If there is a country who never misses with its representation on the metal scene, it is with no doubts Finland, who has been reigning over the world of heavy music for decades. And one of its greatest representatives, ENSIFERUM, has returned to London in the new year after a few years, bringing a fresh start to the new season of concerts. Composed of MARKUS TOIVONEN (guitars, backing vocals), PETRI LINDROOS (guitars, harsh vocals), SAMI HINKKA (bass, clean and harsh vocals), JANNE PARVIAINEN (drums) and PEKKA MONTIN (keyboards, clean vocals), the Finnish melodic folk metal band not only performed songs from their latest album Winter Storm, but also served many songs from their previous releases. The Winter Storm Over Europe tour is taking place across Europe for approximately one month, with only one UK stop - The Dome in London. Supported for its duration by FREEDOM CALL and DRAGONY, the tour was already promising even before the doors opened. The first band of the night, DRAGONY, was a symphonic power metal band from Austria that managed to make the venue move since the lights went off. Featuring SIEGFRIED “THE DRAGONSLAYER” SAMER (vocals), HERBERT GLOS (bass), SIMON SAITO (guitars), MANUEL HARTLEB (keyboards), MAT PLEKHANOV (guitars), CHRIS AUCKENTHALER (drums), and a MARIA NESH (vocals), who joined the band permanently right before the tour, it was the youngest band on the lineup, although it formed in 2007. The setlist was short and contained only nine songs, including three from their 2024 release Hic Svnt Dracones, yet the set was captivating, as SAMER and NESH mostly sang together, creating a beautiful mix of voices accompanied by the symphonic melodies. DRAGONY was certainly a pleasant surprise for anyone, who did not know about them prior to the night, and absolutely accomplished to make the crowd more excited for the next two bands. FREEDOM CALL is a band that does not need any introductions in the power metal world. Formed in 1998 in Germany and founded by the vocalist CHRIS BAY, the lineup currently includes the guitarist LARS RETTZKOWITZ, bassist FRANCESCO FERRARO and drummer RAMY ALI and needless to say that it is a pretty solid lineup, even whilst BAY is the only founding member left. Also known as a “Happy Metal” band and recently given a title of the happiest metal band in the world by the Metro US, FREEDOM CALL still knows how to make a big show even after twenty-eight years, and the big crowd that took over The Dome for their set was the indication that it will be a really special one. Playing their newer songs, including their fresh release Heavy Metal Happycore, that is featuring PETRI LINDROOS from ENSIFERUM, as well as older classics like Warriors and Silver Romance - a titular track from their first release, FREEDOM CALL put on an unforgettable performance packed with good ol’ riffs that assured the fans had an amazing time after waiting for their comeback after four years. The atmosphere from the first two bands had filled The Dome with even more excitement, as the moment for ENSIFERUM to take over the stage was rapidly approaching. Once the lights dimmed and the tape started playing Aurora, from their latest album Winter Storm, the crowd’s cheering began, and did not stop until the end of the set, and rightfully so, as their favourites did not hold back with roaring vocals, riffs and beats that echoed throughout the venue. Playing more songs from their latest album like Fatherland, Scars In My Heart and Winter Storm Vigilantes, as well as showcasing their older work, it was obvious that the fans were longing for the folk-metal legends more than ever. LINDROOS and HINKKA did most of the vocal work of the night, while interacting with the fans, but there were moments, when MONTIN left his keyboards to join the band on the front to sing. As the set reached the point, when Scars In My Heart was finally about to be played, LINDROOS invited MARIA NESH of DRAGONY onto the stage, to deliver an emotional performance that was with no doubt one of the highlights of the evening. Having a simple staging with their logo behind them and occasional steam coming out at the front, while having no barriers in between themselves and the fans, the band had the chance to connect closer with the crowd, and it was to no surprise that oftentimes the members leaned forward into the floor, or even shaked hands. With thirteen songs on the bill, the evening ran past quickly, and before anyone realised, it was already time to bid a farewell to the Finnish five-piece. Closing the evening with three encore songs, Axe Of Judgement, In My Sword I Trust and Two of Spades and a cheeky promotion of their upcoming beard care products, ENSIFERUM once again managed to prove to London that they are indeed a band that is ready to grow, while staying true to its roots. The entire lineup of the night was spectacular and anyone who went in expecting good music and an amazing atmosphere was indeed not let down in the slightest. Words and photos: Katerina Stepanikova

As 2026 kicks off, I PROMISED THE WORLD make their first big statement of the year with their self-titled EP. Arriving on January 16th via Rise Records, it is both a nod to the past and a declaration for the future. Formed in 2023, the Texas five-piece started as an outlet for vocalist and guitarist CALEB MOLINA after the death of his father during the pandemic. While that loss shaped the band’s earliest material, it’s now the spirit of resilience, carving meaning out of heartbreak, that drives their sound. Alongside HUNTER WILSON (unclean and clean vocals), MASON ZSCHAU (drums), MASON NOWLIN (guitar), and AIDAN VICKERS (bass), the band have already toured with DEAFHEAVEN, HARM’S WAY, and KOYO, and are currently on their first headlining US tour, setting the stage for a record that that moves between early-2000s nostalgia and their own evolving sound. The EP opens with the track Proud. It starts slow, with an emotional, nostalgic guitar line that feels like it’s pulling you somewhere far away: a memory, a feeling, a version of yourself you haven’t visited in years. And then, it hits you: an electrifying riff pulls you in, and suddenly we’re back with that familiar sound we used to blast through wired earphones plugged into iPods - volume dangerously high. WILSON’s alternating harsh and clean vocals dance with MOLINA’s melodic lines, softening the edges just enough to let the story breathe, while the screams carry the band’s emotional core. Next come the two previously released singles that set the tone for the self-titled record. A Pure Expression, the second single, opens with weighty riffs that wrap emo, screamo, and post-hardcore into something that feels both familiar and unknown. Guitars, pulsing bass, and expressive drums that drive the song forward, give the track its structure and emotional weight. The bridge slows down, letting the vocals and instruments breathe before driving back into intensity. Produced by JON MARKSON and ADAM CICHOCKI, it’s a collision of nostalgia and modern production that keeps the sound fresh and alive. Following this, Bliss in 7 Languages, the first single, is heavy, aggressive, and emotive, anchored by metalcore riffs and driving drums. The energetic breakdown towards the end releases everything that the track has been building up to this moment. Its music video deserves a special mention: a throwback so authentic it could have been pulled straight from a Y2K MySpace vault. In contrast, Future Worth Dying For shifts into a slower, fuzzier feeling. The track evokes the soundtrack of a movie you’d put on a rainy winter afternoon. The EP then closes with Emerald Waltz, which builds gradually, layering clean vocals before erupting into a layered, climactic crescendo. It’s cathartic, expansive, and a fitting ending to this journey, capturing the technical precision and emotional intensity that runs throughout the record. From start to finish, the self-titled EP from I PROMISED THE WORLD brings a fresh perspective to early-2000s nostalgia. It nods to the sounds that shaped a generation without lingering in the past. The impeccable guitars, bass and drums establish the EP’s stylistic direction, bringing those familiar sounds into the present across the track list. Each track occupies its own space while contributing to a unified universe. The record flows flawlessly, intensity and emotion balanced perfectly, and with its January release, it marks I PROMISED THE WORLD as a band to keep on your radar this year. Score: 9/10 I Promised The World will be released on 16th January via Rise Records. Words: Lorena H Photos: Ryan Johnson

As one of the longest playing bands on the symphonic metal scene, EDENBRIDGE hardly ceases to surprise with their new music. Eleven albums deep, with their twelfth album Set The Dark On Fire coming out in less than seven days, the Austrian six-piece does not seem to lose its appeal even in the slightest. Composed of SABINE EDELSBACHER (vocals), LANVALL (guitars, hammered dulcimer, electric sitar and other instruments), JOHANNES GRAL (drums), STEVE HALL (bass) and SVEN SEVENS (lead guitar), the band promises to go beyond their own limits with Set The Dark On Fire, unleashing powers that were waiting for the right time to strike. Opening the album with the energetic song The Ghostship Diaries was an excellent choice, as it gives the listener a perfect taste of what is to be expected - while keeping many secrets hidden until the right moment. EDELSBACHER’s voice echoes through the song in an almost ominous, yet very powerful way, while the guitars and drums offer their magic with memorable riffs and beats. Although the song is on the longer side, it still manages to keep the listeners engaged the whole time. Cosmic Embrace is melodically similar to the first song, while Where The Wild Things Are is taking the audience on a big journey. The second mentioned is also the first song that fully showcases LANVALL’s talent, as the hammered dulcimer compliments GRAL and SEVENS’ riffs. The song is once again on the more energetic side, yet also feels more like the song is telling an engaging story. The next track, Tears Of The Prophets, is a transitional track composed of guitars that slows the atmosphere down a little, before continuing onwards. Our Place Among The Stars feels slower but heavier with the layered sound of guitars. It is yet another example of the band’s ability to successfully execute longer songs without losing the listener’s interest, which is with no doubt a key accomplishment. It is also a good preparation for one of the songs with the fastest pace EDENBRIDGE ever released, the titular Set The Dark On Fire. Melodically very close to power metal and boasting a head-banging solo that felt more than right in the midst of the chaos, it is with no doubt one of the most memorable songs from the release. The same can be true about the following song, Bonded By The Light, that does feel almost like a ballad from a James Bond movie, bringing in melancholic vocals and emotional riffs and synths that are only adding depth to the already stunning piece. The next track, Divine Dawn Reveal, is yet another transition between the songs, but this time hinting towards Middle Eastern topics, unveiling what the next song might be about. And indeed, the next song Lighthouse combines metal with the melodies from the Middle East, creating a unique sound and even bringing an extensive solo that is well suited for it. Apart from that, however, the song has moments when it sounds similar to many previous ones from the album. The last four tracks of Set The Dark On Fire are the center-piece of the release, as they are a four part song called Spark Of The Everflame. Starting with Spark Of The Everflame - Let Time Begin, that is the introduction to the long story, and transitioning into Spark Of The Everflame - The Winding Road To Evermore, Spark Of The Everflame - Per Aspera Ad Astra and the final Spark Of The Everflame - Where It Ends, Is Where It Starts, the thirteen minute long piece is a perfect summarisation of EDENBRIDGE’s entire sound spectrum throughout the years, combining energetic melodies, melancholic elements, almost cinematic experience and a big dollop of talented musicians. EDENBRIDGE’s latest album Set The Dark On Fire is the band’s most ambitious work to date and it is needless to say that it does not only offer new perspectives and turns, but also brings familiar sounds and themes. Even after twenty-eight years on the metal scene, the band does not seem to run out of inspiration and instruments they can use in their work, and it is certain that anyone, who enjoys their work, or is interested in the symphonic metal, will enjoy the release to the maximum. Score: 8/10 Set The Dark On Fire will be released on 16th January via Steamhammer Words: Katerina Stepanikova Photos: Edenbridge

Xiu Mutha Fuckin’ Xiu: Vol. 1, is the latest album from the experimental, cult band, XIU XIU. A compilation of twelve eclectic covers, vividly described by the band as “a sonic self-portrait built from borrowed voices: post-punk anxiety, queer euphoria, industrial dread, tenderness, glamour and despair”. Due for release on the 16th of January, via Polyvinyl Records, the tracks provide not only an interesting exploration of the band's musical talents, but like a much beloved mixtape of yesteryear, it's the privileged peek into a cool kids record collection. Confidently jumping straight in, XIU XIU chose the iconic, Psycho Killer, by TALKING HEADS, as opener. Gone is the sparse eighties clarity of the original, rebirthing it through a filtration of lo-fi, retro effects and dub-like echos. The synths, guitars and samples run through the track with an easy going, back-alley sounding clamour, balancing neatly with that brilliantly catchy chorus. There are natural similarities heard in the vocals of founding member, JAMIE STEWART, and TALKING HEADS front man, DAVID BYRNE, and with their distinctive touch of modulated sounds, there's a few moments you might be wondering if this was a XIU XIU original all along. ROY ORBISON’s, In Dreams, is the next effortless reinterpretation. Pulling in all the trademarks of ORBISON’s romantic rockabilly and adding layers of sumptuous rippling synths, it’s been given an extra dose of that addictively melancholic, Country sound, a truly luscious kind of lonesome. Following on, in complete contrast, is a tortured, EDM cover of SOFT CELLS’s, Sex Dwarf, from their brilliant Non-Stop Erotic Cabaret album. A high camp electro pop song, flashing us with the transgressive queer sex politics and expression of the early eighties. XIU XIU embraces the humour, alongside the gritty dark explorations of the original, and reproduces it in a contemporary landscape, post-Berghain touches of techno lapping at its chorus. A more contemporary icon of queer nightlife, is the cover of faultless ‘sad banger’, Dancing On My Own by ROBYN. The lyrics of unrequited love are drawn out in this version, shaped by a vaguely CLIFF MARTINEZ composition, with string sections and a hollow sounding drum machine for a quivering lament. Reintroducing it as a downtrodden torch song, XIU XIU take the electro banger off the sweaty dancefloor of 2012’s G.A.Y., and under the spotlights of a half-empty auditorium in downtown Vegas. These tracks are amongst our favourites on the album, not least due to the karaoke effect - their avant-garde explorations of noise are wonderful, but the addition of having a bit of a sing-a-long too, makes them the hands down winners, too perfect for the dry-Jan-blues. Celebrated for the range of their music's deep emotional undercurrents and social commentary, stunning albums like, Knife Play, Le Foret and 13" Frank Beltrame Italian Stiletto with Bison Horn Grips, have kept their fans loyal and stalwart. The group, made up of JAMIE STEWART, ANGELA SEO and DAVID KENDRICK (ex DEVO and SPARKS), often expresses the dark and devastating sides of life, just as much as the sophisticated technical prowess of the band. Consistently outspoken, the band have sparked debate about the content of their artwork and lyrics, most recently, a vehement anti-war stance leading them to removing their music from Spotify, an out and proud financier of horrific weapons of war. Other topics have fans more divided, with some arguing they have overstepped the mark, speaking from positions they do not inhabit, particularly in line with subjects like race and sexual exploitation. Pursuing a transgressive approach to complex and sensitive subjects is always an active invitation to debate and critique, both regarding the topic raised, but crucially also from where this perspective comes, how the idea is delivered and the repercussions of its provocations. Creating, performing and releasing music for the last twenty odd years, XIU XIU, has amassed an impressively vast back-catalogue of work. Now, sharing an album of just covers, feels like an intimate and playful chapter for a band who is used to laying it all out there. There’s a lot to lovingly comb through on the LP, including interesting takes on THROBBING GRISTLE’S, Hamburger Lady, Lick or Sum by GloRilla and COIL’s Triple Sun. Some less successful tracks still hold our interest, if only for the cultural references, but the songs seem to hit hardest when the band accesses the vein of raw vulnerability they are so adept at transmitting. Their creative energies are flowing, as strong as ever, reflecting that “whether confronting violence, commerce, or the limits of pop itself, they’ve built a career out of asking how art should exist, and who it should serve”. Score: 7/10 Xiu Mutha Fuckin' Xiu: Vol.1 will be released on 16th January via Polyvinyl Records Words: Alana Madden Photos: Xiu Xiu

Needing little to no introduction, the sensational group ALTER BRIDGE have recently released a stunning new self-titled album to captivate new and returning listeners once again. Twenty years on, ALTER BRIDGE are still releasing generationally beloved and memorable songs that are sure to leave you headbanging or swaying rhythmically to the music. ALTER BRIDGE has a relentless musical depth and excellently manages to showcase the full band's range. From powerful solos, to prominent basslines, and soulful vocals, this album gives out something for everyone, whilst still maintaining their iconic sound. This album is sure to create excitement for their upcoming headline tour, including support from DAUGHTRY and SEVENDUST, starting next month. Disregarded is a dark, sultry track to the ears. The instrumentation is an absolute standout, with the guitarist, MARK TREMONTI and MYLES KENNEDY delivering breathtaking riffs and solo sections reinforced by a harsh yet complimentary performance by their drummer, SCOTT PHILLIPS, setting the theme to support the lyrics. Lyrically, the song is crafted with attentive wordplay showing a defiance to being hurt again after betrayal. In what feels like an ode to Blackbird, Hang By a Thread opens with soft, melancholy acoustic guitar and lyrics. Heart wrenchingly, the lyrics give an insight into the realities of hurt and overcoming hardship. The song crescendos into a climax of self worth and resilience which is sure to pull on the heartstrings of listeners facing similar situations. Those who cherish ALTER BRIDGE’S earlier works (namely Blackbird and Watch Over You) may resonate within this song’s themes and writing. In contrast, What Are You Waiting For has a stark aggressive tone with stronger drums and dynamic guitars. It highlights the challenges to be better and better oneself, and not taking the chance to fail. The song radiates anger and shows the bands’ vulnerability to human emotions in self-reflection. It demands the courage to be honest in healing and personal development. Catchy and unforgettable, Trust In Me’s strong choruses and MYLES KENNEDY’s experienced vocals demonstrate the extent to which these four people can operate as one collective unit. Every instrument has its moment in the sun, and relentlessly shoots out a unification of all aspects of their sound: heavy, dark, melancholy, emotive, and grandiose music that connects directly to the heart of ALTER BRIDGE and their established fanbase. ALTER BRIDGE are powerhouses in the rock genre and adept at constructing deep sensitive songs through eloquent lyricism and skilful instrumentals. It is abundantly clear ALTER BRIDGE can still produce emotionally intelligent heartfelt music with impressive musical talent after twenty years of performance. The album forms deep meaningful connections with listeners and can help navigate them through life's trials and tribulations allowing them to feel less alone in hardships. Perhaps this consistency is why fans are so dedicated to ALTER BRIDGE and their unwavering commitment to their phenomenal sound. Fans are sure to be eagerly waiting for their tour and any future music. Score: 9/10 Alter Bridge was released on 9th January 2026 via Napalm Records Words: Alix England Photos: Chuck Brueckmann

There’s something about January in London that makes heavy music hit harder. The nights are long, the city feels bruised around the edges, and there’s a collective hunger for something real. Reality Unfolds understands that instinct better than most. Returning to the New Cross Inn from 16–18 January 2026, the festival marks its fourth year as one of the UK underground’s most vital independent gatherings for hardcore, screamo and extreme music. Built on DIY ethics and community rather than hype cycles, Reality Unfolds has steadily grown into a collision point for scenes, generations and subgenres. It’s a festival that thrives on proximity — bands and crowd sharing the same air, sweat dripping from low ceilings, no barriers between release and response. After a standout 2025 edition, 2026 looks set to push even further. Friday is about legacy and impact. Belgian H8000 icons Arkangel headline, bringing decades of metallic hardcore savagery to Church Road. Their influence is etched across modern hardcore, and live they remain a force of total physical authority. They’re joined by Your Demise 2004, tapping directly into the roots of UK hardcore, and London’s own Negative Frame, a band inseparable from Reality Unfolds since its earliest days. Break Them inject the night with big-riff UKHC chaos built for movement, while Regress keep things grounded in London-style mosh tradition. Saturday is where Reality Unfolds truly sprawls. Essex kings Splitknuckle sit at the top of a bill stacked with weight and variety, their status as national treasures forged through relentless touring and an uncompromising sound. Scotland’s Endless Swarm bring powerviolence designed to test both bodies and room limits, while Paris heavyweights Calcine represent European hardcore at its most punishing. Depth comes from every angle. Harrowed unleash blackened hardcore hostility, xApothecaryx deliver edge-metal stomp, and Believe In Nothing drag the room into filthy sludge-noise destruction. Italian outfit Rescue Cat cut through with furious emoviolence, while Mindless return with blood-soaked, explicitly anti-fascist hardcore. Wiseguy, Agency and Bullet round out a Saturday that offers no let-up, only escalation. Sunday has become Reality Unfolds’ emotional core — less about dominance, more about release. Madrid’s Boneflower, signed to Deathwish Inc., bring raw, expansive post-hardcore that thrives on tension and atmosphere. Temple Guard, featuring members of Renounced, xRepentancex and Ego Trip, channel righteous edge-metal fury rooted in conviction. Screamo takes centre stage as Swedish outfit Kid, Feral make their first-ever UK appearance, bringing expansive, cathartic intensity that’s already earned them cult status. UK veterans Cassus return with renewed urgency, while I’m Sorry Emil represent the new wave of British skramz. Hardcore grit comes via Not Without Punishment and Tension, before debutants Afraid To Die — featuring members of Heights, Svalbard, Ravachol and *shels — make their mark. Mountain Peaks deliver raw screamoviolence steeped in DIY ethos, and Sunday Best close the weekend with post-emo anthems that feel reflective without losing bite. Reality Unfolds isn’t about spectacle or scale. It’s about presence — three days where heavy music becomes a shared language, and the line between performer and audience dissolves. In the depths of January, few places will feel more alive than the New Cross Inn. Reality Unfolds takes place next weekend (16th-18th of January). Tickets can be found here. Words: Mia Gailey Cover Photo: Conrad Newton

BLANKET kick-start 2026 with long awaited release of True Blue. The North West UK band have been releasing singles for this full length since March last year but today the wait is over. Shoegaze as a genre is one that has been on quite a revival over recent years and one band that has been part of that is BLANKET who you may know from 2021 release In Awe featuring LOATHE. The band now release fourth album True Blue. One way to describe their sound is immersive and that goes without question in this album too with an even wider atmospheric sense, So if escaping into an open expanse is your thing? Your in the right place. When asked about the writing process of the album they said "At the heart of it, we were chasing something hones a kind of raw emotion. We spent a lot of time making sure the way we played and produced it matched that feeling” and that's exactly what they have done here especially in single Hole In My Head as it discusses the very human experience of feeling of being disappointed in yourself and finding it to difficult to ask for help. The singing almost taking the back seat in the mix also gives a more nostalgia like older shoegaze but still doesn't go unnoticed. Vocalist POOK's voice brings the calming nature when guitars bass and drums that are much more stand out and at times heavier sounding but producer SAM BLOR has made this work with the layered textures that lets the mix feel very well rounded, pulling the listener into more into the emotions of the album In a way True Blue feels very cathartic float in the ocean or outer space especially in song Bind featuring WAYSIDE. The guitar structure going throughout every track allows a very seamless journey that takes you through track by track. The alum is truly some of the best work that's come from the quartet, especially in the title track where everyone really has a moment to shine, particularly vocalist FLETCHER POOK, bringing a close to the album in peaceful send off with his voice and acoustic guitar. Non single Summer Skin features LYNSEY WARD who brings a nice addition and accompaniment to the rest of the song and has the heaviest ending out of all the tracks. Standout song Wallflower has everything the others have on the album and brings it all together in a perfect way before ending the album with the closer. It has the calm and it has the storm, whilst keeping what has been a constant in raw, pure honesty in the lyrics. Overall, what a start of the year! This definitely feels like an album that won't be forgotten when it comes to top lists at the end of 2026. BLANKET are among a fun bring back of the genre and definitely one to keep an eye on for shows and future releases. You're not going to want to sleep on these guys. Score: 8/10 True Blue will be released on 16th January 2026 via Adventure Cat Records. Words: Lucas Grayson Photos: Blanket

From the grungy sound of OHBOY! to the indie-pop danciness of SARPA SALPA, and most recently the hook-laden heft of UNPEOPLE’s massive riffs, Meg Mash has run the gauntlet of the UK’s DIY music scenes across the last couple of years. However, when a chronic illness diagnosis - in Meg’s case, a particularly severe bout of COVID-19 - caused them to have to exit UNPEOPLE for the sake of both her mental and physical health, the possibility of touring as a career instantly went down the drain. Over a year later though, and not only have her symptoms stabilised, but the drive to create returned. From this, PROJECT MEG has emerged, a solo project and outlet for the musician to still explore her creativity whilst acting as the only writer on the project. We sat down to discuss everything about the upcoming EP absent from it all, ahead of the release of lead single force quit on January 16th. We jumped right in to discuss the sound of the EP. As a musician who’d been in a variety of acts, this new sound is a different direction to all of Meg’s previous work, and so inevitably we had to ask about the producer and production found on the EP: Meg: So Simon Jackman, the producer, was recommended to me via the guys in BLANK ATLAS. I’d see a couple of the guys at festivals and such, so I loosely knew them, and then when I was looking for somebody to work with on this project, they recommended him to me. I wanted to work with somebody good, obviously, so that it didn't sound like amateur hour, but also being an independent artist, working on a budget and stuff that was also a factor, and Simon just was a perfect middle ground. In fact, I think, like, he's an absolute steal in terms of, like, the quality of his output and his knowledge. And it was funny because I got there, like, I'd never met him in person, and we just immediately clicked. Similar age, grew up listening to the same music, both support Arsenal, it just clicked. And yeah, I can't really imagine it turning out better with somebody else, we just kind of get each other and get each other's tastes, but considering he's worked with some really heavy bands - he goes out to Scandinavia quite a lot, and works with with with bands out there, a lot of heavy sounds - but as I hope you can hear on on my stuff, like he can also do slightly less heavy music pretty well. Following on from the production, we wanted to know what it was that a different producer managed to do with Meg’s writing and demos, and what changed in the studio: Meg: It's interesting because I don't really rate myself as a very good home producer. Like, there's certain things I can do pretty well, like all the synths and keys are just taken straight from my demos, because I'm quite confident with that. But guitars, that sort of thing, I'm just terrible at creating that sound in my own bedroom studio. So I think the main thing when I went in with Simon was establishing what the guitar sound was going to be, ‘How crunchy do we want to go with it?’ or ‘How shoegazey do we want to go with it?’ I think we probably leaned a bit more into the shoegazy side of things, which, again, leans into some of my tastes; my favorite band of all time is probably DEFTONES, because they have that combination of metal but also that shoegaze washy guitar sound where it's just a wall of sound. Another interesting thing, I love playing heavy music, and I love being in heavy bands, and I loved being in UNPEOPLE for that reason, but I actually really struggle writing heavy music. It doesn't come very naturally to me. I feel like my natural instinct is to go down a more pop-y route, so when it came to writing music for the first time, that was just me and just my sound, that was what came out, those synths and the hooky choruses and that sort of thing. So, yeah, I think the only big thing that changed when I took the songs into the studio was getting some loud guitars in there and beefing it up in that way. It was just amazing to hear them come to life with the addition of good sounding guitars, not just my crappy plugins at home. It was just - I'll never forget that feeling of being like, this is exactly how I wanted it to sound, without knowing before how I wanted it to sound. From there, we shifted over to the content of the lyrics - namely those in force quit - and we asked how they related to about Meg’s departure from UNPEOPLE, the toll of long COVID, and what effect it had on her: Meg: It's been a very strange year and a half, because I was still in UNPEOPLE for a while when I was becoming unwell, I just didn't really know what was happening at the time. I knew at the time that my lifestyle was not sustainable - I was the only one in the band that had a full time job, for example, I had to in order to live in London and pay rent, I didn't have a choice. So I had that. And then being in UNPEOPLE, I wouldn't say it was like having a second full time job, but it was certainly like having a part time job on top of my full time job, and then trying to balance relationships and friendships and family - a massive burnout was always on the horizon, and unfortunately, it came in the form of long COVID, which in itself, even if you don't have really exciting stuff going on is a really life changing and devastating illness, because your life changes overnight. Essentially, you go from able-bodied to disabled overnight. So leaving the band; it's hard, because at the time I couldn't really process how heartbreaking that was for me, because I was so focused on my health, and they needed to keep going. They couldn't wait for me. So there wasn't really anything I could do about it. I needed to focus on my health. I think when I started getting a bit better, and I say this in the lyrics, it's not something I'm embarrassed to say, but there's a lot of jealousy. It's really hard seeing this band I was in doing all this amazing stuff that I could have been a part of, you know? One that really stood out to me was when they opened for SMASHING PUMPKINS, that was insane. It's a really complex feeling, because part of you is just so happy for them, because I know how hard we all worked and how hard they continue to work, and I know they deserve it, but at the same time, you have that feeling of oh, this sucks. Because all I ever wanted to do from when I was a kid was be a musician and be on stage. And I came very close to,in fact I did achieve that, but I feel like I came very close to something really big and really special, and it got taken away from me through nobody's fault. But now a year, a year and a bit on, I can look back with hindsight and say, I think - long COVID aside - this is the healthiest thing for me. I don't think I'm built for that lifestyle of touring, of being on the road. It's just not a healthy lifestyle for me. As opposed to that, we then chatted about what the new project would mean in relation to what we discussed about everything prior to contracting COVID: Meg: With this project, I'm being really cautious about establishing boundaries really early on, so because it's just me, I don't have that pressure if I need to pull out of a show, that I'm letting three other people down, it's just me. And also, on getting a live band together, I want to make it really clear to them that if ever comes a time where they can't do something because of their physical or mental health, that's fine, just say and we won't do it, because I know how challenging it can be when you're pushing yourself to do things that you just aren't in the physical or mental headspace to do. It's given me a really different outlook on life. I wouldn't say I'm glad it happened, because I wish it never happened, but there are some silver linings to it, and I'm really glad that I've been able to start this project and create these three songs, and hopefully more in the future that I'm really proud of. It's purely me. There's no other influence other than my influence, which is a really nice feeling. You have to just look on the positive side. I used to be such a negative person, and it's so strange, this whole experience has turned me into one of these positive mental attitude people, because I think we all sweat the small stuff all the time, and it's just not worth it. Life is so short. I think the most important thing is just making sure you're healthy and you're happy, they're the most important things. And also, just being authentically yourself - I don't feel like I was necessarily being that authentic to myself trying to live that crazy touring lifestyle because, although parts of me loved it, and I love the performance side, the rest of it I genuinely just don't really enjoy. It's tiring, you're away from your loved ones a lot, you're missing birthdays and weddings and stuff and yeah, I feel like my life now is where it's supposed to be. Returning now to the writing of the music, we asked Meg how it felt to write purely on their own for the first time, and to do that in the context of a solo project: Meg: I've had a few false starts in the past with launching a solo product, and I've always written, I started writing songs when I was about 14 or 15. I'm 35 now, so 20 years of writing songs, and it's taken me this long to release a proper EP! In UNPEOPLE I struggled to write, and I think that's because Luke and Jake are just so good at writing those kind of songs, catchy, heavy rock songs, that it didn't really feel - well, first of all, it didn't really feel necessary for me to contribute that much. But also, I thought even if I did, it would not be up to the standard of what they were able to create. In my prior bands, though, particularly SARPA SALPA, I did a lot of the songwriting. So I have carried that weight before, but I've always had band mates to bounce ideas off of, or to add their little spin on it as well. And I must say, I did write these songs myself and recorded all the parts, apart from the drums. I brought in the drummer from SARPA, Charlie, because he's such a creative drummer, and I'd had that experience of writing with him a lot in SARPA. Although the parts he actually ended up playing were quite similar to what I'd written on the demo, he added little flares and stuff that for me as a writer, with drums not being my primary instrument, I just wouldn't have been able to do. So I wrote the songs, and then I'd come back to them maybe a couple of months later and tweak a few things, and then again, maybe a month later. So they certainly went through a process, and I actually feel like I've learned a lot through writing this EP, as I'm quite an impatient person, so quite often I'll finish something and I’d be like, okay, it’s finished, I won't make it any better than this. But during this process, because I was ill and I didn't feel ready to go into a studio yet, I had to sit with the songs for quite a while. And because of that, I went through a bit more of a process and was able to keep building on them. Maybe change a chord progression here or there, maybe take out this section, add this section. And ultimately, I think that's the massive lesson that I've taken away from this is to just not always just say ‘I'm done, it's finished.’ I think things have always got room to develop more and improve. Moving on from the writing to a sadly less exciting and rather more concerning occurrence, we asked Meg about her experiences with online harassment and homophobia after she was unveiled as an Orange Amplifiers artist: Meg: As I'm sure you're aware being part of the LGBTQ community, I feel like you go through phases in life, and I certainly had a long phase where I really was quite embarrassed about my sexuality, and even when I came out, I didn't want to look like a lesbian or act like a lesbian, because I didn't want to be a stereotype. However, I'd say, over the last, like, 5 to 10 years, I've really become a lot more comfortable with who I am. For that reason, when we played the first UNPEOPLE show at 2000Trees, I had a trans inclusive pride flag on my amp to say that we’re a band that supports everyone, regardless of gender, sexuality, religion, and I thought it was a really important statement to make. So I took a picture from that show, I actually chose that picture for them to use, because, again, it summarises that pride in just being who you are. I quite naively did not expect that backlash, and I say that knowing that there's still so many people out there who hate people like us for no good reason. But yeah, I pretty naively just thought ‘these people are only interested in guitars and amps.’ But unfortunately, the main thing they took away from that post was that I had a rainbow flag on my amp. It didn't shake me, it didn't affect me, like do you know what? If that bothers you that much, you live a very sad little life, but it upset me that somebody else might see that, some young guitarist, maybe following orange, and they see those comments, maybe they're still in the closet, maybe they're struggling with their gender, and they see those comments and they think, I'm not welcome here. That was the complete opposite of what I was trying to do in that band, having a pride flag on my amp was there to say you are welcome here. So yeah, it was a shame. But the way that Orange reacted was really great - they immediately put out a statement saying something along the lines of ‘if that's your opinion we don't want you here’, sort of thing. Credit to them, they handled it as well as they could have. But, yeah, it's not nice to feel like people don't like you just because of who you are, or who you love. From there, we pivoted to discussing the EP’s cover - a silhouette, shrouded in muted reds and blues - and asked where the design came from: Meg: My friend Carla, who is an incredible photographer, basically was looking for people to do test shoots with. And I was like, ‘Carla, I'm going to need pictures for my new music, shall we team up?’ So I ended up going and doing a shoot with her, which ultimately resulted in the image that is now the EP cover, which is me behind a veil or shroud. Carla asked, ‘What are some of the themes of the EP?’ And one of the big ones was isolation and loneliness, which was where the idea of looking locked out or not fully focused came from. And we're actually shooting a video on Saturday - all being well with health obviously, you have to always be cautious of that when we've got a chronic illness. - for force quit, and that's going to be an element of the video as well, the premise of not being fully seen and absorbed and stuff, because it felt like that a bit when I was really ill. Extending that train of thought, we asked about what happened after Meg left UNPEOPLE, and the large volume of people who unfollowed her: Meg: You know what, when I was writing songs over the beginning of 2025, maybe beginning of summer 2025, one of the first songs I wrote, which was originally going to be on the EP, was quite a lot about that. I'm saving that one for later, just because I feel like it sits a bit better with some of the other songs I've written, but being in UNPEOPLE was the first time I feel like I've got a bit of a peek behind the curtain of what it is like to be successful and popular as a musician, going to award shows and mingling with people. Fortunately, in the rock scene, the majority of people are very genuine, very kind, very authentic, and having been in bands in other scenes that aren't like that, I would say that in the rock scene, especially the heavy scene, the majority of people are so lovely, and I haven't really lost those connections. Even pretty big names, like Steve from HOUSE OF PROTECTION, who was also in FEVER 333 and THE CHARIOT, I met him at the heavy music awards right before I left. He's a hero of mine, and he was so, so sweet, and we connected on socials. And I could still message him and he'd respond; people are very genuine in this scene. Obviously you do get a bit of bandwagoning and butt kissing, but people in other bands are all really great and really lovely. I've certainly lost followers consistently since then, but the thing is, it's fairly inconsequential to me. I don't really care, it's not something I take personally at all. As our time was running out, we asked one last question about how Meg was planning to conflate her chronic illness with a newfound desire to play this new music live: Meg: It;s a really good question, because I didn't think I would want to play shows. However, I'd say the main thing I love about being in a band is that feeling of being on stage, connecting with people, even if they don't know your music, just sharing your art with people one on one in that moment is an amazing feeling. A friend of mine recently, who's also been working on some music, reached out to me and asked if I’d want to do some shows together, like a one off in London, and maybe a one off up here in Northampton? And I could maybe make that work! So I've pretty much got the band rounded out now, and in terms of making that manageable with a chronic illness, I'm quite lucky as I would categorize myself now as having just mild to moderate chronic fatigue. So if I plan ahead and pace myself, I can manage quite a lot of things, but it would be a case of balancing any activity with rest and being really thoughtful and conscious about how I plan those show days, taking the day off work the next day for example, to recover and rest and things like that. But, at the end of the day a show at this level is what, a 20 to 30 minute set, which is the only thing that I really would need to reserve my energy for. So I'm hopeful that I can manage it. Aside from the three songs on the EP, I have quite a few other songs, so I've definitely got a set ready to go, it's just a case of getting a band up to speed and booking some shows. But yeah, I certainly won't be booking a 30 day tour. It might just be the odd show here and odd show there, but fortunately, I still, like I said, know a lot of the people that I met through UNPEOPLE, so I still have some really nice, friendly connections in that scene in terms of booking shows, so I'm hoping I can get something together. With that, we wrapped up our chat and bid Meg farewell. With any luck, you’ll not only be able to catch PROJECT MEG live (if you’re very lucky!) sometime in the not-too-distant future, but we’ll be right there with you watching a star of the British DIY scene carry on their journey as a fantastic musician, start their journey as a solo artist, and (sadly) continue to be an Arsenal fan. Lead single force quit will be released on January 16th 2026, and full EP absent from it all will be released on March 6th 2026. Words: Jasmine Longhurst Photos: PROJECT MEG, Carla Mundy With thanks to: Meg Mash

You'd think that when deathcore heavyweights BEYOND EXTINCTION are getting in the zone to play a show, they'd live up to their status of being one of the biggest rising stars in extreme music. As they're bombing it down the highway blasting the silky tones of DURAN DURAN and SPANDAU BALLET - their picks, of course - the band are anticipating an intense set, wall-to-wall with brutal bangers. “You should hear what we play in the van!” begins guitarist JUDE BENNETT “You'd imagine it to be really hardcore stuff, but it's everything from West Coast hip hop to PHILL COLLINS and '80s pop, or even Middle Eastern music if NIALL [Ali, drummer] is in charge of the playlist.” In some ways, this is the crucial component of BEYOND EXTINCTION: they are not afraid to break the rules of the extreme if their music demands it. 2025 brought with it the band's raucous full-length debut, Where They Gather, serving as the clarion call for moshers everywhere to take up arms and bash their heads together, a violent display of - as they call it - malicious “dome-on-dome” action. The record's successes lie in nurturing their hard-hitting deathcore roots, whilst also championing natural experimentation to refine that raw edge. For DANNY RUSSEL, who also plays guitar, authenticity does not begin with ripping up the rule book, but coming into a new project with no constraints. “Our main priority is groove more than anything, more than a flashy riff. You don't need a technical riff or a crazy guitar solo to have a good song. If the riff or the groove is hooky and addictive enough, then you’ve won.” The band then muse that the intoxicating Mansions Burning On Bleak Horizons follows the same structure of a pop song, and whilst JUDE's love of prog was enough for the rest of the band to tell him to put the odd time signature down, in places this seeps into their overall sound. He states, “It’s about having that restraint to go, 'Yes, this is tasteful, and this is enough for this part.’ I feel like we do quite a good job of establishing something and allowing someone to feel it for a bit, instead of just throwing you around with blast beats all the time.” In all this chaos, the band are joined by BLACK TONGUE's ALEX TEYEN and JOSH DAVIES from INGESTED to establish firm deathcore foundations, as JUDE explains, “We just reached out to both of them. We got ALEX through a mutual friend, and we've known JOSH for years. It just naturally fell into place.” For the band, who began to write the record after losing founding member ZACH SCOTT in 2023, getting TEYEN on Tyranny felt full circle as BLACK TONGUE had influenced a lot of their early writing. “I don't like looking at an album where the track listing starts to get like DAVID GUETTA or DJ KHALED, with a feature on every song.” DANNY muses, reflecting on the intricacies of Where They Gather. When it comes to the record, everything was planned meticulously, inspired by, as they put it, “the constant cycle of human suffering.” “The ambition was to captivate the listener and also expose them to the real-life horrors that we, as a species, experience. What's interesting is that we started writing this album three years ago, and with the new conflicts happening across the globe, the lyrics seem even more relevant than when we started. It just proves that it's the constant way of things, a circle of violence.” JUDE expands on this, “We wanted it to be this dense block of storytelling and misery that front to back just feels real.” In everything, this is the most dense and asphyxiating record the band have created, and the first without ZACH. Still, his presence lingers throughout the album, after the release of their two EP's 2021's The Fatal Flaws Of Humankind and 2023's Nothing More Wretched. Above it all, BEYOND EXTINCTION has set out to capture a universal feeling: One that details the excruciating nature of suffering, but also champions persistence and strength through turbulent times. 2025 saw the band partake in a smattering of brutal shows across the UK, with a detour to Ireland for good measure. However, the real crowning moment will be this March for their unmissable album release show in London, showcasing the inescapable ferocity of deathcore on the rise. Words: Amber Brooks and Dollie Himuyandi Photo: John Sudgen

IMMINENCE’s rise to popularity amongst the metal fans is no secret, and anyone who ever listened to the Swedish metalcore five-piece can agree with that statement. Hailing from Trelleborg, the southernmost city of the country, the band not only stands out because of their dark and mysterious visuals, but also thanks to the unique sound of violin present across their works. Choosing The Roundhouse in London as the last stop of The Black Finale tour, whilst promoting their latest release The Return of The Black; which is a re-release of their most popular album The Black, that brought many artist features on their songs, as well as some remixes, the Swedish five-piece not only ensured a one-of-a-kind show, but also introduced their audience to the Australian legends - NE OBLIVISCARIS. The auditorium was about half-filled when the lights went down for the first time of the night to welcome the Australian progressive metal band NE OBLIVISCARIS. The audience's cheers indicated that many of the fans were previously acquainted with their work, and that is to no surprise, as the six-piece was formed in 2003. Currently composed of TIM CHARLES (clean vocals, violin), MATT KLAVINS (rhythm guitar), BENJAMIN BARET (lead guitar), MARTINO GARATTONI (bass, backing vocals), DANIEL PRESLAND (drums) and JAMES DORTON (harsh vocals), the band is well-known for long songs, predominantly brimming with emotional melodies, heart-taking lyrics, and melancholic riffs. From the first song of the set, Equus, to the last one, And Plague Flowers The Kaleidoscope, the stage presence permeated a strong energy into the concert auditorium, allowing people to be present in the moment, be emotional and even start a moshpit in the middle of the dancefloor. CHARLES kept alternating in between his vocals and his violin for the duration of the five songs they played, oftentimes using both at the same time, while DORTON’s harsh vocals added an immense depth to the already complex compositions, that were only elevated by the rest of the instruments. Seeing NE OBLIVISCARIS live, especially with no previous knowledge of their repertoire, is a remarkable experience, and there is no other band who could prepare the audience for the headliner better than them. Once the lights dimmed for the second time, every soul on the dancefloor and the balcony cheered as loudly as possible. Starting their set with a lengthy and mysterious instrumental track, the fans held their breath as the moment when their favourites finally arrived on the stage was closer than ever. As a mysterious figure in a black cape walked over the stage while holding a lantern, later to be revealed as the vocalist and violinist EDDIE BERG, the music started to pick up, slowly transitioning into the first song Come Hell Or High Water, whilst the band, followed by the string quartet unique to this tour, appeared on the stage, all whilst the fans cheered and clapped to welcome IMMINENCE in London. From there, BERG, accompanied by HARALD BARRETT (backing vocals, rhythm guitar), ALEX ARNOLDSSON (lead guitar) and their touring members DAVID MÅRTENSSON (bass), FREDRIK BERLIN (keyboard, backing vocals) and STEVE JOAKIM (drums), did not stop to impress the crowd with his talent, as he not only carried the vocals that night, both clear and harsh, but also played his violin the whole night (and screamed into it). The night saw all songs from their hit album The Black played live, including a live feature of Come What May with TIM CHARLES from NE OBLIVISCARIS, as well as some from their previous albums Turn The Light On, Heaven In Hiding and This Is Goodbye, showcasing their talent at innovating their own sound. A big part of the concert was an acoustic set that lasted for five songs, and focused primarily on BERG’s vocals and the string quartet that accompanied the band on the tour. The fans had a chance to hear the songs Saturated Soul, Alleviate, Continuum, This Is Goodbye and Love & Grace in a way they usually can not, which only made this part of the set even more special, especially with the sound of live strings. The band members seemed more emotional throughout this part as well, as if the melody made them realise the scale of their impact on people's lives and how important their music is to the modern metalcore scene. After this, IMMINENCE carried on with their heavy melodies, led by BARRETT’s unmistakable presence. The last songs were as impactful as the rest, and it was only when they played God Fearing Man that the fans started to realise the end was rapidly approaching. The song absolutely shredded the auditorium to pieces, especially when BARRETT presented his signature bow, signalling the well-known breakdown is about to happen. This had to be one of the most unique and brutal breakdowns The Roundhouse saw in its long history, and the moshpit and crowd-surfers only proved the fact to not be far from the truth. After that, IMMINENCE closed the night with their infamous song The Black and its beautifully melancholic outro Le Noir, that only features BERG playing violin, leaving the crowd in London in tears, as it was not only the very last concert of 2025, but also a historical moment for everyone present. IMMINENCE is with no doubts one of the most significant bands of modern metal and keeps bringing new perspectives into the genre, whilst inspiring new-coming artists to experiment with classical instruments in modern settings. Both IMMINENCE and NE OBLIVISCARIS have an important role in the scene and seeing them back to back was an unforgettable experience that is going to be a core memory for many fans who attended the night. Words and photos: Katerina Stepanikova

Norwich’s own Floral Image invite you to the psychedelic soundscape of their debut album Gone Down Meadowland. Decked out in double denim, colourful beanies, and the occasional newsboy cap, the quintet release ten songs in a saturated hue, worthy of the Fuzz Club roster. Panning left to right and slowly building, the intro to ‘Meadowland’ feels as if you’re waking up in another world, both entranced and bewildered. One may picture Meadowland itself to be a vast hillside dazzling in light, with the hazy mirage of Floral Image in the distance, casting out their dreamlike refrains. The pace is set for the album with the glittering, layered instrumentation moving through ‘The Dream’. The track not only introduces some brilliant lyricism to the record, but adds a bleakness that ‘Meadowland’ doesn't prepare you for; the minor key and cadence of the words ‘nothing’s wrong, we sail on the dream’ guts the song with a sense of impending doom, which is allowed to sit and brew quietly before it cathartically explodes further down the tracklist. Floral Image’s attempts to draw on a sense of ‘glorious solitude’ certainly strike a chord, despite their playful demeanour. The group’s wit and creativity shines through on this project; it is vivid and cinematic, driven by tracks like ‘Burning 305’, the album’s first single. The faster bassline and echoing vocals feel like being led on an adventure through the auspicious trip that is Meadowland. The group are particularly cinematic in their visuals for later single ‘Howling Dog Song’ (don’t worry, we’ll get to it). Rather than a hazy hillside, the group are seen clambering a cliff’s edge in their matching outfits, to retrieve a staff that inexplicably transforms them, in frantic b-movie fashion, into howling dogs themselves. This goofy, retro tribute to older cinematic tropes cements Floral Image’s appreciation for psychedelic rock’s core; its surrealism and experimentation feel exciting yet refreshingly familiar. ‘Gone Down Meadowland’ is undoubtedly a highly stylised project. Composed over six weeks in a home studio last summer, and impressively produced themselves, the band appeared to have a clear vision for their debut. The album suffers on occasion from this, where the heavily layered instrumentalism can feel cloying, but I can see where fans of the genre would revel in the dreamy depths of tracks like ‘The Score’ and the surprisingly named ‘Boogietown’. Here you are, expecting groovy rhythms reminiscent of Lipps Inc’s classic ‘Funkytown’, only to be met by far more soothing middle to the album. That said though, Floral Image are by no means lacking any groove of their own, as the second half of the album picks up the pace to introduce ‘Tiergarten’. Luring you in with sixteenth notes on the hi-hat and building synths that slowly add to the song’s texture, ramping up the gain to create fast and fuzzy riffs that are honestly my highlight of the album. Having lived in Norwich until recently, I had heard murmurs of Floral Image’s stage presence, and to witness the majesty of this track live would be to see these bohemian rockers truly come into their own. Their setlist does indeed include this exhilarating track, and appears to be played consecutively with the next track, ‘Howling Dog Song’. Favoured by BBC Radio 6 upon its recent single release, this song could quite easily tear Norwich Arts Centre to the ground this May, with a chorus of gleeful onlookers joining in the refrain of ‘we’re howling, howling’, before the group ups the tempo and, with a few barks here and there, completely descends. This surrealism feels like the perfect way to capture the insanity of the song’s subject; a disdain for the political state of the planet, where ‘everyone’s a xenophobe, everyone's a homophobe’. Referring to the majority of humanity as ‘comatose’, Floral Image seek to gather the other ‘dogs’ in the world with this erratic and frenzied rejection of such a life. After the sheer excitement for ‘Tiergarten’ and ‘Howling Dog Song’, ‘Sun For Hire’ feels like the perfect way for Floral Image to round off this project. Its soft, layered harmonies and shimmering, whirring effects over Mitch Forsyth’s deliciously paced rhythms incorporate all that’s best of this vibrant and indulgent soundscape. Mastered by King Gizzard’s very own Joseph Carra, the album shows Floral Image already gaining recognition and showing a lot of promise in their niche. Despite some variety in the luxuriate and measured, and the jaunty and powerful tracks, there’s a consistency in the depth of Gone Down Meadowland, not just in the layers of sound, but in the curation of this psych pop triumph. Score: 7/10 Gone Down Meadowland will be released on April 25th 2025. Words: Tabitha Smith Photos: Floral Image

As a long and tumultuous year draws itself to a close, we all tend to look back across that very year and reminisce. For some, they may look back at wonderful memories of their friends or family, or perhaps a beautiful place they visited, or even a brilliant new experience they had - but here at Out Of Rage, we don't care at all about any of that. We scrapped the family photos, forgot the weekends away, and don't recall a single experience OTHER than listening to all of the best music that came out this year! Our team have worked night and day, getting the opinions of a plethora of our contributors, and putting them all together to gather a list that represents all of Out Of Rage. From the underground to the enormous, the sublime to the extreme, nothing was off limits; did your favourite make it to the top? Unself - Conjurer Modern forward thinking metal at its best that touches on sludge and post-metal sounds. A beautiful and decisive album, full of brutality yet still able to include heart-warming moments throughout. The acoustic moments within stand as emotional linchpins and ground the album in reality, but the textures of the album are really where it shines - the contrast and depth of sound allow CONJURER to sound bigger and better than ever on Unself. They keep getting better with each release, and are defining what modern metal should be. Words: William Freeman The Spiritual Sound - Agriculture The Spiritual Sound is well explained by its title. With the two sides of the LP being remarkably different, both offer a sonic baptism - one of fire, and one of water. The 'ecstatic black metal' sound that AGRICULTURE have made their own is one that rakes across the unprepared eardrum, whilst clutching ever so tightly onto the heartstrings of those who knew what was coming - an almighty release that is contemplative and welcoming, and more than worth every second of your time. Words: Jasmine Longhurst FADED INTENTIONS - False Reality FADED INTENTIONS earns its place by feeling so fully formed and fearless. FALSE REALITY fuses hardcore physicality with atmosphere and cinematic intent, building songs that hit hard without sacrificing depth. The record moves confidently between aggression and unease, balancing serrated riffs with moments of haze and introspection. RACHEL RIGBY’s vocals anchor everything, shifting between venom and vulnerability with insane precision. It’s an album that understands its scene and triumphantly challenges its limits. Words: Zuzanna Pazola FEVEREATEN - Witch Fever WITCH FEVER’s second album FEVEREATEN is a must-listen. It is an experience infused with gothic themes, gritty distorted guitars and newfound inner power. The lyrical content sung by vocalist AMY WALPOLE weaves tendrils of hope through despondency. This record is designed for those who want to find their voice - check out SEE YA NEXT TUESDAY. FEVEREATEN shows us all where the climb out of hell can lead, which is exactly what makes it one of our albums of the year. Words: Shania Richards The Darkest Place I've Ever Been - LANDMVRKS French metalcore four-piece LANDMVRKS have delivered a sonic resurgence with The Darkest Place I’ve Ever Been. This album stands as a testament to the bands evolution, fusing modern metalcore and the nu-metal elements that defined the early 2000s. Spanning everything from blistering tremolo picking and all-encompassing guitarwork in its earlier moments to the slow, sombre weight of later tracks, it showcases range and intent. It’s not only a career-highlight, but also one of the strongest heavy releases this year. Words: Chloe Sodeau Parasites & Butterflies - Nova Twins PARASITES & BUTTERFLIES, the third album from the dynamic duo known as the NOVA TWINS, is an incredibly innovative album. The latest release from the two-piece features new fan favourites such as ‘N. O. V. A’, as well as ‘Parallel Universe’, both of which showcase how musically versatile NOVA TWINS really are, and this versatility is constant throughout. The extremely talented duo provide a wide range of different influences, from genres as wide-ranging as hip-hop, pop, jazz, and obviously alternative metal throughout the record, making PARASITES & BUTTERFLIES a must listen. Words: Itay Gilad The Sound a Body Makes When It's Still - Hot Mulligan HOT MULLIGAN have been a big name in recent years, and they continue to prove why with the release of their fifth album The Sound A Body Makes When It's Still. It had everything you would want out of them - high energy, great song titles, and that twinkly guitar tone over soul-crushing song themes, especially on highlight track It like It Smells Like Fudge In Here. The band simply doesn't know anything other than writing festival bangers and albums that will be remembered for years. Words: Lucas Grayson God Save The Gun - Militarie Gun TURNSTILE Summer over, we headed straight into MILITARIE GUN Autumn, where the band released their second full-length record, God Save The Gun, in mid-October. The four singles each hinting at a slightly softer release this time round, with the band leaning towards incredibly catchy choruses and massive sing along parts - B A D I D E A is still stuck on loop in our heads. God Save The Gun, quite rightly, released to widespread acclaim with MILITARIE GUN having perfected their unique breed of hardcore. Words: Andrew Nile Sanguivore II: Mistress Of Death - Creeper Stepping out from the deepest shadows of England on All Hallow’s Eve, CREEPER brought a new offering of their dark rock to the world once more. Sanguivore II: Mistress Of Death is a successor to their previous release, named in the same manner, and indeed brought forward further revelations to do with the band’s narrative. Seething with WILL GOULD and HANNAH GREENWOOD’s macabre vocals, the release is an obligatory sacrificial composition for everyone seeking amusement, as well as retribution. Words: Katerina Stepanikova private music - Deftones DEFTONES made the most triumphant return this year, headlining festivals, their own tours in the US and soon the UK. Not only that though; they also dropped their first album in five years! private music grabs you by the throat and doesn’t let go, with some of the bands heaviest riffs, most intense drum beats, and chillingly ethereal vocals. This album is absolutely one of their best, and it’s proof that DEFTONES are only ever improving their craft, from the intensity of milk of the madonna to the slow and sombre i think about you all the time, this album delivered on all fronts of everything the fans want from them. Words: Ben Blissett My God Has Got A Gun - Vukovi VUKOVI are a band that never stop pushing the boundaries of what their sound can be. The Scottish duo continue to experiment and push their limits, and that certainly didn't stop when they released their fourth studio album My God Has Got A Gun earlier this year. This album has everything to offer: heart-wrenching, emotionally cathartic lyrics, hard-hitting breakdowns, and hypnotic, twisting vocals. Sick guitar riffs race against the unrelenting beat of drums, all to the tune of groovy, science-fiction synth tracks. If you need a killer soundtrack that will drag you down into the depths of your darkest emotions, while still pumping you full of enough energy to get your heart racing, this album is one for you. Words: Naomi Colliar Duff Lonely People With Power - Deafheaven Deafheaven redefined metal once before, and yet somehow they've managed to do it again. On one of the heaviest releases they have ever put out, their signature combination of the best of black metal and shoegaze fill the album, but there's less focus on droning atmosphere and more on heavy, meaty riffage. This album shows off the direction that modern extreme metal should be taking, building on what came before yet defining its own path. It stands up with Sunbather as some of the most beautiful black metal adjacent music to ever happen. It's truly brutal and very dense, yet keeps an almost sentimental background emotion throughout. DEAFHEAVEN experiment in all the right places and don't stagnate, instead refining themselves again to make more beautiful art. Words: William Freeman Creature In The Black Night - Dayseeker This is an album I have had on repeat since the first spin. With my favourite track being the epic cinematic rock ballad Crawl Back to My Coffin, a song I turn the volume up for every time, I may be a new fan, but this album has made me love this band. With Creature In The Black Night, DAYSEEKER have clearly evolved from their post-hardcore roots into something darker, and more mature. Crafting lyrics with raw emotion alongside seductive melody shows why they are considered to be a band whose songs continue to unfold across genres with heart and precision. If you love your music to have a theatrical edge, Creature In The Black Night is the album for you. Words: Lou Viner-Flood I Don't Want To See You In Heaven - The Callous Daoboys The sonic tour of a lifetime, I Don't Want To See You In Heaven showcases every single brilliant part of the band we know as THE CALLOUS DAOBOYS. Taking us on a trip that bounces wildly between abrasive DILLINGER-esque mathcore, JUSTIN TIMBERLAKE style pop, uneasy atmospheric soundscapes, and hints or references to just about every other genre you could name, it is an eclectic yet focused effort that magnifies the very strongest side of the act. Lemon stands up as one of the best songs released this year, whilst Two Headed Trout and Schizophrenia Legacy could energise the most lethargic listener. It's a sensational record, and tells us everything we need to know about a band on their way to the very top. Words: Jasmine Longhurst Breach - Twenty One Pilots With the hype from the Clancy era not even completely fizzled out, TWENTY ONE PILOTS unexpectedly came out with Breach just one year later. The album feels like a homecoming, revisiting all the past works and sprinkling references all around like they do best. The opening track City Walls completes the storyline of 10 years with its $1 million-worth cinematic music video. Breach is experimental and genre-bending, with songs like Robot Voices and Centre Mass mixing a multitude of sounds into one, as drummer JOSH unveiling his hidden singing talents on Drum Show. Breach goes into depth on complex topics like grief and faith, while simultaneously being unserious and including inside jokes from the recent tour. This duality is precisely why TWENTY ONE PILOTS never miss the mark and will always be loved by their loyal fanbase. Words: Mariia Bulkina Bodies - Thornhill Vigorous, fluctuating energy beams from Bodies, the album released earlier this year by prog-infused metalcore band THORNHILL. Since its release, it's been one of those albums that people won’t stop talking about. Bodies is an album to lose yourself in; the tracks flow into one another and induce a dream-like soundscape scattered with bouts of heaviness that really pack a punch. A far cry from their first album The Dark Pool in 2019, their journey has been remarkable to watch, always taking the best parts of their sound and turning them into something new without losing the original foundations. The album combines its melodies and riffs in such a way that it will not be forgotten anytime soon. Words: Danielle Henderson Even In Arcadia - Sleep Token It's extremely unlikely that any alternative fan has gotten through this year without hearing the name Sleep Token, with huge tours and a first ever headline slot at Download Festival. They have had an incredibly successful year, and it was all first started off with the release of their album Even In Arcadia. The album spans genres from metal to pop and even to afrobeat, managing to really stretch the horizons of modern metal in doing so. The pre-release single Caramel was a huge success, with it going completely viral and ending up becoming an introduction to alternative music for many people - and now the album itself has garnered millions of streams, and has even got SLEEP TOKEN nominated for multiple awards at next year's Grammy's! Words: Amy Smyth Never Enough - Turnstile Never Enough captures a band refusing to stand still at the exact moment it would be easiest to do so. With this album, TURNSTILE has pushed hardcore outwards rather than leaving it behind, weaving melody, texture, and feeling into songs that still move with urgency. The record feels big without being overdone, and is carefully paced so each change in mood has a clear purpose. New sounds appear throughout, but the core remains unmistakably TURNSTILE: communal, restless, human. The songwriting gives space for emotions to breathe, letting softer moments sit naturally beside bursts of momentum, and there’s a real confidence in how seamlessly different influences coexist; they never feel forced or out of place. Never Enough doesn’t chase trends, but instead documents a band comfortable with growth, grounded in their past while exploring exactly what the hardcore scene can hold. Words: Zuzanna Pazola Tsunami Sea - Spiritbox Fans of SPIRITBOX sat longingly waiting for the band's second album Tsunami Sea, which was delayed after the Covid-19 pandemic - but as the world has eventually returned to normality, 2025 brought the album to us. The album showcases the band's talents, spanning from songs like Soft Spine that bring straight up metalcore devastation, to tracks like Crystal Roses that are more laid back and showcase the emotional vulnerability the band can harness in style. The album is a full scale onslaught and embodies the best of what modern metalcore has to offer to the world; having spent so long being cooked up by the band, every lyric and beat is perfectly polished. The band had a hell of a year too, playing support slots for LINKIN PARK at Wembley Stadium, playing their own tours throughout Europe and the US, and of course the release of Tsunami Sea landing the band their third Grammy nomination. Words: Amy Smyth Ego Death At A Bachelorette Party - Hayley Williams HAYLEY WILLIAMS’ third solo album deftly blends genres to soundtrack confessional lyrics, making for a dynamic record that flows from the heartbreakingly soft to the unabashedly brutal. The PARAMORE frontwoman begins her new era as an independent artist with candid thoughts on mental health, relationships and fame, culminating in WILLIAMS’ writing at its best. Ego Death At A Bachelorette Party’s impact can be somewhat credited to WILLIAMS’ emphasis on the listener experience - initially appearing for free as a collection of files on her website, it then launched on streaming as 17 individual singles, and fans were encouraged to choose their own order. This interactivity created an intimate sense of community that complemented the album’s diaristic nature - like catching up with an old friend. Witty and at times unbearably raw, highlights include True Believer, a haunting and complex reflection on hypocrisy in the American South, viral break-up anthem Parachute, and Discovery Channel, a dark reimagining of BLOODHOUND GANG’s The Bad Touch. A must listen for fans of any genre, and well-deserving of our album of the year title. Words: Gabriella Bosticco Editing: Jasmine Longhurst With Thanks To: Our contributors, every PR team we worked with this year, every band we worked with this year, all of our readers, and most especially the Management Team!