It's been five long years since Swedish post-rock trio BARRENS released their debut album into the world, but it was immediately apparent then that they would come to haunt the scene with their gloomy, atmospheric ambience, and with their upcoming release Corpse Lights on the horizon, that truth is cemented. Corpse lights – alternatively known as will-o'-the-wisps in varying folklores – are believed by some to be a visual representation of the soul leaving the body. BARRENS have taken that tale and applied it in metaphor; through this album, they channel pieces of their collective soul into their music and release it into the world. What we find at the end of this path they lead us on is sheer mental catharsis. Light clashes with dark, space and silence intertwine before heavy brutality overtakes, all in an impressive display of potent compositional dynamics. Memory Eraser starts us off with an elongated drone that acts as the central line running through the track, the force of gravity that holds it all together. Ambient instrumental parts draw themselves towards it over the course of two and a half minutes, and this sets the scene for what we're about to witness. The Derelict picks up immediately where our opener leaves off, and MARKKU HILDÉN brings us directly into the fray of this emotional battleground with heavy, pounding drumbeats. JOHAN G. WITHER adds a recurring, subtle, guitar riff that haunts our ears, while we're introduced to electronic synth elements from KENTA JANSSON. A winding, instrumental river, the track takes us on as many twists and turns as possible – for one minute, it's an incredibly intense display of drumwork, and for the next, soul-stirring melodies take the spotlight. Sorrowed is built on an earworm of a riff that becomes increasingly harder to shake from our minds, even when percussion and synth elements are the central focus. Despite being one of the longer tracks on this release with its almost eight minute runtime, the band retains a dynamic progression that keeps us firmly invested until the passionate, frenetic culmination in its final minute. While this one drew us into the darkness, Periastron follows as the antithesis – it can only be described as a beautiful array of light. An ever-rising sun glows bright over a desolate landscape, and we know what it's like to feel hope again. Apastron leads us with slow, deliberate guitar strums, giving us a short moment for quiet reflection that is much needed in the anticipation of what comes next. Right out the gate, No Light lives up to its name – we're assaulted by a thick slab of sound, surrounding us with a visceral edge that feels raw and bloody. Collapsar, the following track, carries shades of AKIRA YAMAOKA, incredibly reminiscent of his work on the Silent Hill series. There's an element of darkwave that lurks in the peripheral of this piece, while occasional twinkles of percussion shine through the dense fog, all contributing to the emotional turmoil permeating the ambient passages. The penultimate track Remnants is a much-needed respite, a PHILIP GLASS-esque spectral melody that lurks in quiet minimalism, infused with a meditative gentle sorrow. Both sides of the spectrum exist in BARRENS – sheer, vigorous intensity, and calm serenity. A Nothing Expands is the ultimate climax as the album reaches its end – this is a track that combines various elements throughout this release and blends them into the zenith of it all. The synth-driven elements ring out with their light-in-the-dark tones, and grimy guitar fights the rolling and perpetual beat of drums as we witness the final wisp of the band's collective soul dissipate in the air. Corpse Lights is an album that has been a long time coming – BARRENS have clearly spent that time honing their talent, and refining their instrumental abilities, because it's extremely evident in this release. They strike a fine balance; each track carries its own, distinct atmosphere, while none feel out of place as part of the whole. Shadows and light are forces constantly at war with one another, and that concept is realised fully through the fluidity of their ambient scores. It may be another long while until BARRENS return, but if the result is anywhere near this level of quality, it will be worth it. Score: 9/10 Corpse Lights was released on September 12th 2025 via Pelagic Records. Words: Naomi Colliar Duff Photos: Barrens

For hardcore, it begins and ends with the scene. For Out Of Rage, a magazine deep-rooted in the hardcore identity, Liverpool’s No Play was the perfect finale to the festival season. The Scouse promotion has ensured that heavy music has had a home on the Mersey all year round, but in Port City, last weekend’s festivities were the cherry on top of it all, in their own terms the Liver Bird on top of the Royal Liver Building, or even the Mohamed Salah on the Liverpool FC starting formation. No Play is yet another source of the cities musical pride, spurred on by John, Paul, Ringo and George and spin kicked into the present with unmatched brutality. A day of phenomenal talent with local acts front and center, with Hardcore was the beating pulse of the proceedings, but there was also the opportunity to crowdkill punters in the pit as far into the genres of thrash, rock and jazz. As chaotic as the karaoke-fueled hen parties that take over the city's nightlife, across five stages, Liverpool was heavy and at its best. Headlined by the iconic GUILT TRIP, here are the bands we saw at No Play 2025: DEMEANOUR “Protect scouse dolls” is printed on DEMEANOUR vocalist Izabel Lavin’s shirt. Starting as she means to go on, she uses the set to scream about the issues that she believes in, gathering her thoughts about supporting the local scene and making hardcore more accessible to women and non-binary people between songs. From Birkenhead, DEMEANOUR bring furious riffs that ooze with groove, demanding the crowd's attention front and center. As the opening band for the main stage, they set the tone for the shred that would continue to devastate for the rest of the day. RUST Canada was represented across the pond with Ontario hardcore outfit RUST. Bringing the grit, the band represented everything great about North American hardcore. Fast-paced, formulaic riffs, both technical and relentless, fill the foundations of their sound, which is so hellbent on starting fires. Amongst it all, vocalist Mike Parsram would acclimatise themselves to the Arts stage with both low monstrous growls and high intensity screeches. Surprisingly, they feature low on the bill and early in the day, but this does not mean that they can’t put on a good show. ROZEMARY Since the release of their latest EP, The Lies They Made Me Believe, ROZEMARY has been having a breakthrough. Affectionately self-dubbed “baddiecore”, they shift between the nostalgic side of screamo and the darker end of shoegaze to make peace with their pain. The result is surprisingly danceable, sending the tiny EBGB’s pit into a frenzy. Playing their EP in full, with a triumphant rendition of KILLSWITCH ENGAGE’s My Curse sandwiched in the middle, the No Play regulars do not disappoint. XAPOTHECARYX UK hardcore’s most outspoken exports XAPOTHECARYX made their mark with the most abrasive crowd of the day. Ripping the pit apart and leaving no survivors, they command the stage with their shutdown statements on veganism and the state of the world. For a set so short, it certainly packed a punch. This trip up north for the Southern Collective was beautifully brutal and dazzling to watch. PERP WALK Welcome to the sickening world of Bristol hardcore outfit PERP WALK. Engrossed in sludge, festering with caveman riffs and often leaving no survivors, the boundary between band and its audience did not exist during this set, as vocalist Pious Paul, saunters shirtless across the mainstage pit. With each track that permeates the Art’s Club, his words echo with pain and respiration. His path to righteousness manifests in the people he meets, the sermon’s he preaches and the lives touched by the revolting tonality created by his bandmates. OVERPOWER Sieged with harsh vocals and overflowing with cascading guitar riffs, Bristol bruiserweights OVERPOWER have all the charm and romance of the golden age of thrash, with the unpredictability and danger of the UK heavy underground. Whilst they have been previously known to cause a ruckus in chainmail, the pit prevailed with unrivaled camaraderie and chivalrous homage to the shred. OVERPOWER are a force- come hell or high water- that are fierce and should not be underestimated. KNIVES A jazz interlude from gert lush Bristolians KNIVES. Born in chaos and forged in the hellfires of unpredictability, this close-knit collective have welded punk with the need for the experimental, tempoed to political sensibilities. Two saxophone players lead the romp in the cramped EBGB’s basement, as it soon becomes a rage room of pent up emotions, with all six members giving every ounce of energy they had on the tiniest stage possible. KNIVES are a band that commands every golden moment of the independent scene, and matched with Atlanta firecrackers THE CALLOUS DAOBOYS on tour next year, anything is dangerously possible. GUILT TRIP You’ve heard it right - Manchester’s GUILT TRIP headlined a Liverpool hardcore festival. As the smoke filled haze fills the Art’s Club room, the ongoing rivalry between the two warring cities met a triumphant end. Headlining Torquay’s Burn It Down the week previously, the northern crowds matched the intense hardcore hostility with pits that decimated and swallowed the crowd alive. A frantic and turbulent spinkicking sea raged on through openers Fallen At My Feet, Surrounded by Pain and Sweet Dreams. Celebrating their latest album Severance in all its wicked brutality, the set decimated with Tearing Your Life Away and demanded your attention with Eyes Wide Shut. The hardcore heavyweights did not have anything here to prove, but further cemented their domination on the UK circuit. Where brotherhood bands such as MALEVOLENCE have arguably pulled away from their hardcore roots to be an international pariah of shred, it's safe to say that GUILT TRIP have been handed the iron torch. With it, a deep understanding of the underground scene and its devastating roster of intense and brutal bands that make the UK so heavy and hostile. With hardcore, there is no other way. Words: Amber Brooks Photos: Libby Percival

Tucked inside The Grove, a tiny venue in Nottingham, the night begins with the four piece punk band, Sourflake. Coming with them to the stage, comes copious amounts of energy and zeal, their sound infusing old school metal riffs, a pulpy rockabilly edge and plenty of classic punk beats and attitude. The vocals are clear and strong, the singer throwing politicised lyrics at us, mixing it up with punchy rap/poetry. The band purvey a very cool air of nonchalance and there is a relaxed synergy between them. As they draw on this steady well of communal energy, it pulses out through their music and into the room, getting the crowd jolting back and forth. The band are tight and the sound has a lot more soul than comes across in their recordings. The audience are thoroughly enjoying what they catch of the lyrics, there's plenty of staunch leftist politics, of course, combined with lots of humour. Towards the end of their set, they pump up the vibe with some more witty lyrics and do a take on Skepta’s ‘Too many man’. Here, the singer is talking out into the room, and the scene as a whole, shouting in time with the original tune, ‘I wanna feel safe in here!’, and speaking truth to power, the room is about 90% men despite the mixed line up. Go Sourflake! Death Pill Up next is local band, Lindow Moss, and a real change in tempo and style as we get into some very grimy blackened punk metal. The lead guitar does some almighty shredding and we get thrown with some powerful tempos. In an impressive array of movements around the restricted space on stage, the vocalist’s guttural shrieks pull us down into the depths of black metal. Between the blasts, we get some really nice big drum sounds, clashing and lo-fi effects with monumental guitar riffs, which border on a thrashy old-school metal vibe, giving a lot of depth and the desire to throw yourself in the pit. The band seem to be having a lot of fun, belting out their heavy rabble, and the venue, The Grove, has an excellent grasp on the sound engineering so we can really hear the intricacies of what they are playing. When they do slow down, briefly, they have the crowd enthusiastically nodding right down from their waists. Gnarly as hell, Lindow Moss really rep’s the local scene and gives the line up a shake. Before explaining anything, the headliners, Death Pill, blast off hard, and the main singers furiously animated face, whites of eyes prominent, carves an imposing figure, screaming and growling at us with a hardcore banger. Throughout the set, they give the audience plenty of range, so we can all find our groove, from blast beats to low and heavy bass lines and then back to jumped up punk beats. Flipping between the gruff roars, high pitched yelling and a soft singing, there's so much variety here in the vocals, all delivered with a refreshing edge full of riot girl flavored punk that we just don’t get to see enough of anymore. Death Pill When we shift to a doom laden track, it creeps up to us before descending into a vaudevillian gothic wave, with a wash of Tom Waites. The singing comes in eerily sweet and it feels like a sludgey magic spell being cast over the room. As it continues, Death Pill begin to dismantle the song, reconstituting it into an epic proggy instrumental. The finale pulls on more of this saccharine gothism before imploding into a deathcore anthem. When Death Pill joined the stage at the start, they hung their Ukrainian flag, pride of place behind them, as well as decorating the mic stands and drums with small bouquets. It’s an important symbol that unifies the three women on stage, divided by a brutal, unjust war. Though they are keen to share how their music talks about all aspects of life, war and the Russian occupation, is of course front and centre. They share poignant reminders with us about the reality they are forced to live with. Where many friends they used to hang out with in the vibrant Kyiv music scene, watch gigs with, much like we are luxuriating in that very moment, are on the front line defending their freedom, frequently with their lives. An unavoidably real, but essential turn for us, blissfully ignorant in this small, safe, city venue. Things can change in an instant. Words: Alana Madden Photos: Oz Davy

The Hirs Collective UK tour was an impressive explosion of noise, passion and communal activism. At the Manchester show, the Merseyside two piece, Victim Unit, opened, dedicating their performance to survivors of sexual assault, of which the singer bravely identifies themselves as one. The set is emotional and the vocalist, Lotta, creates a powerfully charged performance, setting the tone for the night. Hard and fast electronic drums, overlaid with the guitarist’s, Danny, heavy industrial chugs, keep the background rolling whilst the singer lets rip. From the stage to the floor, Lotta roams, making the most of a never ending mic lead. Though Victim Unit’s whole vibe is emotive intensity, half way through their set they crank it up a notch when Lotta performs a heart wrenching scene, with the passion of a cante Flamenco singer, falling to the floor amongst our feet and writhing with a pain that we, the audience, can’t politely ignore. Feeling torn between discomfort and empathy, it was a startling, and very moving, beginning to the night. The London based, Death Goals, follows next. Another impressive two piece who knock us sideways with their performance, but not without an emphasis on ‘moshing with kindness’, inclusivity and love, alongside, fighting the long arm of fascism: ‘We are two queer people making music for queer people, in a world, in a scene that often doesn’t want us to be within it….We look out for each other, fascism is at our fucking door, so unity, compassion and basic fucking respect for all of us. Agreed?’, agreed! But the desire to lose your shit is completely understandable and when Death Goals kick off, they shoot us into orbit, pummeling us with the queercore banger, ‘Even A Worm Can Turn’. Slamming through the guitar lines whilst simultaneously flipping between screams and death growls, Harry makes this multitasking seem as effortless as each hair flick. The drummer, George, blasts his kit with so much ferocity and speed, it's only missing a protein shake to maximise the gains. The songs bleed into one another and in those intermediary spaces, the percussion rises into a shimmer of sound, creating a sort of deathcore sound bath. Expressing something of the overwhelming, and universally vehement feelings of grief, they introduce ‘COVO’, a song full of grinding overdrive and symbol crashing. Watching Death Goals perform, is as exhilarating as standing on a platform whilst a high speed train passes right in front of you, and when they hit a breakdown, a groove, or some words of empowerment celebrating us as outsiders, we can just soak it up, before hurtling back into that bullet train of sound. The final performance from Hirs Collective is a fever dream; visceral, physical, dynamic and spontaneous, whilst simultaneously delivering a performance of practiced finesse. DIY means doing things the hard and the long way, easily separating the posers from the pioneers. The Collective’s dogmatic anti-capitalist approach pours out through their live music, loyally touring local venues, self-managed and self-produced. This Collective is about truly living it. Before we swan dive straight in, we are told ‘Lets have fun! The human body is the fucking worst thing to be in, but we are all in one, and so lets enjoy!’, and for this brief 40 min set, we do. It inhabits our bodies as a spectrum of energy, being shaped and shifted by the Hirs presence, with their selection of the rawest and fastest blast beats and hyper distortion. It is at times almost unlistenable, in the most addictively listenable way. The only option is to throw yourself in and release some more. Separating the idea of art from palatability and pretension, Hirs Collective, are giving us the kind of un-boundaried expression that most of the creative industries only pretend to understand. The use of campy, femme, anthemic pop and disco samples between their dissonant blasting, feels joyful and frivolous, but for sure, potent and direct. Remember when Donnie Darko used that Tears for Fears cover? Like that, but way better, and here, they are drawing on a deeper purpose, whilst also injecting some fun, booty-shaking moments to enjoy. Though de-individualism is a key component in the Collective ethos, when watching them on stage, it's hard not to be enraptured by vocalist Jenna’s rabid growls and shrieks pulling you into her unrestrained aura. In the Hirs back catalogue, Jenna’s vocals are completely woven through with many many collaborators and members of the Collective, including, Shirly Manson, Melt Banana and Moor Mother. But live, you can’t not be impressed by how she carries the music with supernova energy and hardcore punk spirit. The audience are given a brief warning of one more song which we barely take in, until the end, with an abrupt finish and a polite ‘Thank You’, taking a few minutes to accept. We leave feeling the importance of inhabiting space that feeds your soul, rather than devouring it. Words: Alana Madden Photos: Klaudia Skalska

Mere days before London’s tube strikes made attending gigs into expeditions made by only the hardiest of fans, one lucky writer was sent across London to watch the ecstatic black metal band AGRICULTURE. The four-piece write queer Zen Buddhist black metal that can alternately groove like sludge metal, freeze like Norwegian second wave black metal, or coax you into a sobbing mess of emotions in a way that feels truly special. Playing upstairs at Oslo, in Hackney, the Los Angeles based band were supported by MACHUKHA, an act based in Berlin with members from all across Europe. Their half hour opening slot could be very rudimentarily described as an onslaught of blackened hardcore, entwined with haunting atmosphere and poetry, but this wouldn’t do it due justice. They began shrouded in darkness, staying that way for most of their set apart from a few ominous red lights throughout, and rapidly pushed the sonic intensity from 0 all the way to 100 - their incandescence rose through the mix and reached out into the audience, each iota of rage, anguish and sorrow dragging every onlooker further into the confines of their clutches. As the set went on, you were never quite sure whether it was all one big song, a few tracks, or a number of cut up sections, but they rode the wave and we merely accompanied them through the deeply unsettling atmosphere of their quieter moments, into the hypnotic grooves of the latter part of the set, before more furious, inhuman howls were released as they worked towards their finale. MACHUKHA were uncomfortable, piercing, and deeply, invariably human. After a phenomenal supporting slot, the pressure was on for AGRICULTURE to match the raw power of their well-chosen openers. Not only did they do that, they took it further - emotion poured from them, seeping into every vulnerable crack in each audience member’s armour and working to free any baggage. The majesty of The Glory Of The Ocean was overwhelming in all its MASTODON and BARONESS-like heft, whilst newer tracks Bodhidharma and The Weight threatened to wrench open the collective third eye of everybody in attendance. However, without a doubt the most powerful and poignant moment of the whole night was their final track, Living Is Easy. As the guitar starts to begin the song, the melancholic, bittersweet melody washes across the room, bringing people to tears in an instant - before bassist and vocalist LEAH LEVINSON’s raucous screams sear into being, adding a dosage of abrasion that somehow still only makes it all the more beautiful. As the final notes rang out through the venue, there came an eruption of applause whilst the band packed themselves down. The entire evening was shot with emotive weight, whether from the Ukrainian poetry in the middle of MACHUKHA’s set or AGRICULTURE’s soulful songwriting. Each band has found a style that not only suits them down to the ground, but also connects incredibly powerfully to an audience, regardless of whether it’s their first time hearing the music or the twentieth. As they continue around Europe, we can only hope that these two astounding acts return to our shores in the very near future. Words: Jasmine Longhurst Photos: Atoosa Salamat

The word 'experimental' has always been the most fitting way to describe a band like TALLAH. They exist outside the boundaries and constraints of genre, blending elements of nu-metal and hardcore in a multi-flavoured cocktail, adding drops of trap metal and high-strung intensity into the mix along the way. They made their mark with their debut five years ago, and are back for their third release with tenfold energy, unhinged and unstoppable. Their new album Primeval: Obsession // Detachment is TALLAH at their most original. The story the band takes us on with this release is set in a strange, alien place – the far reaches of the universe. The lives of two star-crossed strangers intertwine here; Ana, a nurse, and Sheelah, an assassin. Polar opposites in mercy and brutality, who are approached by a cabal of cloaked beings who give them both a task – one that will push their morals to the limit. The astral clock reads 05:01, and our story begins. An alien vocalisation leads us into the atmosphere with this short establishing track, and before we know it, the build-up brings us to the final seconds, the lyrics a clean transition to the next track – What we know. This is one that lets us know exactly what to expect with this record – the unexpected. Unbound and unchained, TALLAH put no creative boxes in place for this production, and it shows. Heavy distortion echoes throughout the track, with the rhythmic clashing of drums meeting the subtle groove of the bassline and the quiet acoustic elements hidden beneath the layers of production. JUSTIN BONITZ takes us on a journey through this strange landscape with his unique vocal style – he goes from the deep growls of hardcore to nu-metal rap verses in a matter of mere seconds. augmented channels pure aggression with intense guitars from ALEX SNOWDEN and DERRICK SCHNEIDER, and rolling drums from JOEL MCDONALD, while the contributions of bass player MAX PORTNOY are a little more understated – though still a strong backbone for the track. This is a track infused with a razor-sharp edge, and as fate undoes follows it perfectly. It's raw, heavy, and refuses to grant us a single moment to breathe up until the final segments, when the hardcore elements give way to a short, yet beautiful string segment. We're only three tracks in, and already the production on this album is incredibly impressive. A standout in this album is A primeval detachment – almost the title track, if you switched some words out. This is where TALLAH are at their most hardcore. A steady tick leads us to expect a slow build-up, but out of nowhere we're assaulted by a wall of clashing drums, electric riffs, and guttural screams. This track contains multitudes – groovy basslines, LINKIN PARK-style vocals that cut between singing and screaming every other second, and a violent breakdown followed by taut, tension-filled strings that wouldn't be out of place in a horror movie trailer. undone by fate comes after, dynamic and heavy, hitting both sides of the sliding spectrum and never truly settling on a tone. Over the course of five minutes, we're treated to not just filthy riffs and grimy backing bass, but rapid-fire nu-metal vocals we can barely keep up with, and an esoteric instrumental segment that feels like it's played in reverse, disguising some secret message – it wouldn't be unheard of for a band like this. what we want is the penultimate track in this release, though in practicality it acts as the closer. In title it mirrors What we know, through both the journey of our dual protagonists, and through the melodies it echoes from the past. When we reach the halfway mark, the almost-unheard acoustic elements from the aforementioned track now take centre-stage. It's an unexpected respite from the intensity that's permeated this release, but before long the calm is shattered – BONITZ's vocals ramp up in volume, pitch, and sheer rawness, all building to the final conclusion when the numbers tick over to 07:09. An eerie instrumental worms its way into our ears, and as the dust settles from all that's transpired, we're met with a return of the vocalisations from our establishing track. A foreign soundscape brings together elements from all throughout this record, and leaves us with an almost uncomfortable melody as we fade out to oblivion. Primeval: Obsession // Detachment is TALLAH at their best. Their hybrid sound is a beacon of unbridled creativity and unchained aggression – still, any classification of their genre eludes us, but the esoteric concoction of elements they've brought together is evidence of their talent. This record may take us on an expedition into the far reaches of space, but despite the astronomical journey, it remains distinctly, and uniquely human. Score: 9/10 Primeval: Obsession // Detachment was released on September 5th 2025 via Earache Records. Words: Naomi Colliar Duff Photos: Tallah

French nu-metalcore/deathcore bruisers TEN56. have just released their sophomore album IO, which comes two years after their last mighty album Downer. With a growing fan base and such success with their first album, TEN56. knew they had to go hard on this latest release. Starting the album off with Doormat, within seconds of hearing AARON MATTS’ scream into the mic you can’t help but start tapping your feet, but once the breakdown hits it's all that much more - you could listen to this in your office and still feel like you're in the middle of a moshpit! The song ends, and it's clear already that IO is going to be much darker than Downer, which can only be a good thing. We move on to Pig and Snapped Neck, and already the energy is palpably increasing - this is serious gym playlist material. The harsh vocals paired with the hellish riffs make for an unholy symphony of pure unbridled rage - which is, naturally, meant in the best way possible. The melodic clean vocals blending with the brutal intensity highlight both the anger and vulnerability of the album, and we most definitely want to hear more. After all that, it felt like a certainty more screaming would be on the cards, but instead LIFEISACHORE.MOV started playing, where you'll clock very quickly that it’s an ode to 90s/00s hip hop skits, as confirmed by MATTS himself. Even though it's completely out of left field, it fits surprisingly well into the landscape of the album and is, frankly, a really enjoyable moment! Before you get too comfy listening to infomercials, we’re taken straight back to the heaviness of gutturals with I Know Where You Sleep - it’s only a minute and a half long, but will have you wanting to grab a neighbour and form a circle pit in your living room. Good Morning blends effortlessly with the previous track, and is possibly the one song here that everyone needs to hear live, as it’s the perfect song to grab the metalcore fan next to you and make a new lifelong friend to, whilst moshing with each other. We then move on to Earwig which functions as a feral collapse of tension with unrelenting riffs and socially critical lyrics, that expose toxic behaviours of people who like living vicariously off other people’s issues and enjoy revelling in drama as explained by MATTS. The next track ICU captures desperation and defiance, gift-wrapped in heavy grooves and a rhythm that just won’t yield. Just like Good Morning, ICU has all the makings of a song that needs to be performed live. This song dives deep into personal struggles and trauma, and will no doubt resonate with plenty of fans. The title track has MATTS change the pace up, with a soft spoken rap at the beginning and clean vocals letting you know that the journey we've experienced together is coming to an end. Changing genres up right at the end comes as a pleasant surprise, slowing the pace like the cool down of a workout. It ends the story with self revelation and reflection. IO offers the listener a journey into the depths of MATTS' mind during the writing of this album. This album delivers a sound that fans of TEN56. will know and love, whilst simultaneously opening the doors to new fans who enjoy mixing genres and sounds as a way of inclusion. Anyone, no matter their favourite genre, will find a song on this album that they can relate to. There is a diverse mix of nu-metal, deathcore and rap, that covers a broad set of topics under the theme of mental health and struggles, which will find a real place to reside within the TEN56. fanbase. Score: 9/10 IO was released on September 5th 2025 via Out of Line Records. Words: Dollie Himuyandi Photos: ten56.

For over ten years, Norwegian-Swedish collective ORSAK:OSLO has been honing their craft, delivering progressive post-rock and psych-rock to a dedicated underground fanbase. New album Silt and Static sees them pushing further forward into the bright unknown, with eight tracks that sprawl across genres and capture them at their rawest. Silt and Static is not a concept album; there is no designated through-line within the tracks. The conception was completely natural, recorded spontaneously onto a rolling tape - and yet just like nature, the tracks weave together to create an ecosystem where harmony and dissonance are equally respected. In some places it blooms, in clean riffs and the steady-beating heart of the drum, and in others it wilts, in atonal fuzz and industrial clatter - but each decision feels purposeful. It would be easy for a collection of songs recorded at whim to lose steam along the way, but each track ebbs and flows exactly when it needs to. Opening track 082 Biting In demonstrates this masterfully, building slowly off of a simple distorted riff and hi-hat introduction until the track is densely populated. Around the halfway mark it ebbs again, teasing another riff until everything swells once more. It feels like turning a corner to see a breath-taking mountain scene in the distance, and feeling full of hope that you might one day climb it. That hope is far from the last emotion this album is likely to pull from the listener. With no clear roadmap for the tracks as they were being recorded, what emerged is something that the band describes as their “most honest and emotionally charged record to date”. We see this in the somber and bleak soundscape on 087 Resonance In Ash, where a simple guitar line pulls us heavily through a third of the runtime, interrupted only then by the intermittent drum roll akin to that of a marching band. It’s a track that wouldn’t be amiss on a post-hardcore album, if there was a vocalist around to lend their screeching voice over the top. It sounds like a funeral. As the track inches closer to the end, the guitars build and the drums erupt, cymbals crashing into anger and tumbling into rage. It’s beautiful, and it’s impossible not to feel full of grief as the final guitar notes ring out. In other places on the album, their psychedelic influences simmer further to the top. Single 083 Petals mixes a pure noughties-rock riff with a shimmering, distorted wall of noise. The droning guitar lines and subtle reverb make it hard not to sway along through the 7-minute run time. That reverb is back on closing track 090 Time Leak, though it’s more subtle here when paired with the blues-y rhythm section. Whilst not a show-stopping end to the album, its simplicity in comparison to the rest of the album is a nice tie-off for the grand and expansive soundscapes on show here. Silt and Static is a journey through genres, all masterfully deployed by the O:O collective in some of their greatest and most thoughtful work to date – a feat considering the spontaneity of it all. Whether you enjoy wordless world-building, or music that challenges you to feel something, listening to Silt and Static is an excellent way to spend an hour of your time. Score: 9/10 Silt and Static was released on September 5th 2025 via Vinter Records. Words: Ellen Lovell Photos: Orsak:Oslo

In February of 2021, DINOSAUR PILE-UP’s lead singer MATT BIGLAND made an Instagram post. Over ten slides, he detailed his decline in health since the recording and release of the band’s 2019 album Celebrity Mansion, discussing his battle with Crohns disease and the stress that lead up to it. It was clear to just about everyone – BIGLAND included – that DINOSAUR PILE-UP would be taking a backseat for a little while. Many fans wondered if they would ever be back at all. Fast forward four and a half years, and we finally have our answer. Hot on the heels of their triumphant fifth album I’ve Felt Better, DINOSAUR PILE-UP embark on their first full UK tour since that Instagram post, joined by SNAKE EYES and THE XCERTS. The first stop on the tour is XOYO in Birmingham, a lively venue with a rooftop bar in the centre of the city, in the heart of lively (and heavily grafitti’d) Digbeth. Opening the show are Brighton natives SNAKE EYES, emerging to a room with only a smattering of early-comers – but you wouldn’t know that from the performance they put on. The two-piece are full of energy from the very start, blasting their scuzzy grunge tunes with giant grins on their faces the whole time. Charisma bleeds out of them, and they have the crowd of eager Brummies eating out of their palms in no time. They squeeze a lot into their short set; an instrument swap, a journey into the crowd for the drummer, a plug for their debut album Cash Rich due at the end of January, and a smattering of political statements and reminders to love yourself. They’re a whirlwind of fun, and there’s no doubt that they picked up a few fans in the crowd who’ll be eager to catch them on tour again sometime soon. In a stark contrast, scene veterans THE XCERTS bring the mood down. Lit up in dark blue lights, lead vocalist and guitarist MURRAY MACLEOD hides behind a floppy curtain of hair, not speaking a word to the crowd until they’ve eaten through almost half of their set. The trio sound excellent together, which is to be expected after almost a quarter of a century spent sharing a stage, but only once they start to engage the crowd do they really begin to come alive. “Birmingham is cursed for us”, MACLEOD grins out into the crowd, letting us hear his thick Scottish accent for the first time. “For about five years straight, every time we played here a guy would shout ‘BIFFY CLYRO’ at us.” Naturally, the crowd took this as a challenge, and the band laughed into their next track. Later, MACLEOD thanks the headliners for inviting them to play on their tour after knowing each other since 2012. “We were talking before the show. None of us can decide if it’s incredible that our bands have survived this long, or if it’s a little bit pathetic.” By the reception of the crowd, it’s fairly safe to say that it’s the former. By the time DINOSAUR PILE-UP are ready to come on stage, the crowd is biting at the bit to see them. It’s been four years since they were in the city, and every elder emo within a thirty mile radius has shown up to welcome them back. ‘Bought To Lose It, the opener on the band’s brand new album I’ve Felt Better is the first song on the setlist, and it’s immediately apparent how well-suited their particular brand of grunge-tinged pop punk is to a live setting. Despite the album only having been out for a few weeks, the crowd sing every word back to them. Fan favourite Peninsula sees the first crowd-surfers of the night, but the moshpits in the middle of the venue never seem to stop. The band mirror that energy on the stage, looking every bit as pleased to be there as the fans are. The setlist bounces between new tracks and old, but the energy never falters – even DINOSAUR PILE-UP’s more melancholy songs (Love’s The Worst, I Don’t Love Nothing And Nothing Loves Me) have enough gas in the tank to keep the buzz of the crowd high. When BIGLAND addresses the crowd, it’s to express his gratitude to be able to continue performing like this, and the cheering from the audience makes it clear that this sentiment is shared. Right through to the three-song encore, it’s clear that everyone in the venue is exactly where they want to be. Crowdsurfers sail towards the barrier, fans scream-sing every word, and the band plays like they’re hyper-aware that this was almost all taken away from them. When the houselights come up, one thing is clear; there isn’t a person in the house who isn’t grateful that they’re back. Words: Ellen Lovell Photos: Izzy Sheldon

Burn It Down Festival is where music becomes physical, emotional, and unavoidable. Over two intense days, Torquay’s intimate venues and salty seaside air transformed into a crucible of sound: guitars slicing like knives, drums rattling through floors and chests, and vocals screaming with both fury and precision. This isn’t a festival for casual listening — every breakdown, tempo shift, and dynamic change is designed to move the audience, bodies and hearts alike. From fragile shoegaze introspection to full-scale hardcore chaos, Burn It Down 2025 was a masterclass in tension, release, and raw energy. The festival thrives on contrast. Early acts draw the audience in with quiet tension and melodic nuance, mid-tier bands ignite the pit with controlled chaos, and headliners manipulate dynamics and pacing to orchestrate full-blown catharsis. Every song, every riff, every pause is a tactical choice, transforming the weekend into a living, breathing organism — unpredictable, immersive, and unrelenting. UNINVITED Uninvited opened at Apple & Parrot with “Fallen At My Feet,” establishing a jagged, urgent tone. Guitars cut sharply across the room while vocals shifted from hushed intimacy to raw intensity, pulling the audience into every phrase. “Surrounded By Pain” layered syncopated drums and dissonant riffs, provoking movement in the pit even early in the day. Their closing track, “Uninvited,” built tension and released it in a final explosive chorus, demonstrating their mastery of dynamics and emotional pacing. Even as a first act, they commanded attention through tactical use of rhythm, melody, and controlled chaos. SPLIT CHAIN Spilt Chain followed at The Foundry with industrial-infused hardcore that felt like controlled anarchy. Opening with “God Complex,” mechanical riffs and pounding drums built a tense, relentless energy. “Knives” unleashed abrupt tempo shifts and precise breakdowns, pushing the pit into full-scale chaos. The finale, “Split Chain,” combined tremolo-picked riffs with harsh vocal stabs, creating a physically immersive wall of sound. Every note and rhythmic accent was engineered to move the crowd, making the band’s technical aggression feel both intentional and kinetic. GLARE Glare’s performance leaned into contrast and suspense. “Tropic Gold” began with atmospheric, reverb-drenched guitars, pulling the audience into quiet tension. The sudden eruption mid-song into shrieking vocals and jagged riffs provoked a surge of movement in the pit. Later, “Split Chain” introduced angular rhythms and off-beat accents, keeping listeners off balance. Their strategic use of dynamics, silence, and sudden release transformed each song into a visceral journey, eliciting both awe and exhilaration from the crowd. Static Dress Static Dress closed Friday in full force with Rouge Carpet Disaster. Opening with “Fallen At My Feet,” melodic clean vocals layered over distorted screams, creating spatial tension. “Sweet Dreams” showcased syncopated riffs and polyrhythmic drums, while “Uninvited” featured perfectly timed breakdowns that ignited the pit. Throughout their set, the band manipulated dynamics, pauses, and vocal phrasing to guide the audience through highs, lows, and cathartic release. By the final note, the room was a unified organism of sweat, sound, and exhilaration — a textbook example of musical strategy meeting raw emotional power. SLUNG Saturday morning began with Slung’s dreamy shoegaze. “Graywave” shimmered with delay-heavy riffs, drawing the audience into a reflective, almost hypnotic state. Later, “Slung” built to a cathartic, harmonized chorus with subtle tempo shifts, creating tension-and-release that primed the crowd for the weekend’s heavier acts. The set’s quiet dynamics and textural layering offered a brief, meditative counterpoint to the preceding chaos. MOUTH CULTURE Mouth Culture combined emo sensitivity with hardcore punch. “Bruise Control” started with clean chords and measured vocal phrasing, building tension gradually. “Feed the Rhino” unleashed distorted riffs and dynamic breakdowns, while “Mouth Culture” layered melodic choruses over punishing intensity. The audience moved and screamed in perfect response to each calculated moment, proving the band’s mastery over emotional pacing and physical engagement. BLOOD COMMAND Blood Command’s set fused hooks with controlled chaos. Opening with “Still in Love,” playful melodies masked underlying rhythmic aggression. In “Throwaway Scene,” call-and-response vocals and precisely timed breakdowns drew the crowd into frenzied interaction. “Xile” closed the set with tempo shifts and layered dynamics, balancing euphoria and disorder. Every song displayed careful planning, showing how tactical musical design can generate communal excitement and pit mayhem simultaneously. GUILT TRIP Guilt Trip’s metallic hardcore exploded with “Bind,” immediately removing the barrier between band and audience. “Break Fifty” pushed the crowd with syncopated riffs and off-beat accents, while “Native James” ended their set with brutal breakdowns and calculated tempo shifts. Through rhythm, dynamics, and vocal timing, the band orchestrated an immersive chaos that left the audience both exhausted and exhilarated. CANCER BATS Closing Saturday, Cancer Bats commanded with a masterclass in dynamics and pit control. “Fallen At My Feet” opened with swampy riffs, followed by “Surrounded By Pain,” blending punk stabs and syncopated grooves. The climactic “Uninvited” drove the pit into full-scale frenzy. Strategic pauses before breakdowns and deliberate vocal phrasing manipulated anticipation and energy, creating a shared, euphoric chaos that left the festival on an emotional high. Burn It Down Festival 2025 proved that musical tactics matter as much as raw energy. From Uninvited’s tension-and-release mastery to Guilt Trip’s rhythmic chaos, and Static Dress and Cancer Bats’ dynamic orchestration, every setlist was designed to move the audience both emotionally and physically. Two days of controlled pandemonium confirmed why this festival is one of the UK’s most vital underground showcases, where music isn’t just played — it’s engineered, felt, and survived. Words: Mia Gailey Photos: Ollie Hayman

SCENE QUEEN returned to London with their biggest headliner show yet. Taking over the iconic O2 Forum Kentish Town with a femme dominated night, the set was more vibrant, more pink and more queer than ever, and the audience matched the vibes flawlessly. Supported by the British band’s GIRLI and LAKE MALICE, the night was set off with good atmosphere from the beginning. Before the doors opened, many fans were already waiting outside, and apart from the extensive general admission queue, the accessibility queue was the second biggest one, which only confirms the inclusivity of all three performers. The security at the venue was also very helpful and accommodated fans, who were in need of seats in a quick manner, ensuring they felt comfortable and safe. LAKE MALICE opened the night with their energetic set full of ALICE GUALA’s raw vocals and BLAKE CORNWALL’s riffs and they absolutely nailed it. Being accompanied by EMILY AINGER on drums, the songs were energetic, aggressive and emotional, with many bearing personal significance to ALICE. Inspired by anime music, the songs often featured electronic elements, that only elevated the listening experience. Crowd knew the songs from the start, and it was no surprise they sang every word with no issue and even started moshpits during their set. While the staging was simple, ALICE’s big presence and BLAKEs high jumps took over, making it feel like more than just lights. The main support of the night was the London-based GIRLI. Bringing in her bubblegum pop-punk rap with electronic components, the set was centred around LGBTQ+ support, with a big slander of a certain transphobic writer, femme empowerment, mental health, and the vocalist’s vibrator earrings, that actually worked, as she demonstrated with her microphone. AMELIA TOOMEY the vocalist and founder, was accompanied on drums by LUCY YATES, who has been performing with her live multiple times before. As this was GIRLI’s last evening of the tour, the band performed with passion and fierce and it was obvious they were grateful for the fans’ support, as they once again proved themselves by knowing all the songs word to word. The set brought in a unique energy, as the band’s genre was different from the other two, but it fit in like a glove. After two powerful supports, SCENE QUEEN took over the stage with a big banner and inflatable decorations, and it was finally time for the bimbocore royalty to shine. The vocalist and founder HANNAH ROSE COLLINS was accompanied by her two “bimbros”, a guitarist DANIEL RUDD, also known as BOY HERO, and a drummer JONATHAN SCHWARTZ, and all three put on an unforgettable performance packed with queer and femme support, mutual hate for the U. S. Government and the whole venue’s indoctrination to SCENE QUEEN’s own fake sorority “Bimbo Beta Pie”, for which she chose three different fans from the crowd to join her on stage for the oath. The set had very emotional, as well as chaotic moments, and had everything from moshpits, to crowd-surfers, to HANNAH and DANIEL rapping the iconic Barbie & Ken, that is originally the artist’s feature with SET IT OFF. As this was also the last concert of the HOT SHOWS IN YOUR AREA tour taking place in the UK, HANNAH expressed her gratitude to the crowd multiple times for loving her music and making her feel “like home” every time she is back. The night was filled with love, empathy and gratitude, and all SCENE QUEEN, GIRLI and LAKE MALICE gave their fans all they had and more. Once again proving that their sets are a welcoming safe-space, that does not play around when it comes to equality and fairness, the bands, and especially SCENE QUEEN, proved they do deserve the recognition they are getting and more importantly the voice they are gaining with each new fan, that joins their ranks. Words and Photos: Katerina Stepanikova

It's the beginning of the school year for most kids today, and to help with their education we've provided a list of some of our favourite recent releases in order to ensure their musical knowledge is expanded sufficiently - kids, get reading! Amy Lee + Courtney LaPlante + Poppy - End Of You Three alternative goddesses have come together to provide their huge worldwide fanbases a brand new metalcore banger. AMY LEE, lead singer of EVANESCENCE brings her siren-like signature vocals that have fed a generation of emos as COURTNEY LAPLANTE, lead vocalist of metal powerhouse SPIRITBOX, gives her unique screams. POPPY lends her haunting vocals too, along with her newly discovered metal vocal tones. The three of their voices dance around each other, each so distinct and complementary to one another. The track is produced by the legendary JORDAN FISH, and sets the stage for far more features, collabs, and acts full of women of all statures to get a bit more of the credit they've long deserved. Words: Amy Smyth Carsick - Violence English indie-punks CARSICK have made a name for themselves with their raucous energy and relentless momentum, and Violence, from their recently-released EP, Tough Luck, has them retaining that reputation with ease. A catchy introductory guitar riff has us hooked well before JOE RICHARDSON's lively vocals come in. The track has him steadily ramping up in tempo, and before long he's engaging in a full rap verse that's so frenetic we can barely keep up. The drums are relentless and the lyrics are a constant flow – this is an energy we hope (and can expect, given their track record) to see transferred into their fiery live performances. Words: Naomi Colliar Duff Lord of The Lost - Raveyard feat. Käärija A collaboration of a German band and Finnish musician never sounded better than Raveyard. LORD OF THE LOST brought in their signature riffs and drums, together with CHRIS “LORD” HARMS’ distinctive voice, and topped it off with a twist of KÄÄRIJA’s electronic music and Finnish rap. Two very different styles, yet when heard together, they make complete sense. The gnarly breakdown is unexpected, but hits perfectly, and only proves that both parties have more to offer and are open to experimenting with different approaches to their music. Words: Katerina Stepanikova President - Destroy Me PRESIDENT, still very early in their musical career, are continuing to show their duality, with their new single ‘Destroy Me’. The signature distorted vocals remain but shedding a new light on the act's range - being a faceless artist means not being tied to any particular style, and that's exactly what this portrays. The last minute of the track offers a potent breakdown, stuffed with electronic elements and layered screams, deeper than what we've seen from the band before. Electing for a more emotional feel than their last few releases, with lyrics that explore the theme of being stuck in a loop, we can only hope to see PRESIDENT continue to expand their soundscape. Words: Amy Smyth Sprints - Better As SPRINTS build up to the release of their sophomore album, All That Is Over, we're treated to a fourth single, Better. We're led in with a slow rumble, the first few moments living in an initial calm serenity with dual vocals from lead vocalist KARLA CHUBB and bassist SAM MCCANN before a dreamy guitar takes centre-stage and rolling drums form a strong backbone. As the chorus repeats, it escalates in both volume and intensity, developing into a distorted instrumental passage that feels designed to be witnessed live. Better is a track that showcases the Irish post-punk group's versatility when placed amongst their other pre-album releases, a contrast to the angrier sound they've cultivated, though it retains the same emotional power. Words: Naomi Colliar Duff Teen Jesus and the Jean Teasers - MOTHER Aussie rock four-piece TEEN JESUS AND THE JEAN TEASERS are back and angrier than ever with their latest single MOTHER. The track starts off moody, western-inspired and backed by only guitar, though it soon brings clashing drums and a strong bassline into the mix. Before long, the steady additions lead into a frenetic and ridiculously catchy chorus with dual vocals from ANNA RYAN and guitarist/first-time vocalist SCARLETT MCKAHEY. This is the band at their heaviest, and the rage is palpable when we reach the final minute. A cacophony of wailing screams fill the air before the track's title forms a nitro-fuelled, mosh-worthy chant, leaving energy surging through us even after it's over. Words: Naomi Colliar Duff Orbit Culture - Nerve Nerve is the fourth single by Sweden’s own ORBIT CULTURE, ahead of their upcoming fifth studio album Death Above Life which releases next month via Century Media Records. Throughout Nerve, gritty vocals power over their signature melodic riffs led by Guitarist RICHARD HANSSON. At almost six minutes long, the track is broken into sections which include a good old school guitar solo and choral serenades that are heard under desperate screams from vocalist NIKLAS KARLSSON. This is neither the heaviest or the most punchy of the singles so far, but gives another dimension to what this band can do in their moment of rebirth. Words: Danielle Henderson Scene Queen - Platform Shoes With latest single Platform Shoes, (released alongside the equally as catchy L-Shaped Couch) bimbo-core pioneer SCENE QUEEN stomps boldly out of her well-known music formula and into her next era. Nothing but energy and good vibes from start to finish, Platform Shoes showcases a new side of SCENE QUEEN’s artistry, bringing in powerful vocals that stray from her usual rap or spoken-word delivery without losing an ounce of spunk or attitude. Accompanied by her signature metal-core edge, HANNAH ROSE COLLINS sings of empowerment and self-confidence in spite of a “little tiny man”. Platform Shoes is an instant feel-good anthem that listeners will struggle to get out of their heads, and an exciting insight into what’s next for artist and icon SCENE QUEEN. Words: Heather Swift Editor: Jasmine Longhurst Photos: Various Artists