. With a rhythm that seems to mosey along with the minimalist leads, it’s one that evokes journeying and being far from home, yearning to return to a loved one so far away. Universal themes played through a Tuareg lens. For large swaths it is only the tinde and the electric bass, then the guitar comes in, plucking away like birdsong. The world is large, but the yearning heart grows ever larger. Okcheur may feature a perky flanged guitar and funky bass, but don’t let that fool you, there’s a palpable melancholy to it all. It is a song of uncertainty, of a crossroads, “Help me to find my way/Show it to me/I’m fearful of getting lost/I have the feeling that I’ve strayed and forgotten myself.” A nice easy-going tune, if you pay no mind to the lyrics. There’s a lovely keyboard flare at the end of this one as well. A small moment that sticks. “Azaman Amoutay” has something of a muted club beat, but like the last song hides something else beneath; in reality it’s a lament for living in modern times. It’s a theme that resonates with all young people today; the feeling of disenfranchisement, alienation from their expectations of life versus their reality. There’s quite a spacey mood to this, helped in part by the droning synthesizers and dreamy delivery from guitarist and lead vocalist SADAM, as well as something that sounds like a dulcimer. Things take a turn with Tin Arayth as the mood shifts quickly to upbeat, the beat is a strong four-on-the-floor and the verses are done with a near call-and-response. The guitar on this is red-hot, with miniature solos festooned throughout. The lyrics talk of sitting on the mountaintop near their hometown, watching the multi-cultural workers find their way, contemplating the mountains at the mouth of the Sahara. Watching the world go by, their world. The world of IMARHAN. Tinfoussen brings the energy down a bit, and combines a simple guitar line with the percussion, doing something complex and simple at the same time. It’s very clearly about loss, from the vibe you can instantly tell. The suffering voice is heard through the song, “I’m going through a painful time/Everything seems gloomy, lost in darkness/I’m like a long night/So black and endless.” This is heavy stuff, something that wouldn’t be out of place on a WARNING record, but the overbearingly large atmosphere amplifies the melancholy. Adounia Tochal is another song about loss, one lynchpinned by a mourning chorus, it sounds almost like DIRE STRAITS Brothers in Arms at times. The final track Assagasswar is a hypnotic way to end. The modular synthesizers do the most lifting here, as the name of the track is punctuated after each verse. As well as this, the tinde returns here, as well as another traditional instrument, the imzad, sort of a one-stringed violin. It’s the first and unfortunately last time that this album ventures into the realm of psychedelia proper, but as the album fades out into synth and humming, you can’t help but peer a bit into your own soul and wonder when the last time you were truly happy was. So that’s Essam, truly one of IMARHAN's more emo endeavours. It’s also one of their ventures into the realm of modern production, with long-time engineer MAXIME KOSINETZ now as album producer enlisting the aid of EMILE PAPANDREOU of French electronic duo UTO (who had a song appear in ‘Emily In Paris’) to help with modular synthesiser. Both of them travelled to Tamanrasset to work with the band, and the result is Essam. While there were moments where the synchronisation between Assouf and other genres were at their height (especially strong on Derhan N’Oulhine), the modular synth seemed to work less in tandem with the group than parallel to it, running alongside the group in their element rather than intertwining with the music. You get the sense that Imarhan could have pushed it further, or even done less of it, that is, after all, the great challenge of modernising something traditional (see: The Howlin' Wolf Album by HOWLIN' WOLF for more on that). Nonetheless, it certainly aided in the creation of atmosphere, especially imagery pertaining to the desert. With song themes ranging from isolation, political upheavals, loss, to even acacia trees, the overall mood on Essam is one of mourning, physical mourning for the loss of a loved one, and more intellectual mourning for the feeling of disenfranchisement. Essam doesn’t always succeed in what it sets out to do, the production choices can’t help but feel a little safe and the genre synchronisation is a little underused. But when it works, it's fantastic. There’s no novelty with IMARHAN, the music is good no matter where you’re from, and the themes resonate with everyone. It’s recognisably a Tishoumaren record, but they’re driving the genre forward into the great unknown, from Tamanrasset, from the edge of the Sahara, from a place most of us will never see. Score: 7/10 Essam will be released on 16th January 2026 via City Slang. Words: Kiarash Golshani Photos: Marie Planeille

As one of the preeminent bands within the UK’s death metal scene, CONJURER took the heavy music world by storm late last year with the release of their outstanding new album Unself - which, amongst its many accolades, is now Out Of Rage's sound of 2026. Now, sat with Dani Nightingale (vocals, guitar) and Brady Deeprose (guitar, vocals), we took the opportunity to delve into an album that champions poignant discussions about queerness and neurodivergence in the modern age, bigotry, billionaires, and never quite feeling like you belong. CONJURER have spent years working on this album, but that stems in part from the personal growth that all four members - particularly Dani - went through in order to get here. "I can't remember the exact time frame across the writing process where I had an idea of what the album's going to be about, like the concept and all that. But I know at one point, the things that were on my mind and that I wanted to touch on, they all revolved around the notion of the self, the Jungian philosophy, and in particular how people's senses of self are affected by the world and the systems around them." With an album of immense breadth and depth as Unself is, where loneliness and capitalism are back to back, the album closely intertwines an understanding of both identity and neurodivergence, in relation to the startling second track All Apart. "For a lot of people, that's in school - it's the first time that you're put into a situation that isn't the comfort of your home, your parents, your family; here are all these new people, you've got to learn to get along. Learning all these things - embrace yourself, embrace your differences and each other's differences, that is not how it goes - they preach one thing and practice another. Then comes There Is No Warmth, which was based on a post-diagnosis feeling of ‘Okay, I know who I am now, but it hasn't made things any easier. I still struggle with all these things that people don't see.’ It was a documentation of the thoughts I had post-diagnosis." Brady continues with how he relates to the record, as a self-identified neurotypical man. Having been able to know Dani through their journey of both an ASD diagnosis and exploring themself as non-binary, it’s “given [him] a chance to learn and grow as a person.” Not only has it allowed him to feel able to contribute to this record, but he’s also felt lucky in a number of other ways; “it feels like a real blessing to have been able to go through this process and get to know my friend better, and learn so much more about these struggles and meet so many of our fans that do identify with people that aren't like myself, and be able to support those people.” Alongside the people he’s connected with, the music itself has offered a bridge as well: “It's such a privilege to be able to have contributed to a record that’s got people saying, ‘Oh no, I do identify with this, and I do feel like I've got something.’ We get so many messages on social media all the time of people sharing their stories, or thanking us for speaking about this, and it really means a lot.” This all stems from those quintessential themes found on Unself: queerness, neurodivergence, the self, capitalism, eviction, and more. With all this complexity, one might easily mistake this record for a concept album, but in the words of the vocalist: “ I hesitate to even call this a concept album; we’re no RUSH, it’s not that kind of album.” The act are unashamed in discussing how all over the place their ideas are within the writing process, and worried if it could be considered messy, although funnily enough also had a pretty sound response for that very eventuality - “Well, humans are messy. The world is messy. We're all pretty fucked. It was going to be messy, but it was all about capturing feelings and frustrations more than anything else.” As far as a concise summation of the general state of things goes, that’s up there with the best of them. Trying to go through everything across the album without dividing it up would be a real test, and so Dani relates the process of their songwriting to this: “When I write, I think of things a lot like films. I think of movement and pacing and things like that. And so I imagined the intro as being the prologue, setting the general theme, almost like an overture. This is the general theme, these are the kinds of places that the album's going to go.” Eviction, queer liberation, billionaires - nothing can escape the gaze of the immense CONJURER, especially on such a profoundly powerful album. Let Us Live is a notably poignant and vulnerable song: “It talks about how trans people and queer people are constantly vilified, marginalised people are constantly blamed and vilified for the problems that are going on.” "When it comes to the capitalist themes, it's more how, with things like data harvesting and the way that billionaires are hoarding all the wealth, they could help anyone at any point, they could end so many of the world's problems, but they choose not to. That affects your sense of self and your place in the world, because this fucking sucks. Why aren't things being sorted?” It’s arguably a more overtly political song than the band are known for, which was something both Brady and Dani felt strongly about, with Brady first saying, “We've been the Switzerland of metal bands for quite a while, and through a lot of internal discussions, have never really been one to put our opinions out there in a big way. I think after everything recently, we got to that point where that wasn't an option for us anymore.” Dani felt the song was almost a necessity, as a “clarion call” about the plight of queerness, and specifically trans people that they know - “I have friends and acquaintances that have told me stories of what's happened to them out in the public, when people have realised that they're trans, and it's utterly fucking heartbreaking and infuriating that these things happen. So, yeah, the song isn't so cathartic to sing and play, it's more about solidarity.” Dani wanted the track to ultimately be a release - the band got a number of trans and non-binary friends in to do gang vocals at the end of the track to emphasise huge catharsis and solidarity. Even so, they mention that at points they feel like an imposter in the LGBTQIA+ community - “I know a lot of people have gone through a hell of a lot more physically and mentally, in terms of surgery and medication and therapies, all sorts of stuff. There are people out there who are true fucking superheroes with the shit they've unfortunately had to put up with, whereas for me, the realisation of being non-binary was just that - it was a realisation, rather than a transition. Other than putting nail polish on and makeup on every now and then - not to say that isn't enough or anything like that - but that is the only real change I’ve made. And I liked wearing that stuff when I was a kid. It's more like, ‘Nah, fuck it. I'm going to be me now.' "I kept the non-binary thing, until fairly recently - now that it's all in the press - close to my chest. Not to say I hide myself or anything like that, but I know how people can get.” Sadly, after those stories that Dani alluded to earlier, people hiding parts of who they are is becoming increasingly common, but the best way to manage this is community - find your people, support your people, do what you can. Of course, compressing all these ideas into one album was no mean feat, and Brady considered that exact issue regularly in the studio - “ I remember sitting down with Dani, and going, ‘Okay, I understand this is the frustration, - I think Hang Them In Your Head was one of these tracks, where I went - but what specifically? What is it that is affecting you and frustrating you?’ And we would talk about making it less general, more personal and more directly from Dani’s perspective in a lot of places. I know that we've talked a lot about making sure it’s not just a one to one retailing of Dani’s thoughts and experiences, and it being a bit more relatable, but a lot of that has to be grounded in the personal, and we didn't want to just be running off stats or having us tell you about what's wrong in the world, but more talk about how those things affect us and how we feel about them.” Each track and each idea started off raw, but the band worked on every track with carefully considered thought and time. The writing process proved to be a work of not just musical proficiency, but also a revisitation of secondary school English classes for Brady; “The process of how I write a song is I'll write a mini essay, everything I can possibly think about on the topic, and then from there whittle it down, explore any interesting avenues, see if there are any phrases that have come out that could work. And we did a lot of that in talking about how we were feeling about the songs - I'd go into them, write more about it, and then we’d drill down into what the things are that, at our core, get us the most emotional about these topics. That really helped us focus in on the stuff we wanted to say, and tied everything together in a bit more of a personal way.” Brady took us through how the basis of letting their music dictate the lyrics guides the whole LP, as each song becomes a part of the whole - “It’s all about what serves the album best, the guiding principle with anything is we will work on the song until it feels right, and then we choose the songs that feel best together for a record, and then the lyrics all hold on to that. It's something that I love about this band is that all of those things tend to just fall into place, even when we feel like we have no ideas. We'll be slaving away over stuff for months and months and months, and when push comes to shove, everything does fall into place in a really pleasing way. I think that is the sign that runs the right track with a song or an album or whatever it is that we're doing, is that it feels right by the end of that. I don't think anything has felt as right as this record by the time we got it down. ”From there, the final track, sharing a title with the original, was born first, when Dani was “just trying to write a doomy song, and then the lyrics just came into my head!” The act then came upon this idea of starting and finishing with those same lyrics, and then it “became the spine of the album - it tied everything together.” It was at this point that Brady made the point that, not only does the pair of tracks offer context to everything found between them, but it also allowed the album to spread out a little more across the seven songs within whilst still having a defining line that coursed throughout, and as he said, “it was the first thing that made it feel like this was an album.” Upon even the first listen, the opener feels like a precursor of things to come, but the real power comes with that final, heartwrenching rendition that hammers home all of the feelings within Unself, bringing it full circle and summing it up eloquently, viscerally, and quite beautifully. With that, our time with the brains behind CONJURER’s breathtaking heaviness was up, and our fascinating look into the vulnerable behemoth that is Unself came to an end. Unself is out now on Nuclear Blast Records. Words: Jasmine Longhurst Cover Design: Robert Halls Photos: Mettieu Gill With thanks to: Hold Tight PR

Live to Thrive is a statement of intent from a band that has spent years refining its identity. Hailing from Rome, Italy, PAVIC has long fused modern metal power with classic rock melody, and this album feels like the clearest expression yet of what that fusion can achieve. Produced by guitarist and founder MARKO PAVIC, Live to Thrive is fast, uplifting, and emotionally charged, built around technical confidence but grounded in sincerity. Rather than chasing heaviness for its own sake, the album prioritises momentum, clarity, and connection, making it as engaging emotionally as it is physically. From the outset, the album establishes its sound world as energetic and expansive. Crisp production allows every instrument to sit clearly in the mix, which is especially important given the speed and density of much of the material. Guitars are sharp and articulate, drums precise and driving, while bass and keys add weight without overcrowding the arrangements. Across the record, PAVIC strikes a balance between modern polish and classic rock warmth, creating a sound that feels contemporary yet rooted in tradition. The album’s opening track and first single, Save You From Yourself, encapsulates this approach perfectly. Fast-paced and uptempo, it launches the album with confidence and urgency. The track’s most striking feature is the powerful trading solos between MARKO PAVIC and MISTHERIA, bringing a pronounced neoclassical edge that blends guitar and keyboard lines without tipping into excess. Rather than interrupting the song’s flow, the solos heighten its intensity and sense of forward motion. As a single, Save You From Yourself works exceptionally well. Its anthemic vocal delivery and confrontational lyrical tone give it immediacy, while the technical precision beneath the surface rewards repeat listens. The clarity of the production ensures that even at its most complex moments, the track never feels cluttered. It’s the kind of opener designed to ignite a live crowd, establishing themes of resilience and self-confrontation from the very first moments. While Live to Thrive thrives on energy, it avoids emotional flatness by introducing contrast early on. Track three, One of These Days, represents a significant tonal shift and serves as the album’s emotional grounding point. Stripping back aggression, the song leans into softer synth textures and a more exposed vocal performance, placing emotion front and centre. The dynamics of One of These Days mirror its emotional content. Verses feel intimate and restrained, while the chorus gradually builds before easing back again, creating an ebb and flow that feels honest and human. Placing such a vulnerable track early in a predominantly fast album is an unusual but effective choice, deepening the surrounding tracks rather than disrupting momentum. That sense of purpose comes fully into focus with Live to Thrive, the album’s title track and second single. Melodic, fast, and immediately engaging, the song feels like an emotional resolution, built around a strong singalong-ready chorus that radiates affirmation and perseverance. Instrumentally, the track is one of the album’s highlights. The neoclassical-inspired solo section expands the song’s sonic landscape before guiding it back into its melodic core, showcasing technical confidence without losing emotional focus. The unexpected inclusion of harsher vocal elements briefly disrupts the flow, creating tension that makes the return to the chorus feel more powerful. Crucially, Live to Thrive never feels like empty motivation. Its uplifting message is earned through contrast with moments of heaviness and vulnerability, reinforcing the idea that thriving is not about denying hardship, but pushing through it with honesty and strength. Beyond its key tracks, the album maintains a strong sense of cohesion. Thoughtful sequencing and dynamic variation prevent the its fast pace from becoming exhausting, while consistently clear production allows both technical detail and emotional moments to land effectively. In the context of PAVIC’s wider career, Live to Thrive feels like a confident reaffirmation of identity. It is technically refined without being sterile, heavy without being oppressive, and uplifting without feeling naïve. Ultimately, the album succeeds because it understands the value of balance, offering explosive drive, emotional honesty, and genuine connection in equal measure. Score: 9/10 Live to Thrive will be released on 16th January 2026. Words: Con Macadam Photos: PAVIC

As we ring in the new year here at Out of Rage, we're no longer looking back at 2025 - we're looking forward to everything 2026 has to offer. We've had countless tour announcements, albums teases - and of course, all the latest singles we've had on repeat. As It Is - Ruin My Life (ft. Murray Macleod) Accompanied by the announcement of their long awaited self titled album, coming later this year, AS IT IS have dropped the brand new track Ruin My Life (ft. MURRAY MACLEOD). Accompanied by a hilarious video, which is a homage to Jackass, the track is a grown up version of old favorite Pretty Little Distance from 2017’s okay; it’s melancholy pop punk for 2026 and it hits hard with lyrics like “self sabotage on my mind”. The boys are back and better than ever. Words: Lou Viner-Flood GUV - Chasin’ Luv If Winter blues are dragging the vibes down, GUV’s latest single Chasin’ Luv offers a quick fix. The track is immediate and sunny, a delightful blend of breezy guitar textures and unpretentious vocals, inviting us to bask in the melody. The song serves up a healthy dose of 90’s Britpop nostalgia, nodding to the era without ever feeling stuck there. Released as another taste of the upcoming album Warmer Than Gold, the single reinforces BEN COOK - the mind behind GUV - may be “chasin’ luv”, but he sure isn’t chasin’ trends, instead doubling down on a timeless sound that invites repeat listens, fitting comfortably between playlists and seasons. Words: Cara Hyndman Kid Kapichi - Worst Kept Secret Ahead of their new album Fearless Nature, KID KAPICHI return with Worst Kept Secret the final track written for the record. Emerging after moments of fear and uncertainty, the song reflects a cautious optimism. Dark, atmospheric textures mix with spiky guitar lines, a loopy bass nodding to the influence of Richard Ashcroft and UNKLE, and drums that carry the momentum. Soft, intimate vocals sit atop the instrumentation, delivering defiant yet vulnerable lyrics. Leaving behind the raw anger of earlier work, the track hints at the reflective turn of Fearless Nature while keeping the unmistakable KID KAPICHI character. The band will support the album with UK in‑store performances and 2026 festival appearances including Bearded Theory, Y Not, and Truck Festival. Words: Lorena Hurtado Sylosis - Erased SYLOSIS thunder into 2026 with second single of their upcoming album The New Flesh, releasing on February 20th, Erased. The band are returning to a heavier sound than recent years, more akin to their earlier work Edge Of The Earth, especially with the intro guitar lead. Yet it still sounds like modern-days SYLOSIS at the same time. Of course you can't have them without epic solos by guitarist and vocalist JOSH MIDDLETON and monstrous drums from ALI Richardson, this single being rife with them. This is only the second single of the album but it shows that SYLOSIS simply never miss. One of many stand out lyrics near the end of the track that really does hit is “What's it take to sleep soundly these days?" - a pretty hard-hitting lyric making you think. You can catch them live on their tour supporting the album with 2 UK dates in February right in time for the album's release. Words: Lucas Grayson Yungblud & The Smashing Pumpkins - Zombie YUNGBLUD’S song Zombie is well known from his album Idols released last May, receiving Grammy and BRIT nominations and critical acclaim for the album, with the both reaching number 1 in the UK Charts. This success has led to the collaboration with THE SMASHING PUMPKINS for a version of Zombie released on January 7th. The music style leans into the alternative 90’s rock sound that he is bringing back, which is why this collaboration works so brilliantly with the two artist voices and styles intertwined. Keeping with the heavy guitar based track, they add even more layers whilst singing emotional and gripping lyrics that will sound amazing live. It’s a perfect lead ahead of his UK tour in April! Words: Angel Turley Editor: Naomi Colliar Duff Photos: Various Artists

Coming out of India's most populous city Mumbai comes the post-hardcore quintet PACIFIST. Proudly having no music on Spotify as a stand against AI music and Spotify's profits going to warfare, the act are no strangers to political messages and it shows within their music. With one previous EP, Greyscale Dreams, available online, as well as two previously released singles, five will mark a leap further for this exciting act as they make their way towards playing Lollapalooza India, before embarking on a release tour. Opening track and lead single Running Out is a fantastic opener, setting the stage from the off with clear sonic reference to late 90's post-hardcore outfits like REFUSED and AT THE DRIVE-IN. Discussing the all-too unsettlingly likely chance of a global doomsday, vocalist SIDHARTH gets himself nicely warmed up ahead of the rest of the release here, whilst APURV and ASHISH rip out distorted riffs underneath, with a slight hint of earlier brands of emo echoing within the heaviness. Ad Nauseam carries on the same post-hardcore sound but with a little less emo and a little more funk, in a similar vein to the almighty TURNSTILE on such tracks as BLACKOUT - a bold comparison certainly, yet the earworm drum lines and pacey hi-hat runs from VARUN stick long after the track exhausts its three minute run time. UTKARSH's bass holds the fort down here as the guitars play against each other to use slight measures of dischordance to their advantage. Third in the running order is Skunk Leather, which ups the tempo slightly whilst reflecting on change in a brief but impactful two minutes, before Built To Destroy absolutely tears the whole EP apart. Addressing humankind's innate violence, the track flatters to deceive with a cooled off intro, before building up into one hefty jolt of power and then a gnarly breakdown that is nigh guaranteed to bring a smile to your face. Purge, Atone wraps up the short but oh so very sweet affair that is five, taking its lead from the previous track with plenty of energy and razor-edged riffs that precede an eerie, unsettling instrumental, closing out the release with just enough time to stew on what's come before. PACIFIST don't just show promise and potential in spades here - they show technical ability, musicianship, and a great understanding of how to write great music. The EP sounds excellent which is in no small part down to the fact that it was entirely self-produced by APURV, with mastering done by BRAD BOATRIGHT at Audiosiege. Showcasing their devotion to hardcore and its morals on a political record that could have been put out by a giant of the genre, they had better keep putting out music like this. Score: 9/10 Words: Jasmine Longhurst Photos: Pacifist