For those looking for a feelgood party album to soundtrack languid days at the beach, relaxing in the sun with friends, Ritual Decay is not going to scratch that particular itch. The long awaited full-length debut from Toronto sonic destroyers lowheaven follows on from their critically acclaimed Collapse EP unleashed on the world two years ago and brings their bleak vision into sharper focus, albeit one swathed in pitch black darkness. Given that the band came together during the devastating background of a global pandemic, this was never going to be a project full of optimism - but rather than forced smiles and saccharine positivity, the quartet captured the zeitgeist and bring something that’s incredibly powerful in its sentiment and honesty. Comprising vocalist/guitarist Dan Thomson, Mikey Buchta on vocals/bass, guitar/keys player Alex Pley and Pat Pajak on guitar, the outfit have managed to blend elements of post-hardcore, screamo, blackened noise, and metal into something that has the sense of the cinematic. Not what could be described as an easy listen, Ritual Decay stands as a jaw dropping achievement in sound, weaving an intense atmosphere that, whilst crushingly heavy, has moments so beautiful that they would bring angels to tears. Built around the feeling of a rotting society and the psychological toll that takes on the individual, the whole is ushered in by opening track ‘In Grievance’, the brutality of the music and Thomson’s almost otherworldly vocals coming from the absolute depths of despair. The switch to clean delivery of the lyrics is striking and give a momentary peak of bright light as the song moves into the soft of huge and sweeping vistas that Placebo have made their own before descending into a barrage of chaos. The wrecking ball impact of ‘Chemical Pattern’ hits next before the fascinating ‘Cancer Sleep’ feels like an eternal battle to the death between Jekyll and Hyde, the two trying to tear each other apart as an apocalypse rages that threatens to consume all life. Following the splintered ‘Nothing Else Frail’, album centrepiece ‘Amherst’ unfurls languidly and proves to be arguably the most extraordinary piece the quartet have achieved thus far. Spacey in feel, there’s an incandescent beauty here that continues to grow into something truly huge and stunning, all the while focused on touching a different part of the soul. Such is the power of this, it’s ideal to purchase the vinyl edition to allow the opportunity to pause before carrying onto the second side - but for those who chose the digital version, it's just a few minutes to recover before continuing onto the turmoil of ‘Mercy Death’ and the truly titanic ‘Fucking Hell’. The pace doesn’t dip from that moment onwards and as the tsunami of sound that is ‘Fighter Valley’ and the moshpit filling ‘Violence’ press on towards the close, the gloves are truly off as the production by Brett Romnes brings a ferocious intensity to every note. Positively dripping with threat, album closer ‘Manic Grace’ balances a tightrope between pain and pleasure in the most sinister way possible, eschewing a cop-out of a happy ending that would have dampened the album’s impact. Despite the overwhelming darkness, there’s certainly some catharsis here but this is due to the optional ability to step back as an observer, witnessing from far enough away not to get sucked into the black hole. An album to truly explore and get to know, preferably with headphones on, Ritual Decay is an extraordinary achievement. It sounds stunning, and frankly marks lowheaven out as a truly special act indeed. The material may be bleak, but their future is ironically bright. Score: 8/10 Ritual Decay is released on August 29th 2025. Words: Paul Monkhouse Photos: lowheaven

This week, Sydney hardcore legends No Apologies make a powerful comeback to the scene with the release their eagerly awaited album Life. New releases usually spark a familiar buzz of anticipation, but with Life the excitement carries extra weight, as it marks the band’s first release since their 2007 debut Survival. After such a long wait, the pressure to satisfy long-time fans while engaging a new hardcore audience could be immense - but Life shrugs off those concerns from its opening notes. It’s immediately clear that the sonic chemistry of the founding members Pete Abordi and Peter Bursky - who have been collaborating since the late 90s - as well as the rest of the outfit; Andres Hyde on drums, Chris Wilson on guitar, and Patrick Taylor on bass, is not only still known and felt, but stronger than ever. With its unflinching exploration of grief and loss, Life offers a real and raw portrayal of life and death. Hardcore - a genre built on emotional harshness, intensity and catharsis - provides the perfect sonic landscape for such themes. ‘Womb/Birth’ kicks off with anticipatory abstract guitar tones layered over the echoes of a didgeridoo, a subtle but respectful nod to the aboriginal people of Australia, a notion that No Apologies are consistent with across their work. Breaking the atmosphere with thrashy guitar riffs that the band have been known for since their inception. Lyrically this album takes us through the darker sides of grief, but with this opening track there is a sense of pride, Abordi stating "From here to eternity, I will remain". We pick up pace moving into the title track for the album, the first of many on the record designed for the release of a circle pit. The opening sentiment is one that stands out - "When I’m in the ocean, I’m with you, it doesn’t matter where", before moving into the chorus with "Life goes on!" Abordi shared on social media that the lyrics include direct quotes from his late father, a loss that shaped the album in its entirety, solidifying the track as a bittersweet insight into the ways that lost ones remain with us and what else is left to do once those we love have moved on. ‘Time’ opens with the visceral ticking of a clock, immediately hitting us with chunky all-consuming riffs. A momentarily sludgier tempo that forces a moment of pause, as Abordi declares that "Time heals nothing". The following track ‘Illness’ keeps the energy high, blending melodic guitar motifs with lyrics that explore the nuances of human morality. Flipping the album tonally on its head, ‘Palliative Tomb’ stands out as a beautiful landscape of comfort in the journey of emotional turmoil throughout this album. A crashing outro demonstrates the expansive feeling grief leaves with you, longing for healing. Moving into ‘Loss’ and ‘Hollow’, we return to the fiery temper of the album and No Apologies thick and thrashy roots, an impenetrable reminder that they are more than deserving of Australian hardcore veteran status. We move into ‘Grief’, the first of two iconic features on the album. The steady and syncopated pace feels perfect for Jem Siow’s (Speed) iconic vocals. Leading into ‘Eternal’, a brief chaotic track featuring another iconic voice of hardcore, Todd Jones (Nails, Carry On, Terror) guaranteed to get the most apprehensive of fans moving if they, by some miracle, haven’t already by now. The album leaves us with ‘Peace’ which has a resounding sentiment of resilience in finality, setting intentions for the future of the life long journey that grief takes you on, with the guttural final lyric of "Hope!" as the guitars play us out. Life is an album that stays true to No Apologies sound, 18 years on from their debut, whilst demonstrating a maturity that only comes from experiencing some of the darkest breadth of emotions of the human experience. Life is a solid contender in today’s dynamic and thriving hardcore landscape, and following their upcoming run of Australia shows we hope to see No Apologies hitting venues further afield so that hardcore fans all over the world can experience the range of emotion on display the way the genre is best enjoyed - from the pit. Score: 9/10 Life will be released on August 29th 2025. Words: Georgia Grant Photos: No Apologies

Hardcore isn’t just a genre, it's also an attitude - and no band encapsulates this like Baltimore’s End It. With their explosive debut album Wrong Side of Heaven, the band have very much cemented themselves as heavy hitters within the hardcore scene. The fast, angsty and candid delivery mixed with the exploration of themes surrounding politics, ethics and integrity within the hardcore scene make for a truly classic hardcore album. Having reached success with their single ‘New Age Slavery’, which features in Tony Hawk’s Pro Skate 3+4, the hype surrounding this project is real. Wrong Side of Heaven is a true representation of classic hardcore in the modern scene, and the whole album feels like a real love letter to the foundations of East Coast US hardcore. The title track, and opener of the album, is an incendiary track that acts like a volcanic eruption upon first listen. The thrash influence immediately makes itself known through the work of guitarist, Ray Lee. With an intense two step part that almost summons your feet to tap along and riffs that are instantly reminiscent of classic hardcore bands like Maximum Penalty and Inside Out, this song sets the perfect precedent of what’s to come out of this album. No doubt, a very strong opener from End It. ‘Billion Dollar Question’ allows the raw and angsty delivery of vocalist Akil Godsey to take centre stage within the sonic landscape of the track. The groovy rhythms of the song are evocative of Trapped Under Ice and the lyrical themes explored within the track are fierce with lines like "Who must die to keep you in your luxury?" Throughout the album, End It stays true to the values and ethics of the hardcore scene. Hardcore always has been and always will be radically political and this theme is at the forefront of this album. A track that highlights this perfectly is ‘Anti-Colonial’. The abrasive and candid lyricism on this song is incredibly impactful within the global political context of the moment. Lyrics like "There’s no reason for these children to die today" are a clear and powerful commentary on the multiple genocides happening across the world. The lyrics, paired with the melodic flow of Godsey and the groove centred instrumental, create an undisputed banger and a real stand out on the album. Just when you feel like you have the record figured out, the penultimate track, a cover of Maximum Penalty’s ‘Could You Love Me?’ offers an almost jarring juxtaposition to the rest of the album. The soulful clean vocals offer something completely different from the rest of the album which is a welcome change of pace. Godsey’s vocal delivery is perfect and really reminds the listener of why they fell in love with the genre in the first place as well as introducing a new generation of hardcore fans to the classics. Again, the band shows great admiration for the early titans of hardcore and this particular track really serves as a love letter to hardcore. Closing the album is the behemoth track, ‘Empire’s Demise’. Another absolutely radical and unapologetic politically charged song. The song offers a critical commentary of the ongoing political situation in the United States. An intense and thought-provoking anthem that is incredibly true to End It, both sonically and lyrically. A particular highlight would be the line "250 years. Empires can not last. I hope the end comes quicker than that", which sums up the feelings of an undoubtedly large portion of their fanbase. The bouncy drums in the track are perfect for a live environment and will undoubtedly get the moshers going, whilst the outro of the track is a cacophony of sound with an intense swirl into insanity. A perfect close to this project. The production and mixing throughout the album are also stellar, with the band having worked with legend of the scene, Brian McTernan who has worked with countless artists including Converge, Turnstile and Angel Du$t. Wrong Side of Heaven as a whole feels like a critique on the global political climate, as well as serving as an admiration of hardcore as a whole. This album has the foundations to solidify itself as a genre-defining album, even when it's so reflective of its influences. We're so excited to see what this project brings for End It and would highly recommend a listen to this fast, passionate and cohesive project. Score: 8/10 Wrong Side of Heaven will be released on August 29th 2025 via Flatspot Records. Words: India Akca Photos: End It

Zatokrev have been consistently pounding out doomy epics for the past two decades, releasing their eponymous debut in the mid-2000s on the pioneering metal label Earache Records, and are about to release their upcoming LP, Bring Mirrors To The Surface, with Pelagic Records. Their career has been an exploration of their musical skills and creativity, within the parameters of their metal realm. Over the years, they have created a sound they can deliver with finesse and dedication, building a rich and detailed ambience of darkness, and aligning themselves in the vicinity of industrial heavy metalists Neurosis and sludge/proto-grunge Thou. ‘Bring Mirrors To The Surface’ follows the bands gradual move to a more atmospheric sound with a decidedly more introspective lyrical focus from their previous releases. “An album in which to truly lose oneself, these songs provide a candle in the dark, an arcane map, providing directions to the tearing down, and the painful realizing, as a means to metaphysical freedom”. Throughout the album they show us the reach of their repertoire, deploying it in each of their monumentally long tracks saturated in moody tones. The sub-text evokes the depths of some hellish cerebral landscape in which they are searching, drawing on the darkest and sludgiest recesses of metal. A standout track is ‘The Only Voice’, an intensely delivered sea of noise with a heavy start, bypassing the long atmospheric build-up employed in some of the other tracks. The vocals are a strained mass blaring out a bitter recital - "A shattering wave of abandoned beings overwhelming grief, unchosen natural equation". A six minute track that shifts in and out of melodic phases, playing with scales gives a lightness that lifts the final moments. The band has been open about the struggles faced in their lives which have given space for the album to come into being, guitarist and vocalist Fredy Rotter contemplates, “Our new album, completed in 2022, reflects a time of profound change and resilience. It's a testament to how challenges were overcome and new beginnings were embraced, both personally and creatively”. The shortest track, ‘Faint’, is full of dynamic riffing and power chords which feels like even more of a release than some of the other more intense tracks. The energy of the song feels like the band are having some fun, playing with the levels, thrashing out at full speed. It has a distinctive Rage Against the Machine feel, particularly with vocal intonations, shouting whilst shredding. A real thumping track that has us losing it and moshing out at our desks by the end, as it descends to a brief, sci-fi warble. A very satisfying pallet cleanse between the vehement darkness. Previously released single, ‘Pearl Eyes’, is full of rippling guitar riffs and power chords. The vocals flip between a straining/screaming black metal style into a creepy singing voice and back again. It’s all building towards one of their epic crescendos, but with a hard and fast finish. In other places on the album, the tracks have a gradual fade out that can last up to a minute, which can be an interesting effect and does feel very purposeful, but in all honestly, it can get stale at points. It is perhaps an inevitable consequence of being surrounded by the majesty of the Swiss Alps, but Zatokrev really deliver an album of epic proportions, from the ambient layers and big stadium riffing, to the eleven minute long final track - these guys are taking their time and they know how to get their point across. Score: 7/10 Bring Mirrors To The Surface will be released on August 29th 2025 via Pelagic Records. Words: Alana Madden Photos: Zatokrev

On August 29th, Kiwi indie-rock quartet The Beths will be gracing us with their latest album, Straight Line Was A Lie. Known for their bittersweet blend of depressing lyrcisim and infectious pop hooks, the band, having formed back in 2014 as a group of tight-knit university friends, have carved out their own space in the scene. With a discography stretching back to 2018, acclaimed chart-topping hits such as ‘Expert in a Dying Field’ and support slots alongside huge artists like The National and Death Cab For Cutie, the anticipation for this album was always going to be high. The album continues the bands exploration of upbeat sadness and lyrical honesty, but with a much sharper thematic throughline. “Linear progress is an illusion”, lead singer and songwriter Elizabeth Stokes explains, with that sentiment truly rippling throughout the record. Across 10 tracks, Straight Line Was A Lie swings between exuberant indie-rock and stark vulnerability, creating a sense of a journey that is both playful and intimate. The title track opens with a breezy summer sound that thoroughly masks its existential undercurrent. Its refrain of “round again” underlines the central theme of the frustrating and cyclical nature of progress. The follow-up, ‘Mosquitoes’, drastically slows the tempo and swaps the brightness of the opening track with minimalist self-loathing. Beginning with a stripped-back production before the full-band crashes in after the first chorus. It closes with the gentle sound of running water, acting as a sonic nod to the “creek” frequently referred to across the song. Avid followers of the band will recognise singles ‘No Joy’, ‘Metal’ and ‘Mother, Pray for Me’, Of these, ‘No Joy’ stands the strongest, combining addictive punchy drums, tumbling riffs and layered harmonies in a comical lyrical contrast, which is what The Beths do best. ‘Metal’, while catchy, does feel somewhat generic in the context, paling next to ‘Mother, Pray for Me’, which plays like an overheard phone call. It is undoubtedly one of the most intimate moments on the record. ‘Til my Heart Stops’ is a standout track. With unsettling distortion unlike what they’ve done before and a ghostly atmosphere, it feels as though it charts the fragility of life itself. It climaxes with a harmonious repetition of “in the rain” before cutting off abruptly, which could be taken as a chilling musical metaphor of a heart-stopping mid-beat. ‘Take’ jolts the momentum back into the album, with a driving, furious bassline complimented by impactful drumming and the records most exhilarating guitar solo. ‘Roundabout’ continues the high energy of the previous track, featuring a well-utilised violin in the outro, acting as a surprising delight. The later tracks build on the atmospheric experimentation previously explored. ‘Ark of the Covenant’ unfolds slowly, opening with subtle static sounds. It utilises a gentle piano and later, echo effects to create something haunting and truly cinematic. The closer, ‘Best Laid Plans’, offers a seemingly sunnier resolution with jangly guitars and a buoyant rhythm, though the inclusion of a voicemail buried in the mix lends it a beautiful and bittersweet feeling of unfinished business. Its extended runtime does, however, soften the impact of what may have been a more powerful ending. Overall, Straight Line Was A Lie doesn’t reinvent The Beths' sound, but that’s not what it set out to do. Instead, it simply refines what the band does best: combining self-aware lyrics with vibrant hooks of indie-rock. Themes of mental health, cyclical struggle, and resilience are woven carefully into each track, ensuring that both casual listeners and longtime fans alike will connect with the music. This September, they’ll be bringing the album to life on their UK tour, which is a perfect reminder that while progress is never linear, it can sound glorious. Score: 7/10 Straight Line Was A Lie will be released on August 29th 2025. Words: Chloe Sodeau Photos: The Beths

Costa Rica’s atmospheric industrial black metal project DUSK, active as a full band since 2016, has built a reputation for marrying extreme metal’s raw force with electronic experimentation. Their latest EP, Repoka, condenses that vision into a snappy 15 minutes, delivering four tracks of retro-futuristic violence that feel both mechanical and otherworldly. Rooted in industrial grit yet sharpened with cyber metal intensity, Repoka is a short but jarring experience, thriving on disorientation, dread, and the uneasy thrill of staring into the abyss. The opening track, ‘DARK SHAMAN .2.25’, wastes no time establishing a suffocating atmosphere. Within seconds, listeners are dropped into what could easily pass for the score of a futuristic horror game, with layers of metallic synths and unsettling sound design working together to conjure a lingering sense of dread. It’s a sound that doesn’t even fully feel human, not only setting the tone but also defining the EP’s trajectory: hostile, immersive, and deeply disquieting. From there, ‘DEMONS BE DRIVEN .2.25’ amplifies the chaos. The track begins with a chilling spoken-word sample of a clinical voice diagnosing “schizophrenic psychosis”, and another replying, acknowledging hallucinations and experiences they know aren’t real. What makes this moment so unnerving is the almost laidback, matter-of-fact tone in which it’s delivered, as if discussing the mundane symptoms of a cold. That calmness makes the plunge into shrieks, blast beats, and electronic punishment that follows even more jarring, as though the listener has been pulled into a fractured psyche. The juxtaposition is haunting, and the track’s seamless transition into the next piece ensures that the central section of the EP unfolds as one relentless, overwhelming experience. The next track, ‘DIRECTIVE7 .2.25’, represents perhaps the clearest intersection of this EP’s industrial and blackened tendencies. While mechanical textures echo throughout the whole record, they take centre stage here. Pulses of synthetic rhythm and metallic clangs dominate the track, creating the impression of being swallowed by some vast machine. The sheer weight of the electronics completes the sensation of inhabiting a world where technology has replaced humanity. It’s claustrophobic, and executed with a precision that makes it a highlight of the record. The finale is where Repoka risks alienating listeners, but also asserts its boldest move: a cover of Slayer’s 1986 classic, ‘Raining Blood’. Rather than attempting to match the original thrash metal sound, DUSK twists the track into their own sonic language. Blast beats remain, but the thrash riffs are mangled by glitchy electronic surges, and wrapped in cyber metal atmospherics. Purists may balk at the liberties taken with this track, but there’s absolutely no denying its uniqueness. By reframing a metal staple through a lens of industrial menace and futuristic distortion, DUSK ensures the EP closes with an unforgettable statement. In terms of production, Repoka feels intentionally unstable, choppy, and abrasive. This EP is meant to disorient and drag the listener into a space where music becomes indistinguishable from nightmare. For fans of experimental sounds within the industrial and atmospheric black metal spheres, this approach will be exhilarating. For the uninitiated, however, it may come across as more punishing than enjoyable. At just four tracks, Repoka is unfortunately brief, but its intensity lingers well beyond its runtime. DUSK have crafted an EP that thrives in extremes, with equal parts mechanical precision and chaotic distortion. It’s a record that challenges as much as it rewards, and in doing so secures its place as one of the more intriguing releases of this year. Score: 7/10 Repoka will be released on August 29th 2025. Words: Zuzanna Pazola Photos: DUSK

Australian guitar pop duo Royel Otis are back, bringing with them their sophomore album hickey. Fresh off the Reading and Leeds main stages after performing to two packed crowds, this album feels like a love letter to those early years of adulthood. Covering heartbreaks, relationships, and finding yourself, this album rides the waves of emotions that every late teen and early twenty-something goes through in their lives. Following their swift rise to fame after viral covers of 'Murder On The Dancefoor' and 'Linger', this album feels like Royel Maddell (guitar) and Otis Pavlovic (vocals) have stepped into their 90’s grunge Nirvana-meets-Fleetwood Mac phase to release this album full of sun-drenched vibes and woozy riffs that are endemic of the duo’s signature style. Opening with the ironically titled 'I Hate This Song', it's a heartbreaker of a song layered with an easy listening composition that is an ode to those that can’t listen to songs anymore because it reminds them of an ex. It’s a great start to an album and really showcases what’s to come with the rest of the record. You're then thrust straight into the controversial single 'Moody'. For those unaware, this song garnered some controversy online due to its questionable lyrics, including “my girl’s a bitch when she’s moody”, and whilst it definitely feels that it leans into the angsty adolescent stereotype, it may have gone a bit too far with that idea. The song did hit the charts, but the juvenile lyrics resulted in the pair having to make an apology. 'Good Times' and 'Torn Jeans' continue to showcase the simplicity of this album. Soft beats, day-dreamy vocals, and head bopping songs that just feel perfect as a soundtrack for sitting on the beach with friends or dancing in a sun filled festival field. 'Car', 'Jazz Burger', and 'Dancing With Myself' also fall into this category of easy listening songs, with each of them seamlessly moving from one to the next. Whilst it’s always good to lean into what you know works and what the fan base enjoys, it can sometimes get formulaic and can sometimes feel that a band are playing it safe. With more songs fitting this category than not across the LP, it’s a shame to see the duo not try and challenge themselves much musically with this album, as you can see that they have poured their hearts into it lyrically. 'Who’s Your Boyfriend' is one of the top tracks on the album. The track sticks with the recognisable style of riff that they've got down, but adds some slightly different drum beats, whereby it almost feels like a rebellion of sorts on this somewhat musically similar album. Similarly, the 80’s synth riff driven 'More to Loose' is a stark contrast to the head nodding songs that both precede and follow it, with its drums moving to the forefront of the song. Whilst Royel Otis have created an album that the fans will love, it almost feels like they have taken the easy route. Whether this step is one that allows them to grow their fan base before they start to challenge themselves musically, or simply just the direction they wanted to take, remains to be seen, and likely won't be fully figured out until their next release. However, hickey is a great album to head bop and dance to for those cool kid festival vibes, even if it ultimately lacks the depth needed to stand out and become that bit more memorable. Score: 6/10 hickey will be released on August 29th 2025 via OURNESS and Capitol Records. Words: Laura Davies Photos: Royel Otis

From Belgian alternative shoegaze band Slow Crush comes Thirst, the follow up to the critically acclaimed predecessor albums Aurora and Hush. Before heading out on a UK tour this October, Slow Crush, consisting of vocalist/bassist Isa Holliday and drummer Frederik Meeuwis, along with guitarists Jelle Ronsmans and Nic Placlé, will be dropping their haunting new album, with promises of exploration of yearning, emotional erosion, and the lingering sorrow of connection. Thirst is an emotionally charged release, breaking a new ground of vulnerability for Holliday, and bringing dreamy vocals and heavy riffs through each track. Whilst the lyrics to the opening track ‘Thirst’, the first single release from the album, are simple, they are also deeply poetic, and vocalist Isa Holliday delivers each line with passion and emotion, surrounded by a wall of reverb-laden guitars and an intense atmosphere. ‘Covet’ starts in a way you wouldn’t expect; with simply an acoustic guitar, but soon crashes into the gloomy vibe that follows through to the rest of the tracks. The unexpected elements continue with a saxophone solo which strangely doesn’t feel out of place; ending the song on a high. ‘Cherry’ starts as it means to go on; with the song being another one released as a single, it doesn't quite hit as hard as the songs before or after it but the dreamy vocals compliment the loud guitar backing, with an accompaniment of some heavy riffs and even heavier drumming. ‘Leap’ is the anomaly in the album; starting slow and quiet but building into a crashing release of emotion from Isa, with whispered tones and crashing guitars. The track delivers more of the passionate lyricism found through the entire album. ‘Hollow’ is potentially the dreamiest track on the album; reverb heavy, but vocally soft, demonstrating Holliday’s soothingly melancholic tones, but closes with a complimentary cushion of extra screaming in the background. Track six ‘Haven’ is a quintessential shoegaze song, with a well-executed fusion of the genre and emotional contrasting sounds. ‘While You Dream Vividly’ is another single already released into the world; another lyrically uncomplicated track, backed by a wall of heavy guitar distortion. ‘Bloodmoon’ follows, with backing vocals welcoming us to the track, with a quiet middle section of the song preceding a crashing end to the song, with Holliday’s emotive vocals soothing the listener. Instrumental track ‘Ógilt’ delivers a brief intermission from the weighty cascade of emotions you will feel yourself experiencing throughout the album, then leads perfectly into closing track, ‘Hlýtt’, delivering a triumphant, powerful end to the album, with heavy riffs and the complimentary screaming vocals in the background, closing off an vibrantly gloomy but powerful track list. On the face of it, Thirst appears to be an easy to listen to, uncomplicated composition, but when you listen more closely, what may be lacking in extended lyrical content, is enhanced by the sheer emotion that every line is delivered, and every beat played. This album is an ethereal dream, where you will be transported to a place of gloom but will relish every note. Score: 9/10 Thirst will be released on August 29th 2025 via Pure Noise Records. Words: Lou Viner Photos: Slow Crush

Few names are as synonymous with power metal as Helloween. If you know the genre, you know the band. Over the course of this year and throughout what's still to come, the seven-piece German group have been celebrating their 40th anniversary, and if we were to write out the band's accomplishments over the decades, we'd reach their 50th by the time we finished the list. These titans of power metal have weathered storms, trekked through hell, and now they're travelling across the cosmos with their newest release, Giants & Monsters. Almost ten years ago, a long-awaited reunion came about, and a lineup change brought back historic vocalists Kai Hansen and Michael Kiske. This new album is their second studio-recorded LP featuring the two alongside Andi Deris. With that all said, the band needs no further introduction. The music speaks for itself. Helloween waste no time at all, jumping into the album with the earworm of a track 'Giants On The Run', starring powerful, soaring vocals and a dynamic versatility that keeps listeners on their toes through the six-and-a-half-minute runtime. It's immediately clear what to expect with this release: intense, high-strung riffs, and the familiar ageless vocals that run through their history. Trifold vocals are a regular occurence in this LP, featuring frequent trade-offs and collaborations between the contrasting styles of Hansen, Deris and Kiske. A standout is 'A Little is a Little Too Much', a track that comes bursting out of the 80s with its electric axe riffs and memorable, chant-like chorus. It pulses with energy through its frenetic shredding, a mainstay in our minds despite its shorter length among the others. Conversely, 'Into the Sun' takes a step back from its high-speed predecessors. Instead, we're met with an emotional power ballad led beautifully by Kiske and Deris. Their vocals meet in a soaring, melodic storm as they ask themselves "Can we live forever?". We believe through Helloween's everlasting legacy, they just might do so. Lead single 'This is Tokyo' is a long-time-coming anthem devoted to Deris' love for Japan, dedicated to the country on account of it being the origin of his first successes. A powerful chant runs through the track, the city's name a repeated shout that begs for stadium sing-alongs. 'Universe (Gravity for Hearts)' follows immediately after, the longest track on this record. It clocks in at an intense 8.5 minutes, and in true Helloween style it gives us no room to breathe, packed with relentless speed passages. It features writing by guitarist Sascha Gerstner, and brings a powerful message: in the infinity of the cosmos, there are boundless possibilities, and nothing is ever out of reach. These themes are further emphasised in 'Under the Moonlight' as Kiske sings through the chorus about dreams coming true, and finding infinity in the stars. It harkens back to the 90s/early 2000s era of Helloween, with its hard rock edge and melodious verses. 'Majestic' closes the album with a brief spoken-word segment that reinforces its theme: the dreams you believe in can be made real. This is accompanied by a slow build-up before we're reintroduced to the crushing guitars and the eponymous chants that make up the track's chorus. Halfway through, it brings us to a slower vocal section, though almost immediately Dani Löble's clashing symbols and fierce drumbeat kicks in and brings us back into the battlefield with guitars duelling for dominance. This is all seven members collaborating in perfect unity, each bringing their best for this vast, monumental epic that certainly lives up to its name. Giants & Monsters is some of Helloween's best work yet. An electric release destined for the stars that proves that despite their long-standing career of forty years, they haven't lost their touch. Some tracks are sure to have a place in a "Best Of" compilation ten years down the line, while others may end up being considered deep cuts, but overall it's an album that carries the band's distinct mark in every song. If they retain this level of quality with their future releases, as beautifully sung by Kiske and Deris earlier in the album, like the stars above, their legacy can truly live forever. Score: 8/10 Giants & Monsters will be released on August 29th via Reigning Phoenix. Words: Naomi Colliar Duff Photos: Helloween

Welcome to Rage Reviews: Recent Releases! Here, we'll be covering some of our favourite recent singles for your convenience, so you can see what we thought was worth a listen! So, without any further ado, please enjoy our first selection with 11 of our favourite tracks from the last couple of weeks or so. A Killer’s Confession - Heart Shaped Box A Killer's Confession have delivered their new single, 'Heart Shaped Box', a cover of the classic Nirvana track. This song will be featured on their forthcoming album, Victim 2, which is set for release on September 19th. The band's version delivers a powerful, expansive and cleaner sound with standout drums and solid guitar. While the cover is an interesting take on the original, the low-pitched vocals are too auto-tuned and mixed too prominently, overpowering the rest of the track. A more subtle use of these vocals would have created a more raw and haunting feel, which felt lacking compared to the original. Words: Katherine Russell Agriculture - The Weight The ecstatic sound of Agriculture is back, in a deeply changed form. Gone are those halcyon days where their music would bring an emotive tear to the eye, on 'The Weight' the queer black-metallers are turning up the rage factor to mine every last inch of anger and grit they can muster - at least for the first five minutes, before an end that's every bit as powerful but far more melancholic. As the second single off of upcoming album The Spiritual Sound, it's made an impression and certainly appears to be setting us up for an altogether more abrasive record than the last - but if it's all as good as this, not a soul will mind if it's a tad less tear-inducing. Words: Jasmine Longhurst Bad Omens - Specter Bad Omens have returned, and taken the whole fandom by surprise. Not only have they announced an upcoming EU and UK tour, entitled the DO YOU FEEL LOVE tour, but they've also released a new single titled ‘Specter’ that sees the band exploring unknown territories. The single combines the band’s signature soundscapes with electronic components, creating a unique listening experience that is deeply complementary to Noah Sebastian’s melancholic vocals. With the rumble of Nick Folio’s drums and the swiftness of Nicholas Ruffilo’s guitar, the song has prepared the band’s fandom for possible new lore in the future. Words: Katerina Stepanikova Castle Rat - Serpent Sinister wizardry meets doom metal in Castle Rat's newest single, 'Serpent'. This is the latest revealed track of their fittingly-titled sophomore album The Bestiary, to be released in September, and it's a perfect, ominous omen of what's to come. Groovy guitar riffs and eerie basslines are duelled by melodic vocals as Riley Pinkerton, aka the Rat Queen, leads a sung-through tale about the eponymous serpent. Before long, the audience are brought into an intense instrumental section that's captivating and spellbinding. As the track comes to an end after an electric three minutes, there's only anticipation left in the air as a question remains: what does the next page in this book of beasts hold? Words: Naomi Colliar Duff Death Goals - Even a Worm Can Turn ‘Even A Worm Can Turn’ is the second single released off the forthcoming EP, Survival Is An Act Of Defiance, from the queercore London legends, Death Goals. Chaotically monumental, the sound explodes out of this briefest of metal tracks. Erupting with relentless energy, it has a visceral sense of urgency, vibrating with anger, screaming out “Queer lives forever”. It is not a warning, but a rallying cry, letting us know there is nothing meek about this turning worm, as it convulses hard against the systemic boot on all our necks. With an imminent UK tour beginning at the end of the month alongside HIRS Collective, and one later on in the year with Conjurer, their upcoming EP release on the 29th of August is about to go off! Words: Alana Madden Joyce Manor - All My Friends Are So Depressed Indie rock icons Joyce Manor are back with their first single since 2022, and it's definitely one to remember. ‘All My Friends Are So Depressed’ diverges from their normal sound with a catchy, easy listening chorus, somewhat reminiscent of The Smiths, that's sure to rope you in on first listen and leave you reaching for the loop button. If this is what they've come out of the gates with, we can't wait to see what else they've been cooking up over the past three years. Words: Josh Brown Kid Kapichi - Stainless Steel Kid Kapichi’s new single ‘Stainless Steel’ marks their first release since a recent lineup change ahead of a UK tour this October, and it’s a strong comeback that proves the band hasn’t lost their bite. Rooted in their trademark working-class frustration, the track channels the everyday struggle of keeping afloat in a society obsessed with “always reaching for that higher social status”. The refrain that we’re “not made of stainless steel” but of “blood” and “bone” lands with raw honesty, highlighting the toll of modern pressures. Musically, it’s stripped back and unfussy, but that simplicity works in its favour, making it a punchy and infectious track with great potential to garner a rowdy crowd during live performances. Words: Zuzanna Pazola Millpool - High Speed Pursuit ‘High Speed Pursuit’ is the debut single from London’s Millpool, a maximalist mash up of jazz and post-hardcore, a combo which on paper leaves us a little wide eyed, but intrigued for sure. The track uses bass and percussion to build a snappy breakbeat with noughties jazz riffs; a clean, smooth backdrop in contrast to the unprocessed vocals, a rousing energetic yelling, à la Henry Rollins/Black Francis/Slint. It’s not the same originality heard in the experimental distorted vocalists around at the moment, Gilla Band for instance, but it is definitely convincing, with its own energy and grit giving an effortless edge to the single. We are excited to hear the full EP One Last Midnight, due for release in October 2025 via XVI Records. Words: Alana Madden No Apologies - Grief, feat. Speed Sydney hardcore champions No Apologies team up with legends Speed for an amazing single in the lead up to their new LP Life, releasing August 29th. ‘Grief’ lives up to its name with its hard-hitting lyrics detailing Pete Abordi’s struggle after his father passed away. With the combination of outstanding guitar riffs and gut punching lyrics like “I wasn't there to watch you leave, I wish I could have been and it's killing me”, this is definitely one to see live and get involved in the chaos. Words: Josh Brown Still In Love - Preserve & Cherish Still In Love are building up towards their debut album Recovery Language in September, and what better way to do so than with a pummelling melodic hardcore track featuring Architects’s Sam Carter? The Londoners are already garnering a reputation for pulverising live shows, and the energy they’ve fostered there has been perfectly translated into the distorted, gritted-teeth atmosphere of their new single ‘Preserve & Cherish’. Biting guitars writhe in amongst grimaced vocals and precisely powerful drums, as the sub-three minute long track gasps from verse to breakdown and finally eases its grip upon your eardrums. Words: Jasmine Longhurst Zetra - The Angel Cries British force of the Gothic Zetra is at it again with their fresh single ‘The Angel Cries’, that came out with their latest EP Believe. The rock duo, consisting of Adam Saunderson and Jordan Page, brings in dark guitar riffs, precise drumming and loads of beautiful vocals, that only highlight the heaviness of the lyrics. Finished off with synths that go seamlessly with the rest of the instruments, the song offers a pleasant listening experience that is complemented gently by Saunderson’s emotional guitar solo. Words: Katerina Stepanikova Editor: Jasmine Longhurst Photos: Various Artists

The Brit and Mercury award-winning band Wolf Alice have returned with their fourth album The Clearing, the first release after signing with the major label Columbia. Written in North London and recorded in LA with producer Greg Kurstin, this album embodies a collection of songs full of emotion, wide-ranging vocals and dazzling instrumentals, clearly inspired by classic rock and pop from the ‘70s. ‘Bloom Baby Bloom’, the lead single, captures the essence of the album in terms of sound and draws the listener in with honest lyrics about personal evolution, brought to life by frontwoman Ellie Rowsell’s impressive vocals, which blend perfectly with the electrifying instrumental. Following the nostalgic vibe instilled by the opener ‘Thorns’, it feels like an energetic boost. The song is well-thought-out with every section brimming with emotion, from the guitar solo to the drums and lively piano; it’s an anthem for navigating the chaos of life while becoming the truest version of yourself in the process - “But I’ll bloom, baby, bloom / Watch me and you’ll see just what I’m worth”. One thing that can be expected from the listening experience of this album is a deeply cinematic atmosphere, with ‘Passenger Seat’ being one of the tracks contributing the most to this. Little details, like the sound of a car engine in the beginning and the static of the radio, paint a really clear road trip visual in the head of the listener, while the story unfolds through the lyrics, abetted by crunchy guitars. 'Play It Out' follows right after with its ballad-style piano, being one of the more tender and intimate tracks on the record. It finds Rowsell contemplating the future, touching on the spectre of motherhood, family and making peace with what might come through such lyrics as “When my body can no longer make a mother of me / Will I change my notion of time”, or the line “In sickness and good health / I promise to love and cherish myself”. The album closes with the other two singles. 'White Horses' brings drummer Joel Amey's vocals to the fore for a soul-baring moment when he reflects on his family's history and the desire to belong, accompanied by a spellbinding guitar riff. 'The Sofa' is somewhat soothing, feeling like the end of a movie where the main takeaway is that sometimes dreams don't come true and that is alright. In the words of Ellie Rowsell, "It's about not trying so hard to figure everything out, reflecting on getting older and trying not to agonize over things that have or haven't happened in your life". The bass line of the song is comforting, creating the perfect ambience to float along to and just exist for a while. Reflecting on themes such as the ageing process which comes with embracing change and the uncertainty of life, The Clearing is a timeless record. With soaring vocals, funky guitar riffs and melodic piano parts, Wolf Alice have managed to create a cinematic listen wrapped up in an album, taking the listener on an expansive auditory journey of pondering on life moments. The Clearing keeps the essence of the band alive, while also highlighting fresh ideas and an acquired sense of maturity. Score: 8/10 The Clearing was released on August 22nd 2025 via Columbia Records. Words: Iulia Furnica Photos: Wolf Alice

With Alienation, Three Days Grace deliver not just their eighth studio album, but also one of the most defining moments of their career. The return of Adam Gontier alongside Matt Walst injects fresh electricity into the band’s sound, making this record both a reunion and a reinvention. The record is a dark, emotionally charged exploration of addiction, regret, and the feeling of being cut off from the world. Yet for all its heaviness, it is also threaded with defiance and flashes of hope, proving that nearly three decades in, Three Days Grace remain masters of catharsis. The album kicks off with 'Dominate', a track designed to shake the walls of arenas. Anchored by the defiant mantra “a man who has nothing to prove and nothing to lose”, it channels the primal energy of a crowd in unison. Crushing riffs and a chant-like chorus build tension before a blistering guitar solo slices through the chaos. It is an explosive opening that sets the tone: this album refuses to hold back. However, if 'Dominate' is a declaration of strength, 'Apologies' is its vulnerable shadow. One of the album’s most confessional cuts, it confronts the scars of addiction and the regret of decisions made too young. The refrain “Apologies don’t rewind time” lands like a gut punch, carrying the weight of remorse that cannot be undone. With soaring vocals layered over heavy guitars, the track feels less like a plea for forgiveness and more like a moment of painful self-reckoning. 'Mayday' pushes forward with a bassline that recalls the band’s early years, its groove echoing the raw drive of 'One-X'. The interplay between Gontier and Walst gives the song a jagged edge, one voice pleading while the other shouts back like an inner dialogue. The chorus erupts into a melodic but urgent cry, while heavier breakdowns keep the energy sharp. It’s an anthem that balances nostalgia with new vitality, embodying the fight to stay afloat in turbulent waters. 'Stimulants Searching' makes the next appearance; this track dives into the restless cycle of chasing highs as a way of escaping emptiness. The pounding rhythm mimics a racing heartbeat, while the lyrics capture the desperation of a hollow pursuit that never satisfies. The chorus rings out like a warning siren, its repetition embodying both craving and collapse. 'Stimulants Searching' is alienation at its most physical - restless, relentless, and ultimately consuming. 'Kill Me Fast' opens with an eerie, haunting atmosphere that immediately unsettles. The verses whisper with tension, drawing the listener into a shadowed headspace, before bursting into choruses that hit with full force. The push-pull between quiet despair and explosive outbursts mirrors the inner conflict of alienation: the silence that suffocates and the violent need to break free. It’s one of the record’s most chilling tracks, and leaves a tingle down the listener's spine before the next track comes in to cleanse them. As the album’s midpoint, 'In the Waves' feels titanic in scope. Its immersive soundscape evokes the sensation of drowning, both literally and emotionally, while the refrain “you were always the hardest to save” cuts to the bone. In contrast to the explosive 'Kill Me Fast', this track submerges the listener in grief and longing, embodying the vast, suffocating weight of isolation. It’s a haunting reminder that alienation can come not only from within, but also from losing those closest to us. The title track crystallizes the album’s core. It begins with an unsettling melody on the keys before crashing into driving guitars. The mantra “we are all outsiders” transforms personal disconnection into a rallying cry, reframing alienation as something shared. Balancing haunting atmospherics with muscular rock intensity, the track stands as the record’s thematic centrepiece: a song that confronts disconnection, yet finds strength in unity. Here, the mood shifts, offering a rare moment of light in the dark of the LP. 'Never Ordinary' swells with layered vocals, carrying the uplifting line “in the darkest night you were meant to shine.” Where previous tracks dwell in despair, this one celebrates resilience and individuality. It’s an emotional high point that reframes alienation not as a curse but as the mark of standing out - a reminder that even in the darkest spaces, there is brilliance to be found. Raw and unflinching, 'Deathwish' plunges the listener back into the pull of self-destruction. Heavy riffs and anguished vocals drive the track, turning chaos inward. Where earlier songs externalize alienation through rage or longing, 'Deathwish' captures its most dangerous form: the spiral of self-sabotage. It’s visceral and unsettling, a necessary descent before the record begins its closing stretch. 'Don't Wanna Go Home Tonight' comes next, and this track leans into late-night loneliness. Its verses carry a fragile ache, while the chorus swells with yearning for connection that never quite arrives. It captures the hollow desperation of searching for comfort in fleeting moments, a reminder that alienation often lingers even in the company of others. Sharper and more aggressive, 'In Cold Blood' pulses with icy detachment. Its relentless rhythm and fractured guitars evoke emotional severance - alienation not as sorrow, but as numb disconnection. It’s one of the record’s most merciless moments, embodying the cold reality of shutting down rather than feeling at all. Here, the tone shifts again, reclaiming strength on the brink of collapse. In contrast, 'The Power' is gritty and resolute, with riffs that drive forward like a clenched fist. The lyrics rally against invisibility, refusing to be silenced or erased. It’s a defiant stance, a reminder that alienation can also fuel resilience. The closing track circles back to addiction, laying bare its endless cycle. Longer and more sprawling than the rest, 'Another Relapse; layers despair and resignation until it fades into uneasy quiet. It doesn’t offer neat resolution - instead it leaves listeners with the raw truth that some battles never truly end. Alienation is a journey through shadows - of addiction, grief, self-destruction, and disconnection - but it is also a testament to resilience. By pairing Gontier’s return with Walst’s ongoing presence, Three Days Grace fuse past and present into something both familiar and reinvigorated. The album doesn’t shy away from bleakness, but it threads that darkness with moments of defiance and light. Nearly thirty years on, the band proves they can still turn alienation into anthems - loud, raw, and unflinchingly human. Score: 8/10 Alienation was released on August 22nd 2025 via RCA Records. Words: Mia Gailey Photos: Three Days Grace