Two decades in, and THE RED JUMPSUIT APPARATUS are still setting hearts and speakers on fire. With hits like Face Down and Your Guardian Angel, they became voices for a generation, blending anthemic rock with socially conscious themes. Now, with X’s For Eyes, THE RED JUMPSUIT APPARATUS return with a record that reflects their journey and proves they still have something to say - full of urgency, emotion, and soaring hooks. They kick things off with a bang. Always The King is a commanding collaboration with KELLIN QUINN of SLEEPING WITH SIRENS. Two voices that defined an era collide, trading grit and grace across verses that surge with energy. “Still got love for the hometown”, the band reflects - a line that captures loyalty and the fire that still drives them forward. From the first note, the album feels alive, regal, and self-assured. That momentum flows into Purple Halo, where twilight-shimmering guitars and haunting vocals give way to a chorus that bursts with anthemic intensity, leaving traces of melancholy and wonder. Expansive yet intimate, it perfectly balances mood and momentum. Then comes a moment of introspection. Perfection examines the cost of chasing impossible ideals. RONNIE WINTER’s restless vocals thread through verses steeped in self-doubt, exploding into choruses that feel like exhalations - imperfection embraced, honesty amplified. The title track hits like a storm breaking over jagged cliffs. Jagged guitars collide with WINTER’s raw, visceral vocals, crafting a sound that’s urgent and cathartic. Lyrically, it meditates on deception, emotional exposure, and the cost of seeing the world—or yourself - too clearly. By the chorus, the intensity is impossible to ignore. Swagger and hooks arrive next. Bad Beat is a gambling metaphor turned rock anthem, striding with attitude and punchy riffs. Then comes Slipping Through (No Kings), a previously released track that distills THE RED JUMPSUIT APPARATUS' layered, anthemic sound and lingering sense of urgency, its soaring refrains echoing the fragility of control and connection. Soft edges and cinematic storytelling follow on from this, as Home Improvement masks heartbreak in clever renovation metaphors, while Twenty Hour Drive is a restless, road-worn anthem pulsing with motion and freedom. Kins and Carroll continues the cinematic thread, painting a corner of the world with specificity and nostalgia, making the personal universal. The album closes with strength and reflection. Getting By condenses survival into melody, acknowledging exhaustion without resignation and carrying quiet resilience in every note. Finally, Worth It closes the record on affirmation, tender yet resolute - a celebration of scars, struggles, and victories alike. Every song, lyric, and chord feels intentional, a reminder that everything endured has been worth it. X’s For Eyes proves that THE RED JUMPSUIT APPARATUS remain a band of substance and stamina, capable of turning vulnerability into power, melody into movement, and honesty into anthems. Two decades in, they are still not just surviving - they’re thriving, and this album is proof that their fire burns brighter than ever. Score: 9/10 X's For Eyes was released on October 3rd 2025. Words: Mia Gailey Photos: The Red Jumpsuit Apparatus

Forty years ago, an odd band claiming to hail from a tomb in Antarctica took over the shock rock and metal scene, and has been gracing crowds around the world with its now iconic lyrics and gnarly looks ever since. Being arguably the founding fathers of masked bands, GWAR has built a solid community of people of all ages, who are passionate about the band’s stories and music, and the number keeps increasing every day. After three long years since the last release, The New Dark Ages, the band has finally come out with a new project, and it's accompanied by a multitude of special additions as the band’s thank you to everyone who has supported them throughout the long and exciting journey. GWAR’s latest EP, The Return Of Gor Gor, features a return of the long-lost three-ton Tyrannosaurus Rex Gor Gor. In three completely new songs, the intergalactic warlords are set to explain everything that has happened, starting with the opening track The Great Circus Train Disaster. Serving heavy guitars and drums from the first note, GWAR once again does not hold back on using various sounds and instruments in a span of one song, bringing the ultimate listening experience even on releases that are much less than full-length. The listeners ought to know that the wee Gor Gor is now a twenty-foot tall crossdressing dinosaur trying to find his way in the cruel human world. Following with the song Lot Lizard, the plot thickens, as it turns out the pet T-Rex is plotting a big and juicy revenge, that somehow involves lots of hotdogs in questionable orifices. Showing off the iconic guitar skills of BälSäc and Grodius of the Maximus Clan and the insane bass of Beefcake the Mighty, the song is a rollercoaster of riffs, accompanied by Blöthar’s vocals and Jizmak Da Gusha’s aggressive drums. The piece depicts Gor Gor’s anger and struggles accurately with the use of instruments and melodies, allowing the listeners to picture the scene in their heads as it happens. The last new addition to GWAR’s repertoire is the ultimate final track Tyrant King. Closing up the story of the unexpected reunion, the track is energetic, aggressive and as chaotic as the band can get, revolving around the anger of Gor Gor, who has decided to wipe out the human race for everything they have put them through for good. Arguably the heaviest track on the album, it is, as with the other two songs, a perfect example of GWAR’s creativity and a proof that the intergalactic warlords still burst with creativity, even after forty years on the scene. The four remaining songs featured on the EP are live recordings from the band’s 2024 tour, specifically from their show at The Masquerade in in Atlanta. The songs chosen for The Return Of Gor Gor are Crack in the Egg, The Founding Fathers, America Must Be Destroyed and Fishfuck. Featuring some spoken parts, as well as the full songs, the live versions give the songs another dimension and really give the EP a new perspective, even if those who aren't fond of live recordings might just skip them. Nonetheless, they are still fitting for the narrative of the whole release and are a fun addition to listen to, together with the thirty-two page comic detailing the return of Gor Gor which is included with all versions of the release, that is set to make the listening experience even more immersive for those who decide to buy a physical copy of this unmissable piece of art. The EP is a proper celebration of GWAR’s anniversary on the scene, and going back to their roots, while still adding something new, is the best way to celebrate, together with the other surprises the band has to offer to their fans. Although the live recordings at the end might not be everyone’s cup of tea, they still add depth to the EP and are a fun touch. The Return Of Gor Gor is a great release that showcases GWAR’s impeccable form and their ability to turn everything into a chaotic masterpiece, and will surely make anyone who enjoys the work of the legends of shock rock laugh their way into the afternoon. Score: 9/10 The Return Of Gor Gor was released on July 25th 2025 via Pit Records. Words: Katerina Stepanikova Photos: GWAR

If you’ve ever found yourself on the streets of Tokyo, you undoubtedly passed by the energetic madness that is a multi-story arcade. Floors loaded with rows of garishly flashing machines and brightly lit surfaces covered with kawaii cartoons and neon, awash with the never-ending din of electronic pings, boings and ball-bearing-clatters. The size and scale of its sensory overload may be hard to imagine, but listening to SNOOPER’s new LP Worldwide should help to get you there. Propelled out of the Nashville DIY scene, SNOOPER’s popularity has grown swiftly from its inception during the pandemic. The brainchild of BLAIR TRAMEL and CONNOR CUMMIN, who unintentionally birthed this kitschy-art-punk band by drawing on a zingy collage of references and experimentations. Their freeform associations encapsulate them within the ‘egg punk’ sub-genre that emanates out from America’s post-punk DIY scenes. The name was coined via the beloved underground band, THE CONEHEADS, who in turn were named after the early 90s sci-fi comedy film. The egg punk style was further cemented after a hand drawn meme quite literally illustrated its position on the punk axis: Egg punk (cartoonish, bright, saccarine) across from chain punk (studs, monochrome, leather). You get the idea! Having a reputation for outlandish live shows, filled with handmade props and puppets, this latest release embodies the same innovative and off-beat style from which they have built a solid fanbase. This time, however, the production delivers something a little more polished for our ears. Working for the first time with a producer, Worldwide was recorded in LA with JOHN CONGLETON (ST. VINCENT, SHARON VAN ETTEN, ANGEL OLSEN) and with additional members in bassist HAPPY HAUGEN, drummer BRAD BARTEAU, and guitarist CONNER SULLIVAN. The result is a clean but heaped on, sort of noise, giving space for the various layers of each song, but still capturing the discombobulated lo-fi edge that has defined them. Their recently released Guard Dog is a super fast bop, with some punchy hooks and psychedelic dimension shifts throughout. Spacey samples and processing on the vocals and guitars push this further than your standard pop-punk hit. Guard Dog barks out the lyrics ‘Sometimes there's too much to say, know it won’t come out the right way. Think, think AND make it go away, what do I want to convey’. Expressing perhaps an oversaturation of our online identities? Or is it maybe an ode to neuro-divergence? It’s really quite hard to know, as their lyrics seem almost as irreverent as the collaged aesthetics of their visuals. From here, it feels like the album comes into its own, with the tracks becoming more dynamic and fleshed out. Hologram is full of retro samples and a cool synthy post-punk vibe. Its quick changing effects gives it an air of the Jetsons jamming with KRAFTWERK in the basement of CBGB’s. ‘Star 69’ is a jump around the room track, with an echo of indie electro samples and beats that have us recalling THE GO! TEAM’s moment in the sun. Throughout most of the record, vocals are kept fairly consistently clean, acting as an anchor to the brain-frying jumble of distorted instruments. Trying to take this all in via your laptop, is a terrible mistake, it requires the close up clarity from a pair of headphones to begin to comb through the songs. Initially the album feels a little repetitive and surface at points, but the more you listen and explore, the more you get back. The nuances start to buff up to a high gloss and every listen brings something new to the fore. There is a lot to be said for listening on repeat for the sake of a review. So with homage to the days when you would listen to a record relentlessly, until you could afford another, familiarity is key. Come Together is a highlight of the album. A neat and snappy bootleg of THE BEATLES chorus, chopped up and cranked up into a DEVO style catchy hook. Pom Pom is a song about cheerleading, but with the tongue in cheek exaggeration of a John Waters film. Subdivision is the final track and there’s a noticeably slower tempo and, dare we say, a softer feel. But not really, it's just slightly different mastering that feels intentional for a finale. The lyrics are slightly more direct than much of the rest of the album, with a poke at societal shifts and expectations - "Sanity starts to thin, structure is a safety pin". There's a fun eccentric escapism listening to Worldwide and to embodying SNOOPER’s mix of high-octane noise and outsider spirit. It’s an universe with a well worn finish, slightly down at heel, but this makes all the technicolour sheen of it feel tangible and real enough for us to be able to blend together with it effortlessly. Score: 7/10 Worldwide was released on October 3rd 2025. Words: Alana Madden Photos: Snooper

Experimental, brutal and addictive are words that come to mind when describing genre non-conformists Tallah. These heavy-hitters provide an abundant dose of raw chaotic energy and thrilling performances, leaving you ready to dive into the mosh pit. Tallah have captured the hearts of over 100K listeners on Spotify alone, with hypnotic ferocity live across the globe. It is apparent to many that Tallah’s mark on the metal scene is not to be ignored. Tallah vocalist Justin Bonitz’s mesmerising variety of vocals delivers lyrically chilling storytelling that conjures an immersive atmosphere. Tallah’s newly released album ‘Primeval: Obsession // Detachment’ showcases a variety of vocal techniques, funky basslines and powerful riffs. Set in space, ‘Primeval: Obsession // Detachment’ follows the fate of nurse Ana and assassin Sheela embarking on a journey to complete trials that test their moral limits. Commenting on what inspired the album's concept, Justin admitted “lyrically I didn’t really have a concept at first, I just kind of wrote what the music made me feel” after listening to Max Portnoy’s (Tallah’s bassist & co-song writer) carefully crafted instrumentals. Unlike past albums, Justin explained that ‘Primeval: Obsession // Detachment’ was more than just a simple ‘concept’, it was an outlet to express his own emotion. Yet when asked, Justin decided to not elaborate on the concept any further, in a move that he explained was to help fans conceptualise their own interpretations of the story, and to relate to the music in a more personal manner. Justin later mentioned a strong affinity towards concept albums, stating that they will remain at the forefront of his mind in both his and the band's career. Citing renowned metal musician and Youtuber Jared Dines, Justin was advised that “a lot of musicians have so much to say and once they’ve said it their career starts to feel stale”, which appears to have become a mantra for Tallah as they continue their sonic journey. To many, growls, gutturals and squeals create the perfect concoction of audio genius when combined with profound lyrics and bewitching clean vocals. “Ones that come to mind are Corey Taylor [Slipknot], Chester Bennington [Linkin Park] and Jonathan Davis [Korn]” Justin stated amongst a long list of iconic frontmen as well as some obscure role models such as Disney villains, unconventional to a genre considered aggressive in nature. This is due to a confession that: “doing a bunch of vocals was really self-critical because when I started doing vocals I really hated my voice - I was doing everything I could to not sound like me”. Yet in his twenties, Justin embraced his unique voice and harnessed his plethora of techniques to create the intriguing soundscape he’s so synonymous with. In a performance context, Justin credited Maynard James-Keenan (Tool) for his “twitchy movements” and hobbies such as martial arts, as well as movies, which all contribute to his erratic stage presence and unpredictability as a vocalist. Unconventionally to the modern state of metal, Tallah prefers to take an old-school approach when creating music. Established in 2018, Tallah has never used a click track when performing live, pushing them to record the album completely live as seen performed on the Audiotree sessions on Youtube. When asked about fan opinion on the decision to record live, Justin believes that “our ears are conditioned for tuned vocals and 4/4 time signatures, so when you break that norm, people are like "woah this sounds weird"”. However to some it may be a “breath of fresh air”, as it used to be the standard for bands of the past. Justin expressed his admiration for live recordings, stating: “ I wish more musicians would do that. That’s why I got into metal, it was so real compared to pop and hip-hop”. He expressed that to him, metal is raw and authentic and longed for bands to shift back into an experimental direction and not follow suit. However, he was aware that many fans may not even know that the album was executed differently and that some people just like music for the music and not the technicalities. In a world where making music is so accessible and efficient, guitar modelling software like Archetype Gojira and the rise of MIDI instrumentation has led Justin to feel that it is a “double edged sword”, In that prior generations wrote music with tones and sounds that felt ‘right’ rather than being widely perceived as correct, and mixed around that accordingly, often leading to distinctive sounds and people with experience catered to what they liked. He feels that bands aren’t experimenting with mixing and tones as much as they used to, and it is creating a form of flavour fatigue in metal, wherein a lot of bands are deliberately chasing similarities in sounds reminiscent to other prominent artists at the moment, rather than forming their own sound. He commented, “fans were blown away when I say I track guitars without tracking the raw signal and using DI amp sounds”, showing his stance for future generations' understanding of creating music without modern technological advancement in music. Continuing the pattern of in-house production, Tallah completely manufactured their music videos without outsourcing, bar the help of a few friends. Tallah’s music videos are striking in both content and visuals within the ‘Primeval: Obsession // Detachment’ roster. Music videos include scenes such as angsty congregations of fans under a bridge, to a bizarre puppet show or a trippy dystopian landscape. Justin informed us that the music videos weren’t “on the nose” to the concept with the exception of their track ‘What We Know’ , they were just what they imagined doing for the songs. The adrenaline-boosting visual of Justin hanging from under a bridge left viewers hyped for what was to come next. Justin declared, “it wasn’t scary” but “I was a little worried I was just going to let go involuntarily" after so many takes. He also divulged that rust was getting into his eyes each take showing his level of dedication to the music video and the band itself. ‘As Fate Undoes’, ripped from your favourite cheesy 80s movie, debuts a group of whimsical ‘muppets’ the band must conquer before besting the lead antagonist, a puppet of Justin himself!. When asked about the puppet, Justin erupted in contagious laughter, brandishing the puppet like a trophy and exclaiming, “I couldn’t believe it! They even got the dots and everything!”. Justin later announced that it was bassist Max Portnoy’s decision, and he was completely unaware until shoot day, adding insight to the band's lightheartedness and dedication to fun despite their deep seriousness towards their music. Interestingly, we discovered a hope for an imminent return to the UK, due to feeling so at home. Justin proudly stated, “I could hear the audience singing over me through my in-ears”, “that was incredible like I almost wanted to cry, I’ve never had people so enthusiastic about our music before” after speaking to guitarist Derrick Schneider. Last seen in the UK in 2024 off the back of an incredibly successful sellout London show (a credible achievement for them!), Justin also touched on how amazing It is to be with British record label ‘Earache Records’ and have such strong support from UK fans. Therefore, UK fans should keep an eager eye on what Tallah unleashes next! Words: Alix England Photos: Tallah

Way back in the early to mid '00s, when social media was in its infancy, one website had a stranglehold on the alternative scene. It made many proficient in HTML, and was the home to a golden era of deathcore and mathcore. That website was MySpace. It was where bands like GWEN STACY, THE SAWTOOTH GRIN, TOWER OF ROME, and HEAVY HEAVY LOW LOW got their big break and, for some, it was when these -core genres were at their best. But, dear reader, we might be on the verge of a renaissance. In comes DEATH GOALS, a UK-based duo with an already impressive slate of releases under their belt, with their latest EP, Survival is an Act of Defiance. It’s a short-but-sweet “Queercore” EP that’s reminiscent of that MySpace deathcore golden era that you might just not be able to get enough of. Survival is an Act of Defiance was tipped as the band’s most politically-charged and aggressive release to date that manages to impressively blend elements of deathcore, mathcore, and sasscore into five tracks spanning just 10 minutes. Think THE CALLOUS DAOBOYS meets CONVERGE meets THE NUMBER TWELVE LOOKS LIKE YOU. It’s chaotic as hell with a slew of queer guest vocalists each pushing a message: as the world becomes increasingly hostile toward the queer community, they won’t back down, and will continue to spread love, solidarity, and compassion, no matter what. Now, have you ever wondered how many panic chords are too many panic chords? The answer, according to DEATH GOALS, is there are never too many panic chords. Survival is an Act of Defiance is utter mayhem and the absolute barrage of panic chords throughout the EP barely gives you enough time to breathe, even during Even an Empire Can Burn which features a monologue from the vocalist of CAINHURST, the background instrumental puts out a feeling of dissonance and unease. But that’s the point, you’re not supposed to feel at peace while listening to this EP. It’s raw, it’s energetic, and it’s aggressive. Also, who else could blend together electronic, dancehall/reggaeton drums, and mathcore rhythms in one track? DEATH GOALS, that’s who. Overall, Survival is an Act of Defiance tells an important message with an audible smack in the face. No matter how much you beat on the queer community, they’ll come back stronger than ever. The EP could have done with being a little longer as you’ll definitely be left wanting more, but with releases that span as far back as 2018, if you’re new to DEATH GOALS there’s plenty to sink your teeth into. Score: 7/10 Survival Is An Act Of Defiance was released on August 29th 2025. Words: Aaron Richardson Photos: Death Goals

Hailing from Oxfordshire, atmospheric post-hardcore band, Lastelle, spent the last night of their Exist tour in the darkened Room 3 of Corporation in Sheffield, closing out the nine date run with an evening of sad songs, heavy screaming and lots of crowd participation. Best known for their lyrics confronting the ‘emotionally uncomfortable’ with lines about the struggles of facing loss, living with neurodivergence and the art of discovering yourselves, Lastelle made a cold, Friday night in Yorkshire all worth the while. Local support, Displacer, a newly formed emotional hardcore band hailing from Sheffield, warmed up the crowd with their powerful mix of choruses full of aggressive vocals, big breakdowns, blending with their emotional delivery. Nottingham based Math-infused UK post-hardcore band Blight Town followed next, with a few fans making their presence known in the crowd, singing along to every word; both to the clean vocals from the lead vocalist and the heavier vocals provided by the drummer due to a ‘fucked voice’ from the front man. What he lacked in what we assume are usually much stronger vocals, he made up for in some melodic movement across the stage, and stating that ‘Sheff crowds go mad’, which was about to become apparent once Lastelle graced the stage. Headliners Lastelle are quickly finding their audience amongst the UK scene, as well as further afield, where they are drawing comparisons to other bands like Welsh wonders Holding Absence and Casey, and gathering an army of fans in their wake. Performing with ‘EXIST’ signs hung above the crowd, it was only right that the band opened their set with the song ‘Exist’ from the recently released EP Exist Vol. II. It didn’t take long to see why the band are making waves within the scene. With drummer, Mike Hayden, bringing back up vocals alongside lead vocalist Adam Rigozzi, the small but packed room started to really get into the sound we were hearing. The band slammed out track after track after track, with the crowd matching the energy of the band in complete harmony, which Rigozzi encouraged by stating ‘Sheffield, I wanna feel your energy’. Continuing with the set list of absolute crowd pleasers, some even featuring a surprise flugelhorn, Rigozzi let the masses know that though he had ‘come to sing some sad songs’ there would of course be some fun ‘“Having fun at a Lastelle gig, who would’ve thought it?!’ Spending a large amount of time on top of speakers, peering and singing into the crowd, encouraging those on the edge to get involved, Rigozzi jumped into the crowd, ready to ignite the inevitable moshpit. With fan faves ‘Coping Without a Cure’, ‘Tired Eyes’ and ‘Pine’ bringing Rigozzi and the crowd closer with each line, the front man never seemed to tire of the full on engagement from the congregation. At one point during the evening, the band let us know that a music video was being recorded that night, which only made the atmosphere even more intoxicating and energised, even with the introduction of a slow mosh. Surprisingly, it took until the final song of the night ‘Breathe Me In’ before the well loved but potentially overdone ‘Yorkshire, Yorkshire, Yorkshire’ chant came out to play, but the night ended on a high with the entire crowd, be they a fan of old or new, chanting the words back at Rigozzi. Closing out this tour in Sheffield was definitely a choice well made for Lastelle; from the neverending crowd participation, the typical Yorkshire energy, and the venue choice adding the cherry on top. The bands new EP Exist Vol. II is out now and you can catch them again at Alt-Fest in Cardiff on 28th November before they head out to Europe in January. Words: Lou Viner-Flood Photos: James Smyth

One of the last festivals of the summer Amplified took place in Corporation in Sheffield last weekend with an impressive line up of: Confessions of a Traitor, Red Method, Continents, Seething Akira, Cobermouth, Swarm 6ix, DJINOVA, InRetrospect, Pulse, Waterlines, Asleep At The Helm, Within Reach & From Tyranny. 13 amazing bands, no clashes and hosted indoors for an affordable price. Amplified has the makings of a festival you could add to your summer rotation. FROM TYRANNY From Tyranny opened up the festival on the second stage and made a lasting impression on this writer. The Scottish metalcore band had the crowd headbanging once they entered the venue, with their heavy riffs and harsh vocals, making sure if this was your first time ever hearing them, you’d be adding them to your playlist as soon as you got home. WITHIN REACH Within Reach were the first band on the main stage and kept the momentum up that From Tyranny brought. The whole crowd was enamoured with their set, nodding and two-stepping from the front to the back of the room. For the people who had just arrived at Amplified, a welcome surprise and a sign of things to come throughout the day. ASLEEP AT THE HELM Back to the second stage and Asleep At The Helm continued with the high energy and helped keep up the precedent of the day. Jimmy’s Vocals had arms and legs swinging in the crowd, paired with Dan, Nat & Lewis melodic riffs spelled a recipe for success. WATERLINES Highly anticipated Waterlines were next, and this was a very special occasion, as it was Front man Benji’s birthday. Where better to celebrate than on stage surrounded by the Waterlines’ fans. Waterlines had the crowd so hyped, Corporation’s neighbours could definitely hear the party that was happening. Between rows of daisy chains of people and the wall of death during Brace, this really was a phenomenal set. PULSE We headed back to the second stage for Pulse and after chatting to them in the green room knew we couldn’t miss their set. The Pulse lads are so lovely and their set was so good, definitely check out Sanity to hear some stunning gutturals and practice your best two step moves. IN RETROSPECT You can’t go to a gig in Yorkshire and not check out Leeds finest InRetrospect, and we were lucky enough to hear their new song ‘Toxic’ which is unreleased at the time of writing this. As per usual InRetrospect don’t miss! The crowd loved the performance and proves that this set is a sign of big things to come. SWARM 6IX After taking a break from Headbanging and moshing, we came back just in time to catch Swarm 6ix, and they left a lasting impression on me! Their vibes, the music and their overall stage presence had me sad when their set was over! SEETHING AKIRA Now if you’ve never heard of Seething Akira you’re 100% missing out! As usual their performance was high energy and chaotic in the best way! Kit jumped off stage and ran into the pit losing one of his shoes but continued to sing while being in the middle of a spectacular mosh pit. All the crowd were true fans singing along to all the songs and showing that concert etiquette is alive and well making sure the person next to them was okay! CONTINENTS Second to last on the main stage was Welsh faves Continents! The crowd had been at Corp all day but Continents made sure to keep the fans spirits high and let them know the night wasn’t done yet! They played all the classics, brought incredible energy to their set and ended with one of my favourites ‘LIFELINE’. Continents had the crowd enthralled with their talent and made sure they left lasting impression. CONFESSIONS OF A TRAITOR Confessions of a Traitor ended the festival in style, showing why Amplified made the right decision in making them the headliners. Stephen showed off his vocal skills while balancing between the stage and barrier, something I wouldn’t be able to attempt in my wildest dreams! Running into the crowd and letting the crowd know that although it;s the end of the night, the energy is still very much there. This was an excellent choice on Amplified’s part on how to close the festival and had people wanting to know when they can buy tickets for next year! In summary, if you're looking for a way to end the summer that won't break the bank but still give you the same quality as any other festival, Amplified is a contender. With no clashes and a stacked line up with bands from different parts of the metal umbrella, you’ll be spoilt for choice and there is something for everyone. Words: Dollie Himuyandi Photos: Robert Halls

POPTONES strip it right back on their sophomore album Pure, focusing on the individual elements of each instrument to cultivate the themes of displacement felt throughout the project. The main descriptor for Pure would be spacey, with album opener and single Skin Of Sea moving between long-note riffs and high pitched scratches underneath MADS BERTELSEN’s whispered vocal style. Its follow up Say Something Now brings in the feeling of disillusionment by breaking out of its indie-rock introduction into a mysterious-feeling space as BERTELSEN muses about wanting to be “more than just a dream”. In writing this project, POPTONES were focusing on their ingenuity, utilising simpler chord progressions to keep this organic feel. This comes across throughout Pure - for better or for worse. Many of the tracks on this project play on a dragging tempo, in particular This Will Be a Good Day, which snails through its 4:38 runtime with whispered vocals and the constant tease of a breakdown-style instrumental that never quite pays off. While this tempo, its angst and spooky layered vocals match the album's concept perfectly, alone it is better as a passive listen. On the note of this, there is a slight overuse of the interlude throughout Pure’s 12-track tracklist, which fall under similar criticism to the one prior. The first of three tracks to do so is Asleep, which is a simple piece of music utilising ambient noises and possibly a xylophone underneath haunting vocals; cool on its own but following This Will Be a Good Day doesn’t impact as we are waiting for the next song to start. The second is Narrow Streets, which is more ambience only two tracks afterwards and (bluntly) feels pointless on its own; tack it onto 17 hours or don’t use it. The last of the lot is I Am Here - the most sonically interesting with a space-exploration energy to it, and the building “I am” with increasing distortion setting good tension for Pure’s last two tracks. All this said, side two of Pure has the project in its stride, with 17 Hours having a more stable song structure, building through its floor lead into a pensive rock track about falling back into derealisation. Its follow up Thin Air is the standout of Pure, with enough weight in the tom-heavy drum lines and distorted guitars to support the slowed tempo. Hypnagogic State had a more synth-y feel which was a welcome chance of pace; the distortion and vocals layered with the instrumentals create this feel, and add the angst in its outro with the building melody that drops into the last chorus. Pure is strong in its concept, with the individual elements dripping in the technical ability of each of POPTONES’ members. The album feels like undergoing derealisation, with these elements merging and converging almost at will to create an out of body energy to Pure. However, listening to Pure cover to cover is a slow experience, best for those who need to sit in space out or need this kind of angst in the background. Score: 6/10 Pure was released on September 26th 2025. Words: Julia Brunton Photos: Poptones

Over the past few months, Liverpool-based math-rock trio ALPHA MALE TEA PARTY have been busy teasing their newest album, Reptilian Brain, which comes a painstaking five years after their last LP, Infinity Stare. The album comes at a time when proggy, dancy math-rock is really making a comeback in the UK & Ireland, with bands such as MAYBESHEWILL, ADEBISI SHANK, AND SO I WATCH YOU FROM AFAR and ORCHARDS making waves - not to mention the incredible lineups always present at the annual ArcTanGent festival. Therefore, as a staple band in the math-rock and post-rock scenes in the UK, it comes as no surprise that ALPHA MALE TEA PARTY’s newly released album came highly anticipated, and for good reason. Immediately, the listener can tell that they’re holding nothing back with the explosive opener, Hostess Imperial. With a 6/4 measure and guitarist TOM PETERS yelling “captain, oh my captain, this ship seems to be sinking” before springing into the main verse of the song, you might well feel a nosebleed coming on, generated by nothing more than the viscerality of the song. What’s more impressive is how TOM’s vocals fit in so well, especially considering the band has largely been instrumental; at least throughout two of their most popular albums Droids and Health. There’s definitely room for more vocal-driven math rock, and ALPHA MALE TEA PARTY prove that they can fill that space flawlessly. Having played through this album, you may well forget that the band are usually an instrumental act. Any excuse to go back through their discography, right? After recovering from the whiplash of the opening track, the rest of the album opens up ahead. The track Battle Crab, which was the first single from this album’s promo run, definitely brings in more progressive elements than the math-rock the band is known for, which is certainly no a bad thing. While Reptilian Brain may not feature walls of pitch-shifted and intricate riffs found in Health or Droids, they’re able to show that they can balance both the technicality the band is known for with catchy hooks. Speaking of catchy hooks, A Terrible Day To Have Eyes greets you halfway through the album with what could be considered the most melodic and catchy track on this LP. One thing that’s particularly good about this record is how damn tight the band continue to be. The Liverpudlian trio are masters at stringing together odd-time noodling into solid heavy hits with great precision, something they’re also able to bring to their impressive live shows. They also continue to be such a fun band to listen to, from their toe-tapping and catchy instrumentals, to their ridiculous song names (Probably Just Hungry, All Foot and No Mouth, Scumbag Alliance, for example). ALPHA MALE TEA PARTY also has a knack for being able to sound absolutely massive despite only consisting of three members - something that you’ll find repeatedly throughout Reptilian Brain. In part, that's down to the band having access to their own studio with guitarist TOM’s Trapdoor Studios in Liverpool. TOM has produced the bands recorded music for some time now, showing off the sheer breadth of ability to be found within the band. He can’t take all the credit for Reptilian Brain, however; in fact, TOM self-admittedly took more of a step back from the production reins, handing them over to producer MARK ROBERTS (VOWER, DELTA SLEEP, POLY-MATH), and together, the two have created what is arguably one of the best prog-driven math-rock albums this year. Reptilian Brain is melodic, chunky, progressive, and groovy, with tracks that both knock the wind out of you while also providing a mellifluent treat for the ears. While most of the tracks are on the assault, the band's softer side is also shown in tracks Probably Just Hungry and later in the album with Sniper’s Dream. All in all, this album is a perfect addition to their already sprawling discography, and one that will likely stay on repeat for plenty of listeners for months to come. Score: 8/10 Reptilian Brain will be released on October 3rd 2025. Words: Aaron Richardson Photos: Alpha Male Tea Party

With Sixth Mass-Extinction Skulduggery III: Acquiring A Taste, GRIDFAILURE deliver the most ambitious and punishing entry yet in their sprawling five-album arc, chronicling humanity’s collapse. At over 80 minutes across 15 tracks, this third installment is both monumental and suffocating, a dense slab of experimental dread that refuses to offer its audience a moment of reprieve. The series, which began with Survivor’s Remorse and As Resources Are Depleted So Are Morals, maps a grim descent through the Anthropocene, and this chapter represents the moment where humanity doesn’t merely suffer its fate, but embraces it. Exploring cannibalism, enslavement, and addiction to homicide, the album’s subtitle makes it clear that civilisation isn’t just falling apart - it’s celebrating its own monstrous undoing. The album begins with Subdividing The Survivors, a wordless opener where anguished screams twist beneath sorrowful instrumentals. It’s not just scene-setting, it’s immersion into a world already undone, forcing the listener into the aftermath before the story even begins. By the time the guttural violence of Drunk On The Blood Of My Neighbor arrives, the concept is laid bare: survival at all costs, even if that survival means consuming your fellow human, The track’s distorted vocals, proclaiming “we must feed to endure”, leave the listener questioning whether these acts are born from desperation or a perverse enjoyment of brutality. Elsewhere, instrumental interludes like Ration Distribution/Processed For Storage push the narrative forward without a word needed. Its buzzing lights, mechanical hums, and mournful piano conjure images of dehumanised survival, of warehouses storing resources both organic and otherwise. Far from filler, these moments highlight GRIDFAILURE’s skill at world-building through sound design, letting the listener’s imagination fill in the bleakest gaps. The colossal title track is the album’s centrepiece and breaking point. At nearly 15 minutes, Sixth Mass-Extinction Skulduggery III: Acquiring A Taste turns the record inside out. Opening with rhyming lyrics that feel like a corrupted nursery rhyme, the track plays with grotesque juxtapositions, mocking humanity as “lower than scum”. As the piece progresses, the vocals collapse into distortion, drowning in waves of harsh electronics and chaotic instrumentations, mirroring the disintegration of civilisation. It’s not easy listening, but that’s precisely the point: GRIDFAILURE aims to confront, not comfort. The finale, Transmissions Cease, is chilling in its restraint. Morse code pulses through a haze of echoing voices and mechanical textures, evoking the desperate last signals of survivors calling into the void. As the music dissolves into the sounds of birds and distant dogs, the silence is deafening. Humanity is gone, but nature remains. The apocalypse is complete. Musically, GRIDFAILURE mastermind DAVID BRENNER marshals an astonishing array of sounds and collaborators. Alongside his own work on vocals, guitar, bass, percussion, synths, violin, and even field recordings, BRENNER enlists contributions from a staggering cast, including STEVE AUSTIN, LEILA ADBUL-RAUF, MAC GOLLEHON, and many more. This lineup brings a unique texture and unpredictability to the record, with excursions into avant jazz, folk, techno, and Americana all woven into GRIDFAILURE’s foundation of post-industrial horror. If the project’s earlier works flirted with genre boundaries, Acquiring A Taste obliterates them. It’s difficult to overstate how massive this album feels, both in scope and execution. At 15 tracks, with only a few under four minutes, its sheer length can feel especially intimidating for those unfamiliar with GRIDFAILURE or the traditions of the dark ambient and drone genres. This isn’t a record designed for casual sampling, with its impact coming from its totality, from the way it builds a narrative of decline track by track. Listeners simply dipping in and out may find themselves adrift, but those willing to surrender to the full arc will experience a nightmarish vision that is as compelling as it is harrowing. What makes Acquiring A Taste so effective, beyond its ambition, is its proximity to reality. GRIDFAILURE’s dystopia doesn’t feel far-fetched or fantastical, but uncomfortably close. Extreme weather events, social decay, and violence normalised as necessity are all horrors explored by this album, and are all extrapolations of truths already present in our world. This resonance makes it more than a concept album - it is a warning. That said though, the very elements that make this album so powerful also make it somewhat inaccessible, Its length, uncompromising intensity, and genre fluidity demand patience, and some may dismiss it as too ‘edgy’ or confrontational to give it the time it deserves. For those already invested in experimental extremes, the record is a dark triumph, but for the uninitiated it may feel like a challenge too far. It’s undeniable that GRIDFAILURE has crafted something gargantuan, bleak, and unforgettable. However, whether you can stomach it is another question entirely. Score: 7/10 Sixth Mass-Extinction Skulduggery III: Acquiring A Taste will be released on October 3rd 2025 via Nefarious Industries. Words: Zuzanna Pazola Photos: Gridfailure

Black metal outfit AGRICULTURE have combined the speed and thrash of 90's Nordic metal with the varied styles of alt rock and the transcendent technical melodies of post metal on their third full length project The Spiritual Sound. The chaos in its soundscape feels intentional and cultivates an active listening experience, whilst the themes are grounded in real life and real emotions that are based on their experiences as queer Buddhists. The record opens with My Garden, in which can be found angular, abrasive guitars intertwined with goblin screams, layered well over the clean vocals before devolving into shredded guitar solos that close out an explosive opening track. The clean vocals themselves are gorgeous overall, with tracks such as Dan’s Love Song being a great example of this. More normatively black metal and a straight-laced love song, it is a tonal change throughout an album focused on the issues of the day and features a synthiness in its soundscape that was both an example of its genre and an exploration of the boundaries within it. While the combination of both vocal styles across the album is usually well executed, there were periods where the execution did not pay off, such as in Flea. The spoken word at the beginning was welcome, but the layering of the spoken word with both clean and screamed vocals came over as jarring, lacking the arrangement of the chaos in the instrumentals. That said, the halfway-point guitar solo was beautiful with a focus on the technical melodies over speedy shredding, and the end of Flea launched into the ethereal in its second half with pensive screams. As for the instrumentals, RICHARD CHOWENHILL’s guitar work was exemplary. Where tracks such as My Garden leaned into razor-sharp shreds and crafted traditional metal soundscapes, tracks including Bodhidharma would strip back into more intentional and technical melodies. Mixing these methods of melody-making highlights RICHARD’s abilities, while offering variation of mood and style that compliments the flow of AGRICULTURE overall; the initial chaos in the shredding complimenting the screams in the album's first half, while the melodies compliment the intentional tracks of its second. On this note, KERN HAUG’s drumming was a masterclass in the simple-yet-difficult styles of drumlines. From the razor sharp speed in the single bass/snare line kept up for the whole duration of Flea, to the closing sections of Bodhidharma where the heavy-handed classic rock drumming spins out over each tom to create a breakneck-speed solo over its final chorus, the percussion masterclass never ceases. AGRICULTURE also does their production in house, with RICHARD taking the credit for this. This has produced an attention to detail that can be heard throughout The Spiritual Sound, notably on Flea with a touch of the volume in the mix going down during the last chorus to supplement that transcendent feel. This has also aided experimentation throughout the project, for example The Weight played with a stopping and starting high pitched distortion which was technically interesting - though personally grating. The overarching sounds of The Spiritual Sound are grounded in the black metal genre, with some nods to alternative rock especially as it cools in its second half. This can be heard in the riffs of Bodhidharma with its itch-scratching riffs in its first half, then again in album closer The Reply as its last third riffs in a way that feels akin to DEFTONES with its minor key alto pitching. All in all, the themes of presence and confrontation of the moment are clear and explored well throughout The Spiritual Sound, with the chaos and harder moments creating this confrontation while its quieter moments still cultivate active listening to create presence of thought throughout the album. Each instrument was brilliant in its technicality, and while not every production choice paid off, experimentation only makes sound better over time. Score: 9/10 The Spiritual Sound will be released on October 3rd 2025 via The Flenser. Words: Julia Brunton Photos: Agriculture

ORBIT CULTURE, a rising force in Sweden’s modern metal scene, has distinguished itself with a sound that fuses the aggression of thrash and melodic death metal with an atmospheric depth more akin to film scores than traditional heavy music. Since their formation in Eksjö, the band has steadily built momentum, earning international attention for their ability to balance ferocity with precision and emotion. With each release, they have expanded both their creative scope and global following, positioning themselves as one of the most compelling acts to emerge from the new generation of metal. The album begins with the commanding force of Inferna, a track that not only sets the tone for the record’s overarching themes but also showcases the band’s sharpened and evolved sound with striking precision. This marks an extremely strong start to the album, and the quality will only be shown further with the many tracks to come. The second track is Bloodhound, in which the relentless percussion from the beginning along with technically demanding guitar work shows that this is a track of uncompromising power. Its precision and intensity make it a centrepiece that invites repeated listens, underscoring the band’s ability to balance raw aggression with refined execution. Inside the Waves shows ORBIT CULTURE’s range, revealing a more reflective and human side to their music. The song becomes a vessel for release, a means of confronting personal battles and channelling them into something restorative and resonant. Moshers, you better be ready to hear The Tales of War - what a track that will be live! The slow start that progresses to the build up is most certainly going to ignite mosh pits and fuel circle pits with unrelenting energy. It encapsulates the very traits that define ORBIT CULTURE’s intensity. Hydra follows, and more than lives up to the momentum, striking with the force of an earthquake and delivering one of the album’s most punishing performances. The track balances relentless heaviness with dynamic shifts, moving from menacing verses into choruses that layer cleaner vocals without sacrificing intensity. The speed and the ferocious blast beats make for a punishing playthrough, whilst also having an incredibly raw, dirty tone that feels downright nasty. It is uncompromising, unpredictable, and unforgettable. Nerve emerges as one of the album’s most emotionally charged tracks, weaving themes of inner struggle and resilience into ORBIT CULTURE’s signature heaviness. The song captures the feeling of reaching a breaking point, with tense, urgent instrumentation mirroring the fragility of its subject matter. Not only does it broaden the album’s emotional range, but also underscores the band’s ability to channel deeply personal themes into a universally resonant statement. At track seven, the title track Death Above Life stands out as one of the album’s most haunting moments. Opening with an atmospheric passage that sets a foreboding tone, the track soon descends into dense, grinding riffs that carry an almost suffocating weight. Lyrically and musically, it confronts mortality head-on, exploring death not as an abstract concept but as an inevitable presence that shadows every life. The Storm erupts with unyielding intensity, showcasing ORBIT CULTURE at their most aggressive. The track’s grinding riffs, and relentless drive create a wall of sound that never lets up. It’s a powerful, hard-hitting piece that reinforces the band’s ability to sustain momentum deep into the record. The Path I Walk offers a stark contrast to the album’s heavier tracks, emotive vocals that carry the weight of the song’s sorrow, deeply heartfelt, capturing a raw, personal anguish. The track’s intimate tone and emotional honesty make it a poignant and unforgettable moment on the record. Death Above Life is is an album brimming with raw emotion and unflinching intensity. With this record, ORBIT CULTURE emerge renewed, transforming personal struggles into powerful, universally resonant music. Their humanity shines through every note, allowing the listener to connect deeply with the pain and passion they convey. Score: 9/10 Death Above Life will be released on October 3rd 2025 via Century Media. Words: Ciara Hicks-Evans Photos: Orbit Culture