Aussie absurdists SEX MASK brood beautifully on their debut EP Body Broker, with angsty synths complimenting their raw lyrics that muse on the darker parts of life. Over four tracks, they introduce a gothic indie soundscape, seeped in 80s goth influence, creating the perfect soundtrack to a walk home when 4pm darkness starts to get into your head. Body Broker opens with lead single Cold, a pretty gothic track apparently written when vocalist WRY GRAY was hospitalised after eating frogs and crabs from Japan’s stormwater drains. It’s a pining, spacey track wherein GRAY's vocals strike as being born in singing indie pop over 80s industrial; the worries of this mix melt away as the muttered harmonies in the bridge ring out. To follow is Blisters, which features NOAH LEARMONTH of RADIO FREE ALICE, who they’re concluding a tour with on release day with a sold out London date. Blisters is a true show of GRAY's raw lyricism, covering themes of purposeful isolation and using substances to cope. The hook “I gave up on giving up” is haunting in the song’s climax, matched with the crackly synths throughout that compliment the stop/start chord progression on the guitars; KAYA MARTIN compliments herself perfectly. Curse is the penultimate track, and is the standout on a first listen with its energy boost and equal parts spooky and angsty soundscape. While the dictation in the vocals is spotty, the use of light screeching vocals in the bridge and chorus is well placed variety for the EP and harmonises well with the backing vocals. The guitars get more technical and layered throughout, and the choice to sink the screeching vocals within the instruments and synths adds and attention to detail that makes the track stand out. To close is Dirt, which is initially a hard sell with the folk-rock-style “Huh Hey” to open it, and the vocals falling more into an indie style. This said, the instrumentals are the most guitar focused, creating a piece that feels like SHE WANTS REVENGE mixed with JAKE BUGG - this is a compliment with how well the two mix together throughout Dirt. The main critique would be the hard stop that ends Body Broker which feels abrupt as the tracks to this point have flowed into each other more intentionally. Body Broker is an encouraging genesis for SEX MASK and a perfect addition to a goth’s winter playlist, brooding and angsty while maintaining raw feeling in its lyricism. The only critique that could be levied at Body Broker would be some more variation in VINCENTE MONCADA’s drumming, but even this is balanced with how great their production has turned out. Score: 9/10 Body Broker was released on 26th November 2025 via Unpopular Recordings. Words: Julia Brunton Photos: Carlin Stephenson

It seems as if so many bands are using this time as the year wraps up to travel around the country - and the world - on grand tours, finishing 2025 with a tremendous bang. It's not just tours they're busy with, however, as these recent single releases have us discovering: Bad Omens - Left For Good For the fourth time BAD OMENS have released another mysterious single, seemingly without any sign of an album incoming! In this track the band return to their Death Of Peace Of Mind signature sound for a single that is metalcore greatness. The industrial drums control the track leading you through mellow verses and crashing choruses. Most notably the breakdown brings no mercy with NOAH SEBASTIAN bringing a topline you can easily visualise the fans all screaming and releasing their anger with him at live shows. The single has been added to the setlist of their Do You Feel Love Europe 2025 which is landing in the UK imminently! Words: Amy Smyth Chasing Dolls - Cobweb Bristol crew CHASING DOLLS blend Midwest emo, grunge, and elements of mathcore into a potent amalgam of emotions on first single proper Cobweb, with no half measures nor hesitations. Playing host to the noodling shreds of emo underneath strained, gritty vocals, the track runs heavily on melancholic stylings and feels like a much more accomplished offering than would be expected of a first offering - anyone based in the South-West should keep both eyes peeled for them, as their latest single will be released this Friday! Words: Jasmine Longhurst Converge - Love Is Not Enough God, CONVERGE are brilliant. The seminal metalcore heroes have not missed once yet and clearly don’t intend to, with the title track of their upcoming record blasting the side of the listener’s face into pieces with all the grace and nuance of a speeding truck. Based on the band’s observation that the world is not empathetic enough, the album looks to be just as aggressive as this first single, and will address plenty of social and political issues with the modicum of skill that CONVERGE have. Words: Jasmine Longhurst Des Rocs - The Juice The New Yorkers DES ROCS always bring the best hard-glam with their work, and their latest single The Juice is no exception. If anything, it is a proof of the band’s commitment to create a more in-depth sound than ever. From the band’s infamous guitar riffs to DANNY ROCCO’s raspy vocals, the single is one to bring the listener right into the thick of the action and not let them escape before the last note - although with the single’s energising nature, it is hard to believe anyone would skip even a single second of the piece. Words: Katerina Stepanikova Einar Solberg - Stella Mortua This one is for LEPROUS fans, or fans of orchestral moments in songs. EINAR SOLBERG from the band LEPROUS graces the metal scene with his insane vocal range and beautiful singing with new solo single Stella Mortua featuring the NORWEGIAN RADIO ORCHESTRA. Having the strings adds not only an eerie sense to the track but also gives it a dramatic edge that almost makes it sound like the backing for a show or film. Less noticeable but very welcoming in this is also the guitar played by one of the greats in modern metalcore, PIERRE DANEL from French band NOVELISTS. A perfect release for this time of year. Words: Lucas Grayson Grey Daze - Shadows GREY DAZE was originally best known for being CHESTER BENNINGTON’s main creative outlet in the pre-LINKIN PARK days. Disbanding shortly after the millennium rolled around, and certainly after the vocalist’s tragic death, the band was thought to have forever remained history. However, over the past two years GREY DAZE have slowly gone out of hibernation, drawing in some fresh blood to write and record new music again. Their recent single release Shadows brings the listener right back into the era of 90-00s alt-rock, as if those days never ended. GREY DAZE have set their goals strong this time, and are going to follow their vision on tour in 2026 - and hopefully beyond. Words: Mariia Bulkina Lacuna - Nest Glasgow’s alternative folk-rock sextet LACUNA are back in the lead-up to their much-anticipated December EP Nest, with the first single and title track out now. We’re brought into a relaxing, gentle guitar strum, with a rattling of drumsticks to back it as haunting siren-song vocals soon have us fully entranced. Whispering vocalisations fill the majority of the track, giving us a DAUGHTER-esque atmosphere to sink into as the crashing instrumentals soon take over. There’s no doubt this is one to be witnessed live, and with just this teaser, we’re left wondering what other unhatched eggs are waiting in their carefully-crafted nest. Words: Naomi Colliar Duff Lamb Of God - Parasocial Christ The groove metal heavyweights from ‘Richmond motherf*cking Virginia’ have kindly blessed us with a gift, in the form of new single Parasocial Christ. The song, maybe rather predictably with such a title, considers parasocial relationships in the modern age - namely, the negative effects of them. Of course, it wouldn’t be a LAMB OF GOD track without a plethora of crushing riffs and headbanging drum parts, which luckily are abundant and will bring immense joy to any fans of whiplash. Words: Jasmine Longhurst Megadeth - I Don’t Care Let’s be honest: MEGADETH have always evoked an image of teen rebellion. A picture of stoned skateboarders skipping school as DAVE MUSTAINE whines “Watch him become a god!” through their tinny portable speaker. Their latest single I Don’t Care certainly takes us back to those days of youth, right down to the striking artwork on the cover: vibrant flames fill the background, and the band’s skeletal mascot Vic Rattlehead stands flipping off the viewer. It’s something you’d see on a tacky t-shirt geared towards angsty teenage metalheads. The lyrics are no better: “I don’t care if you don’t like what I say, I don’t care and I won’t obey!” Come on, Dave. Despite that, the instrumental does bring a high-octane energy that almost lets us forgive those words. With their final album on the horizon, we’ve got our fingers crossed tight that it brings the same nitro-fuelled intensity to close off the band’s history, and hopefully, some better-workshopped lyrics. Words: Naomi Colliar Duff MOTHICA - Evergreen Misery The kick off of a new era for alternative soloist MOTHICA is starting with Evergreen Misery, which is the lead singer preparing for her new album landing in 2026. The track is decorated with different genres and electronic elements giving it some modern metal flare. Her buttery voice dances around a repetitive chime in the verses before dropping into a distorted riff packed chorus. The lyrics are extremely catchy and the bridge into the breakdown and final chorus are satisfying and whole-sounding, very well produced and makes us look forward to hearing what her new album might entail! Words: Amy Smyth Svalbard - If We Could Still Be Saved If any band in the UK scene right now will be more passionately supported or more sorely missed by their fans than SVALBARD, please show them to us right now. The devastating post-black metal act have long been known for their direct lyrics, courtesy of scene icon SERENA CHERRY. Now, with a title as on the nose as it is heartbreaking, the band have released their final song, and it’s as brilliant as ever. Over five minutes of brilliantly melodic yet crushing euphoric black metal, with brief expanses of post-rock to temper the mix. Having now finished their final tour, they have but one show left (that we’re aware of) in the UK - next summer’s ArcTanGent. Don’t miss it. Words: Jasmine Longhurst Tanzana - Covet Newcomers to Glasgow’s thriving music scene, TANZANA are making their stunning studio debut with single Covet. From the beginning strums of the track, there’s a slight western edge to the guitar’s wailing tune that sets an ominous tone for what’s to come. Vocalist FREYA TALBOT’s vocals are powerful and arresting, especially when the song hits its stride with the chorus; they’re almost evocative of a doom metal styling, and as the guitars ramp up to the track’s end, the instrumental hits those same marks. With a bold and memorable introduction like this, TANZANA are certainly a band to watch. Words: Naomi Colliar Duff TNL VZN - Hopeless Heart Attack Birmingham’s own mix of emo, grunge and alternative rock TNL VZN continue to strike again with their recent single Hopeless Heart Attack. The composition follows a slower and at times quieter pace, but develops into an excruciatingly emotional experience. Within the first listen, the music gets to possess and fill up all the space around you, even if it is only contained in your earphones. Hopeless Heart Attack talks about family trauma, and how impossible it feels to reckon with its remnants growing older. TNL VZN capture this emotional complexity masterfully, and painfully: "Fill my lungs up with water, I’m just someone’s daughter". Words: Mariia Bulkina Trashed - Regress Filling the void of proper, sad, gritty pop punk comes TRASHED. Since 2019’s first release Waste Away, the trio have evolved through a few sounds and lineups into the one they currently inhabit, as vocalist and guitarist JIMMY EMBLETON-SMITH has acted as the mainstay for the Bristolians. Regress is a simple, sing-along-able pop punk track that’s near perfectly made for a bouncing crowd to joyously chant along to, as with most of their discography, and would go just as hard in a cramped basement as it would at a festival headline slot. Don’t wait, go and see them and embrace every ounce of fun you can. Words: Jasmine Longhurst Ómoia - Why Am I Like This? Hailing unstoppably all the way from Leeds, ÓMOIA come out again with another incredible release. Why Am I Like This? is about the horrendous reality of having to constantly bear with violation and gender-based violence. The narrator expresses feeling hurt mixed with shame, falling into the trap of blaming herself for what has happened. The song alters between fast-paced recitative and melodic cries, ultimately evolving into its cathartic ending: "Just leave me, leave me alone; Don’t you know the meaning of fucking no?" - finally shifting the blame onto the perpetrator. ÓMOIA succeed in building the composition and exploring the topic in its full depth, even with incredibly complex emotional intensity. Words: Mariia Bulkina Editor: Naomi Colliar Duff Photos: Various Artists

Coming all the way from New York, HOTLINE TNT are back in the UK to play multiple shows on their headline tour, with their last UK date landing in London! After a few UK shows at iconic venues, they have returned and made their way around the UK to bring their music to as many fans as possible. The band brings a unique style of alt rock and shoegaze, which has cultivated a particular audience of UK rockers. The four-piece have been releasing music since 2018 and have delved on this tour to celebrate the release of their album Raspberry Moon, which was released earlier this year. The venue was quiet just minutes before the opening act JADE HAIRPINS made their way onto stage. The Canadian Punk Quartet have been slowly invading the hardcore scene with an almost Brit Punk sound, so it's easy to see why the UK crowd were loving it. The room slowly filled out as they got further into their set, heads bopping and feet tapping all across the room. Being a warm up act especially for a crowd on the other side of the planet must be daunting but these guys rocked it, each member bringing their own flair to the stage. The bassist added a particular sound with groovy twangy basslines that added a depth to the live music you might not pick up on as much in the recorded studio songs. The two guitarists dueted throughout the set, layering their vocals to add more texture to the live tracks. Lead vocalist JONAH FALCO extended some of his notes into screams that were particularly impressive and an unexpected addition to the set, with fans in the crowd turning to each other and nodding in approval. As JADE HAIRPINS wrapped up their set, the crowd began to pack in with very few empty spaces remaining, the venue eventually went dark once again and the flashing lights built the suspense as a bassline rang through the room. One by one HOTLINE TNT sauntered onto the stage! Each quickly getting into their spaces as the instrumental built, before starting their opening song The Scene. Their shoegaze riffs bring a nostalgic tone, replicating bands from the 90s and 2000s, putting their own spin on chord progressions that otherwise feel familiar. Throughout their set the band only stopped playing their instruments a handful of times, as they let the songs flow between each other. The gaps instead being filled with a sentence or two were given to a member of the band to fill the silence. They continued their show with hits like Protocol, I Thought You’d Change, and Where U Been, as the members of the band rocked the stage, all of them headbanging and dancing to match the beat. The crowd replied with their own movement and cheering, not one bored head in the house. As the set went on the crowd got more and more lively, and rather than the traditional mosh pit opening up the fans vibrated off of each other, eventually creating the pit. Fans that had seemingly never met before connected through the music, singing the words together and throwing their arms around each other. The songs were easy to sing along, and had even those that might not have known them at the beginning of the track, singing along by the end. The band worked hard to see that all the room was entertained and it paid off. As they reached the last few songs before the encore, they left the stage and the lights went dark, causing the crowd to cheer for an encore. The band came back on and asked which track they should play, it is very rare to see bands actually taking requests, especially on the spot! Song names were shouted from all angles, really showing the fans' knowledge of the band and the demand for more. After denying a couple of fans due to not being quite ready to play the song or not thinking they were the right vibe, they landed on History Channel from their 2023 album Cartwheel. They took a few moments towards the end of the show to talk to their fans and exclaim how important it was to them that everyone in the room was there on their Tuesday night, when they could have been anywhere else. They went on to play Lawyers in Love and Had 2 Try, before finally closing on Trinity. The band got an immense cheer at the end of their set, taking their time to say their thanks before finally exiting the stage. HOTLINE TNT have played many UK shows but as they said themselves, this one felt special. There was a real sense of joy in the room that the music elevated leaving everyone in the room on a high. We hope to see HOTLINE TNT return to London again soon to play even bigger venues to draw in even bigger crowds! Words and photos: Amy Smyth

Islington Assembly Hall was already buzzing long before MIRADOR stepped onstage. Flags and homemade banners were draped over the barrier, waved by fans whose loyalties were split between GRETA VAN FLEET diehards and IDA MAE faithful. You could hear it in the anticipatory screams every time a roadie walked past a mic stand: this was a room full of people who had waited a long time to see what JAKE KISZKA and CHRIS TURPIN would create together. Their debut London show did not just meet the expectation, it set it alight. But first came LADY OF MARS, London’s rising indie-rock outfit whose reputation has been steadily growing since festival season. They walked on with the self-assurance of a band who have worked the circuit hard, and it showed. Their emotionally charged vocals, driving beats, and that glint of late-seventies new wave swagger — landed effortlessly with the crowd. Their frontwoman steered the set with striking control, her voice climbing from smooth clarity into a raw edge that cracked right through the chatter. The guitar work was polished without being sterile, and the bass and drums kept everything tight enough to dance to but loose enough to feel alive. They left the stage to real cheers, not polite applause - not an easy feat in a room waiting for a brand new supergroup. Once MIRADOR took their place, the lights dimmed to red haze, an atmosphere that fit the folklore-and-fire mythology surrounding the band. When KISZKA and TURPIN finally appeared, the room erupted — banners shot up, flags flew and fans screamed. Opening with Heels of the Hunt, they set the tone immediately: rich harmonies, storytelling energy, and an undercurrent of mysticism that felt both familiar and brand new. KISZKA’s vocals were surprising — warm, expressive, far more textured than anything fans might expect. Paired with TURPIN’s rasping soulfulness, the two voices created harmonies that hit like cold air down the spine. More than once the room fell utterly still, caught in those moments where their voices hung in the air with no ornamentation, nothing but the quiet breath between notes. It was the kind of silence bands dream of earning. The tranquility was soon shattered as KISZKA tore into the first searing guitar break of the night. It came like a bolt, ripping the stillness into shreds as Raider hit with stomping blues-rock force. This became the heartbeat of the evening: the swing between entrancement and eruption. One minute you were lost in harmony, the next you were pulled back into earthly reality by a riff so sharp it made the venue tremble. A fourty-five minute long album stretched into a two-hour set might sound ambitious, but this is where MIRADOR truly showed who they are. Instead of padding time, they expanded songs into long, immersive journeys. Each member took their moment to stretch out and show what they were capable of. MIKEY SORBELLO’s drumming was a masterclass in instinct — sharp, precise, driving the momentum without ever overwhelming it. He played with the confidence of someone who knows exactly when to pull back and when to let loose. NICK PINI flipped effortlessly between bass and keys, adding depth and colour to every track; sometimes warm and earthy, sometimes spectral, sometimes pulsing enough to feel through your ribs. During Feels Like Gold and Roving Blade, the crowd sang along with an enthusiasm usually reserved for bands several albums deep into their careers. The banners, waving to the rhythm, catching the stage lights. After a swift costume change they began Fortunes Fate. The room had settled into a steady sway. Fans mouthing every word as if reciting some shared folklore they all somehow knew. The emotional core of the evening came with Must I Go Bound, where everything dropped to near silence. The harmonies were devastatingly delicate, exposed, and so perfectly blended that it felt like a single voice split in two. You could feel the entire hall holding its breath. Then, inevitably, the spell broke: KISZKA stepped forward and unleashed a guitar passage that snapped the room awake again, a surge of electricity running through the crowd. The back half of the set leaned heavier into blues and rock theatrics. Blood and Custard arrived thick and heavy. Ashes to Earth built momentum piece by piece until it exploded and the closer, Skyway Drifter, hit with the weight of a band announcing their arrival and their promise. Throughout all of it, MIRADOR played with a sense of purpose: not a nostalgia act, not an indulgent side project, but a band with its own world. They conjured something that felt both ancient and fresh - through blues rock, folk storytelling, and modern rock urgency. As the final notes faded, the crowd erupted again as the stage bathed in a haunting blue mist. Two hours of grit, grace, silence, thunder, and the kind of musical chemistry that feels almost dangerous. MIRADOR’s first London headline was not just a debut. It was a statement. And the message was clear: they are not borrowing the past. They are building something new. Words and Photos: Evelyn Webb

“Welcome to our funeral”, says vocalist Serena Cherry with a knowing grin. On this final tour with the iconic SVALBARD, the emotions were running high. Multiple sold out dates throughout some iconic UK venues were the host to a tour full of big feelings and even bigger riffs. SVALBARD brought the best the new generation of UK bands has to offer with them for one last ride. Brighton’s finest KNIFE BRIDE opened the night with heavy riffs and high energy. Starting off with the huge riff of ‘sacrifice/surrender’, it got the crowd’s attention immediately. Leading into the softer sections of the song, showed the range the band has with the exquisite vocals of Mollie Clack accompanied by smooth guitar work of Sean Windle. The band showcased how heavy they can be with the breakdown, getting heads banging all over the room. Following up with 2024’s track ‘MELANCHOLIA’ gave the band a chance for the backing vocals of Sean Windle and bassist Craig Glynn to shine alongside their instruments. Between songs Mollie Clack was expressing the gratitude that the band has for being invited on such a prestigious tour around a number of iconic venues across the UK. This tour was an opportunity for the band to play the yet to be released song ‘Crucify’ which was a hit with the crowd, many of whom will likely be eagerly awaiting its release onto streaming services. It was also the live debut for ‘Alone at the Altar’ on this tour, which was released earlier in November and had members of the crowd singing along. Closing on their highly popular ‘FANG DUMMY’ left the crowd ready for the rest of the night. KNIFE BRIDE are going from strength to strength and are on an upwards trajectory. They are a name to keep a close eye on because they have big things in their future. CAGE FIGHT followed and brought the intensity with them. The London band are known for their extremely heavy sound and unrelenting energy. Even with guitarist James Monteith unfortunately having to miss the tour, they still brought their everything. Will Chain, who usually plays bass for the band, filled in on guitar and a friend of the band Dave Runham stepped in as bassist. As if an impromptu lineup change wasn’t enough for the band to deal with, Chain dislocated his knee on the first night and will have to spend the rest of the tour playing sitting down. However, they weren’t going to let any of this deter them from delivering a set full of passion. French vocalist Rachel Aspe was recruited to the band and has proved why she is a great addition, with her visceral screams shaking the entire room for the full set. Drummer Nicholas Plews added to the intensity by hammering on the drums and having a snare tone that can be felt from miles away. The massive riffs and guttural vocals had the headbangers in full effect throughout the whole set. CAGE FIGHT sets feel like a wall of brutal noise reverberating perpetually through every atom in your body. Their recently released singles ‘Pig’ and ‘IHYG (I Hate Your Guts)’ got big reactions from the crowd, showing the excitement for their second album, set to come out in 2026. CAGE FIGHT are proving that they are a force to be reckoned with and will be working towards being mainstays in the scene in the near future. SVALBARD have embarked on this one final UK tour as a farewell to their home country before the band comes to an end. Formed in Bristol in 2011, the band have reached heights many only dream of, and have made this one final send off something to remember for themselves and their fans. Opening their set on ‘Disparity’ from their debut album ‘One Day All This Will End’ had the crowd excited from the very start, knowing that this one final time would be a special one. Lead vocalist and guitarist Serena Cherry jokingly said “welcome to our funeral” to describe the tour, which was met with a crowd member yelling “please don’t break up” back to her, showing that they will be missed after the last run of shows in 2025 and 2026. Moving into ‘Open Wound’ from the 2020 album ‘When I Die, Will It Get Better?’ brought a wave of big emotions and had the band playing their hearts out in every note. Next up was ‘Defiance’ from their final album ‘The Weight Of The Mask’ and the word defiance is a perfect way to describe the band; they have played by their own rules and forged a path for themselves since day one. Their latest and final track, released this week, ‘If We Could Still Be Saved’ is a tribute to the band breaking up and has given the fans one final experience of their unique and colossal sound. The band have never been ones to shy away from difficult topics in their lyrics. They playing a run of songs Serena Cherry described as “being about feeling depressed” gave that raw and honest look into the deep emotions that have gone into the band over the years. However, no matter the difficulties they’ve faced along the way, they still have that passion. They have cited not wanting to end up in a creative slump as one of the reasons for the band having their amicable ending and this is evidence that they were never going to give anything but their all to the music. The haunting and ethereal sound lit up the room for ‘Throw Your Heart Away’ with its slower and melodic outro, giving a moment for the band to gaze upon the crowd for one last show in the city and gave Serena Cherry a chance to give a huge thank you to the fans for showing up for the band over all the years. After almost every song, she was showing her and the rest of the other band members gratitude for the support. Before Serena Cherry could go into her speech about how the band were ending as friends, a hum from the amp of guitarist and backing vocalist Liam Phelan caused some very short-lived frustration between him and bassist Matt Francis, which was promptly joked about as the irony of them having issues but talking about being friends was on full show. Closing out the main set on ‘Eternal Spirits’ gave the fans what they thought was one last chance to enjoy the monumental sound of SVALBARD, and as the band were walking off stage at the end they were met by huge applause and cheers. They came back to give the fans one final song in ‘Greyscale,’ which gave the fans their actual final chance to enjoy the wonderful sound of SVALBARD live and left the crowd sad to see them go but happy to know they had given the band everything since their formation all those years ago. This tour was SVALBARD passing the torch to the new era of British bands as their final contribution to the UK scene. SVALBARD will be missed, but have left a legacy and impact that will be felt for a long time and not go forgotten for many years to come. Words: Alex Long Photos: Jack Norris

“I shouldn’t have worn a tracksuit to a show!”, exclaims FALSE REALITY vocalist Rachel Rigby. Since the release of the London hardcore quartet’s latest record, Faded Intentions, the heat behind the band had been amplified tenfold, and the response sweltered - packing out the infamous Boom Leeds with a horde of sweaty moshers. With her head down and pacing the stage quickly, she has a moment to think before screaming that she’s lost a nail. Joking that “you can’t take the Essex out of the girl”, Rigby sends the room into a blur with hit Reality Slips. This is the true nature of FALSE REALITY, polished to perfection and not meaning to do anything by halves. Tonight, on their album release show, they represent a cohort of shining talent in UK hardcore, supported by SOVEREIGN and DIVINE HATRED. Whilst this show was played for the love of the game, the hardest moshers that night were those in sports jerseys, throwing limbs and crowdkilling with a crazed look in their eyes. Openers DIVINE HATRED were no exception, with the frontman causing a ruckus in his Celtic shirt, prowling around the front of the newly relocated Boom stage like a panther. In the sweat-soaked chaos of their newly released record, Infections of a Pathogenic Message, their sound flayed with lashings of gut-punching guitars and abysmal beatdowns. Sludgy, snarling and cleaved close to the bone, the Sheffield heavyweights started the night off with a very warm welcome to all who wanted to have a moment to dance with the devil. In the havoc of this brutal evening’s proceedings, MLVLTD’s SOVEREIGN arrived at Boom to cause disorder. Rocking up to Leeds with a show already played in Hull, the band’s high energy and brutish attitude stormed through the venue like a bull in a china shop. With the rampaging alumni of HIGH VIS, SPLITCASE and ROUGH JUSTICE, the band has big boots to fill. With a sound reminiscent of the golden age of beatdown, the band had one intention - and that was to cause violence. Within the spirit of making love, not war, the audience had mixed reactions to the carnage that was unfolding on and off stage. In the thick of it all, the prevailing sentiment of the evening was that hardcore is finally getting its moment. Whilst the chaos can be seen on a larger scale with bands like TURNSTILE, SPEED and KNOCKED LOOSE on the path to world domination, the underground has never had this much audacity as it does now. Whilst the path is unprecedented and unimaginable, there is a real fear from local spaces that the genre could lose its authenticity due to the genre’s seismic rise. However, London’s FALSE REALITY proves that the genre can have its punch without losing its polish. Harnessing this power with their latest album, Faded Intentions, has made the band one of its breakout stars. Released only last week, the record stuns with genre-infusing inflexions of thrash and the extreme. Whilst more can be said about this LP in our album review, their celebratory release shows last week lifted the lid on this damaging project to reveal the true humanity bleeding inside. David, Joseph, Louis and Rachel represent FALSE REALITY. Tight as a unit and potent on the packed Boom stage, they storm through Frozen, lacing the crowd with hard-hitting lines and even harder riffs. This is a track laden with cascading guitars, demonstrating Fading Intentions at its coldest. Whilst we didn’t have the brutal monstrosity of Taylor Holmes’ 1915 reading of Rudyard Kipling’s ‘Boots’, featured in the introduction to the record, or the full whimsy of the Planet Caravan-esque vocals during the sung lines on tracks like Reality Slips, what we were given was the ferocity behind the band, gnarly and stripped down to its roots. The breakdowns swung intensely, and the crowd absolutely felt it, scathing in the way they cauterised the skin. By no means was this a fast pit, but it continuously moved with intent and thrived under pressure. By the time they threw in favourites from outside the album, tracks like Pay The Reaper and closer Opposites React, there is a real step up sonically. Complexity and nuance have their time to shine, especially in a live context. Here, the audience really threw themselves into the tracks. Boom has been infamous for being an epicentre of the extreme, and with it’s new location -less of a sweatbox and more of a rage room - it is a space to revolt. FALSE REALITY made no exception, standing up for queer and marginalised minorities.The band reach dizzy heights with the disorder of Snake Eyes and Mirror, an abbatoir of gory sounds There is nothing polite about the band, like the music the energy is close up and personal. Rallying on the UK and European circuit this summer, and adorning HERIOT and CKY with ample supporting artillery, FALSE REALITY have made a name for themselves cultivating the underground. 2025 will be the year of Faded Intentions. Words: Amber Brooks Photos: Kieran Atkinson

If Japan can do something spectacularly, it is with no doubt rock music. And who is a better representative of this ever-evolving genre than the infamous coldrain? Hailing from Nagoya, the band, currently featuring MASATO DAVID HAYAKAWA (vocals), RYO YOKOCHI (lead guitars, piano, keyboards), KAZUYA SUGIYAMA (rhythm guitar, backing vocals), RYO SHIMIZU (bass, backing vocals) and KATSUMA MINATANI (drums, percussion), was founded in 2007, and since then achieved many recognitions. With an ongoing European and UK tour, supporting the release of their latest EP, there is no doubt the band is still on the rise. The five-track EP OPTIMIZE is a perfect summary of the band's expanding style. Although it is short, it does not skimp on vocals, nor does it hold back with the precise sound of guitars and drums. The first song, which is also the title-track of the EP, starts off strong with all the features mentioned, while adding in a healthy amount of synthesis. However, it does not divide much from the sounds they are most known for, resulting into a banger of an opener that brings in the nostalgic feeling of the band’s previous works. Continuing with CHASING SHADOWS, the pace picks up a bit, diving more into heavier guitars and keeping HAYAKAWA’s clean vocals that are complimenting the overall melody. YOKOCHI’s and SUGIYAMA’s guitars are very prominent in the song, and together they create a signature sound that is sometimes followed by the synthesis. Offering a chorus that stays in the listener’s head even hours after listening to it and a bridge that is melodic, aggressive and builds quickly before going back to the chorus, the song is one of the best on OPTIMIZE. The third song of the EP, DIGITOLL, changes the band’s approach to the release, and focuses more on MINATANI’s drums. Coming once again back with swift guitars and synth, that are heard only a handful of times, the sound does not drift away from the similarities with the previous song, making it in contrast not as interesting. INCOMPLETE utilises the band’s signature sound once again, with the help of backing vocals. Apart from HAYAKAWA’s clean vocals, the listeners are also met with his screams that add another layer to the energetic song. Being close to the well-known sound of Japanese rock songs, it is not hard to picture this one as an opening or closing song for anime. The last song of the EP, FREE FALL, combines all instruments, including SHIMIZU’s bass, and creates an aggressively catchy melody, that is bound to bring some good moshpits on the tour. Not deriving from the sounds heard throughout the release, but instead adding even more ear-piercing screams throughout the song, the closing track is a pompous ending to the short journey through coldrain’s world of music. Being just a small drop in the vast sea of their work, OPTIMIZE is still vital, as it is a transition into coldrain’s upcoming new era. The band once again proved that they are still capable of staying relevant, and not only with their new release, but also with the demand for their tour. Although the songs sound majorly similar, there are still distinctive features in each of the melodies that set them apart, creating an enjoyable atmosphere while listening. Score: 7/10 OPTIMIZE was released on 24th October via Century Media Records. Words: Katerina Stepanikova Photos: Jesse Kojima

BAD SAM’s new album Trauma lands with the force of a derailed freight train, all jagged metal and unfiltered rage, but what sits underneath all that racket is a pair of artists who have spent decades turning chaos into craft. The Newport duo, consisting of DEAN BEDDIS and RICHARD GLOVER, have stripped back their operation down to its barest components: one voice carved out of social frustration and lived history, and one musician responsible for the dense, warped engine driving everything forward. The result? A record that’s punk in instinct but refuses to colour inside those old outlines, a collision of garage rock, industrial abrasion, and spoken-word tirades that teeter between gallows humour and genuine despair. The opener, Emotional Hostage, sets the tone for the rest of the album. We hear a twitching riff, drums that thud like heavy machinery, and BEDDIS pacing through thoughts about nostalgia, self-delusion, and the false comfort of “the way things used to be”. It’s not a song searching for solutions, it’s more of a warning flare that’s bright and bitterly aware that nobody’s bothering to put out the fire. Pedigree Poor narrows the scope, taking a stark look at financial instability with a sound that feels splintered at the edges. There’s an almost documentary bluntness to the way it sketches a life squeezed by systems that were never built for survival, let alone comfort or lavishness. GLOVER layers so many textures beneath the vocal that the track becomes a kind of sonic pressure cooker, as if the noise itself is trying to break free from the conditions it describes. From there, the album quickly loosens its grip on traditional punk forms and wanders into stranger territory. The Van channels the spirit of vintage protest hip-hop, filtering it through the grime of a damp Welsh rehearsal room, resulting in something equal parts tense and propulsive. Meanwhile, The Monsters Dance leans into the album’s wilder imagery with a swaggering, almost carnival-like vibe, conjuring up images of an unsettling parade you can’t look away from. It’s a grotesque hook, as well as a warning shallowly buried under satire. Silent Death cools the temperature a little, as it dissolves into cold synth shadows and a pulse that feels almost suited for a club dance floor. It’s far from providing respite though, instead unsettling listeners precisely because it suggests movement while singing about stasis and decay. Then, recently released single Popcorn and Blood plays like a dystopian sideshow, turning the idea of spectacle into a deformed entertainment economy, unnervingly tying right back into what the duo explored on The Monsters Dance. This sits perfectly before Perpetual Consumption, which circles the record back to unrelenting, direct critique: framing consumerism and overconsumption as structural violence, designed to make us destroy ourselves from the inside out. The final trio of tracks closing Trauma out are uncompromising, circling right back to a more traditional punk framing. Turn You Off distils the album’s frustrations into something lean and combative, almost like BEDDIS and GLOVER are pausing the wider social commentary to address a more personal kind of burnout - the mental drain of living in a constantly connected world. Salute the Media follows with even sharper teeth, openly antagonistic towards the way narratives are crafted and weaponised in the modern age. BEDDIS pushes his delivery into a taut chant, repeating “salute the media” in a harsh mockery of how compliant people are expected to be, and often are. The closing song, Tupperware Death Party, ties everything together with a kind of grim celebration. The mood feels strange, half mocking and half mournful, soundtracking a cathartic end without much thought for the aftermath. The track cuts out a little abruptly, with the last half-minute dissolving into a wash of ambient noise, something between wind, far-off detonation, and empty space. This feels very deliberate, leaving the listener suspended in that uneasy hush which suits the dystopian world it’s been describing all along. Trauma’s willingness to sit in discomfort is what makes it so gripping. BEDDIS and GLOVER aren’t polishing political frustration into marketable slogans; they’re tracing how it feels to live inside this pressure. The record’s raw production amplifies that mood, though it does come with drawbacks. A few tracks bury sharp lyrical ideas beneath so much grit that they sometimes lose a bit of that sting, and there are moments where the intentional roughness turns more murky than meaningful. However, even with those flaws, this record stands out because it refuses passivity. It’s confrontational, grimly satirical, and deeply aware of the structures grinding people down. In a landscape where political punk now often opts for smooth outrage, BAD SAM insist on abrasion. The scratches are the whole point, and the moments of unresolved quiet at the end make their argument louder than any final shout could. Score: 7/10 Trauma will be released on 28th November 2025, via Property Of The Lost Records. Words: Zuzanna Pazola Photos: Bad Sam, Clwb Ffoto

A sea of black band shirts waits outside The Underworld for Conjurer’s biggest ever sold-out headline show. The tension with fans is palpable as tonight the lineup is a trio of brilliant live bands: the brilliant Conjurer, Pijn and Death Goals. Opening tonight is queercore duo Death Goals, providing heavy riffs and a positive message. The duo take to the stage and the audience is hit with the bands pure energy. Encouraging the crowd to dance and have fun without hurting anyone, the crowd head bangs, spin kicks and moves along with every heavy riff. For a half-hour set, they give everything they can into a performance built on intensity and sincerity. Towards the end of the set Conjurer’s Dan Nightingale joins on vocals for one song showcasing the band’s love of the heavy music community. Next to take the stage is post-rockers Pijn. Their stage setup is unique, being built on just 3 lights surrounding the band. It’s not every day you see a metal adjacent band feature a cello , but Pijn makes their unique sound work. Their sound is about building on an initial atmosphere to a crescendo of power. The band works as one instrumental unit with every instrument responding to every other. The band keeps building throughout the set every song showcasing what the band can do. Pijn have a long legacy with Conjurer as they created the supergroup Curse These Metal Hands. Seeing both bands separately show’s what they both brought to the project. Pijn know their sound and have created their own place in music. Tonight’s headliners are Conjurer, playing their biggest ever headline set to a crowd of dedicated fans. As soon as they hit the stage the sensory overload begins. A dense mix of metal accompanied by some of the most intense lighting possible in a small venue. The band create their own world on the stage. The initial hit of music leaves the crowd standing in awe till the third song of the night leading the crowd into a frenzy. The crowd explodes intoa ball of energy. The band is heavy but it’s not just one dimensional, they explore almost every avenue possible within metal. It’s extreme and beautiful. The band forms a wall of sound that attacks the crowd with a nonstop onslaught of power. The band do not slow down for the entire hour and a half they are on stage. Every song is played with musical excellence, and the lighting makes everything retain that chaotic edge that creates a perfect metal set. The band sound like no one else and the crowd loves them even more for it. The band don’t do encores instead the final song of the night ‘Hadal’ is dedicated to someone in the crowd who promised to get a tattoo if they played it. The band is in sync with the audience for every second they are on stage. It’s Conjurer’s gig. They have made their place in metal. the set is a showcase of everything they have achieved so far and is likely the moment before they become massive. Conjurer are a must see band live for a dose of everything great in metal. Words: Will Freeman Photos: Amy Smyth

NOWHERE2RUN’s surprise release, BLOODRAVE, feels like an invitation down a staircase most people don’t notice until the bass leaking through the concrete gives it away. JAMI MORGAN and ERIC “SHADE” BALDEROSE have built something that sits several floors beneath the neon polish of mainstream techno music. The EP conjures the atmosphere of a sleazy, sweaty, underground industrial club, the kind where the air tastes metallic and the lights never settle long enough for you to get comfortable. It doesn’t just present that world though: it lives in it. Both musicians have long histories with density and distortion. Their work in CODE ORANGE pushed heavy music into hyper-modern shapes, and that same instinct for total sensory control carries over here, only rerouted through different wiring. NOWHERE2RUN pulls from industrial, techno, soundtrack design, and club culture, translating those influences with the precision of two artists who understand physicality in sound. Listening to this EP makes you acutely aware exactly how sonic pressure can affect the listener, and how noise can tell its own kind of story. Opening track Dance Till You Bleed, featuring rising UK electronic artist NIMDA, pulls you into that current with a pulse that feels ritualistic rather than decorative. Warning follows with a mantra that circles back on itself: “warning” / “it’s not just a signal, it’s a warning”. The phrasing is blunt, but the delivery lands like a distressed transmission. Paranoia twists that tension tighter, building into something perfectly fitting of its name, while the title track, Bloodrave, opens with a bright, hypnotic melody that slowly warps as its layers accumulate - a sound that starts almost innocent and ends unrecognisable, as if bent out of shape by the environment around it. Machine is the moment where the EP exposes its moving parts. Midway through, the track seems to seize with beats skipping, momentum sagging, everything juddering as though a system error has erupted inside the mix. It’s an interruption that feels fittingly mechanical rather than human, and when the track snaps back into motion it feels like something has been forced back online. That single fracture adds a sense of instability that lingers through the entire EP. Alt-pop star SIIICKBRAIN’s appearance on Floodlightz fits the record’s colder edge without softening it. Her voice arrives like a whisper caught between strobes: quiet, eerie, almost drifting out of phase with the instrumentation. She threads through the mix like someone leaning close in a room full of noise, as if she’s haunting the chaos around you. The Exit brings the experience to a close with a steadier rhythm that feels deliberate after the EP’s earlier volatility. The name is literal in a way that isn’t cliche. It’s the sound of stepping away from the sensory overload, weaving through the final corridor of a club where the walls are still vibrating from everything that came before. After all the rhythmic churn and distortion of the previous six tracks, there’s something fitting about ending on a piece that feels like you’ve finally located the door and are pushing it open into cooler air. By the end, BLOODRAVE feels less like a collection of songs and more like an engineered environment, a space with its own logic, atmosphere, and gravity. MORGAN and BALDEROSE are no strangers to folding cinematic ideas into their work, but here that influence feels particularly structural. The EP moves with the tension and release of a move score, though stripped of narrative hand-holding and pushed into something far more physical. BLOODRAVE is full of layering, but never comes across muddled. Synths snarl and scrape, fragments of sampled voices surface and dissolve, and strange technological shivers drift across the sonic field. There’s a lot happening at once, yet the mix has enough negative space for each texture to matter. Each element is masterfully calibrated to generate that mesmerising, continuous flow you fall into almost involuntarily. What’s most compelling about this EP is that, on paper, it should seem incredibly niche: an abrasive blend of industrial, noise, and techno from members of a boundary-pushing metal band. Yet the execution feels surprisingly accessible, not because the music is softened or tailored for a mainstream audience, but because its identity is so fully realised. It has the unpredictability of a Boiler Room set where the DJ tests the crowd’s tolerance, but with a darker backbone and a sharper sense of design. It’s distinctive enough to hook listeners who crave experimentation, and cohesive enough to pull in those who don’t usually venture this far into the underground. BLOODRAVE succeeds because it doesn’t mimic a scene, it builds its own. Score: 9/10 BLOODRAVE will be released on November 21st 2025. Words: Zuzanna Pazola Photos: NOWHERE2RUN

On his day off from The Confessions of a Sinner tour, NATIVE JAMES sat down to take stock of the rapid recognition of his sound, being a vehicle for making memories and using music as a mode of community. “We were able to do two stages in one day, got an encore the first time on the second stage”, he told OOR when the conversation turned to their double Glastonbury sets this year. “We weren't expecting the love we were gonna get.” Photo: Cameron Dickson He continues, “That was a highlight, actually. I’m a big Queen of the Damned fan, I put the sound in the set as an intro, and there was a kid and his dad had them on his shoulders in the middle of this circle pit as we’re playing this song! It was so wholesome…it’s nice to be part of a core memory of like a father and daughter like “remember when…” The Confessions of a Sinner tour is the second time NATIVE JAMES has hit the road, taking a supporting spot for HYPHEN earlier this year. He muses about watching him perform, “as well as seeing what he does on stage - you get inspired and take little bits from their own set and fuse it into your own.” “It’s a big move”, Native James reflects when asked about moving from support to headliners, especially at this early stage…being able to be on tour now is crazy.” When the comparison to playing local shows came up, he adds, “When I did grime, I did [play local shows]. I’m more like out, like - I’m playing like Exeter and Cornwall…you don’t want it to be too common to play in your hometown.” Thinking wider, he said, “I’m not doing this for my hometown to love me - I don’t expect anything, and we’ve been given love by other people…I love the shows because you get to see people how they really are: when you’re able to give people a room where they can take the barrier off and be themselves, and they don’t care” Native James supporting Pengshui in Exeter earlier this year - Photos: Ollie Hayman The namesake of the tour is fresh EP, Confessions of a Sinner, the exposure of which being another point of pride for Native James during the project’s genesis. “The hype’s been good! We’ve had people like ENTER SHIKARI like it, we’ve had messages from SOFT PLAY and stuff like that…it's crazy, even DON BROCO. It's been mad that people have just liked the way that we’ve done this, especially fly away. Alyx Holcombe (BBC introducing rock) shout out to her” “I think it’s one of those ones that are gonna take a while to sink in and then it will start to expand because I’m seeing it at the shows and it’s expanding now” he says, in conversation about the EP itself “it’s only been out a month and for the music we've dropped and what we’ve got for next year like..you’ll see. Big things coming. Thank you to everyone that's streamed” The favourite is DWYW: on its surface, a thrashy “fuck you” style track, but in its lyrics is where NATIVE JAMES finds joy from finding those who get it. “People are only now listening to what the lyrics are," He grins, "they're getting gas of the hype - the story is mad - obviously the quote is the famous quote off Alister Crowley, 'do what thou want, do what thou will.' He was an evil guy, an evil guy really, he was moving mad!” For the future, NATIVE JAMES is looking for collaboration “I’m open to collabs at the moment - I’ve been speaking to a couple people at the moment who do like certain types of music…in my brain I’m just like there’s like certain sounds that I can’t do but I know that that person can do it. If I can fuse certain bits here and there, I know that I can do it.” “I know that this next instalment will be…nuts, it’ll be rage, it’ll be emotional”, he finished, but had no clues as to what, when, and who, but he knows it will be chaos. Sitting down with OOR just before the final two stops of the Confessions of a Sinner Tour - before two sold-out shows in London and Bristol - he gives us the final words and sums up where he is, “I feel great! I didn’t really go into it with expectations, but as soon as we started, the people have really shown out for us and have really come and just wanted to just have fun and have a good time. We’ve done that for them. I wasn’t prepared for people to go this crazy, and they have” NATIVE JAMES comes across as humble, almost starstruck by the speed of his own rise in the alternative scene. His gratitude for the strength of feeling around this project emanates, and even more so on stage. From the outside looking in, it feels like the beginning of something great. In short, we’re seeing the future of Nu-Metal, and it is bright. Words: Julia Brunton Press Photo: Cameron Dickson Live Photos: Ollie Hayman

Emerging from the heart of Germany’s alternative scene, SEVEN BLOOD arrive with their debut album Life Is Just A Phase, which feels less like a first step and more like a cathartic eruption. Having already earned support slots alongside genre heavyweights like KITTIE and CONQUER DIVIDE, the band’s ascent is unmistakable and this record will surely propel them even further. Born from a shared moment of personal crisis, SEVEN BLOOD channel their pain into purpose, crafting a sonic refuge for listeners navigating their own emotional wreckage. Life Is Just A Phase is a deeply personal collection of tracks that trace the divergent life paths of the band with each song full of raw emotion and unflinching honesty. Their sound is a potent blend of metal and emo-core, both heavy-hitting and highly melodic. SEVEN BLOOD fuse driving basslines, gripping guitar riffs, and ethereal synth textures into anthems of vulnerability and resilience. Heavy hitting single House ≠ Home throws the listener straight into the vibe of the album, with truly emotional lyrics sung by vocalist AZARIA NASIRI, with a mix of heavy but harmonic instrumentals. Propelled by a chorus that erupts with “I wanna see this hollow life burn, This house is not my home anymore”, this is a cathartic introduction to what's to come. Cold Eyes confronts themes of mental and emotional clarity, backed by a strong back up of screamed vocals. It is a brutally honest track that captures the moment of clarity when it’s time to walk away, “Misery loves company, But I will depart”. No Breakout delivers a mix of heavy riffs and a harmony of vocals and guitar. The track leans heavier into screamed vocals, accompanied by a sharpened edge, with lyrics like “Emotions turning grey, I watch all the colours fade, I fear no one out there”. Another single from the album, Monsters provides the listener with a great harmony of bass, guitar and drums, where the vocals of AZARIA NASIRI and the screams come together with raw, unified intensity. Hourglass is a slightly more chilled track on the album, but the strong chorus remains powerful, landing impactfully with each line. This is a song with a clear SPIRIT BOX influence, with the electronic layer coming in rather unexpectedly. A more drum heavy track, debut single Killing From The Inside hits with power lines like “A parasite grew under my skin, Eating my character from within”, telling the story of being confronted by the sociopathy of others, leading the track inward in self-examination. Another song already revealed into the world, To The Unknown starts with a mysterious synth guitar beginning but erupts with heavy riffs and an even heavier drum beat. Driven by lyrics like “I surrender to the unknown, I’m not afraid to drown and die”, the track is SEVEN BLOOD at their most vulnerable, confronting moments of unease and uncertainty, channeling raw emotion into anthemic honesty. Not Your Misery returns to the electronic sound heard earlier in the album, and again flares into more heavy drum beats and bass notes, with a melodic vocal chorus from AZARIA NASIRI , “I am not your bloody misery, I am so sick of your games, Time for my glorious victory now”. As We Bleed is another great example from SEVEN BLOOD of how talented they are at creating harmony between the vocals and instruments, heading towards the end of the album with ferocity and passion, returning to some of the electronic sounds heard earlier. Strangers unexpectedly slows things down compared to the surrounding songs, but returns to earlier vibes with a heavy hitting chorus “Forget the memories, forget you and be strangers again”, and starts the descent to the end of the emotional ride of Life Is Just A Phase. The closing track, Fall From The Sky shows a clear focus on the vocals of AZARIA NASIRI backed up with heavy but complimentary instruments, and slows down the album to a stop. With a sound that is similar to LACUNA COIL and SPIRIT BOX, the debut record from SEVEN BLOOD is a bold statement. Heavy riffs and soaring melodies frame lyrics that rise defiantly from a backdrop of struggle, making this a release worth celebrating. With recent appearances on the German dates of the AS EVERYTHING UNFOLDS tour, SEVEN BLOOD are not just making noise, they’re taking space and making it their own. This is a band destined to rise; they’re ready to dominate the female-fronted alt-metal world, just you watch. Score: 8/10 Life Is Just A Phase will be self-released on 21st November 2025. Words: Lou Viner-Flood Photos: Seven Blood