We live in a kaleidoscopic world, the limits of creativity a thing of the past - where before things were put into strictly prescribed boxes, those constraints have been blown wide open and nothing is truly underground. The explosion of the internet and technology in general has hastened the end of the stranglehold of gatekeepers deciding if something is art or not, as millions of people are able to express themselves without having to put everything through a committee. Nowhere is this truer than with music, the ability to sidestep fences leading to one person’s idea being seen through and put out there for the whole globe to savour. Thankfully we’ve been pushing towards a point when all are received and embraced and, although the battle continues, it’s a better world where bands like RAINBOW KITTEN SURPRISE can be heard and loved, no matter where you are. Hailing from Boone in the Blue Ridge Mountains area of North Carolina, the quartet were formed when two friends decided from their dorm room that a life making music was going to be the thing they really wanted to do. Now, twelve years later, fifth album Bones brings the next step in their vision to life, the band swiftly following up last year’s critically and publicly acclaimed Love Hate Music Box with another venture in sound and light. Shaped by their experiences over the recent events like the cancellation of the whole of 2023’s touring cycle caused by a band member’s illness, and parting company with bass player CHARLIE HOLT in 2024, there was a lot of catching up to do, and Bones feels the result of an outpouring of creativity that came as a riposte to those blows, the outfit pushing forward harder than ever. To follow the catharsis of the previous album in such a bold way shows just how much these KITTENS have grown. Thankfully, none of this latest release feels forced, and those who have been with the band from the beginning will find a natural progression evident, with new delights that widen their appeal further without ever selling out their core identity. Sonically, there’s a lot to take in and the broad choices of colours, tones and textures are ever more radiant as the album unfolds from the dreamy brightness of opener Friendly Fire onwards. The defiant Hell Nah sounds like TWENTY ONE PILOTS on one of their most relaxed days, the tensions bringing sparks of life to every note and ELA MELO’s vocals lighting up the sky. Another left turn with the intriguing title track, the song twisting and turning as it unfurls before 100 Summers brings a bracing rush of fresh air, wrapped in a snotty energy. When an album goes from the contemplative and shimmering Murder to the upbeat and powerful statement of love of Dang, its wholly head-spinning, the delicious waves of sounds and emotions incredibly heady in effect. Whilst very personal, there’s a universality here that means that numbers like King could perfectly soundtrack time in college halls of residence or road trips with equal aplomb, the fretwork of MELO, ETHAN GOODPASTAR and DARRICK "BOZZY" KELLER bringing a luminous cathedral of sound as drummer JESS HANEY drives things along, the four voices an overwhelming wash of emotions. Every track has its own identity and with the sparse Stars, gossamer touch of Americana on Texas Hold Em and the sweeping grandeur of Tropics you’ll keep wanting to come back time and time again. Only they know where they’ll head next, but with RAINBOW KITTEN SURPRISE every new chapter is full of wonder. Score: 8/10 Bones will be released on September 26th 2025 via Atlantic Records. Words: Paul Monkhouse Photos: Rainbow Kitten Surprise

Sometimes, being in a band is tough. For thrash trio Death Pill, being in a band that doesn’t live near each other - not even in the same country - can make things even more complicated. This is the reality of being a heavy band from Ukraine, as for the band the ongoing war with Russia has become very real and personal. Disrupting their personal lives and sending the construction of their latest record Sologamy completely online, DEATH PILL’s existence is as fiery and unapologetic as the music they make. Touring the UK and Europe this summer, we learn how their far-flung voices embody the true spirit of punk, loud and unwavering, always with something important to say. For their latest release Sologamy, MARIANA NAVROTSKAYA (guitar, lead vocals), ANASTASIYA KHOMENKO (drums, backing vocals) and NATALYA SYERYAKOVA (bass, backing vocals), rehearsing for a tour and writing a new album completely online is the new standard. With two of the members moving out of the country, NATALYA explains it was a difficult experience: “The things you can quickly do when you are all together in the rehearsal room, ended up taking two to three weeks to decide. The ending of something, or deciding the backing vocals. Small things. Better ask our mixing guy, because he was receiving different opinions and wishes about how it should be, and he also has his own taste. But he was so impressed by us doing it separately.” “Our close friends were surprised. “Oh, they live separately and don’t do rehearsals, but keep going.”, because you have bands who sit on their asses for four or five years and we are like “We are going to make a single!” ” NATALYA continues, explaining the positive reaction to the record, “I think it’s pretty good so far. There are only two options - [fans] don't tell us that it's shit, or they really like it. So it's kind of fifty-fifty. I think on the first day of the release, we were checking every hour how many vinyls were pre-ordered and how many people bought the album. After that, we stopped tracking.” When they have been touring, the band definitely have stories from the trio's travels. A question about memorable situations could not be missed, The band surely came up with a wholesome tale from Gatwick Airport, as told by ANASTASIYA: “We were travelling from the Gatwick Airport to Warsaw and we were passing through the security, and they wanted to double-check my and MARIANA’s baggages, and the dude that was working there saw us and he was like: “Oh, you’re DEATH PILL! I was at your concert two years ago, you were fucking amazing and I wanted to see you one more time!”. Yeah, but it was very surprising, because from all the airports and all the security lines they had there, and there are a lot, we met with this guy who recognised us. And he was so happy and we were very happy. “After that, we were like, “Are we already celebrities? Where is our private jet?”“ At their core, DEATH PILL have been known for their blend of aggressive Riot Grrrl tendencies. “When we started playing, our idea was to show men that we can play somewhere even better, and that we cannot hear this shit like “Oh, it’s pretty good for girls.” As the time passes and we play more, we understand that we play not just to show someone something, for men especially, we understand that we play music just because we want to play music, and it’s a huge part of our life, and it doesn’t matter how men will respond to it.”. The band agreed that there was not one song that was the most important or impactful, as the main idea of the album was to accept their differences and stay confident. Collectively, their shared perspective unites them. “Because it’s okay to be different every day. And we want to help people with this album. They can listen to it and be surprised that “Okay, you put in the same album a thrashy song and a pop song, and it fits with each other, it can be good.” Because it’s the same with you as a personality.” The focus shifted onto the band’s tour, which was still ongoing during the interview. With their travels, the band has talked about the importance of being given the voice to speak up. As the band returned to the iconic LOUD WOMEN FESTIVAL to headline on its tenth anniversary run, they said, “The festival was good, the pictures very nice and the response from the audience too. It was also a big opportunity to represent Ukraine on the international stage. And the British Council was helping us with that. I think it’s very important for our culture, for Ukrainians to spread the word around the world, because as we can see, lots of people ask us “Is the war still going on in your country?” So besides playing music, we also have the mission to acknowledge people that yeah, the war is still going on, we are still fighting and we still need fucking help.” ANASTASIYA adds a heavy, yet important, note to the world: “The main thing we want to say is that we are still fighting with the Russians, and we still need support. We still want to live our peaceful lives because we didn’t know we had a perfect life before the war began and right now my biggest desire is to come back home to a peaceful Kiev and to find out that my friends, who are out in the war are alive and still with hands and legs, because we already lost some friends to the war, and they were very good, good people. And it cannot hurt, it hurts every day, and I want to stop waking up and the first thing I do is to check the internet and the messages from my friends that they are alright or they are not alright.” Ending the interview with a heartfelt message, the band thanked their fans for supporting them, as well as inviting them to play in cities across Europe and the United Kingdom. Although there are many reasons for DEATH PILL to focus on their personal lives, they do not give up on their aspirations even when separated. They still come together to support their motherland and beliefs. The courage and determination to their cause is admirable and with the finished two-week tour, as well as Sologamy, that came out on 20th June, MARIANA, ANASTASIYA and NATALYA only confirmed that they will always fight for freedom and equality. Words: Katerina Stepanikova Cover Photo: Kirsty Garland Cover Artwork: Simon Arinze Live Photos: Oz Davy With Thanks To: For The Lost PR

MRS FRIGHTHOUSE, Glasgow-based wife-and-wife duo made up of CARYS and LUNA FRIGHTHOUSE, have slowly but surely been carving a name for themselves in the UK underground scene since 2023, with their singular strain of “sapphic metal” - a collision of industrial noise, gothic dread, and cathartic vocals that simultaneously devastates and uplifts. Their long-awaited debut album, Solitude Over Control, is nothing short of a landmark. Across 11 tracks, MRS FRIGHTHOUSE, confront the realities of misogyny, queerphobia, coercive control, and sexual violence with a sound that feels like a mirror held up to the world’s cruellest truths. The result is as harrowing as it is liberating. The record begins with Intro, a fleeting 24 seconds that establishes the album’s unsettling atmosphere with soaring vocals over frantic, off-kilter piano. It’s a deliberate moment of foreshadowing, a disorienting and suspenseful open door into the nightmare-scape the band is about to unleash. Even in its brevity, it tells you everything: you’re not meant to feel comfortable here. The next track, DIY Exorcism, fully detonates the record into motion. Cinematic in scope, it comes across like the score to a horror film turned feral. The vocals alternate between eerie restraint and unhinged fury, embodying the violence of tearing oneself free from an abuser. MRS FRIGHTHOUSE do not shy from emotional vulnerability here, instead harnessing it into a weapon. From there, Eyeliner marches with chant-like delivery and a heavily percussive backbone that resembles the clank of chains and machinery. It doesn’t build towards a big release like some might expect, and that denial of catharsis is precisely what makes it so unnerving. The track evokes the constant vigilance many women live with daily, the hovering dread that violence could erupt at any moment. Midway through, the album plunges into some of its most devastating material, with White Plaster Roses piercing through listeners like a cry from the abyss. Beginning with fragile vulnerability, it spirals into a harrowing refrain of “this doesn’t feel right”, before collapsing into screams of “don’t touch me, get your hands off me”. The pain and fury are almost unbearable to hear, which is exactly the point. It’s a song that doesn’t just describe trauma, it embodies it, making the listener inhabit the raw nerve of survival. Veil continues the descent into unease, with static noise giving way to pounding percussion, while the vocals twist between mocking jeers, and desperate wails and sobs. It’s grotesque and mesmerising in equal measures, and if much of the album feels like a horror soundtrack, Veil is where that metaphor becomes most literal. The album’s thematic throughline reaches another apex on My Body Is A Crime Scene. The lyrics, “my body is a crime scene, you did this to me”, are among the most gut-wrenching statements on the record. Like White Plaster Roses, it speaks to the legacy of trauma left by abuse, but here the words are delivered with an almost funeral solemnity. The grief is palpable, but so too is the reclamation of voice - in naming the crime, MRS FRIGHTHOUSE are seizing back their autonomy. All of this builds towards the closing title track, Solitude Over Control. Full of shrieking dissonance, we hear a delicate piano and hushed vocals, but also pounding percussion and layers of anguished screams. It’s chaotic and overwhelming, but never directionless. Instead it feels like a summation of everything the album has traversed, from terror and grief to rage and, finally, the stubborn insistence on survival. When the noise finally cuts out, the silence is deafening, leaving you to sit with everything you’ve just endured. What makes Solitude Over Control remarkable isn’t only its subject matter, but the way it fuses industrial harshness with theatrical flourishes, colliding musical inspirations ranging from NINE INCH NAILS to EDITH PIAF, fragmenting them and creating a final product that is entirely MRS FRIGHTHOUSE’s own. Most importantly, this album is a powerful artistic and political triumph. In a genre still dominated by male voices, MRS FRIGHTHOUSE’s visibility as queer women and their insistence on writing from lived experience, is itself a radical act. Their lyrics rail against the erasure and invisibility of women’s experiences, reclaiming space with a directness that is subversive and incredibly necessary. As they put it themselves, the phrase “solitude over control” is a mantra, a reminder that however painful solitude may be, it will never be as destructive as staying under an abuser’s power. Despite being a debut, Solitude Over Control feels monumental. It’s the kind of album that demands attention, both for its sonic audacity and for the urgency of its message. It is disturbing and cathartic, terrifying and beautiful, despairing and defiant. MRS FRIGHTHOUSE have achieved something rare: a record that doesn’t just reflect the darkness of the world, but actively pushes heavy music forward in an incredibly unique way. In doing so, they have created not only one of the most important debuts of 2025, but an album that should be remembered for years to come. Score: 9/10 Solitude Over Control will be released on September 26th 2025 via Lay Bare Recordings. Words: Zuzanna Pazola Photos: Mrs Frighthouse

Almost ten years ago, five guys from sleepy Ipswich opened for BRING ME THE HORIZON. At the time, basking in the pop-centric lull of That’s The Spirit, plucky openers BASEMENT would make the mark with releasing the first singles from their third studio album Promise Everything. Here, their set would be defined by their second album Colourmeinkindness, which would eventually gain a cult following with time and nostalgia, and was honored wholeheartedly with a full album playthrough at Outbreak Festival last year. Whilst the band’s influence in the UK alternative scene was underrated by most, for those who cherished their overwhelming sentimentality and the grunge heavy overtones of the Kurt Cobain-crazed nineties, there was a carefree timelessness to their sound. Authough there have been periods of hiatus for the band over the years, for many BASEMENT was a constant soundtrack- as poetic and heartfelt as the falling leaves outside of Manchester’s New Century Hall. BASEMENT’s recent tour is a colourful anthology of the band’s two decades, showcasing the band’s impressive song roster and sparkling with the beginning of a new era. Strikingly so is the legacy of the band’s sound, diamond-encrusted with youthful supports MIDRIFT, DYNAMITE and ANXIOUS, as promising and reminiscent of the band that had that knowing gleam in their eyes all those years ago. Basement Opener MIDRIFT is living proof of the shoegaze revival. The Cali surf-rock collective promise the brutality of DEFTONES alongside the bleak yearnfullness of SMASHING PUMPKINS and MY BLOODY VALENTINE. Their sound feels like an angsty younger sibling finding AMERICAN FOOTBALL’s Never Meant and blasting it at full volume, as a way to make themselves known to the world- and more importantly to everyone in their neighbourhood. The vocals were low in the mix, but amongst it all the vocallists’ HOT MULLIGAN warble was loud and indulgent. MIDRIFT’s first time outside of America is met with the enthusiasm of a band who has only just discovered their sound. What potential they may have in the future is yet to be determined- but we will watch from a distance as they navigate an optimistic and forgiving world. As the opening fuzz of London hardcore bruiserweights DYNAMITE erupted from the stage, it was met with the surging mass of millennial men making their way to the pit. Being the only truly heavy representation on the tour, their pit was pushed wide as the band, feeling dominated by the massive stage, made their mark. If any heavy band could find their place on this tour, it would be them, flowing with that etherial nostalgic energy but still willing to pack a punch. In that moment, Outbreak Autumn came back for a glorious Manchester return- and the crowd knew it. Hardcore was represented with a stellar array of merchandise, throwing conversations back to the underground, the place where all of the bands on the lineup made their debut. Despite the name, ANXIOUS were confident. Owning the stage, even. As vocalist Grady Allen took his time to firmly be acquainted with the crowd, he held the same enthusiasm for the scene as a young Parker Cannon. Wide eyed and fresh off of a tour in Japan, they really made a statement, with explosive energy that Grady flung himself into the crowd. The pop-punk elements of their sound really shone in a live setting- upbeat tempos with even more raucous guitars. Whilst their sound mused with the longing of their latest album Bambi, this set added an entirely new dimension. Entirely stratospherical. ANXIOUS gives us faith in the future of pop-punk, a genre that thrives with its all-or-nothing attitude but with the hurt and the pain of the shoegaze generation recently feels like the scene has lost its way. The band seemed to thrive off of that energy, passionate about the scene and as a result completely won over the entire crowd. Now, that is what you call a performance! Anxious In the best way possible, BASEMENT was the comedown. A steadfast compass pointing north, a place where catharsis and content end up at the same destination. Opening with the tried and tested Are You The One, the band’s connection with the crowd was kinetic. Inevitably, a pleasant and welcoming experience, as alluring as ever and exactly what you wanted it to be. The band’s set was sensible, tailored to make the most emotional impact. Catapulting conflicting feelings between BASEMENT’s holy trinity of albums (Colourmeinkindness, I Wish I Could Stay Here and Promise Everything), its commitment to 2018’s Beside Myself was non-existent. Instead, there was a moment to push two new tracks to a live audience. Both hallmarked the band’s refined alt rock sound, smoothed by trilling guitars and complimentary vocals that made BASEMENT feel so present in the moment. The crowd’s response to the band was overly positive. At the right moment, you could often see the tears rolling down onlookers faces. This is a fanbase that has experienced a lot- they were older than expected but knew exactly what they were getting into. With Manchester being the first show to sell out on the tour, vocalist Andrew Fisher threw out the fact that he has never played a bad show in the city. Switching gears into some of the more danceable tracks like Brother’s Keeper and Fading, there was a compact but resilient pit swirling in the middle of the crowd. The energy, no matter where you stood, had movement. The experience was wholesome, with everyone in the room making the most of the moment with the band. Sensual swaying, singing every word made the show wholesome- which in comparison to some of the more longing lyrics felt like there was a resolution. It’s those moments that you realise how important the things you have already are. Basement BASEMENT’s set felt quick. Fleeting. The band wanted it to be that way, asking for no encore, but reasoning with the audience for two more songs. After the emotional Pine, came the iconic Covet, a song that made the most of the TikTok algorithm. With the participation of the crowd, the song’s bashful lyrics did not feel as lonely or as wanting as when it was written. Instead, it becomes full circle and cinematic. Somewhere - out there - is a kid caught on the outside who discovers BASEMENT for the first time. A bedroom listen, heavy with the weight of their own existence soon becomes an experience made real with the crushing loneliness of each listen. In some ways, it is too personal to play live. In others, especially with a room full of strangers, it instead takes on a whole lot of new meaning. Words: Amber Brooks Photos: Ace Cheng

Often lauded as one of the most underrated bands of their time - and for some, of all time - influential Mancunian post-punk band CHAMELEONS return with full-length album Arctic Moon after 21 years away from the scene. Pairing a newfound maturity with their signature knack for writing dreamy melodies, the four-piece are back to prove that they still have it. If you like any vaguely alternative or indie band from the eighties or nineties, there’s a 50/50 chance that they have declared CHAMELEONS as an influence on their sound at some point. THE SMASHING PUMPKINS, OASIS, THE VERVE and INTERPOL have all sang their praises over the years, gushing over their seminal albums Script of the Bridge (1983) and Strange Times (1986) - but a lot has changed since then. Through several break-ups, line-up changes and solo albums, Arctic Moon was forged by lead vocalist and bassist MARK BURGESS (now stylised as ‘VOX’) at the helm, along with fellow founding member REG SMITHIES on guitar. They are joined by a second guitarist STEPHEN RICE, keyboardist DANNY ASHBERRY, and TODD DEMMA on drums. It’s safe to say that they have a lot to prove, and they set about proving it over the seven glam-tinged, melodic tracks. Largely ditching the post-punk edge that tinged a lot of their earlier work, what unfurls instead is a bright and airy collection of songs. Whilst there is a lot of maturity here, the sound is still unmistakably CHAMELEONS'. VOX’s songwriting is unmistakeable, evidenced beautifully on Feels Like The End Of The World. The melancholy lyrics feel at odds with the joyous string arrangements and grand guitar lines, culminating in a darker, more pared-back interlude, before the track blooms once again. It’s a glorious moment on the album. There is a clear standout on the album, though not necessarily for the right reasons. Coming in at almost nine minutes, David Bowie Takes My Hand wears the band’s influences squarely on its sleeves – and in the album title. It starts moody and mysterious, the twang of a distorted guitar echoing out over the verses. At times, it feels a little bit close to BOWIE for comfort, though it’s hard to deny that the execution is masterful. It feels triumphant and dark, like a sky full of stars, but by the midway point it’s hard not to wish for clearer skies. It stagnates for just a little bit too long, which is just enough to shatter the magic they managed to cultivate. The album closer is well placed, and is easily the most political song on the record. Saviours Are A Dangerous Thing tackles religion and idolatry, over dazzling guitar lines and the best vocal delivery on all seven tracks, both in tone and the diversity of the melodies throughout. It’s an excellent end to the album, highlighting everything that works well throughout it. Whilst not all ideas bat it out of the park, it would be difficult to find a life-long fan of CHAMELEONS that wouldn't find something to enjoy here. The band are back in full form, and bringing a fresh new approach to their signature sound. Score: 7/10 Arctic Moon was released on September 12th 2025. Words: Ellen Lovell Photos: Chameleons

Fresh out the womb, PRESIDENT are in possession of one of the most hotly-tipped rock and metal releases in 2025. It’s an anticipation they’ve created through mystery and intrigue as they, nameless and disguised, join the ranks of GHOST, SLIPKNOT and SLEEP TOKEN for masked bands met with the same eager excitement. Their gimmick is different, though - PRESIDENT are a sort of political cosplay, “campaigning” rather than performing, at rallies, rather than shows. One thing that PRESIDENT are very good at is creating a vibe - something that’s echoed in their very first EP, King of Terrors. The EP consists of six songs - five of which we heard at their inaugural performance at Download Festival - and begins with their debut single, In The Name Of The Father. The biblical undertones that run throughout the project begin here - with a desperate plea from the PRESIDENT singer not to lose his faith as he is slowly disillusioned. There’s a melodic metalcore-ness to this one, featuring processed pop vocals juxtaposed with thudding guitars and screams. This song particularly indicates an author with experience - the vocals are well-supported, the structure is thoughtful, and the production more than cuts the mustard. The breakdown is particularly standout in this track, announcing the drop with a sweet whisper to Father. PRESIDENT quite enjoy announcing their breakdowns. It’s a trend continued in Fearless, calling out the title with a glitchy decline as if we’ve won a prize at the arcade. This is a far more electronic and experimental song in comparison. The heaviness is still apparent, but the band have leaned further into stylistic autotune and drum machines. RAGE is very interesting for this reason, too - the rock aspects don’t appear until later in the song, preferring to build a soundscape of synths. It’s all very conceptual - something we’ve come to expect from the band. It’s distinctly interesting that electronic influences and synths play such a big role in PRESIDENT, considering the vintage feel they’re seeming to go for in all else. The man himself has exclusively appeared in his tailored suit and dicky-bow, walking out to Eisenhower’s 1952 presidential campaign song at Download festival with his “hair” neatly combed back. It speaks of a band that wants to experiment and embrace the future of music, with nods to the past for aesthetic purposes only. Destroy Me features more of this drum machine, getting heavier later on. It could be read as another allegory for religion and destruction or it could be about a toxic relationship. Many of the lyrics, though, read as on-the-nose drug allegories: stuck in a place where he can’t get straight, destroyed with a “blunt scratch through my veins”. It’s certainly an interesting one for fans to dismantle online. Sonically, the post-chorus of “get me out of this hell” is where the song gets really fun - you’ve got to appreciate the cheeky diner “ding!” before we get stuck back into a really gritty breakdown. We’ve run through the songs we already know, but there’s still two more. Dionysus continues a similar formula to the previous track, entertaining the two extremes of metalcore - from the abrasive to the melodic - whilst fusing trap drum beats and a Deftones-esque sludgy guitar in a way that, even though it does blend a multitude of genres, doesn't feel like there's been too many cooks spoiling this broth. Finale Conclave is more of a ballad, introducing piano and a slower pace to begin with. It seems like a full-circle to the first track, still doubting but choosing to be faithful. That uncertainty really makes the song, and the sounds complement it, with the drums and guitars feeling like they crash around the singer as he reflects. The line “I would love you anyway - even in the afterlife” is a pretty nice way to round the EP off - who knows, maybe this is PRESIDENT’s song for people to propose in the pit while someone a meter to the left gets their ankle broken? While it definitely seems as though there are two distinctly different genres at play here on this EP, PRESIDENT make it happen. It’s less a symbiosis of sounds and more a marriage, but it works nonetheless. Both the BLACKBEAR-style alt trap and BMTH-style metalcore are given space to breathe, and the screams in particular on this EP are really great. There is a rage here, but also an insistence to convey a message to a rapt audience. We expect they’ll make full use of this on their upcoming campaign trail, which commences in the new year. There are plenty more themes, sounds, experiences to explore with what’s on offer here - but for all intents and purposes, this is a great start. Score: 8/10 King Of Terrors will be released on September 26th 2025. Words: Erin Strom Photos: PRESIDENT

Three albums into a career typically means that, as a band, you have properly discovered the sound that you want to emit into the universe. Alternative rock can be quite a challenge to pull off well, and when you combine it with shoegaze, not only is it potentially risky creatively, but it is also technically challenging. This is exactly what KANADIA have tried to achieve with their third album, and even though the songs sound humongous and dreamy, the inconsistency of the 12 tracks ultimately turn The Fire That’s Tearing Through Our Home into an inconsistent experience, with unpredictable highs and lows. The record starts off with its longest song, clocking in at over six minutes long. I’m Falling introduces the listener into the dreamy ambience the band have evidently aimed to create. Immediately, the drums and the vocals stand out, as the snare drum is punchy and powerful, whilst the vocals feel very grand and cinematic. The chorus here embraces a crescendo that's larger and larger each time it hits, which adds to the cinematic feel found within the song. The guitar solo, whilst simple, is overshadowed by the synths, but is another element added to build the song up as it ends, making this song a fascinating start to the record. Following track The Ways feels more energetic. Starting out with a drum fill, and a mellow guitar melody before exploding into the main riff, the pace is already much faster. There are two mini guitar solos here which take place after the first and second chorus. This as a result makes the track livelier, and as a result, is that much more enjoyable. Too Late Now sounds like an old school, atmospheric alt rock song, and is an extremely straight-forward catchy track. The hook is another one that crescendos, and towards the end of the track, all the elements this band has come to life as the guitars feel louder and the synths are more prominent in the mix. This all ends with the second half of the final chorus being stripped down to finish the track off in remarkably different style. Wired may be the most unique song on this record. Not because of its structure, but because of how the guitar is used. It is very rare to find a song where the chorus is a guitar riff, but this is indeed what we get here. The melody the lead guitar plays over the rhythm guitar chords is thoroughly contagious and works extremely well - which may be due to how mellow the verses feel, as the chorus feels like an extra wall of sound in comparison, that was very much an unexpected stylistic addition. Musically, The Fire That’s Tearing Through Our Home is a very impressive album. The delivery of how each part is performed is calculated to perfection, with the standouts being frontman and guitarist JAMES BETTIS' individual contributions, as well as the drumming throughout from TIM LUCAS. Whilst the album sounds exactly how you'd like a shoegaze album to sound - that being dreamy and effervescent - this album lacks the fast to slow song ratio that might distinguish it from others. The second half of this album is almost entirely ballads or slower experimental songs, and this may well lead to a disconnect when listening in full, as there isn't always enough to hook a listener into that second half. The Fire That’s Tearing Through Our Home is a very confident album, written by a band that has confidently found the style they are aiming for. With a bit more consistency, the overall listening experience could have made this a true stand-out this year. KANADIA are still a young band, and this record proves that they have plenty of potential, so if this record is anything to go by, album number four could truly be the making of them. Score: 7/10 The Fire That’s Tearing Through Our Home will be released on September 26th 2025. Words: Itay Gilad Photos: Kanadia

All good things take time, and Leeds natives IRK - self described as Leeds' normalest weirdos - know that better than anyone. It took five years for their debut album to see the light of day, crashing onto the scene in 2018 in a sonic boom of djent-style grooves and guttural wails. Now, the trio have summoned another unsettling storm of chaos into being. The Seeing House is unrelenting, bizarre and frantic; a ten-track-long possession of sinister kinetic energy finally being exorcised after seven years of bouncing around in J.S. GORDON’s vocal chords, ED SNELL’s bass guitar and MATTHEW DEAMER’s drum kit. And, like any good possession, it’s impossible to leave this album without feeling changed in some way, for better or worse. IRK’s particular blend of noisy math-rock dominates the sound of the album – which is lucky, as the tracks that lean heavily into this blend come out sounding the most polished and effective. Idiot Plot is a shining example of this, opening the album with crashing cymbals and shape-shifting time signatures throughout. GORDON’s vocals are jarring and whiny in all the right ways, at times reminiscent of LEATHERMOUTH vocalist FRANK IERO, and when his low vocal-fry is deployed, of KORN’s JOHNATHAN DAVIS. Whilst the jarring moments on the album are the most exciting, the groove-laden offerings bring just as much to the table. The Great Wasp Of Reluctance demonstrates this perfectly, balancing staccato riffs in the chorus with a hypnotising bassline peppered elsewhere throughout. It’s an expertly orchestrated nightmare, which sets up the 79-second follow up of Abraxas Casino to detonate the proverbial bomb. These highs only serve to make the lows feel more disappointing, however. In amongst all of the excitement lay some of The Seeing House’s more progressive explorations. Eating All Of The Apple feels much longer than the 4:45 of its runtime, the droning bassline and lack of texture throughout making it trudge along at a snail’s pace. To a lesser extent, Lifetime Achievement Award suffers in a similar way; the track builds into a terrifying collection of siren sounds and screams, but it’s hard not to wish for more of the biting snappiness of the more math-core led tracks. The main exception to this is album closer Wedding, Berlin. Opening with a clanky bass riff and repeating vocal lines about teeth, the creepiness works alongside the progressive nature of the repetitive patterns instead of against it, seemingly in an attempt to convince you that you’re losing your mind. According to an Instagram post by Nefarious Industries, the record label behind The Seeing House, drummer DEAMER explains that they added rhythms played on “giant sheets of metal, stacks of broken cymbals and even a metal beer keg”. It’s strange and unsettling, but that’s where IRK seems to shine the most. The Seeing House is what any experimental artist should aim for their creation to be; shocking, bizarre and endlessly creative. IRK have created something that is unmistakably them, whilst still seeing a progression in the ideas and sounds that could be found on their previous work. Whether you enjoy the work of THE DILLINGER ESCAPE PLAN, MESHUGGAH, or the Saw movies, you’ve come to the right place. Press play, and prepare to get spooked. Score: 9/10 The Seeing House will be released on September 26th 2025 via Nefarious Industries. Words: Ellen Lovell Photos: IRK

An album of triumph, pain, and determination for death metal group BEYOND EXTINCTION releases this Friday. After the death of founding member ZACH SCOTT in 2023 at only 20 years old, the Essex band has overcome and adapted with passion and diligence to be where they stand today. Having brought new member DANNY RUSSEL into the fold, armed with his own vision to add to the band - he came up with the track Winter Sun even before officially joining! - his contributions have flowed seamlessly with the band’s visualisation of their sound and future. This album has been three years in the making, starting in 2022 when guitarist JUDE BENNETT and the late SCOTT started working on demos for a future album. Naturally, events have caused the album to warp and evolve along with the members as they navigate this period in their lives. With plenty of change and turmoil, the album's sound was produced by ANDY MALLABY of OSIAH, who allowed them to get the most out of their writing and create the potent sound they've ended up with. ANDY is far from the only big name associated with the album - guest features from ALEX TEYEN of BLACK TONGUE and JOSH DAVIES of INGESTED can be heard on Tyranny and Apache respectively. Both were released as singles in the past year, showcasing a pretty stacked collection of artists involved in the process of bringing this project to fruition. Following in the footsteps of their 2023 concept EP Nothing More Wretched, this album treads a similar path - this time revolving around an urban hellscape as the conceptual locale. A decimated metropolis of decay and suffering acts as the forefront for personal nightmares and traumas. The visuals that the lyrics by JASPER HARPER induce are those of true horror, of plague pits and lungs filled with sewage. “Trust not in your fellow man.” are the words that open this album. Steady going at first, title track Where They Gather bursts into a rumbling breakdown, with gut-wrenching vocals. As the track slows, it’s brought back tenfold, with a low distant computerised voice muttering to you as the track fades into the next. “No faith, no trust, no soil to touch my feet and feel a home. Where they gather feels like hell to me” finishes the track, setting the foundations of the dystopian universe presented before you. RUSSEL’s offering of Winter Sun starts out as a standard of the genre, but ramps up the drama in the middle with a slow break that utilises crisp, raspy vocals that positively shake the ground. As the track draws to a close, it distorts and breaks down, before dissolving into Mansions Burning on Bleak Horizons. The second half of this tenth track is note-worthy, alongside the striking lyrics “Starve. Every gluttonous pig dies hungry.” The Mines delivers a plethora of riffs and growls, and the mid-section breakdown is unbelievably satisfying, with fuzzy chugs that melt into a more complex, addictive drum-led section, and then cutting straight into the final outro of U-235. The imagery is laid on thick throughout, with desperation and suffering feeling like some of the lightest words to describe the world found within the album. Each track seeps into the next, allowing you to become immersed, and rightfully horrified. Despite the harrowing journey this record has taken over the past three years, the power to overcome and drive forward under the circumstances can be found throughout. Likewise, ZACH SCOTT’s riffs and influence can be heard all over the LP, and his legacy is most certainly intact with these thirteen tracks. Score: 8/10 Where They Gather will be released on September 26th 2025. Words: Danielle Henderson Photos: Beyond Extinction

Virginian Alt-Rock stalwarts Turnover took to the stage at the O2 Shepherd's Bush Empire on Saturday 14 September, as part of their Peripheral Vision 10 Year Anniversary tour. This show specifically acted triumphant as the closer for the tour, directly following a sensational concert at the London Roundhouse the night before. Supporting Turnover were GLIXEN and WICCA PHASE SPRINGS ETERNAL to get the crowd sufficiently warmed up for the headliner. Hailing from Phoenix, Arizona, Glixen describe their genre as ‘shoegaze’ with a sound consisting of tender melodies, grungy textures and heavy guitars. Lead vocalist Aislinn Ritchie’s vocals are a sweet pixie-like tone that wash over like a comforting blanket, making for the perfect blend of easy listing vibes with the occasional heavier riff or baseline. They were the perfect opener to get the crowd interested, but still ensuring they reserved energy for the main acts. Adam McIlwee, currently known as Wicca Phase Springs Eternal, is a man known through many genres, from beginning his career in rock band Tigers Jaw, to then pursuing a solo career with a sound emalgamating musical stylings from hip hop, emo and witch house. In this current incantation - that was performing together as a band for the first time this tour - features a heavy country vibe to it with the acoustic guitar and heavy sultry vocals. This Mumford and Sons, Jake Bugg and George Ezra had a baby, that would be the musical stylings of Wicca Phase… and it works incredibly well. That low effortlessly gravelly tone just scratches an itch, and leaning into the southern twang at parts is glorious. Considering this is early days for this specific lineup of Wicca Springs (with a new album coming out soon!) this is the start of something special. Onto the main act, the reason fans were sobbing on the barricade, Turnover. Playing an album in full is always a risky move, as almost all albums have at least one filler track in it, but the audience screamed their lungs out to every single track, proving that Peripheral Vision is just as loved by fans now as it was when it was released, if not more. Whilst they are heavily cemented in the punk and emo scene through their tours with Citizen, Moose Blood and New Found Glory, their music is a unique blend of the deep cutting lyrics and brooding vocals synonymous with soft-grunge mixed with the more indie-rock and dream pop aura of music. Every track felt like this gut wrenching story that the audience were willingly dragging themselves through, though I was unfamiliar with the band, the sheer volume of the fans singing and seeing them all with their arms around each other in sheer comradery, I felt like I was witnessing something special, it felt biblical to be in that room for these fans to hear Peripheral Vision in full 10 years since it’s release. Their easy listening, blasé grunge crooning was all brought to a head at the end, where previously chill fans were encouraged to crowd surf for the last song, letting anyone with pent-up emotion or energy get it all out in that moment. Aside from their incredibly talented vocals and music, their lighting deserves a huge praise as it was one of the most beautifully lit shows for that size of the venue I’ve seen in a long long time, it really helped to drive home the raw emotion of some tracks. Though initially uneducated on the liked of Turnover, consider me converted after this concert. Words and Photos: Ely King

Since 2021 TEN56 have been making waves in the modern metal scene all the way from France, opening for the likes of LANDMVRKS and WHILE SHE SLEEPS, it's likely you've heard their name around. TEN56 refuse to be put in any box with their music bringing in influences from a range of genres like deathcore, nu-metalcore and rap. This tour is their first ever headline tour with shows in Europe and the UK, with support from DALI, VCTMS and CABAL, all three of them being able to storm the stage at The Dome in London. First onto the stage was DALI wowing the crowd with their Modern Metal bangers. These guys are also from France and their tunes were jam packed with half time rock beats, essential for headbanging. The four piece band have been in the scene since 2012 so they're anything but new to warming up a crowd. Their experience showed being the first of 4 bands up they knew what they had to do. As they started mosh pits slowly started to build and long haired figures in their battle jackets caught onto their rhythms. They made the whole crowd get down on the ground including every person in the room, a great way to end a warm up slot. Next was VCTMS, another modern metal powerhouse all the way from Illinois. Their drummer being the only female to rock the stage that night as MEREDITH HENDERSON showcased ravenous beats and fills she also flaunted vocals in synchrony with lead vocalist JOHN MATALONE The band melding metalcore, hardcore and hip-hop perfectly melded into the line-up which received great reception from the audience. Mosh pits growing bigger with each banger with more bodies for the carnage arriving and joining throughout their set. Some fans along the front sang along with the band, a rare thing to find when opening to an audience at the other side of the planet! Last of the openers was the apocalyptic deathmetal CABAL, from the very first track every member of the crowd was head banging in sync and the mosh pits were brutal including a wall of death to close out their set. The Danish four piece have been in the scene since 2015 and their experience shows. From hairography with the guitarists whipping their locks simultaneously to giving the crowd the mic they knew how to put on a show. They made the stage their own with insane blast beats, pig squeals and fry screams, not one person in the room could stay still. Finally it was time for the main act, TEN56 came out one member at a time building the intensity of the music slowly before dropping directly into the deep end. The most pits were already the largest they'd been all night as they opened with the song's GOOD MORNING, Saiko and Diazepam. The dome venue offers 360 lighting which intensified the show but with a band like this it almost felt too small a stage for them, we can only imagine the kind of show they could put on with more free reign for things like lasers and pyrotechnics. They filled the room with intense rage and raw energy, The band constantly moving around the stage with the bassist and guitarists swapping mics on the stage despite the lack of space. The songs were easy to follow with the next bar always being led into by the last, the intensity being levels high that the ears expect. The band also gave a moment for there to be a female only mosh pit which was almost more brutal than all the rest, getting all the girls in the room involved and letting everyone enjoy the show the way they wanted. As lead vocalist AARON MATTS asked the crowd whoever there were day ones an overwhelming amount of the crowd responded, the fanbase truly are a loyal one. The band all throughout the set were interacting with the crowd and each other with the guitarists swapping the symbols, bassist and guitarists jokingly fighting over the mic. You can tell the band not only enjoy being on the stage, but being on it together, they're clearly a close knit group. A moment was taken to strip the music back with just AARON and a guitarist on stage, AARON taking a moment to flaunt his rap flow before the rest of the band came in for a monumental breakdown at the end of the song. He also took a moment to speak about his struggles with substance abuse and reminded those in the audience that there are always better days on the horizon no matter your struggles, a very heart warming moment. The momentum continued with the band closing out with their tracks IO and Boy, the heaviest of the lot. The crowd erupted and the mosh pits were somehow the most insane of any that night, punches and kicks being thrown left and right the onslaught was tremendous. As the band said their final goodbye the applause didn't slow, the fans truly love this band and no one wanted the night to be over. First headline tours and shape that make it or break it moment for smaller bands but this was clearly an “I made it moment” for this 5 piece from France. Modern metal is a genre that is hard for some to grasp but this band shows what it truly can become if you give it a chance. This is a night we're sure the bands and the fans alike will never forget! Words: Amy Smyth

The Manchester leg of Poison the Well’s The Opposite of December’s anniversary tour was brimming with passion and nostalgia: playing the classic 90s metalcore album in full to a dedicated room of 90s and 00s kids who were screaming it right back to them. To start the evening was Leeds quintet Killingmesoftly, who introduced themselves with a premixed creepy lullaby/scream combo to set the tone for their hardcore-adjaent sound. Their instrumentals sounded fantastic, with the lead’s soloing layered atop the other guitars in harmony backed up by chaotic drumming; the vocalist’s screams were captivating with their passion and their pitch, at some points resembling clucking but overall reminding of Laugh Tracks Bryan Garris. The other issues to note were that of the microphones not being loud enough from the crowd - the clean backing vocals from the rhythm guitarist couldn’t be heard, nor could the clean vocals from the main vocalist, and the two attempts he did make at talking to the crowd were muffled. Nevertheless, Killingmesoftly still went down great in the O2 Ritz, and sans the mic issues sounded phenomenal. Bodyweb Second in support were more Leeds natives Bodyweb, who brought the crowd into their set from jump with the first of regular calls to come closer - not heeded for fear of stepping into the pit where a patron cartwheeled his way around during the set. Bodyweb is an electro-infused metalcore 5-piece, with their lead vocalist and Dj bringing the energy throughout their half an hour. Their sound reminded of a chaotic higher power with more hard vocals, though in terms of the programmed elements it would have been interesting to hear more of the hardstyle loaded into their entry music throughout their tracks. The main event Poison the Well started a timely 5 minutes early to play 1995’s The Opposite of December in full, starting with album opener 12/23/93 with reserved energy to a pleased crowd, who joined in with their songbird clean vocals as A Wish for Wings that Work played out. Frontman Jeffery Moreira addresses the crowd for the first time afterwards, revealing a crowd full of returning fans before telling the O2 Ritz that their newest album has wrapped recording of their most recent album before playing newest release Trembling Level then getting back to the album of celebration for this run. The years have been kind to poison the well with their sound still as resonant 30 years on: Moreira’s rough hardcore screams are complimented well with his songbird clean vocals, while punchy crowd favourites such as Slice Paper Wrists lend themselves to the crowd getting more rowdy as the set wore on. Poison The Well The second half of Poison the well saw the energy set in as the next crowd favourite Meeting Again for the First Time rang out, followed by a more punk influenced Artist’s Rendering of Me, the more melody-driven Letter Thing and an emotional reprieve in For a Bandaged Iris. The joy of an anniversary tour is that it gives fans old and new the chance to enjoy the seminal works of bands they love or grew up with, shown most by a guy at the front of the O2 Ritz who spent the full hour jumping, spinning, and grabbing his friends as if his inner child was out to play, or the fella who throughout the evening moved his child between each area of the venue to introduce him to the music he grew up with. Both band and crowd were engaged and passionate about the songs they were playing and happy to share it with one another; by the end they had wished Josh a happy birthday and Moreira jumped off stage to lean into his crowd for closing song Nerdy, grabbing onto hands and shouting with the fans to finish a Saturday night in Manchester with a strong sense of community built with love and consolidated over time. Words: Julia Brunton Photos: Isaac Laing