Britain has a long and storied history of producing excellent punk and punk-adjacent music. Right from the very beginnings of punk, where bands like THE WHO released My Generation to yell about the shortcomings of the day, to the SEX PISTOLS with Never Mind The Bollocks, and the more modern hardcore punk heroes in GALLOWS with Orchestra Of Wolves and Grey Britain, this island has been full of people spitting about what's wrong. Now in 2025, there is more to shout about than there's ever been before, and we need a new set of punks to stand up with spittle-flecked rage, expressing what so many can't. Enter STILL IN LOVE. With their debut record Recovery Language, STILL IN LOVE are about to rewrite the rulebook. Members of the band have spent time sharpening their teeth and their skills in such acts as BRING ME THE HORIZON, DEAD SWANS, LAST WITNESS and many more, so they aren't lacking for experience or ability - but not only do they have skin in the game, they've got real bite. Their hardcore style, with elements of 2000's metalcore and screamo, is packed with raw screams and spinetingling riffs, with enough breakdowns that car insurance is most certainly recommended. Recovery Language as a debut is not just setting out their sonic stall as an act, but also them showing off their beliefs on their sleeves - from the abrasive lyrics on Tell The Truth, cutting into medical and psychological issues that plague so many - "Undiagnosed, self-medicated, paralysed, riddled with self-hatred" - to the pummelling Nervous Impulse, taking the caustic acidity of anxiety and giving it claws, we can see them addressing pertinent issues in ways that don't shy away from the core pains and problems. Preserve & Cherish comes next, featuring SAM CARTER from ARCHITECTS, and this track tends towards the slightly more melodic end of the band's style, as opposed to the previous two songs that have been a hammering of sound, each under two minutes. Coming out at almost three, this gives a semblance of an idea of time to breathe, before a crushing finale to pass into Feathered Nest. This fourth track discusses boundaries, manipulators, narcissists and abusers in all their guises, who plead and beg you to just stop having some dignity, but comes at the moment the protagonist has finally told them that "I never want to see your face again. Sincerely, don't come back ever again." which is both subtle and intensely enjoyable, like a good wine. Track five, taking us past halfway on the track list, is Inherit. This is a HEAVY track, both sonically and thematically, discussing grief, avoidance, and depression. The pain of a loved one leaving is always a wrenching knife, and whether it's by choice, by force, or by death, it's a scar that may never truly heal. Meanwhile, the next track The State Of Things To Come is the first to be over three minutes, and rounds out to a respectable four and a bit - all of which are spent discussing the horrors of modern life. Genocide, political upheaval, the rise of fascism, poverty, occupation, and everything else that is slowly poisoning the planet and its people. It's a brutal track, and worth sitting with. You Have to Let it Go marks the penultimate track on the record, and includes the vocals of ANDREW FISHER of BASEMENT on the track. Further delving into depression, poverty, mental health issues and the crushing pain of living with these problems, it's a difficult track to sit with - but perhaps that's entirely the point. Finally comes the longest track on the record at a little over five minutes, Pillar Of Strength. Another track about losing a loved one, STILL IN LOVE pull no punches on the record and finish up with a screamo-core ripper that'll have you crying whilst tearing your vocal chords apart joining in. Honestly, this is one of the most impactful debuts that the British scene has seen in some time. Full of political statements, with a modern take on a sound that needs more takers, the five-piece are primed to decimate show after show after show - as we saw at their very first show, at Reality Unfolds Festival 2024 - and will surely receive plaudits and flowers aplenty for what is an accomplished, emotive, and crushingly heavy LP. The only complaint? It's eight songs and 23 minutes long, and that is not enough STILL IN LOVE to satiate us. Score: 9/10 Recovery Language will be released on September 5th 2025 via Church Road Records. Words: Jasmine Longhurst Photos: Still In Love

Finnish melodic death metal veterans BEFORE THE DAWN return with Cold Flare Eternal, a record that not only reaffirms their status in the Nordic metal scene but also pushes their sound into heavier, more aggressive territory. Following 2023’s critically acclaimed Stormbringers, this album demonstrates a band at the peak of their creative power, blending melodic sophistication with raw, crushing intensity. From the first note of Initium to the final moments of Ad Infinitum, Cold Flare Eternal is an emotionally and sonically immersive journey through the depths of melodic death metal. The album opens with Initium, a brief but atmospheric introduction that sets the stage for what’s to come. At just 1 minute and 25 seconds, it serves as a cold, cinematic prelude, hinting at the dark landscapes and intense emotions that will define the album. This sense of anticipation quickly gives way to Fatal Design, a track that immediately establishes the band’s signature balance of melody and aggression. Soaring guitars and pounding drums create a sense of grandeur, while TUOMAS SAUKKONEN'svocal delivery injects both menace and melancholy, embodying the tension between beauty and brutality that runs throughout the album. s Above, So Below continues this trajectory, layering dramatic instrumentation and ghostly atmosphere over tight rhythmic structures. The song’s expansive arrangement demonstrates the band’s ability to maintain listener engagement through dynamic shifts, moving effortlessly from melodic passages to crushing, riff-driven intensity. In contrast, Mercury Blood delivers a concise, high-energy burst of metallic aggression. Clocking in at just over three minutes, it is packed with groove-laden riffs and relentless percussion, showcasing the heavier facet of the band’s sound while still retaining their melodic sensibility. Stellar Effect represents one of the album’s more atmospheric moments, emphasizing haunting melodies and expansive soundscapes. Here, BEFORE THE DAWN reveal their emotional depth, crafting an immersive listening experience that balances melancholy and majesty. Following this, Flame Eternal and Stronghold highlight the band’s versatility. Both tracks combine melodic hooks with crushing heaviness, while the intricate layering of guitars and drums, honed at JUHO RÄIHÄ’s studio, adds depth and sophistication to the arrangements. These mid-album tracks illustrate the band’s mastery of pacing, alternating moments of tension and release with precision. Destination stands out as a cinematic and emotionally charged composition. With its rising intensity and epic scope, it creates a sense of forward momentum that carries listeners into the album’s most explosive moment: Shockwave. The ninth track is the heaviest single BEFORE THE DAWN have ever released, combining thundering riffs, relentless drums, and fiery vocals. As the band themselves describe, it “contains the fire of a thousand suns and the weight of a dying star”. It is both a live show highlight and a statement of intent, capturing the raw energy and power of the band while staying true to their melodic roots. The album closes with Ad Infinitum, a track that leaves a lasting impression of grandeur and emotional resonance. It reinforces the band’s ability to balance crushing heaviness with atmospheric beauty, culminating in a final statement that lingers long after the music fades. Throughout Cold Flare Eternal, the emotional contrasts are striking: moments of melancholic reflection alternate with bursts of fury and intensity, creating a dynamic listening experience that keeps the album compelling from start to finish. TUOMAS SAUKKONEN’s vision and experience are central to the album’s impact. Over the past two decades, his work with projects like WOLFHEART and DAWN OF SOLACE has shaped Finnish metal, and his leadership in BEFORE THE DAWN ensures a perfect balance of aggression, melody, and atmosphere. The album’s artwork, crafted by Gogo Melone, visually captures this duality of darkness and beauty, providing a fitting complement to the music. In conclusion, Cold Flare Eternal is a masterclass in modern melodic death metal. It merges crushing heaviness, soaring melodies, and the cold, atmospheric beauty of Finland’s landscapes into an emotionally resonant and powerful listening experience. For fans of melodic death metal seeking both intensity and depth, this album demonstrates that BEFORE THE DAWN remain at the top of their game - an unmissable release that solidifies their legacy in the Nordic metal scene. Score: 8/10 Cold Flare Eternal will be released on September 5th 2025. Words: Mia Gailey Photos: Before The Dawn

German melodic death/doom act NAILED TO OBSCURITY are about to mark their 20th year as a band in style with the release of Generation of the Void, their most expansive and mature album to date. This new chapter is a visceral exploration of turmoil and hopelessness in the post-pandemic era, with themes of emotional expedition and existential confusion. With music videos for Spirit Corrosion and the title track already out, and their upcoming debut headlining tour, the band's evolution from an underground band to a global force is more apparent than ever. Glass Bleeding kicks off the album with an unsettling atmosphere, showcasing impactful drums and an excellent guitar tone that create rapid dynamic shifts of enraged to depreciated. The harsh vocals add depth whilst expressing fantastic pitch range, with well-used double bass and snare rolls during the chorus providing a potent lift. Flowing from there into a compelling tone of subtle guitar reverb, Liquid Mourning undergoes a fluid yet jarring emotional metamorphosis. The clean vocals have a transcendent quality, creating a distant ethereal atmosphere that dissipates with the return of the gut-punching growls, before ending with a dramatically sustained piano. Overcast immediately captivates with its urgent, anxious guitar work and vocals that shift from delicate whispers to foreboding growls. While the emotional depth is evident, the interplay between the two guitars is the true highlight. Contrastingly, Spirit Corrosion features great clean vocal harmonies with an awesome syncopated drum line. The song builds beautifully to its memorable chorus: “and all at once from inside out, it starts to rust, spirit corrodes". The album's title track and feature divider, Generation of the Void, brings an eerie, oscillating riff that creates an unsettling, dystopic vibe. The bass is a standout on this track with the lyrics taking centre stage alongside. Most poignantly, “these idle hands in idle times, just words without life or soul” emanate the post-pandemic feeling perfectly. A special component is the single, sludgy guitar note on the outro, effectively solidifying the dissonant atmosphere. At over eight minutes runtime, Echo Attempt is an epic journey. The combination of the haunting clean vocals and the stripped-back instrumentation allows the lyrics to deliver the story. The song has a significant shift halfway through to a first-person perspective that, despite the anger and dread, conjures a sense of hope in places. Allure is the most vulnerable and stripped-back song on the album, starting softly with clean vocals and guitar with no drums for the first two and a half minutes, allowing the self-reflective lyrics to beam through. While effective, the song’s reliance on electronic sound effects and (potentially) autotuned harmonies are components we’re not the biggest fans of. On the contrary, Clouded Frame emerges with a cool riff and drumbeat that allows the bass to shine. The powerful, expressive harsh vocals return, creating an effective relationship with the guitar melodies. The track also features cool syncopation between the guitar and drums, leading to an epic breakdown with a sustained growl upon the outro. Misery's Messenger arrives with a slightly grungier, funkier vibe - that we love - and features ghostly harmonies that dance around the core melody. In essence, the song is excellent, although perhaps longer than necessary. This drifts into the final track, ‘The Ideas of Life,’ serving as a powerful conclusion and creating an expansive and motivational experience against aggressive highlights. The outro is prominent, with an impeccable guitar part and accompanying background synths, providing a brilliant grand finale to an impressive album. Generation of the Void is a powerful display of NAILED TO OBSCURITY's range, creating an expansive journey through a dystopian landscape full of hopelessness and melancholia. The album's dynamic, cinematic sound combines their signature growls with a new emphasis on haunting clean vocals. The only notable detractor is the possible use of pitch correction on some clean vocals, particularly in Allure. Despite this, the overall production is excellent, with subtle details like dry crash cymbals and vocal echoes being the underrated stars. Principally, the album is a strong creation and a testament to the band's impressive evolution which we are excited to see grow. Score: 8/10 Generation of the Void will be released on September 5th 2025 via Nuclear Blast Records. Words by: Katherine Russell Photos: Nailed to Obscurity

BODYWEB have found their balance on upcoming EP deadwired, the band's sophomore release and first as a quintet. Each cog in the BODYWEB machine is perfectly placed and running smoothly throughout each of Deadwired’s 4 tracks. The soundscape of deadwired moves between the chaotic and the melody-driven, with the former embodied in opening track no faith. Its intro has a chaotic ambience with heavy hardstyle influences before serving choppy hardcore; stopping and starting perfectly in tempo switches punctuated with double bass fills and the electronic elements that keep the chaotic energy of nu-hardcore but move seamlessly in a way that screams quality. To follow it up is shadowboxing, and the introduction of the clean vocals integrated into the project in the bridges that add a quiet to the chaos of deadwired. Still on the theme of balance, these vocals add that balance in the vocals while the production side elevates the gnarly breakdowns with enough variation to give that ‘strangle me’ hardcore feel while taking time to appreciate the technicality in the hard-chords. Having the clean vocals leaves room to appreciate the hooks - case in point closing line “You’re killing yourself to live” which is built to a scream in the outro, and cut just before it gets old. The B side starts with sugarcoated, which switches gears into the lazy emo-hardcore sound reminiscent of LOUIS HARDY’s HIGHER POWER. Again focused on the cleaner vocal with more melody in the chord progression, with the intentional nature of the project coming through in the revisions to the progressions every four bars in a 16 phrase. To close out there is the most recent single deadwire, which utilises religious imagery in its lyrics (“Father are you waiting for me to forgive your sins”) and with its closing sample about faith. The spaciness of the track embodies its theme of fading relationships and cutting people off, with the line “I think it’s time to get off my knees” representing the passive way that many feel their backbone growing. Overall, there are no notes for deadwired. Each of the four tracks span the range that BODYWEB can cover as a group, with balanced and intentional being the best descriptors for the wide breadth of elements that the band utilise in this project. Lyrically, deadwired is honest and angst-filled without cliché, and the only thing left to say is it will be interesting to see how this soundscape would be explored within a full length album. Now it’s time to count down until the whole EP can be added into regular listening playlists. Score: 9/10 deadwired will be released on September 5th 2025 via Flatspot Records. Words: Julia Brunton Photos: Bodyweb

Set in the gorgeous grade II listed Blackpool Winter Gardens, Rebellion Festivals returned for its 29th year of punk by the sea. Bringing swathes of punks from across the world to see the incredible offering of 300+ bands across eight stages over four days of nonstop entertainment is an organisational feat that we can only marvel at. With plenty to keep us entertained over the weekend working out who to see and balancing clashes was no easy feat. Leaving Blackpool North train station behind, we headed straight over to the venue to pick up our tickets and rushed off to see our first act of the weekend. Thursday Thursday started with early trains and a brisk walk to get to the venue in time for Phat Problem and ended with our hearts full and our feet tired in the best way. Phat Problem What a way to start the weekend! Phat Problem have an unbridled infectious energy that at 3pm, and after 5 hours on the train, really helped to get us into the swing of things. Angry street punk with songs to get you thinking they aren’t a band that shies away from sharing their truth or calling out the status quo. They’re not festival novices by any means but they took the Introducing Stage by storm and are definitely on track to be higher and higher up the bill each year. Death of Guitar Pop If you enjoy skanking your way through the evening Death of Guitar Pop are the band for you. Very much Madness and 80s two-tone revival inspired, they blend ska, punk, and pop in such a high energy way that even the most traditional punk fans found them enjoyable. Circle Jerks A legacy band that did not disappoint! While they are definitely not as young as they used to be, Circle Jerks came with gusto. Blasting through their songs, trying to fit as many into their set as they could, but still pausing to chat to the crowd and bring up poignant cultural concerns. As a band in their 6th decade they have seen and sung it all and it was great seeing them share their legacy and insight with such an engaged crowd. Shanghai Treason High energy and high entertainment, leaving us with a spring in our step leaving the Winter gardens to get some rest ahead of the rest of the weekend. Shanghai Treason were an excellent band to finish the evening on, with a banjo, a flatcap, and some absolute belters, they got the party going and had everyone dancing and singing along. Friday After not enough sleep on a sofa in one of Blackpool’s wonkiest rent-a-flats, we were up and at ‘em again, ready for a day largely centered around the Rebellion Introducing Stage. Wonk Unit Wonk Unit are one of those bands that just seem to have a profound impact on everyone around them. Well known in the London DIY punk scene and across the UK they didn’t fail to draw a substantial crowd in Club Casbah. Tugging at heartstrings with their more introspective songs and with Alex bringing up Aubrey, his daughter, to dance around the stage, they are proficient at leading a crowd through their feelings. Skinhawk Incredibly new to the scene and playing the UKs biggest punk festival already! Skinhawk should be the name on everyone’s lips. Having only played four gigs before being booked to play Rebellion they did not disappoint when on the Pavilion stage. Loud political nerd punk immersing you in their story telling and anger at the world throughout a dynamic 30-minute set. Muddy Summers and the DFWs Taking a break from the Pavilion, we ventured upstairs to the Almost Acoustic stage. The Spanish Hall itself is glorious with beautiful representations of Spanish villages clustered around the balconies and it serves as a perfect contrast to the brash and uncouth (in the best way) deliverings of Muddy Summers and the DFWs. Folk punk, comedy, protest songs, and political commentary to keep you on your toes, they have it all and deliver it beautifully. Skunkworm Another new band, and one of the youngest, on the scene and one to keep your eyes on are Skunkworm! With insatiable energy, great vocals, and inspiring technical knowledge and skills beyond their years, Skunkworm are set to make waves. Despite being more progressive than what a lot of the traditional punk bands and fans go for, they gave the Pavilion their all and impressed us greatly. Rifle “Proper rambunctious oi punk and it's glorious.” - Jez from Skinhawk. Saturday Some days are harder to get on with than others, balancing two full on days, a mega busy Sunday to come, and disabilities makes it difficult to stay 100% raring to go, regardless of how much fun you’re having. But Saturday was still happening and we had to be there to catch some bands! Split Dogs If you need a masterclass in stage presence, Split Dogs are the band to see. Having made their Rebellion Festivals debut just last year on the Introducing stage, they have had an incredible year of grafting and gigging across the UK and Europe allowing them to bring their unique punk-inspired rock’n’roll to the Empress Ballroom. Keeping the energy high and the performance entrancing as Harry struts across the stage, not missing a beat. Irvine Welsh Rebellion isn’t just about the music, it’s about the culture of punk too. Having an entire Literary stage dedicated to talks, panels, and promotion across the weekend makes the festival more rounded and intriguing overall. Hearing Irvine Welsh, Trainspotting author, talk about his new book, his experiences as a young punk in the London scene in the 70s, and seeing Oasis on their recent run of tours, was a fascinating insight into how punk is everywhere and is such an important subculture to take notice of at this point in time. Neville Staple from The Specials Saturday nights are made for ska! The Specials are possibly the biggest English 2 tone/ska revival band of the past 50 years and original vocalist Neville Staple does that legacy justice. Keeping the crowd moving and grooving while leading them through The Specials discography is a sight every ska fan needs to see. Sunday The final day and we were ready to go! With achy feet, fuelled by caffeine and an immaculate day of music ahead of us, we ventured into the Winter Gardens one last time. Clobber Walking out to Freed from Desire by Gala and shouting “What's up Blackpool are you ready for the best sounding band of the weekend?” Clobber let you know where they stand right off the bat. Alternating between hard hitting hardcore and equally hard hitting commentary, “I was asked this week if punk rock has to be political, yes, yes it does [...] if any band this weekend stands on stage and doesn't have anything to say, they're cowards and you should treat them as such.” Clobber delivered a raucous set early on a Sunday, with an even bigger surprise as Charlie Longman took to one knee and proposed to his now fiance, Theresa Vendetta (Jawless), we send our love to them! Bruise Control Truly a highlight of the weekend. Bruise Control never fails to bring it - it being a tiny pair of shorts and a glorious mullet. Outfit choices aside, they are a phenomenal band and have such great energy that spills off the stage and into the crowd. Pits forming and headbanging happening as Bruise Control mash together hardcore, post-punk, and talent for days. Redeemon Ska, metal, punk, skacore? Redeemon are a mish-mash of genres that on paper, shouldn’t work, but hearing live is an auditory treat. Pook’s ability to switch from hardcore screams to trombone playing all while jumping around the stage like he has springs in his shoes and still having the breath to address the crowd should be enough to win anyone over. 8 Kalacas After being well and truly warmed up by Redeemon we were ready for Ocho Kalacas, well, as ready as we could be. One of the best, high octane, engaging, musically spectacular performances of the weekend. Coming from Orange County, California, they fold both metal and Latin influences into their music. Most of their songs are in Spanish, but the message and passion goes beyond the language barrier. This chaotic 7-piece gave so much on stage and the crowd loved every second of their set. Millie Manders & the Shutup Closing out Rebellion without seeing Millie Manders would have been a regret, but luckily our weary bones held us up for one last gig. And what a set it was. Filling up Club Casbah like no other band we had seen this weekend, Millie Manders & the Shutup have such a genuine way of connecting with a crowd and guiding them through the full spectrum of emotions. One of the most outspoken acts on the bill, Millie uses her platform exceptionally well. Musically tight, energy immaculate, and lovely people to boot, we couldn’t be happier wrapping up our Rebellion review with them. Rebellion Festivals are back for their 30th anniversary in 2026 with an insane line-up and a whole bunch of celebrations planned. You can get your 2026 tickets now: https://www.rebellionfestivals.com/buy-tickets Words: Kayleigh Fryer Photos: Kayleigh Fryer

After more than a decade of silence, Modern Life Is War return with Life on the Moon, an album that feels less like a comeback and more like a confrontation with time itself. It is a record of dualities - grief set against moments of joy, absence against flashes of connection, despair against the flicker of transcendence. What makes it powerful is not simply the songs themselves, but the way they contrast and collide, constantly shifting between extremes, mirroring the way memory and emotion intertwine in real life. The opening 'Invocation' plays like a ritual, hushed and atmospheric, inviting the listener into a liminal space. Its quiet eeriness sets a tone of reflection and anticipation, making the arrival of 'First Song on the Moon' even more dramatic. That track bursts in with rocky, Soft Play–style energy, jagged guitars, and dramatic, insistent drums. If the opener embodies absence, 'First Song' embodies presence: a rush of vitality that reminds the listener that the band are alive, restless, and unflinching after a decade away. The emotional contrast between these two tracks - quiet introspection followed by an urgent declaration - becomes a throughline for the album, echoing the tension between mourning and living. Nowhere is this tension more palpable than in 'There Is A Telephone That Never Stops Ringing' and 'Empty Shoes'. 'Telephone' is relentless, propelled by commanding vocals and fast, pounding drums. It captures grief as noise, the suffocating weight of longing, and the anxiety of connections that are never fully resolved. In contrast, 'Empty Shoes' drifts into a ghostly, haunted space, opening with a chilling gust of sound that evokes absence itself. Where 'Telephone' demands attention with urgency, 'Empty Shoes' lingers quietly, almost invisible, yet leaving a deeper, spectral mark. The emotional push and pull between these two songs mirrors the oscillation of real grief - sometimes overwhelming, sometimes invisible - but always persistent. In the album’s middle section, the band balances intensity with eccentricity. 'Jackie Oh No' and 'Johnny Gone' are both narrative-driven, the former jagged and theatrical, the latter gritty and grounded. These tracks bring a sense of unpredictability, like flashes of personality or humour amidst weighty emotion. Then comes 'Homecoming Queen', which softens the atmosphere with bittersweet nostalgia. Its melodic, almost tender delivery is undercut by a subtle unease, highlighting the complexity of memory: joy is never free of shadow. The reimagined tracks add further layers of contrast. 'You Look Like the Morning Sun' glows with hope and warmth, while 'In the Shadow of Ingredion' plunges into tension and shadow, darker and heavier than its earlier version. 'Bloodsport' brings raw aggression, reminding the listener that survival is active and defiant, not merely contemplative. Meanwhile, 'Kid Hard Dub' upends expectations entirely with warped, experimental textures, disorienting the listener and forcing a reconsideration of the album’s narrative flow. Its presence highlights the band’s willingness to explore emotional and sonic extremes, leaving space for reflection. The closing tracks, 'Over the Road' and 'Talismanic', bring the record full circle. 'Over the Road' is expansive and meditative, a slow burn of melancholy mixed with resilience. 'Talismanic' closes the album like a ritual, quiet, reverent, and haunting, leaving the listener suspended between mourning and transcendence. The contrast with the opening tracks underscores the album’s cyclical nature, framing grief, absence, and survival as ongoing processes rather than finite events. Life on the Moon thrives on these emotional contrasts. Loud eruptions are balanced by ghostly silences, nostalgia is tempered with unease, and past songs are reframed to reflect present pain and hope. Modern Life Is War capture grief in all its shifting forms: screaming, silence, laughter, and memory. After more than a decade away, the band haven’t merely returned - they’ve transformed absence into presence, despair into fleeting joy, and pain into a powerful, lasting dialogue. Score: 8/10 Life on the Moon will be released on September 5th 2025 via Deathwish Inc. and Iodine Recordings. Words: Mia Gailey Photos: Modern Life Is War

Where pitch black shadows meet the pale white of snow, Tine lives. Through the growing cracks in the ice, the darkness rises up from its frozen graveyard deep beneath. The one-man-band, led by the mysterious and multi-faceted Count Murmur, has been going strong since 2011, and he shows no signs of letting up. A Winter Horrorscape is soon to arrive on the scene, carrying both the grit and aggression of black metal and the soaring melodies of symphonic metal – through this release, the genres collide in a style that is wholly unique. Opening track 'A Feather from Lucifer's Wing' ambushes us immediately, growled verses attacking us from the shadows. A minute in, we're hit with sinister, occult-like chanting that then leads us into an intense riff. The track carries a strong versatility, a shapeshifter in tempo and style. The next part of this journey brings us to 'A Path Through Frozen Woods'. This track seems to exist to establish the album’s themes through Murmur's bitter frustration at the endless white-blanketed forest before him. It's bleak, frigid, and finding your way out is hopeless. Desolation is a running thread in this release, as we will soon come to find out. 'Ex-Cathedra' ties in an interesting religious element only hinted at through ominous chanting prior to this track. This is where the death metal influences cut deepest, growling roars at every twist and turn. Over five minutes into this eight-minute epic, a soaring instrumental takes centre stage. Before long, Murmur steps back into the fray with his outcry against divine rulers. This track soon finds its polar opposite in 'Return to the Black Forest in Winter'. This is a slower, more melodious track that features guest musician Samantha Bounkeua on piano, strings, and backing choir vocals. A haunting ambience permeates this track, offering a welcome respite from the stygian riffs and demonic vocals. The following track 'The Scathing Blizzard' is disarming at first, leading us to expect more of the same atmosphere, but Murmur's rapid-fire vocals hit us immediately with the harsh depth of the eponymous snowstorm. After almost four minutes, the relentless assault lets up as the track comes to an end and leads us into ‘Triumph at Nineveh’ – an eight-minute aria that brings a contrast to the blackened atmosphere when Murmur's cleaner, soaring vocals come in. The next track, ‘Winter Comes’ is a breath of cold air, a beautiful instrumental piece that exudes the frosty atmosphere of a calm night in the snowy woods. It's shorter-lived, clocking in at only two minutes and twenty seconds, but makes good use of its runtime. Tracks like this are what showcase the musical ability in Tine – to pull off these cinematic orchestral melodies in the same album as blackened death metal pieces is true talent. The final, and title track, ‘A Winter Horrorscape’, shatters the peace with its intense riffs and a howling wind soundscape courtesy of session musician Mark DiAngelo. Through this track, the album's themes are fully realised. The winter is endless, all-encompassing, and eternally shrouded in darkness. The forest is a maze, and in the never-ending white, there is no prospect of finding your way out – death is almost certainly the guaranteed outcome. Murmur finds himself succumbing to the blizzard as the song's final notes ring out, and soon all we're left with is the haunting whistle of the winter winds. A Winter Horrorscape is an album that knows the perilous journey it sets out on, but along the way, much like our protagonist, it begins to lose its path. Tracks like ‘A Path Through Frozen Woods’ and ‘Winter Comes’ stand out, creating a strong sense of atmosphere, but others are destined to fall by the wayside, covered up by the falling snow. When the album does shine, however, it shines bright. Count Murmur's snowstorm of musical elements brings together a flurry of ideas that consolidate into an excellently atmospheric record – this is Tine's best work yet. Score: 7/10 A Winter Horrorscape will be released on September 5th 2025. Words: Naomi Colliar Duff Photos: Tine

The twelfth studio album from German collective Faun is upon us - Hex. Hex is an album with stories to tell from cultures and folklore across Europe and parts of Asia. The term "hex", as you may know, relates primarily to witches and their spells, and comes from the German “hexe”, which this album focuses on - discussing female magic in all forms. Terms such as "hagazussa" have been used by the band before, also meaning “witch”, with a song of the same name released on their previous album Märchen & Mythen in 2019. Over the years, the band have developed a body of work that encompasses a multitude of modern and archaic elements - in this album alone it covers English, Celtic, Germanic, Anglo-Saxon and even Turkish narratives and ideas. The band consists of four vocalists - Laura Fella doing only vocals, with Oliver Satyr, Stephan Groth, and Adaya playing the moraharpa, hurdy-gurdy, and bagpipes respectively alongside their vocal duties. Niel Mitra is the band’s keyboard player, sampler and synthesiser, whilst Alexander Schulz is on percussion. The breadth of ability and experience of these artists is consistently shown with their polyphonic vocals and complex arrangements. Hex is brought to life by 'Belladonna', a tune that introduces the abundance of instruments that is expected from Faun. The traditional folk song structure alongside soaring vocals and hard guitar make it the perfect foundation for what’s to follow. The deep earthy sounds of 'Lament' follow, encapsulating the genre with the droning hurdy gurdy and the melodic moraharpa, whilst the piercing bagpipes carry the tune. This track has the power to transport you to other realms, with the repeated hook of “The Gods receive thy soul”. 'Nimue' features the legendary Chelsea Wolfe, and showcases a percussion led, rock ballad-esque mood to contrast itself with what's come before, whilst 'Blot' follows with a swaying, ritualistic beat that's more in keeping with what would tend to be expected of the group. 'Black Eyed Dog' is a cover of the late Nick Drake, originally released in 1986, and then released by Faun as a single earlier this year. Faun’s rendition offers a jaunty upbeat version of the original but still carries the solemn undertones, with the famous lyrics of “I’m growing old and I wanna go home”. Despite the honesty and darkness of the original, they have been able to create a more hopeful version that changes the perspective into something perhaps more soulful. 'Vals' is a multi-tonal and intricate instrumental based on Swedish folklore, featuring guest musicians Daniel Pettersson and Daniel Fredriksson. Both playing traditional Swedish instruments including the nyckelharpa, and the duo will also be touring alongside Faun for their upcoming tour. The track 'Umay' was originally released as a single in 2023, and it introduces other influences from Turkish folk song. The track includes the guest singer Fatma Turgut, allowing this track to add a different spin on the album's core sound whilst keeping in with the theme of female healers. Umay Ana, the originator of the song's title, is a fertility goddess who protects young children and animals. Turgut’s vocals are rich and hearty, and paint a beautiful picture throughout. 'Alfar' brings the album to a close with a hearty and fulfilling tune that shouts the true Faun-style genre that we’re familiar with. At a surface level, this is a great atmospheric album with a variety of catchy beats and genre- defying moments, but on a deeper level there’s a treasure trove of ancient lore to discover, with each song having a backstory and origin, telling you stories of old that span hundreds of years. For those wishing to dig deeper, there’s a plethora of myth and legend to discover rooted in real stories and folklore. Faun successfully fuses the old and the new together with stunning sounds that prove this band lives and breathes the world they have created. Score: 8/10 Hex will be released on September 5th 2025 via Pagan Folk Records. Words: Danielle Henderson Photos: Faun

Since 1998, the Portuguese death and thrash metal veterans Biolence have served their uncompromising music to the masses worldwide, evolving their sound into heavier and gnarlier with each release. Thriving on stages where they can show their fullest potential, the band is not scared of controversy or criticism, and always looks for a way to push the boundaries even further. Now, with Violent Obliteration, their latest release, the band are on a massive rampage to push the envelope that bit more. The album brings in violent riffs, breakdowns and solos throughout the whole album, where some of the heaviest moments are ‘Heavy Artillery’, ‘Extermination Through Mutilation’ and title track ‘Violent Obliteration’. From gnarly screams to stand-out drums, the songs are energetic, chaotic and make the listeners unknowingly start moshpits in their rooms. While ‘Heavy Artillery’ and ‘Violent Obliteration’ go straight into the guitar action, ‘Extermination Through Mutilation’ has a little recording playing, in what is quite a standard hardcore trope, before hitting those fry screams. Interestingly enough, ‘Extermination Through Mutilation’ is not the only song on Violent Obliteration that has an intro playing before the actual song. The other ones are ‘World Plague’ and ‘F. U. B. A. R.’, songs, that are equally as heavy as the aforementioned. ‘World Plague’ is very energetic, showcasing the instrumental abilities of the members, although vocally the song is not doing poorly at all, as there is a variety of different sounds and techniques going on. ‘F. U. B. A. R.’, on the other hand, is more aggressive, using high-pitched guitar tones. The song starts off a bit slower, before exploding into a big bang of sounds, creating a melody, that is reoccurring throughout the song, giving it a distinctive tone. As the album progresses, it is evident the band is ready to talk about the current situation worldwide. As they stated in their official statement about the album, “This upcoming album is possibly our most cohesive, direct, and violent to date, a nuclear bomb of death/thrash metal, with our signature lyrical themes such as the horrors of war, biological and mass destruction weapons, greed, human corruption, and its destructive impact on the planet,”, and this can be noticed not only in the song titles such as ‘Humanity Executioner’ and ’50 Caliber Freedom’, as well as other songs that were previously mentioned, but also in the lyrics of the songs that correspond to each title respectively. Each track proves that the band is not scared to publicly talk about the ongoing problems and struggles and that it stays true to its word, now more than ever. The urgency of the messages is also highlighted with the band’s focus on death and thrash metal, bringing even more attention to the cause. Last, but not least, the narrative of Violent Obliteration is further elevated with the addition of ‘Intro’ and ‘Outro’ at the beginning and end of the album. Although they are instrumental tracks, both contain sound effects of war sirens, bombing and muffled announcements in the background, with no vocals, that are followed by marching instruments in ‘Intro’ and an eery sounding guitar in ‘Outro’. Although many of the songs sounded very similar, the mission to not stay silent about the crimes of the present was full filled, and it has been done in a way that is urgent, uncompromising and straightforward. The riffs were haunting the whole time, vocals were gnarly, and drums and bass did not have a second to stop and breathe. Even after more than twenty-five years, Biolence once again prove to be an important part of the metal scene, that is always ready to come back with even heavier and more powerful music. Score: 8/10 Violent Obliteration was released on September 1st 2025 via Doomed Records, Raging Planet and Selvajaria Records. Words: Katerina Stepanikova Photos: Biolence

Held on the fields of the Fernhill Farm near Bristol, ArcTanGent once again proved to be one of the most fluctuating festivals of the UK. From metal pieces to folk storytellers, the annual festival offers an outstanding music experience that caters to anyone who likes to be adventurous, as well as just enjoying pieces they already know and love. Featuring over seventy bands across four stages in the span of four days, the options were endless and the memories unforgettable, as there was always something to be up to, even in the multitude of stalls across the whole arena. Kalandra Fans gathered at the Yohkai stage to witness the ritual of the Nordic folk band Kalandra, and it was truly an otherworldly experience. From using the modern instruments such as guitar, bass and drums, to using the traditional Nordic ones, every song offered new sounds and unseen perspectives, surprising the crowd more with blending the two together into beautiful melodies. The band members [find the names] gave the audience everything, from stand-out riffs to otherworldly vocals, on the first day of the festival, and it absolutely paid off with their cheers and admiration of the four-piece. Teeth Of The Sea Starting the set with a bit of beats followed by “Thank you, goodnight” and fans yelling “One more song!” has never sounded better than at the Teeth Of The Sea set. After a little pause, the song started again, and this time received a bigger applause from the audience, signalling the PX3 stage is about to get lit – pun absolutely intended. Throwing together heavy synthetic music, live instruments and vocals, as well as unconventional instruments such as bells, the band has managed to create a unique blend of sounds that creates a soundscape worthy of listening to outside in a massive tent. In return, the audience transformed the floor into a fifty-five minute long rave and appreciated the set in all its glory. WARDRUNA With the tent filling at a rapid pace more than half an hour before the start, Wardruna’s set was bound to be special from the beginning. It was not until Einar Selvik, Lindy-Fay Hella, Arne Sandvoll, HC Dalgaard, Eilif Gundersen and John Stenersen came out, that the whole tent burst into big cheers, only to fall into complete silence when the first notes started. Bringing Nordic folk music and traditional instruments, such as Taglharpa, Bukkehorn and Mora-harp to their British audience, the band has managed to tell the old tales and myths that would otherwise be long forgotten and enchant the packed Main stage tent full of metal-heads. All six members were singing throughout the whole set, with Einar and Lindy-Fay being the leading vocalists, creating haunting and beautiful harmonies. The set included a handful of their well-known ballads, such as ‘Fehu’, ‘Solringen’, ‘Voluspá’ and ‘Helvegen’, and was finished with Einar’s solo-encore playing the lullaby ‘Hibjørnen’, which in his own words was “very fitting”. Maud The Moth Although the first ever Maud The Moth set at the festival was on Thursday early afternoon, it did not stop their fans to have their fill in the Bixler stage. Started as a solo project of Amaya López-Carromero and currently turning into a collaboration of multiple artists, the set brought ArcTanGent a unique listening experience with its incorporation of piano, drums and guitar. Finished off with Amaya’s ethereal voice, it was bound to be one of the most beautiful sets of Thursday from the beginning. As Living Arrows When someone says post-screamo, As Living Arrows is absolutely one of the bands to come to mind first. Crowd went absolutely berserk at the PX3 stage for the band’s atmospheric set, and rightfully, as the band blended all the good stuff from bands like Deafheaven, The Jesus Lizard and La Dispute. The atmosphere was only enhanced by one of the fans blowing out bubbles during the set, making it extra fun to enjoy. We Lost The Sea Australian post-rock band We Lost The Sea has brought their emotional set to the festival’s Main stage and was welcomed with a full tent of fans, who have enjoyed their set to the fullest. The six-piece has created dozens of ambient tracks since 2007, centred primarily around the themes of loss, personal struggle, and the human experience, and has recently released a new album, A Single Flower, as well as celebrating a ten-year anniversary of their album Departure Songs. Creating haunting soundscapes with the help of multiple guitars, drums, bass and keyboard, the band managed to grab the attention of everyone at the Main stage. Lowen The London-based Middle Eastern metal band Lowen has absolutely dominated the full Yohkai stage with its theatrical performance and use of props. Formed in 2017 by the vocalist and folk instrumentalist Nina Saeidi and the guitarist and bassist Shem Lucas, and later joined by the drummer Cal Constantine, the band adopted a Western approach to the Middle Eastern traditional music, honouring Saeidi’s Iranian heritage and her parents, who are Iranian Revolution refugees. The set was striking, bold and a real treat to watch, especially with the incorporation of Arianna Mahsayeh’s beautifully sad cello. Kylesa Kylesa has brought their intricate guitar riffs and dual vocal arrangements all the way from the US after their eight years long hiatus, and has honoured Ozzy Osbourne at the beginning of their set by playing Sweet Leaf as their introduction track, to a pleasant surprise or the full YOHKAI tent. From there, the band continued to amaze with their unforgettable and intricate melodies, vocals and guitar riffs. The band was graced with crowd-surfers and a moshpit, that was gradually growing in size, and it was obvious the fans enjoyed the band’s return as much as possible. Leprous The Norwegian giants Leprous took over the Main stage on Thursday right before the headliner, and they brought Bristol an emotional set full of powerful vocals, heavy riffs and light effects. The set was the band’s third time at the festival, and was packed with emotions, singing and pyro. Fans have sung with their favourite for the entirety of their set, and it is not a surprise they cheered every chance they got, as the band brought on the stage everything they had and did not hold back for a second. Sungazer Blending together progressive metal, djent and jazz on the Bixler stage, Sungazer managed to seamlessly come up with unique immersive sounds that are now their signature. The band was joking throughout the set about the number of time signatures they use and took the time to teach the crowd how to dance to off time signatures, as well as how to count to five, making it a fun experience for everyone, who gathered at the tent, while also played their songs, that just make ones body to move automatically. Battlesnake As the last band slot at PX3 quickly approached, the fans gathered to witness the last UK performance of the Australian force Battlesnake for this festival season. Bringing in chaotic energy from the beginning, the band members did not fall behind with their unforgettable show, as the crowd went berserk with moshpits, crowdsurfers and singing. The experience was only enhanced, when Sam Frank jumped into the moshpit during the set and right into the crowd to surf for a bit, and at the end, when every member except the drummer did exactly the same. An absolute force of nature, Battlesnake’s set was one of the most energetic sets seen on Thursday, if not throughout the whole festival. Godspeed You! Black Emperor Godspeed You! Black Emperor have taken over the Main stage on Thursday, and if the stage tent was expandable, it would absolutely get massive. The band offered the crowd an emotional rollercoaster packed with a mesmerising projection and echoing soundscape, that has not left a single eye dry, and went absolutely in with everything they had. In return, the ArcTanGent crowd showed appreciation to the headliners with their shouts, cheers and massive applauses, that were a solid proof the band has been a staple on the post-rock scene. The second day of the festival could not end better than that and anyone who witnessed this explosion of feelings is bound to remember it for a long time afterwards. Ithaca Our first set of the Friday was the bittersweet farewell of Ithaca, and it was indeed a wonderful experience. Although the band’s time was short, they managed to make this an emotional experience, and anyone lucky to witness this is bound to talk about it for a long time. Staged with the band’s iconic orange colour, the whole tent was buzzing with excitement, grief and moshpits, and it was very obvious that everyone will miss Ithaca’s energetic presence on the British metal-core scene. Envy envy brought their unique atmospheric metal to the Main stage all the way from Japan and absolutely emotionally destroyed the whole audience. It was their first time at the festival and they made sure to give the audience everything they could, from hitting vocals to electric guitars played with a violin bow. The staging was simple, but added depth to the overall performance, which is one of the most memorable and surely iconic of the day. Green Lung Bringing in their English folk-induced metal, Green Lung had a full tent for their Main stage performance, and it was spectacular. Coming to Bristol from London, the five-piece band was a fan-favourite for sure, and it was obvious not only from the crowd's cheers, but also from the band’s interactions, which were occurring throughout the whole show. An amazing performance to witness for anyone who knew the band before, as well as for those who have discovered something new. Between The Buried And Me The American progressive metalcore band Between The Buried and Me took over the Yohkai stage on Thursday, and the tent was packed inside and outside, as it was one of the most anticipated performances of the whole festival. Playing their album Colors in full, the band blended together their signature and precise style with ambient lighting, and gave the audience an unforgettable experience that gave big chills. The band has mastered their ways, and this set was only a reassurance that there are not many other bands that can compete with them. Vower Vower has taken over the PX3 stage as the main support and played, to their big surprise, for a full tent. The post-metal band from the UK has crushed their performance and offered the crowd a heavy and emotional experience, as well as amazing music, only for the crowd to sing their songs with them – to the band’s surprise once again. The set was full of appreciation, gratitude and heavy riffs and lyrics and it was obvious the band enjoyed every single second of it. Frontierer Once again, a much-anticipated band, Frontierer took over Bixler with a force and held the standard very high for the whole hour. From very harsh lighting, that is now a staple of the band, to chaotic music, to climbing up the lightning construction, the performance had absolutely everything and more, and every second was a surprise for everyone, who has not seen the band before. Bold and unconventional, the band trashed the stage with their last performance of the day to pieces and did not look back while doing so. Gost Coming from the US, the mysterious Gost headlined the PX3 stage on Friday. Turning the whole tent into a giant rave, the performer brought his unique blend of synthwave, industrial and metal influences, and served an atmospheric masterpiece. Some of the fans even brought light sticks to the performance, indicating that they were ready to dance until the very end of the show. Gost was an interesting addition to the already stacked line-up and a good choice for Friday night. Karnivool Headlining the Main stage on Friday was the Australian rock band Karnivool, and they did not disappoint. Performing for a full tent, the band, consisting of Ian Kenny (vocals), Steve Judd (drums), Jon Stockman (bass), Mark Hosking (guitar) and Andrew “Drew” Goddard (guitar) has brought their intricate compositions and dynamic sound they are so well known for, together with their atmospheric soundscapes and thought-provoking lyrics. The set was emotional, beautiful and big, and it was obvious the crowd enjoyed it, as they were singing together with Kenny the whole time. By the time the set finished, it was hard to believe it is really over, but exciting to see what the last day of the festival brings on the table. Swamp Coffin Our first set of the last day was Swamp Coffin at the PX3, a three-piece sludge band from Rotherham, England. Bringing in their heaviest riffs right from the start, as well as powerful vocals, the band did not even flinch, and the crowd loved it. The set was energetic, chaotic and really fun to witness, proving that the band is cementing their spot on the British metal scene. Burner Next up was Burner, also at the PX3 stage, and although the band had some technical issues before they started playing, it was all resolved quickly. Serving sick hard-rock punk metal and very big riffs, they were bound to smash their performance, and indeed they did, as the crowd went berserk for them. Showing appreciation throughout the whole set, Burner was a great discovery to witness live. Royal Sorrow The biggest discovery of ArcTanGent, however, was the Finnish dark metal band Royal Sorrow. As this was their first ever performance abroad, it was very special, and the band, as well as the crowd, gave in everything they could. From hauntingly melancholy vocals to atmospheric riffs, and massive moshpits, this set had everything, and it was no surprise the band’s fanbase only went up after the show. Royal Sorrow is also set to support Leprous on their upcoming tour, which only made the fans more excited for their return. Rolo Tomassi Rolo Tomassi’s set at the Main stage was something out of this world. The band celebrates twenty-year anniversary this year, and for this occasion, they decided to bring in live instrumentalists, that only elevated their music to a whole new level. Followed by striking visuals in the background, the band gave their all to this set and it returned back to them with fans singing all the lyrics and singing the ‘Happy Birthday’ song to them. An incredible experience for everyone, who went to see the five-piece on the biggest stage of the festival. God Is An Astronaut Headlining Yohkai with their striking performance, the Irish post-rock band God Is An Astronaut brought its instrumental soundscapes to their fans. Another one of the most anticipated bands, they did not hold back from showing their full potential and played pieces from all their albums. A jaw-dropping performance indeed, as it was fierce and powerful, and the crowd did not hold back with reminders of their love and support of them either. TesseracT It was hard to believe the last headliner is just few minutes away, but TesseracT made sure to make the evening one of the most memorable of the entire festival. Armed with Daniel Tompkins’ raw vocals, as well as two backing-vocalists, the crowd experienced many heaven-like moments, that were only elevated to their highest potential with Alec “Acle” Kahney’s lead guitar, James Monteith’s rhythm guitar, Amos Williams’ bass and Jay Postones’ drums. The lighting for this set was one of the most beautiful as well, and it was obvious the band thought about every single detail. As much as the performance was emotional, it was funny to watch the fans throwing around inflatable balloons and swim rings, as well blowing bubbles, especially in moments when Tompkins just stood on the stage looking straight into the crowd with serious face. This performance stuck with us ever since we were there and it was hands down the best headline set out of the four. As the last headliner left the stage, it was obvious that ArcTanGent once again proved that it is one of the most important festivals in the country, not only for its diversity, but also for the support of smaller bands. The crowd was enjoying every performance held over the fields this year and the passion they brought with them created an unforgettable atmosphere, that is hard to get out of the head even weeks after it ended. Words: Katerine Stepanikova Cover Photo: Artemi Falzon

No Play Festival is around the corner, and what better time than now to get your ticket to support independent music festivals and see some amazing bands. If you are heading to the festival, here are some bands you should definitely check out! Lure In First up, from the Manchester hardcore scene, we have Lure In. Now that the stage splits for the day have been revealed, you have no excuse not to catch at least some of their set if you’re about nice and early. With the release of their debut album, ‘We Are All Going To Hell’, the band have announced a free show playing the full release in Manchester the week after the festival, so it’ll be fun to see what’s in store for their festival setlist as they get everyone warmed up for the day ahead. Demeanour While they may be a new band to the hardcore scene, formed in 2024, you may recognise vocalist Izabel Lavin from Rozemary, another band on this year's No Play lineup, which you should also check out if you didn’t manage to catch them at last year's festival. The talent from this group proves that Demeanour has only one way to go, and that’s up, and it’ll be exciting to see more and more people discover what they have to offer. With the recent release of their EP ‘My Own Fate’, what better timing than now to give them a listen? Omoia There is truly something for everyone at No Play, and Omoia is another band worth getting down early for. This Leeds-based queer emo band has recently released an EP by the name of ‘Anthology’, which you can listen to now if you want to get an idea of what's in store for you. This band is blurring the lines between genres, making it feel entirely their own, by blending the raw and catchy lyrics that you can expect from alt- rock or emo with the hard- hitting metalcore riffs with a lean into melodic post- hardcore. Perp Walk Fresh from Bristol, we have Perp Walk, a band that dips between hardcore and punk seamlessly. After being on last year’s Outbreak lineup, the band have become unstoppable this year, playing multiple festivals this year including of course, No Play Festival. The band’s northern fan base is growing exponentially to match that of their southern fan base and If this year’s Manchester Punk Festival performance is anything to go by, the crowd will likely be just as feral and the band will definitely match this energy as they are not one to hold back, delivering high intensity throughout their performances. False Reality If a thrash-infused hardcore band is what you’re looking for to slot into your day at the festival, look no further. False Reality is making giant leaps in the scene lately, performing at Manchester Punk Festival, Burn It Down, and 2000 Trees just this year, as well as supporting bands like Heriot, Stray From The Path and Stick To Your Guns, to name a few. This London hardcore band is definitely a must see at this years festival as their music is nothing short of brilliant and their energy is unmatched. XapothecaryX London vegan straight edge metallic hardcore band xapothecaryx brought out a new EP earlier this year ‘The Machine Demands Blood’, which includes features from A Mourning Star, Not Without Punishment, Iron Deficiency, and Street Justice, covering themes such as genocide, animal experimentation, and addiction, the name of the EP itself being a reference to the ongoing genocide in Gaza. This is another band that is playing somewhat earlier in the day but you can still expect a high turnout, so get yourself along and join in with likeminded people shouting about the current state of the world. Overpower Bristol thrash Overpower are ready to make some more noise up north. Having previously toured with bands including Obituary, Inhuman Nature and Power Trip, this is a band that knows how to command the stage and get the crowd going. Despite not having any new music out so far this year, Overpower are still expected to put on an immense show, promising high energy, plenty of pits and chaos throughout so definitely save some energy for this one because you're going to need it to keep up. Angel Number Self-described as electrogaze/ ethereal/ altrock, Angel Number is a vocally softer band on this list that still offers plenty of hard-hitting riffs and drums throughout, alongside some fun synths. For Angel Number, it's their second time performing at No Play Festival; however, with their latest double EP release, we can likely expect to hear more from these played this year. Whether this sounds like a bit of you or even if you’d just like to pace yourself between heavier bands, definitely check out Angel Number. Buds. This band should definitely be on your list of bands to see for No Play this year. What’s better than shouting along to catchy songs that lean into emo, punk and hardcore all at the same time? ‘Picking Wounds, ’ their newest release, will have you on your feet, singing and screaming along and will be a fun one to hear live. Regardless of whether you're heading home early and want to catch one last band or if you feel as though the day is just getting started, make sure to catch Buds and release some pent-up emotions. Guilt Trip Headlining the festival are Manchester’s Guilt Trip, a band that’s made a name for themself as a powerhouse of the hardcore scene alongside the likes of Malevolence. Continuing to prove themselves consistently by playing to bigger and bigger crowds, they have built a solid fan base that only continues to grow as they have toured alongside the likes of Kublai Khan, Architects, While She Sleeps and more. Their live shows are a high-energy force to be reckoned with, so if, for some reason, you haven’t checked them out already, it will definitely be worth sticking around for their well-deserved headline slot. Words: Libby Percival

What's better than starting your album with a bit of fry screams? Absolutely nothing, and this is exactly how Mélancolia’s upcoming release random.access.misery kicks off! Bringing us ten new songs, Mélancolia did not hold back for a second while making their debut album with Declan White. Inspired by metal goliaths such as Korn, Slipknot, Mudvayne and Spineshank, as well as giving a nod to Whitechapel and Vein.fm, the Australian quintet created brain-tearing sounds that seamlessly transfer from one to another. ‘ALL_IS_RUST’ acts as the introductory song for the album, setting the scene before the one-two punch of ‘icanseethroughtheholesinmyhands’ and ‘Picking Scabs’. All three elevate the listening experience to maximum, through their gnarly, raw and absolutely merciless atmosphere. While the first two tracks mentioned are all about heavy guitar riffs and drums, ‘Picking Scabs’ incorporates more electronic components, creating a type of music that fits perfectly with Alex Hill’s vocals. In ‘boiler.room’, the listener can hear a different approach to the band’s style. Starting off with a slower melody carried by Joshua Taafe (guitar), Billy Morris (guitar), Toby Thomas (bass and backing vocals) and Mason Page (drums), Hill’s vocals shift from melodic to fry screams, as the narrative quickly changes into heavily influenced sounds. The audience is also met with synths once again, and it seems that this sound becomes the band’s foundation throughout the entire album. Next up comes the two guest appearances on random.access.misery, with only one track to divide them, and not only are they both excellent, they also both incorporate themselves into the style flawlessly. ‘Lithia’, featuring Hunter Young, as well as ‘SPIT!’ with Christopher Mackertich, both offer full blast guitars, drums, bass and screams. Notably on ‘SPIT!’, the listener can hear the clear influence of the likes of Korn and Slipknot, which are incorporated flawlessly and elevate the overall sound of the song. The sudden rap part in the song does come as quite a surprise, but it fits in perfectly - as if like a glove. The feature divider, ‘RoseBloomWrist’, and the titular ‘random.access.misery’ come next, and the band once again do not hold back. Although there aren't many moments in the album when the music quiets down for a bit and leaves space for the audience to process the music and lyrics, Mélancolia put a beautifully haunting bridge in ‘random.access.misery’, with just the backing vocals, piano, drums and synths playing, adding a bit of variety to their debut album and allowing for some much-needed breathing space. The last two songs, ‘Cold Now…’ and ‘…Colder Still’ are arguably the heaviest songs on the whole album. The two-song saga is the perfect ending for such a unique album, as it has everything the listeners need – heavy fry screams, unforgiving drums and punchy riffs, as well as the occasional synths that are only complementary to the overall melody. ‘Cold Now…’ brings a merciless, emotive breakdown, and transitions right into ‘…Colder Still’, which starts slowly, but only to continue with the same intensity as its predecessor and finish the album with a flourish. Mélancolia have put everything into making random.access.misery, and it's abundantly obvious that their emotional lyrics and precise melodies will resonate with their fans. Although sometimes the songs felt like they had too many sounds going on at the same time, the songs are still original, raw and full of unforgettable riffs. The debut album is surely a success, and it only leaves one wondering how far the band can go to push its limits to maximum. Score: 8/10 random.access.misery is coming out on August 29th via Nuclear Blast Records. Words: Katerina Stepanikova Photos: Mélancolia