Listening to GANS's new album Good For The Soul, it’s hard to believe this is their debut record. For many artists, this time in their life-cycle can be a chance to explore and refine their sound, however for GANS it’s apparent they are already ahead of themselves. Good For The Soul has a bold, confident energy that is sure of itself from the very first beat. A wall of sound impressively built by THOMAS RHODES and EUAN WOODMAN, two mates with roots in the Black Country, who came together to create the powerhouse of a project that is GANS. Evidently, the stream of singles they’ve released since their inception have won the well-deserved attention of some figureheads on the scene, gaining 6 Music airtime and already having toured with THE LIBERTINES and BIG SPECIAL. Upon first listen, it’s a record to move your body to. It’s an intense layering of elements that exist in harmony; static-y vocals, synthy beats, skuzzy guitars, and trancey tones. Beneath the energetic noise, whilst not immediately noticeable, but there are intricately personal themes that run deep through the lyrical journey GANS are taking you on. And this isn’t a surprise, with the duo noting "how the race to fulfil ourselves can become futile if we don’t confront the issues within us first". The front end of Good For The Soul hits you with immediate energy that you can’t help but move to. The first track A Fool leads you in with anticipatory thrumming vibrations, with the album's first statement: "GANS is Good For The Soul". Before long, we’re introduced to the droning guitars and distorted vocals vital to the album's intrinsic make-up, becoming a fitting soundtrack for a cinematic fight scene. This temperament is upheld, with It’s Just Life delivering a timeless anthem deserving of dancefloors big and small, lyrics worthy of stadium echoes. Halfway through the album, a sharp tonal shift stops you in your tracks with Everything In Extreme, an atmospheric and comforting track with ambient trance undercurrents - a solid reminder that GANS are a band with range. This moment is sonically short-lived, with I Think I Like You kicking us back into gear whilst holding onto the emotion, shouting "I find you special in such ways that you have lost but not forgot". As we near the end of the record, the energy remains relentless. Oh George is a gritty and raw commentary on loving those struggling with their mental health, cascading into an outpour of everything GANS have put into the record start to finish in one final moment. The final track Well Done plays us out with a stunningly cerebral piano track that feels like a memory, a final reminder that this is a record that contains more than initially meets the eye (or ear). For an album recorded in the idyllic tranquil of the Welsh countryside, the image it conjures throughout is largely contradictory - a vivid scene of a steamy pub basement full of jostling music fans, beers spilt, lit by the flash of a strobe. Both scenes sitting at opposite ends of a spectrum, are equally sentiments deserving of the albums namesake. And even more so, it’s apparent that it’s been Good For The Soul for GANS to work through the trials and tribulations of life through the most beautifully cathartic medium of music. They’ve come out the other side of that process with such a solid record, a sure sign of a definitive and unique sound that will carry the band far. Score: 8/10 Good For The Soul will be released on September 19th 2025 via Strap Originals. Words: Georgia Grant Photos: GANS

Hailing from the land of metal and cold winters, VITTRA embodies the spirit of Swedish metal, while being open to a multitude of forms of music. With a name inspired by their national folk tales, the band is not only writing about those very tales, but also explores the emotional side of humans, oftentimes connecting the two together. Following the band’s debut album, Intense Indifference is centred around one’s own emotional journey. Ranging from clear song structures to more experimental approaches, the ten songs are not exactly following a specific set of rules. With each of them being shorter than four minutes, the songs are energetic and full of interesting riffs, making the listen-through feel dynamic, as the songs do not feel too long or overwhelming. Right off the bat, the first two songs MOFO and Reign Supreme are set to catch the listener’s attention. Both offer up exciting melodic thrashing, highlighting MEANOS’ guitar abilities, GUSTAV SVENSSON’s bass and ALEX SMITH’s drumming skills. The songs are an amazing showcase of the band’s more traditional approach to music, and although the elements are not that innovative, VITTRA still uses its own approach to things even when staying true to the roots. Apart from these two songs, most of them are leaning more towards the melodic and thrash metal side of things, and although the songs always offer something new, the core of the melodies oftentimes stays very similar. On the other hand, Transylvanian Buffet goes all in with its unique vocals and funky riffs. Vocally, DAVID DÖRAGRIP’s technique is similar to the style of COREY TAYLOR from SLIPKNOT, but wrapped into VITTRA's big drums and energetic melody. Right in the middle of the song, the band brings in a keyboard and surf-rock elements, which are still supported by the raspy vocals to create an exciting blend of sounds. Another fascinating song is Soul Searcher, which immediately succeeds the previous track. Coming in with metal riffs and fry vocals, the song does not seem to be so different from the rest at first, only to bring in two elaborate solos - one funky, and one sounding exactly like elevator music, that then transitions straight into the heaviest part of the album. The two songs are very different from each other, but are both exciting to listen to as they showcase the band’s ability to experiment with different sounds and incorporate them into their established music, especially when it comes to melodies that are less heavy than their signature sound. Intense Indifference is a solid album that mostly focuses on thrash metal, although the few songs that experiment with this are very exciting and showcase the band’s ability to incorporate different music styles together to create unusual soundscapes. As VITTRA’s second full-length release, the album’s quality is a great marker for them, and is bound to excite old and new fans alike for any upcoming releases. Score: 7/10 Intense Indifference will be released on September 19th 2025. Words: Katerina Stepanikova Photos: Vittra

The world seems an almost happy place in the years between PARADISE LOST releasing albums. Every time this group puts an album out, the world is experiencing some great rough patch that renders the population inert and glum. Nothing to do with the music of course, just an observation. When they released Obsidian in 2020 the world had just been plunged into a new plague. Now it’s 5 years hence, and the world has exited post-lockdown elation and gone back into proverbial shit. Just the right set of circumstances for a new LP from the grim boys of Halifax, West Yorkshire. May we be the first to formally say, welcome back PARADISE LOST! It feels like Obsidian was released both a week and a lifetime ago. And Obsidian was solid. It was a great release, one that built upon the momentum they’d cultivated since The Plague Within a decade ago (yes, a decade ago). As it stands, PARADISE LOST are a band truly existing within the now and, a bit like your dad, they have come to terms with their experimental past. God only knows what was happening from 1997’s One Second to 2002’s Symbol of Life when they thought they were called Depeche Lost. The band themselves may look back upon their softer past with slight reluctance, but that remains some of their best material. Ever since The Plague Within, the band has been reviving the sounds of their first three albums with a learned acquiescence. They seem to have reconciled their sound into a final mix of death growls and Hetfield-ian barks. As for their more synth-centric catalogue, it seems they’ve found an outlet; with side project HOST acting as a pseudo-continuation of the album of the same name. A very beautiful thing. And while they’re not remixing or remastering their very full and bodacious back-catalogue, they’re recording the next in their current run of goth dad goodness. That leads us to 2025’s Ascension, with a lot of hype riding behind it. Time to see how much fuel these guys have left in their tank. Will they lead us into a new era? Or will they retread the ground travelled many a time before? You would be forgiven for thinking that you’d accidentally put on METALLICA’s The Unforgiven when starting this thing up, as the intros are uncannily similar. Serpent On The Cross is a pretty strong opening, more similar to the pounding No Hope in Sight than the melancholy of Darker Thoughts. But to be completely honest, it doesn’t match the bombast of either, instead serving up a decent but not spectacular overture. Yeah, it’s still as strong as a concrete elephant, but for a band that has some of the best opening tracks in metal it falls a little short of their own incredibly high standard. Meanwhile, follow-up Tyrant’s Serenade offers up more classic Paradise Lost fare. Clearly, the band has spent much time relistening to their recent Icon and Draconian Times remixes, as this one has a wonderfully realised sense of purpose. It lumbers forward at the pace of someone walking dejectedly down a dark road, and feels right on the money. Now we’re cooking. With the cawing of the crow, Salvation arises with its thunderous riff, slow as treacle. NICK HOLMES growls like an angry tiger. But instead of ascending, the song stalls. The architecture is impressive; structurally immaculate, technically hermetic, but the essence just feels… absent. What should ache with melancholy instead drifts toward inertia, and the emotional calculus doesn’t quite resolve itself. In fact that seems to be a pervading problem with a lot of the first half, that je ne sais quoi is not as omnipresent as it should be. It just doesn’t strike that melancholic and bittersweet tone this band has honed to near perfection, and all you’re left feeling is languor - not the greatest trade-off. Somebody once said that writing about music is like dancing about architecture, and when you can’t quite describe what makes a song a firecracker, you start to wonder about the architecture instead. It frazzles your mind. Questions start creeping in like; Why does the intro to Silence Like The Grave sound so much like Embers Fire? Why do the structures feel like references to the band’s classic era? The callbacks are deliberate, and once heard, they shadow every corner of the album. It helps in some instances - Silence Like The Grave was the first single for a good reason. It’s got that attitude that so saturated their benchmark records and feels like an effortless addition to their stellar roster – and it’s a really great song. The bulldozer rhythms that GREGOR MACKINTOSH pulls off are absolutely incredible, in fact it might be the best riff they’ve done since No Hope in Sight. It’ll be a setlist staple too. Just watch. Lay A Wreath Upon The World is a nice little reprieve from the furious hell-marching thus far. A more controlled number fitted with an acoustic framework. at least until the Wonder Woman wailing and guitar breakdown ensues. It’s not a bad song at all, just a bit repetitive. The predominant phrase of this song is quite literally just “lay a wreath upon the world”. But it does the job of segueing thematically. There’s not a whole lot to be said about Side A closer Diluvium aside from it has some great lyrics and great drumming from GUIDO 'ZIMA' MONTANARINI who replaces WALTERRI VÄYRYNEN, now sticking for OPETH. “NATURE COMES FOR ME” screams HOLMES, whilst MONTANARINI blasts the double bass like it owes him money. It’s a decent piece, but once again forgettable as a track as it melts away into the album itself. Side A is good, but not great. The songs are meticulous and clearly made by masters, but there is no reason given to be emotionally hooked into some of these songs yet, aside from the stand-out singles, it’s all looking a bit pedestrian. That is, until Side B. In fact, Side B is like a completely different album. It’s like the band needed a warmup before really getting into their meat and potatoes. Savage Days begins with a fantastic clean intro that has Medusa-esque sinister undertones. Then it less explodes rather than implodes into a restrained, but still clearly pissed-off crescendo, “savage days, suppress my inner rage”, the song transforms into a bottled-up belter. Side A wasn’t bad by any means, but this? Oh yeah, this is the good stuff. Sirens continues that momentum with a dirge-y buzzsaw riff that’s as brutal and crushing as one of those giant excavating machines they have at mining sites. You know, the giant ones with the big saw on the end? Right? Ah, forget it. Anyway, bottom line is Sirens feels colossal, with a stand-out performance from rhythm guitarist AARON AEDY whose deliberate movements give the song its compelling gravitas. The album isn’t even out yet, but this one is already underrated. Deceivers starts up and you wonder; “where the hell was this energy during the first half?” This one almost sounds like something JUDAS PRIEST would put out in the mid-nineties, but gloomier – of course. It’s still pretty damn fast for PARADISE LOST, and it only ever lets up to insert some bittersweet guitar lick into your earholes. By the time The Precipice begins, you’ve probably already ascended out of your body and begun astrally projecting. This one is our favourite. Subdued, vicious, and purposeful, it sounds like a Wolverine caught in a bear trap. With a piano accompaniment to the hulking requiem, it successfully calls back to that early 2000s period that was so desperately missing from this album so far. It doesn’t try to merely replicate the sound of that era, instead to evoke the feeling, and it does it with near effortless precision. It’s really, really good. This Stark Town is yet another fillip, injecting more noticeable synth into the mix. It bounces along for the first half, but then when the music tones down a notch, HOLMES’ low-register croons are plaintively gentle and something that would sound at home on One Second. It then peters out, and just gives up. And for PARADISE LOST, this is a good thing. There are high hopes for the closer, A Life Unknown, and it is another excellent track. With a striking riff from MACKINTOSH and a solid performance from the rest of the band, it’s not gonna be anyone’s favourite track, but it’s still solid as a rock and a damn good way of ending the whole affair. ASCENSION is a bit like a game of basketball, sometimes you get a mega slam-dunk but other times you shoot for the hoop and it just bounces off. If you’re a die-hard PARADISE LOST lifer and are riding that train they set off with in 2015, you’re probably gonna love this. It’ll be your 9/10 album – maybe even your album of the year (if the new KATATONIA hasn’t already taken that spot). If you’re one of those golden oldies still pining for the Lost Paradise days, it’s still worth sticking around for the back half. As for the fans of their DEPECHE MODE era, just go listen to IX by HOST for pity’s sake. After all, they made it for you. The bottom line is if you’re already liking where they are musically, you’re gonna like this one. Therein lies the issue. PARADISE LOST have ‘returned to form’ for a good while now, and it feels odd that they’ve gone this long without another reinvention. It seems like they’ve grown comfortable in this niche, and more power to them. Their two decade long identity crisis is now well and truly over, but is this good in the long run? Where do they go from here? It’s probably far too early to be thinking about their next album, but if they continue to move solely in this direction then things might turn a little… dull, to say the least. While this album is a great addition to their catalogue, there is a worry for the future. People clearly like this direction and are ready to ride with them wherever they go, yet for an ever-changing chameleon of a band it feels like it might be high time for another reinvention. Yes, it’s finally time for Symbol Of Life 2: Depression Boogaloo! That was a half-joke. Score: 7/10 Ascension will be released on September 19th 2025. Words: Kiarash Golshani Photos: Paradise Lost

After releasing their EP Eternal Reign earlier this year, DEF/LIGHT have returned with their fifth full-length album Stygian Conclave. The duo from Ukraine has brought even more black and death metal to the scene, and aren't holding back one jot of potent power. Offering up ten songs to their willing listeners, Stygian Conclave brings chaos, dread and gnarly vocals, whilst following the musical thread started by Eternal Reign. Starting with an intro titled The Silence Crowned, the track serves as a divider between the previous release and the new one, seamlessly connecting the two together with quiet synths and atmosphere. As DEF/LIGHT continues, the album's songs transition right into each other, creating one long narrative told by instrumentalist HELL, who plays all the instruments heard across the album, and vocalist AVEL, whose guttural tones can be heard throughout. The songs offer the distinctive double-pedal drumming of black and death metal, and whilst this is heard all the way through, the drums stand out furthest in Book V. The Crown of Guilt and Book VIII. Horned In Their Image. Apart from the drumming, these songs also offer intricate riffs and guitar solos, playing around with previous sounds and creating soundscapes that often repeat, but always have a new twist to them. Focusing often on anti-religious, anti-totalitarianist and self-developmental themes, the songs are political and expressive. As the band comes from Ukraine, the current situation is projected into the lyrics and emotions, oftentimes as a form of opposing the Russian government, the war, and everything happening to the citizens. Some of the songs, such as Book X. Scorched Sky, Open Void are longer, more melodic in its sound and bring slower, but more melancholic atmosphere with them, while other songs like Book IX. Infernal Conclave are shorter, with more aggressive riffs and the iconic double-pedals piercing through the melody. It is, however, hard to take every element in, as the songs transition right into the next one and might become overwhelming after a while if the listeners decide to listen to the whole of Stygian Conclave in one go. The closing song, Book XIII. The Resurrection of Self, is one of the shorter songs, although it still manages over four minutes of runtime. HELL’s mastery with instruments can be clearly heard here as the riffs intertwine with the drums, creating a beautifully melancholy melody. Creating a soundscape that implies one’s dedication to come back after failing, the song can serve as a powerful metaphor to not stop fighting for yourself and others, and to keep standing up and be proud of who you are and what you believe in. It's a fitting end to an album that's been full of heavy songs, and a conclusion that implies that there is always a way to fight for what is important. Although the melodies sound very similar across the majority of the release, Stygian Conclave brought a powerful message with it about never giving in. DEF/LIGHT’s continuation of their earlier EP is a successful one. and serves as a reminder about everything that is happening in the world in the present time. Death and black metal have served as a platform to talk about political issues for a long time, and it is good to see it has not changed since then. Score: 7/10 Stygian Conclave will be released on September 19th 2025. Words: Katerina Stepanikova Photos: DEF/LIGHT

In the midst of a tour around Ireland and a London show, PROBLEM PATTERNS’ newest release, Boring Songs for Boring People, has just arrived in our ears. The band from Belfast are a noisy, punky, queer band, very forward with their feminist and political views displayed frequently within their lyrics. This being their second studio album, it's sure to excite and entice, bringing in new and old fans to support their already award winning career. The album presents many issues faced by many in and out of the industry with punchy sounds and even punchier lyrics, and would work just as well for an afternoon soundtrack for angry baking as it would in a car with the roof down. The opening track Song For Fi is a short, shouty, upfront introduction to the album. Opening up with their classic fuzzy guitar riffs and quickly evolving into a full bombardment of chaos, it's the perfect warmup to get ready for the rest of the album. Next up comes Sad Old Women, which features MATT KORVETTE adding compliments and contrast to the vocals of PROBLEM PATTERNS. Starting off strong with fast paced drums, Sad Old Women doesn’t mess around before bringing in the guitar and vocals. With punchy lyrics and a catchy chorus, it's a song that revolves around the difficulties of being a single woman dealing with the drags of society's perception. Despite the name, this song is relatable for those of all ages as demonstrated with the end of the track slowing, emphasising the lyrics “the sad old woman is the woman in me”. Classic Rock Has Become My Prison follows up, and is a slower paced track - with the first half written from the point of view of a misogynistic man, a commentary on many of the men within the classic rock scene. The pace of the first three verses emphasise the lyrics with the latter verses being a fast and loud hit back at the former male perspective, demonstrating the views and standpoint of the band in a powerful and effective way. Track four, I’m Fine and I’m Doing Great, picks up with riffs and beats reminiscent of the opening track whilst it explores the pressures of being an artist, with juxtaposing lyrics like “I miss my friends” and “I’m living the dream” demonstrating the difficulties of balancing life whilst maintaining a presence as a band. It’s a theme that a lot of people can relate to, especially those within music, making this song a certified hit to shout along to. The penultimate track Bone Idle takes on a very different tone to the rest of the album, with deeper riffs and heavier hitting bass making it a standout track. The lyrics are a commentary on the presence of nepotism within the industry and how hard it is to become a prominent and successful artist, compared to those with “dad’s worth a fortune" who've "got connections”. Midway through the song, after they've set the stage and theme of the song, it breaks down into a repetitive finish that picks back up on the louder, more aggressive tone of the rest of the album, making the song cohesive despite the overall audible shift of the track itself. The title track and finale is slower, with grungier riffs giving a nice flow off the back of the latter half of the previous track that closes the album out nicely. With the simpler, more repetitive lyrics, it reads like the final chapter of a book to give the album a linear feel; they’ve said what they’ve wanted to say and now reached the end of this story. Boring Songs for Boring People is very cohesive, curating a complete experience. Whilst tapering off towards the end, it’s heavy hitting and wonderfully put together. Starting off as an assault to the senses and chilling out towards the end. it perfectly encapsulates the band's views and explores the many issues within society and music - all whilst being enjoyable to sit back and listen to, study to, or yell along with. Score: 8/10 Boring Songs for Boring People was released on September 12th 2025. Words: Chloe Horton Photos: Problem Patterns

Finnish fave THE RASMUS has been breaking music charts for years now, and it's no secret that they keep a tight grip on first place in the charts in their homeland. With eleven albums now under their belt, the rock powerhouse is once again set to go on a tour around the US, the UK and Europe, celebrating the release of Weirdo. Returning with ten songs that are filled with riffs, Weirdo accumulates everything that is so special about THE RASMUS and gives it a new look. With LAURI YLÖNEN’s signature vocals, EERO HEINONEN’s bass, AKI HAKALA’s drums and EMILIA “EMPPU” SUHONEN’s guitar, the band achieved a soundscape of sonics that work together to create an incredible experience. With the first three songs of the album, Creature Of Chaos, Break These Chains (feat. NIKO VILHELM of BLIND CHANNEL) and Rest In Pieces, the band's already brought a variety of different sounds with them, such as the intricate riffs in Creature Of Chaos or the electronic synthesis in Break These Chains, which is melodically reminiscent of original LINKIN PARK songs. Thanks to this feature, plus the appearance of NIKO VILHELM, this track is one of the stand-outs on Weirdo. The third of those mentioned, Rest In Pieces, comes back to the band’s roots and serves their iconic rock riffs, pounding drums and raspy vocals. Dead Ringer, Weirdo (feat. LEE JENKINS of THE FUNERAL PORTRAIT) and Banksy, the three following songs, are no less generous with their portion of excitement. While Dead Ringer is pretty much a typical THE RASMUS song, it does contain a surprising rap bridge, that fits into the song flawlessly and gives it a new dimension. On the other hand, Weirdo, the title track, is very emotional, with big riffs and an intricate yet short guitar solo. The chorus “I’m just a weirdo, I’ll never be a hero” is easy to remember, catchy, and fits in perfectly with the band’s narrative, making it another of the most memorable songs across the record. Banksy is distinct from the rest - not only due to its swift and energetic melody, but primarily due to the vocals, as the primary vocalist on the song is not YLÖNEN but EMPPU. As she takes over, it elevates the song and the overall listening experience with that freshness of something unheard so far. The last four songs of the album, Love Is A Bitch, You Want It All, Bad Things and I’m Coming For You can be split up into two songs that fit regular THE RASMUS melodies, Love Is A Bitch and Bad Things, and the sad songs that no one really saw coming in You Want It All and I’m Coming For You. The aforementioned songs do not really come with any new or mind-bending melodies or lyrics, and although they are lovely to listen to, they're a pair on the album that could be easily missed. The latter pair, however, bring in a lot of melancholy and emotional riffs - You Want It All is a particular stand-out that gets stuck in the head very easily, with YLÖNEN’s iconic vocals that were made for this kind of music. Apart from the traditional use of instruments, the band resorted to synths once again, and it was a spectacular choice that really complements the overall sound. The last song on the album, I’m Coming For You, gives the listener a farewell as it closes the packed release, and it's no coincidence that the melody is slower in comparison with other tracks on Weirdo. With EMPPU’s simple guitar work, HAKALA’s drumming and HEINONEN’s bass, followed by the sound of church organ, the song’s soundscape drifts from the crowd, yet fits in with the overall tone of the release immaculately. Weirdo is the sound of realising your weirdness is your strength, while letting some of the sickest riffs going act as the soundtrack of your life. It's an encouraging and powerful testament that being different is what makes one unique, and it opens a whole new perspective onto what is truly considered weird and what is not. Although some of the songs were a bit weak compared to their usual, the message carried through all ten was strong and THE RASMUS has once again proved that they do not need to fit into convention to keep being one of the most influential rock bands around. Score: 8/10 Weirdo was released on September 12th 2025 via Better Noise Music and Playground Music. Words: Katerina Stepanikova Photos: The Rasmus

When you first hear their name, you might not know what to expect. Bands with names like this often turn out to be gimmicky and tend not to take themselves seriously, especially when they're named after an actor with the same reputation – but NICOLAS CAGE FIGHTER exist to buck that trend. The Australian death-driven hardcore rockers have been on the scene for years, with their debut album dropping in 2022, and they're back with another aggression-fuelled, ear-crushing record, I Watched You Burn. The album is "a bit of a concept album" says vocalist NICK MORIARTY, diving into the ideas of life, death, and what it truly means to be human. It takes all the depth of their debut release, and amplifies it tenfold. Title track I Watched You Burn comes roaring at us like a ghost rider from hell. Immediately we're kicked in the teeth by MORIARTY's raw, guttural screams, and JUSTIN ELLIS' intense guitar riffs. It sets the scene for the album – darkness-tinged, relentless, and evoking the suffering and despair of the immortal protagonist witnessing his world slowly fall apart around him. Valley of Agony capitalises on that, hitting us with a wall of sound heavy enough to shatter your eardrums instantaneously. CONNOR McMILLAN brings his filthy basslines, while MATT DAVENPORT continuously punches us in the face with the clashing of drums, as if he has a score to settle. Godforsaken Silence does anything but live up to its name – it's noisy and thunderous, and vicious in the ways it strikes us. In the wake of the merciless breakdown, we can already picture that when the mosh pit clears, they’ll be bringing out the dead. What follows is The Executioner, in which MORIARTY and ELLIS tear at each others' throats with guttural vocals fighting for dominance against unabating axe riffs. It's an intense face/off that thrashes us around and leaves us begging for air – but still they do not relent. Soon after is Tempest, carrying yet more grit and aggression, and a pounding drumbeat that could demolish concrete. The track hits almost four minutes in length, but with the sharp, unhesitant violence it exudes, it feels like it's gone in sixty seconds. Garden of the Grieving Mother is another rip-roaring track, as brutal and unforgiving as it is sickeningly catchy, while Death in Bloom drags out an extended breakdown, acting as the one (brief as it is) respite we're given in this release. Legacies of Dust has the band meeting their namesake in the determined, unbroken punch after punch they hit us with, all the ferocity of a rage-filled cage fighter running through their blood. Existing Beyond Death is an immediate follow-up, a sure-fire pit-killer with its kick-ass riffs and fist-swinging beats – good luck to anyone trying to escape unscathed. This all leads to an ultimate culmination when Tarnished Remains appears. The intensity reaches its peak with this closing track, vocals dragged up from deep within MORIARTY's core. ELLIS is more frenetic than ever, and DAVENPORT's drums are an unremitting assault, all while backed by McMILLAN's persistent, load-bearing bassline. I Watched You Burn is an incendiary, unrelenting piece of work that has NICOLAS CAGE FIGHTER at their best – their breakdowns are brutal, their riffs are disgustingly grimy, and their vocals are staggering. This follow-up to their debut album is a worthy successor in every way, dialling up the intensity and aggression to the extreme. One thing is for sure – the band must truly know what it's like to suffer the unbearable weight of massive talent. Score: 8/10 I Watched You Burn was released on September 12th 2025 via Blood Blast Distribution & Bleeding Art Collective. Words: Naomi Colliar Duff Photos: Nicolas Cage Fighter

Brighton's bubble-gum-grunge quartet, PORCELAIN DOLL, returns with their latest EP, Beauty and Control, Pt.1, a raw and honest collection of songs born from a period of chronic pain, relationship struggles and a sense of not belonging. The band's signature fuzzy guitars and catchy hooks provide a powerful backdrop for frontwoman FREJA's distinct vocals and deeply relatable lyrics. The EP kicks off with Apocalypse, a track that immediately establishes a mood of being over it all (relatable!). The sludgy, distorted guitar and strong drum work, particularly the hi-hat and satisfying kick and snare tones, lay a solid foundation. Vocally, we’re not sure the way the lyrics are sung lifts the song, however, the lyrics feel incredibly relevant. Despite some minor production flaws (halfway through it sounds like the track skips or the timing jumps) -the song builds to a powerful and creative outro, a clear highlight of the track. Pretty in My Coffin starts with great snare work and an engaging guitar melody. A highlight is the excellent drum mix with effective panning on the tom rolls. Unfortunately, the vocals become a point of contention as the style, along with potentially forced pronunciations, slightly detracts from the song. While the high-pitched vocals are more engaging, the lower, spoken-style delivery feels less effective. Unfortunately, in the mix, the bass tone is good but gets lost in the chorus. Despite these issues, the lyrics' vivid imagery remains a strong point. The standout track of the EP is Love Me, a slow, sludgy, and haunting song that immediately sets an effective mood. The instrumentals are exceptionally cohesive, and the echoing intro is particularly well-mixed. Vocally, this track shows significant improvement; the volume is better controlled, and the use of whispering and softer vocals is highly effective. The poignant lyric, "Bet you'd love me if I kept my mouth shut", perfectly captures the song's potential exploration of toxic relationships. The track’s strong rhythm and powerful outro make it the most cohesive and emotionally impactful song on the EP. Finally, Self Destruct boasts excellent mixing and dynamic control. The vocal melody skillfully dances around the guitar riff, creating a very catchy hook. The addition of a quirky "woah woah" vocal riff and effective lower-range background vocals elevates the performance. The drums stand out with a great tone and a cool beat change during the bridge. A memorable moment occurs when the instruments cut out, leaving just the vocals and drums before the final chorus section, concluding with an effective distorted guitar fade-out. PORCELAIN DOLL’s latest EP, Beauty and Control, Pt.1, is a powerful showcase of their sound and a clear step forward for the band. While there are some minor production and vocal inconsistencies in one or two songs, the EP is a strong, impactful statement with attitude. The band's knack for creating memorable outros is consistent throughout the record with relatable and relevant lyrics. Overall, this EP demonstrates PORCELAIN DOLL’s potential as a unique voice in the alternative rock scene, solidifying their reputation for crafting punchy, relatable, and genuinely catchy songs. Score: 7/10 Beauty and Control, Pt.1 was released on September 12th 2025. Words: Katherine Russell Photos: Porcelain Doll

LORNA SHORE’s fifth album, I Feel The Everblack Festering Within Me, is not just a collection of songs; it’s an experience - an unflinching plunge into darkness, despair, and catharsis that leaves a lingering mark on the listener. Emerging three years after Pain Remains, the band returns with a record that is simultaneously ferocious and cinematic, brutal yet hauntingly beautiful, proving once again why they are one of the most compelling extreme metal acts of the modern era. From the opening tremors of Prison of Flesh, it’s clear that this is an album that demands attention. The track begins with a suffocating heaviness, a sonic weight that presses against the listener, immediately drawing you into LORNA SHORE’s bleak, post-apocalyptic vision. The guitars cut through like shards of glass, drums hammer with relentless precision, and WILL RAMOS’ vocals range from guttural devastation to soaring, almost ethereal highs. It’s a relentless introduction, yet beneath the chaos lies a meticulous structure, a subtle orchestration that elevates the track beyond simple aggression. It’s a declaration: this is a band unafraid to confront darkness head-on. The first single, Oblivion, feels like the heart of the album. RAMOS himself describes it as a vision of humanity’s self-inflicted demise, a world of fire and ruin where hope is fleeting. The track perfectly embodies this narrative: it is apocalyptic yet intimate, massive yet personal. The blast beats and tremolo riffs create a sense of unstoppable momentum, while atmospheric layers and haunting melodies whisper moments of fragile beauty amidst the carnage. Oblivion is catharsis in sound - a terrifying, exhilarating meditation on destruction, responsibility, and the human condition. In Darkness and Unbreakable continue this journey, showing a band comfortable with contrasts. Moments of blistering intensity are juxtaposed with atmospheric interludes, giving the listener room to breathe before being thrown back into the maelstrom. In Darkness feels suffocating and oppressive, perfectly mirroring the emotional weight of the album’s themes. Unbreakable, by contrast, is a rallying cry, a glimpse of resilience amidst despair, reminding listeners that even in the darkest worlds, there are threads of defiance. The album’s middle section, with Glenwood and Lionheart, highlights LORNA SHORE’s ability to blend narrative, emotion, and sheer technical mastery. “Glenwood” builds tension with almost cinematic precision, its layers of melody and atmospheric effects creating a ghostly, haunting aura. Lionheart unleashes full-scale aggression, riffs slicing like blades over precise, punishing percussion. It’s here that the album feels most alive - a perfect balance of brutality and storytelling, demonstrating that LORNA SHORE have mastered the art of emotional extremity. Death Can Take Me and War Machine are relentless in their ferocity, but they also carry a weight beyond physical intensity. These tracks are steeped in existential reflection, questioning mortality, purpose, and human agency. The interplay of crushing riffs, rapid-fire drumming, and RAMOS’ expressive vocals evokes a sense of struggle and catharsis, drawing the listener into a shared confrontation with despair and resilience. It’s a testament to the band’s ability to craft not only technically impressive music but emotionally resonant experiences. A Nameless Hymn is a standout moment, blending melodic undercurrents with choral atmospheres that feel both mournful and transcendent. The track’s sense of scale and emotional depth is staggering, a reminder that LORNA SHORE are not just destroyers of sound, but architects of experience. The closing track, Forevermore, serves as both an elegy and a triumphant farewell. It encapsulates the album’s themes of destruction, reflection, and catharsis, leaving the listener in awe of the emotional journey they’ve just undergone. What makes I Feel The Everblack Festering Within Me extraordinary is its ability to balance extremes; brutality and beauty, despair and catharsis, chaos and precision. LORNA SHORE’s technical mastery is unquestionable, but it’s their emotional depth that truly sets this album apart. Each track feels intentional, each crescendo and silence laden with meaning, each moment crafted to evoke a visceral response. The album is a journey through darkness, but it’s also a testament to resilience, to confronting the void and finding meaning amidst the ruin. In a musical landscape where extreme metal can sometimes feel repetitive or formulaic, LORNA SHORE refuse to compromise. They challenge themselves, their listeners, and the genre itself, demanding not only attention but reflection. I Feel the Everblack Festering Within Me is not easy listening, nor should it be. It is an experience, a statement, a work of art that confronts mortality, despair, and the human spirit with unflinching honesty. This album confirms LORNA SHORE’s position at the forefront of modern extreme metal. It is ambitious, unrelenting, and emotionally resonant - a true masterpiece of the genre. For fans of intensity, complexity, and music that doesn’t shy away from the darkness, I Feel the Everblack Festering Within Me is an essential listen. Rating: 9.5/10 I Feel The Everblack Festering Within Me was released on September 12th 2025. Words: Mia Gailey Photos: Lorna Shore

The Oxford-based post-hardcore band LASTELLE has once again captivated audiences with their latest EP, Exist vol. ii. Following the success of their 2021 EP Delicate, LASTELLE continues to impress with their ability to blend atmospheric melodies with raw, emotionally charged lyrics that resonate deeply with listeners. Known for their poignant exploration of mental health struggles, LASTELLE’s new EP is a testament to their growth as artists and their commitment to addressing important themes through their music. The EP opens with the all-but title track Exist, which immediately draws listeners into the depths of the human experience. The powerful vocals of ADAM, MARK, and FREDDIE are a highlight, delivering a message that is both introspective and universal. The track captures the essence of simply going through life, existing in a world that often feels overwhelming and chaotic. It sets the tone for the EP, inviting listeners to reflect on their own journeys and the challenges they face. Tired Eyes, one of the singles released prior to the EP, is a standout track that hits like a punch in the gut. The song is filled with spiralling emotion and lyrics that resonate with anyone who has ever felt the weight of exhaustion and despair. The intensity of the music, combined with the raw honesty of the lyrics, makes Tired Eyes a powerful and moving piece that lingers in the mind long after the track ends. Bitter Roots opens with a cry for help in German, followed by a hard-hitting answer phone message that evokes a deep sense of empathy and understanding. As the song intensifies, it feels as though the listener is drowning in the moment, experiencing the overwhelming emotions that accompany a crisis. The track is a powerful exploration of vulnerability and the struggle to reach out for help, making it a poignant addition to the EP. Bitter Seeds is another emotionally charged track that delves into the depths of heartbreak and the struggles of a breakup. The song is bound to pull on heartstrings, as it resonates with anyone who has experienced the pain of losing someone important. The combination of screams and a driving drumbeat creates a sense of urgency and intensity, while the standout lyric “this misery loves company” captures the universal feeling of isolation and despair that often accompanies heartbreak. Rounding off the EP is The Silence Hurts the Most II, a ballad that explores the depths of a depressive episode and the feeling of being trapped in a cycle of despair. The track is a poignant reflection on the silence that often accompanies mental health struggles, highlighting the pain and isolation that can come with feeling so low. The emotional depth of the lyrics, combined with the haunting melody, makes The Silence Hurts the Most II a powerful and moving conclusion to the EP. Exist vol. ii is an incredible EP that showcases LASTELLE’s ability to create music that is both emotionally resonant and musically compelling. The band’s exploration of mental health themes is both timely and important, offering listeners a sense of connection and understanding. With their latest release, LASTELLE has solidified their place in the post-hardcore scene and continues to push the boundaries of what is possible with their music. Score: 8/10 Exist vol. ii was released on September 12th 2025. Words: Lisa York Photos: LASTELLE

When a band re-emerges after a long silence, expectations can be tricky to manage. For fans of JESUS ON EXTASY, the German industrial rock outfit formed in 2005, the announcement of Between Despair and Disbelief marked more than just another release - it was a statement of intent. Following a hiatus in 2014 and only sporadic activity since their 2020 return, this record is the band’s first full-length release in over a decade, and while it isn’t flawless, it is unapologetically theirs - dark, defiant, and steeped in the industrial-glam fusion that first made them a cult name. From the outset, JESUS ON EXTASY leans hard into their trademark contrasts, combining eerie synth layers and a theatricality that might, at times, feel out of step with today’s hyper-polished production. This release isn’t slick industrial rock for mainstream playlists. Instead, it’s raw and sometimes jagged, like rediscovering a demo tape that never sanded down its edges but still carries an undeniably gripping sound. That sense of imperfection may divide listeners, but it’s also what gives Between Despair and Disbelief its unique character. There’s a strong nostalgic pull here: the record echoes the late 2000s/early 2010s industrial wave that JESUS ON EXTASY once helped define, recalling a time when their tracks Assassinate Me and Neochrome marked them out as rising stars. Something Far Away, the album’s sixth track, distinctly taps into that spirit, layering pulsing beats beneath distorted guitars in a way that feels both familiar and reinvigorated. It solidifies the album’s message that this is a reaffirmation rather than a reinvention, and that JESUS ON EXTASY are here to remind listeners why they carved out their niche in the first place. A Hard Goodbye is another standout moment, forming the emotional centerpiece of the album. It’s a slow-burner that begins quietly and tentatively before spiraling into chaos, only to collapse back into silence as it fades out. It painfully captures heartbreak not as a clean wound but as a storm of grief, anger, and longing, putting into words a feeling that is all too familiar to many. The title track, Between Despair and Disbelief, is also a highlight. At just over a minute long, it strips away vocals and theatrics for a haunting instrumental interlude. Its brevity only strengthens its impact, giving you the feeling of stumbling upon something you maybe shouldn’t have found. Small touches like this show JESUS ON EXTASY know when to pull back, letting the mood they’ve set speak louder than the volume of the track. The closing track, Will It Ever Stop, leaves a lasting impression. Its electronic pulses weave over the vocals with an almost retro-futuristic shimmer, adding a strange sense of hope to an otherwise brooding record. It’s a fitting finale, looking back to the band’s origins while simultaneously glancing towards something new. Restraint is a key part of this entire album. Where many modern industrial acts chase maximalism, JESUS ON EXTASY resists that urge. Their arrangements aren’t flashy or overstuffed, with distorted riffs and electronic textures adding depth without becoming overwhelming. The result is heavy and atmospheric, without tipping too deep into chaos. That said, this record won’t win over everyone. The theatrical flourishes sometimes outpace the execution, and some may wish for tighter production closer to genre heavyweights like NINE INCH NAILS. Imperfection has, arguably, always been part of JESUS ON EXTASY’s sound though, and two decades after their inception they still thrive just left of centre, sounding defiantly underground in a scene that has grown increasingly slicker and more crowded. Between Despair and Disbelief carries the aura of music that’s discovered in the wild corners of the internet rather than being served up by modern algorithms. It’s rough around the edges, yet nostalgic and strangely comforting in its brutal honesty. More than anything, it sounds like a band reconnecting with its own DNA. It won’t convert sceptics and may not dominate 2025’s sonic landscape, but for those tuned into its frequency, this is a welcome resurrection. Score: 6/10 Between Despair and Disbelief was released on September 12th 2025, via Metropolis Records. Words: Zuzanna Pazola Photos: Jesus on Extasy

Can you imagine having to wait almost a decade for your favourite band to release an album? That's exactly what I SEE STARS fans have had to do, but that wait has finally come to an end! After taking years to put together an album before covid hit, the band decided to use the time they had due to the pandemic to scrap what they had made. Starting again to make something that really lives up to their expectations and artistic vision. The album has 14 tracks that combine genres like metalcore, electronicore, glitchcore, alt rock and pop, some sticking in their lane and others mixing them all into one. We start off with a 30 second intro called Spin It, presenting us with the familiar sound of a spinning carnival wheel, which of course leads us straight into the title track of the album, THE WHEEL. This song acts as an appetiser of sorts, introducing us to what the album really tastes like - in just two minutes it brings a range of distortion, synths, breakdowns and tempo changes, never staying the same for too long. Eliminator opens with a deep, resonant bassline that fills your ears before lead vocalist DEVIN brings in low yearning vocals, slowly building with the music before dropping. Influences come from all directions in this song, DEVIN's vocals resembling that of 90s punk and metal in some places, while other parts are smooth and buttery. The track drops into a metalcore chorus bringing together old and new sounds, elements of electronic and glitchcore all colliding brutally. The last 30 seconds of the track make you think the song is over, before pummelling the listener with one last instrumental breakdown. D4MAGE DONE brings out a more traditional metalcore side of the band, a much grander sound with melancholy tones. DEVIN once again flaunts his vocals, stretching all the way up to an F5 with ease before releasing a critical scream for the drop. The track is well rounded and full sounding, accompanied by constant drum fills that smooth out the track making every beat hit just right. The next number brings a much more spacious feel that reflects its name FLOAT, in company with a brain shaking electronic bassline. The lyrics explore the feeling of not belonging and not wanting to move, hence the name. The melody is addictive and pulls at the heartstrings as it introduces a low piano at the halfway mark, building into a distorted electronicore drop seasoned with desperate screams. Drift echoes back the anger in the opening tracks with layered vocals and a drum and bass beat then switching to a bass drum infused, hardcore beat. The recurring deep synth bass is brought back with screeching and glitching sound effects; the track is short and sharp, a packed punch in the middle of the album. are we 3ven immediately starts echoing its title as the vocals open the melody smoothly. The majority of the track is lowered a level from the rest of the album so far, but is still hard hitting and metal to its core. The bridge introduces an enchanting vocal line, piling its layers on until it finally comes crashing down. The close out reintroduces those electronic, glitching sounds from earlier tracks, bringing it full circle to give the listener a reminder of the albums purpose. The next track runs more melancholic than its previous - Flood Light has a specious feel to it, emphasised with synths and reverbed vocals. DEVIN opts to go completely melodic for this track, keeping the same vocal tone throughout, making the chorus extremely catchy and easy to follow. This track might be one that goes underrated during the release but it's a very solid number, something that even those that aren't huge metal fans could become addicted to. carry on for you instantly leans into the electronic elements with a drum and bass beat and distorted backing vocals. It's once again more sombre, almost lo-fi in some elements, the vocals low and effortless. The track offers another side unseen in the rest of the album, while still at its core portraying the band's colours. In its last minute it transforms into something even more grand, before echoing out without a huge climax that still remains satisfying. SPLIT brings back the ripping guitars and traditional rock drum tones with a thunderous bass to accompany it. The vocals descend suspensefully as DEVIN drags out his words,, before dropping into the chorus screaming “split, split, split it up” - it's easy to imagine what this might encourage a live crowd to do. The last minute of the track provides the best breakdown of the album, with a built up that distorts the senses crashing into a half time beat and bringing back those chanting lyrics, this is a must have at their live shows, the carnage that this track would cause would be momentous. The next track collaborates with an artist that many I SEE STARS fans will be familiar with in PALAYE ROYALE - having supported the band multiple times, it is very possible that their first exposure to the band was through this artist. Lost It combines their musical styles as both DEVIN and REMINGTON combine their vocal tones, singing one verse each before blending together for the last half, going back and forth and mixing DEVIN's effortless high tone and REMINGTON's low raspy growls complimenting each other. The song itself has a feeling of hope to it, encouraging and supporting fans from afar - this has everything it takes to be a fan favourite. Afterdark displays a more laid back vibe, with elements of alt rock and pop melding into one. Starting with an acoustic guitar and building into a classic rock, leading with synths and incorporating a basic piano in parts, the bass building texture slowly and adding what feel like improvised guitar riffs from BRENT ALLEN. Adding and building textures to make no two parts of the song the same, with a mellow ending that fizzles out into thin air. The second to last track Anomaly was released as a single way back in 2023 and has had its time in the spotlight ,with it being one of their biggest tracks, but it is easy to see why it was added to this album. It melds beautifully with the tones found in the rest of their album, the theme of feeling different and being lost while being a metalcore banger. If you were lucky enough like us to catch their show in London earlier this year, this song caught some of the loudest reactions in their set - it's now one of their defining tracks as an artist and deserves its spot on their first album in nine years. Curtain Call finally brings the album to its desolate end, rolling all 14 tracks into one as it explores the uncertainty of life in all its aspects. The song is longing and melancholic, with atmospheric instrumentals and layers of revered and even choirs adding to the vocals. The band describes this song as “... almost like the wheel spinning in song form - it keeps turning round and is just racing through time and emotions.” All in all, this album has been more than worth the wait, the band having been in the process of making one album and completely scrapping it to put together a real success story of an album. It both hides and showcases the bands struggles and their growth in these last nine years, whilst having a musical mastery that feels powerful, mature, and very listenable. THE WHEEL is a masterclass in making a return. Score: 10/10 THE WHEEL was released on September 12th 2025. Words: Amy Smyth Photos: I See Stars