The five-piece from Norway, SUNCRAFT, have delivered their second instalment, Welcome to the Coven. Following their exploration of conspiracy theories on their debut album Flat Earth Rider, they return with a genre-switching party that has your head both spinning and rocking. While their feet are firmly planted in stoner rock, they veer confidently into garage rock, and even stretch into pop-punk. It’s as if they surveyed every sub-genre and decided to kick the door down and leave their mark on all of them. This album is everything you don’t expect. Nothing on this eight-track journey is predictable - and we're more than okay with that. It kept interest, engagement, and curiosity as it rolled through so many different vibes and influences in one LP. It’s difficult to find a band to compare them to or pinpoint a direct influence, because SUNCRAFT are so diverse it feels like they refuse to stand still in any single genre. There is one standout: the guitar work. The riffs are undeniable - easily one of the band’s strongest assets. They know how to shred, and they adapt that skill to every style they touch. Rage Bait kicks the album off with full force. There’s no need to crank the volume - they come in hard and loud on their own. The title track, Welcome to the Coven, is definitely the highlight of the album. Everything about it works; it’s chaotically wonderful. It’s followed by Wizard of the Anger Magic, which carries a hint of BIFFY CLYRO energy, but with heavier vocals. The final three tracks bring this hectic album to a close: Charlatan Killer and High on Silence deliver blistering guitar solos, before everything culminates in Forgotten Goddess, which surprisingly felt like the perfect song to end on. Don’t go into this album expecting a single genre - but also don’t go in opposed to the idea, because we can guarantee there’s something here for everyone. It was a great listen, and we can easily see ourselves diving back into this rollercoaster of diverse sounds. SUNCRAFT may currently sit in the underground rock scene, but be prepared: they’re ready to break through the ground and then straight through the ceiling, bursting into the rock world on their own wacky, creative terms. Score: 8/10 Welcome to the Coven will be released on 21st November 2025 via All Good Clean Records. Words: David Waites Photos: Suncraft

An indie punk quintet based in the heart of California, SPANISH LOVE SONGS have slowly but surely been striking their roots into the genre since 2013. And not in vain, as is evident from the scale of artists they get to collaborate with and the wonderful community they continue to build. Their upcoming EP A Brief Intermission in the Flattening of Time is the first new music release since their 2023 album No Joy, achieving exactly what it is set to do - serve as a resting and reflecting point between the past and whatever the future awaits. Nonetheless, it is a beautiful standalone work where every song deserves its own moment of contemplation. Each track on the EP contains guest vocals from some of the greatest players in the game, and coincidentally close friends of the band - appearing on the opener, THE WONDER YEARS are no exception. Initially Lifers from their album No Joy, this song was later reimagined with completely new melody and lyrics, although the themes still mirrored the original line by line. Thereby emerged and released earlier in 2025 was Lifers Too, stripped back and toned down, making it feel even more devastating than usual. Now for the current variant, SPANISH LOVE SONGS settled for their usual happier tune, although the true emotions could still be felt through the occasional crack in the voice, almost ready to cry any moment. In all three versions, it is about not expecting to live long enough for you to start aging and growing old, and trying to make peace with it after the fact. The next guest on the bill is KEVIN DEVINE of BAD BROOKS, taking a verse on Cocaine & Lexapro. The song is an instant switch of energy, or rather a total switch off. It is one of the calmest and melancholic points on the EP, which opens it up in its own way, like a sigh under your breath because you do not have any more screams in you to let out. The narrator raises quite uncomfortable topics, being avoidant of their issues and almost egoistic: “I swear I have control of the universe expanding, I try not to think about landing”. Both the depth of the lyrical writing and their frankness certainly remain some of the strongest suits of SPANISH LOVE SONGS as musical artists. Heavenhead invites along SARAH TUDZIN of a comparatively newer group ILLUMINATI HOTTIES. Both bands have expressed being particularly passionate about this collaboration, saying that the song was begging for SARAH to be featured on it (a notion also shared throughout the whole EP and its guest artists). This track continues to explore the existential terror that inevitably arrives as life goes on, and with it grows the fear that you will soon run out of its blessings. The lyrical narrator also appears to be afraid of finally healing, and instead chooses to fall in love with pain and to keep being hurt over and over again. Sooner than we would like, the final track Berlin is set to close A Brief Intermission… It features another genre-pioneer band TIGERS JAW, this time not with one, but two vocalists lending their harmonies for the song, even though not originally planned so. Right away, the 80s synths in the signature German style transfer the listener into some other dimension, and also perhaps explain the name of the song. SPANISH LOVE SONGS strike with the most gut-wrenching and open-hearted lyrics once again: talking about fighting with severe issues, possibly related to addiction and recovery, and what is more, no one around you seeming to understand. “They call you brave, but they don’t know one thing about bravery / You spend too long feeling safe, and that’s when they get you”. A Brief Intermission… might not be as big-awaited a release as typically expected, since the songs have already been gradually coming out one by one. Still, it turned out to be no less important, with the tracks still making sense together in one unit, both musically and of course lyrically. It is a stunning work on both SPANISH LOVE SONGS’ and the featured artists’ parts, and we equally cannot wait to see what big things are to come after this brief intermission. Score: 8/10 A Brief Intermission in the Flattening of Time will be released on 21st November 2025 via Pure Noise Records. Words: Mariia Bulkina Photos: Hannah Gray Hall

It takes time for a band to be able to tour arenas. It takes skill to be able to pull it off. VOLBEAT delivered a truly professional arena performance on the last night of their world tour. Opening was Manchester’s WITCH FEVER. They brought a mixture of grunge-goth and metal to the stage, which is not very usual for an arena setting. Yet the band knew how to command such a large stage this early in their career. Having recently released their second album Fevereaten, they treated the audience to many tracks from the album. Their sound created a haunting mood with a dense atmosphere. They effortlessly blended all their influences into a singular sound only they could play. It felt as if the band is gaining big recognition with their music and will one day be headlining this very same arena. However, they felt like an unusual choice on the lineup as their sound does not necessarily align directly with VOLBEAT, although the headliner has always been about celebrating all things metal. Next on the lineup was BUSH, who brought their post-grunge sound for a fifty-minute set. Their sound had a brooding atmosphere that separates them from many others in the genre. The band works as a four-piece to bring their sound together, taking the crowd back to the 90s. BUSH were massive in the 90s and it is clear there was a large contingent of their fans in Wembley. The band played some classics, as well as newer tracks, balancing it well for an arena support set. The highlight of the set came during the final track, when the frontman GAVIN ROSSDALE left the stage and began singing in the crowd. He wanted to bring the crowd closer to the band and this was the easiest way to do it. People started moshing around him and the set rushed to a close. After the surprise, everyone was ready for VOLBEAT to take over the stage. VOLBEAT knows how to do arena rock right. The opening of the set was a peak arena cheese, a giant curtain with the shadows of the members on fell down during the first song to reveal the band. From that very moment, VOLBEAT had the crowd in the palm of their hand. The stage itself was perfect for an arena as it was complete with a long runway and multiple microphones, so frontman MICHAEL POULSEN could sing and perform close to every section of the crowd. His passion for his craft was evident, as he brought joy to every song. The band flawlessly played every track they touched and left just enough space for the audience to sing along to every fan favourite song. For a band that is often criticised for not being very metal, the show was a proof why they are true metal. Some of their riffs had that specific heaviness that makes one pull a face like they sniffed something nasty. The fans went as hard as possible in the pit and nothing could stop them even when they slipped over. The band is not one dimensional, the members can make the crowd laugh, cry and mosh all during the same night. When JOHAN OLSEN joined them on stage to play For Evigt, the crowd had a collective emotional moment. VOLBEAT does everything on stage for their fans and puts everything they can into their shows. There was no encore as Volbeat did not need gimmicks for their set, it was simply good rock and roll. The one thing the fans will always take with them from a VOLBEAT set is a giant smile and perhaps a few tears. Words: Will Freeman

Hot off the release of their latest album Dreams of Being Dust, THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE have embarked on a multi-date tour across both the US and Europe, hitting several festivals along the way. During their UK leg of the tour was a date at Nottingham’s Rough Trade, which, for those unfamiliar, is a venue that is the embodiment of intimate - so much so that you may be mistaken where the stage actually may be - tucked away at the back of a bustling bar area where the tables are not tables, but music gear flight cases. Rough Trade is not a venue that you may expect to find a band that the following day is headlining the Eyesore Merch stage at Manchester’s Damnation Festival, yet here they are. For those who attended, though, you can consider yourselves lucky. The walls in this venue are rich with history as they are emblazoned with scrawls of band names who had been there before, from EVERYTHING, EVERYTHING, MALLGRAB, PALE WAVES, SLEEP IN MOTION, and more. Joining TWIABP on their UK tour is the punk band CHURCH OF THE RAT, the only opener for this show, too, and what an opener they are. Exploding on the stage at a timely eight pm, you were immediately smacked by the band’s presence despite the venue still filling up - but that did not matter to the band as they certainly gave it their all. Mentioning the venue once again, the stage is tiny - so much so that you might wonder just how a band with six members may all fit. This was evident with CHURCH OF THE RAT, too, despite only having four members, it was a bit of a tight squeeze. So much so that SAM DAVIES, the band’s vocalist, took advantage of the space at the front of the crowd. This move was a good decision, too, as it really helped show the crowd that CHURCH OF THE RAT were not here to mess around, bringing that basement punk show vibe to Rough Trade and helping get the crowd moving - no easy feat for a support act. This was all assisted by SAM’s showmanship as a frontman, barking powerful vocals with a somewhat flamboyant delivery. He was truly absorbing the moment that evening and made for a compelling watch. CHURCH OF THE RAT were able to bring a vibe to the function that was equal parts aggressive but also emotionally charged. Between songs, SAM was not shy about pushing the meanings behind songs, with one being about the murder of the United Healthcare CEO, exclaiming the innocence of Luigi Mangione, while applauding “whoever did it”, then calling out capitalism and the freeing of Palestine - something the crowd absolutely lapped up. After around thirty minutes of recovering from the onslaught brought on by CHURCH OF THE RAT, our main act took the stage. Those at the show may have noticed a bit of a stunted start as there were murmurs of technical issues, but with only a few minutes delay, THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE exploded with Dimmed Sun, the opening track from their latest album. This is a pretty interesting track to open with, too, as those familiar with Dreams of Being Dust will know just how heavy this track begins. With heavy blastbeats from the off, Dimmed Sun almost demands an explosive crowd reaction; however, Rough Trade that evening did not quite move as you would expect from a song kicking off this heavy. Perhaps there is a lack of familiarity with this album, as it has only been out for two months, or maybe the intimate venue, with no barriers or security, made the crowd aware of the need to be sensible. Either way, the crowd reaction was a little reserved. If the new album is not quite in your repertoire of TWIABP songs you are familiar with, then you may have come away a little disappointed, as the majority of the set was made up of tracks from Dreams of Being Dust. The set list that evening had just two other songs, January 10th, 2014 and Heartbeat in the Brain, being from other albums in their catalogue. It was evident from the crowd reaction that these songs were true fan favourites, with January 10th, 2014, having the crowd singing along and moving, only for the usual head-nods coming back when they followed up with Oubliette. This was addressed by vocalist DAVID BELLO early on in the set with his soft-spoken, gentle demeanour, adding that most of the songs played that night were from the new album, but there are a few older songs in there too, “so there’s something for those who dislike the other”. It makes sense that their set list would be put together this way, as their latest album has heavier instrumentals than some of their previous albums. Those of you familiar with Illusionary Walls will be somewhat at home, but if you are a bigger fan of Whenever, If Ever for example, it might be a little heavier than you would expect. That being said, the band certainly performed, even if they were one member short as their guitarist, ANTHONY GESA, could not make the tour, so guitar tracks were played in his absence, which the crowd instantly memed, cheering every time his guitar tracks were played. The show overall was a treat for fans of their entire discography, even if you are more familiar with their early albums. TWIABP proved that they can pull off a heavier post-hardcore, metalcore-driven setlist with ease while also slipping back into familiar territory with their more melodic emo songs. The band were tight as hell, even with the odd technical issue the band faced, they were not deterred and continued to put on one hell of a show. Words: Aaron Richardson

Marking their biggest headline show at none other than the legendary O2 Academy Brixton. Malevolence bring their brand new album ‘Where Only The Truth Is Spoken’ accompanied by PSYCHO-FRAME, Dying Wish and Speed. Starting off the night with possibly the heaviest band on the line-up, PSYCHO-FRAME took to the stage to bring their Florida Deathcore to the audience at Brixton; they absolutely did not hold back, putting their guitars in Drop D and delivering some of the cleanest pig squeals ever heard by this venue. With two heavy vocalists, they wasted absolutely no time getting the audience pumped, pits opened up, to which arms and legs began flying to the heavy and dirty riffs of PSYCHO-FRAME. The music impressed, it hit hard and the band gave it their all; for an opening act it’s always really nice to see the audience reciprocating the energy they give out, which doesn’t happen too often for opening acts, but these guys pulled it off. Next up came a band who’s been on our radar for a while; hailing from Portland, Oregon, Dying Wish doesn’t mess around with how much energy and finesse she gave give an audience. With elements of Melodic Metalcore and hardcore, this band also drew a massive reaction from the crowd with a bigger pit, more people jumping and even a lot of people singing along. Boster had a serious stage presence during this set, projecting their angelic voice to the back of the venue and bringing it back down to dirty, unclean vocals. Soundtracked by Sam, Pedro, Jeff and Jon's chaotic riffs, the new album 'Flesh Stays Together' was cathartic and intense, proving that they are one of the most underrated bands on the circuit. Next up was Speed, who absolutely tore a Brixton a new one; the energy from the moment they stepped on stage was ramped up to eleven. Coming from Sydney, Australia, Speed brought a level of aggression and energy not often seen by a band, least of all by an opening act; starting with their insanely quick song, ‘DON’T NEED’, which turned the crowd upside down, the hardcore pitting came into full force here. People flew through the air for Speed as arms and legs flailed around in a frenzy. There’s not much that can be said about Speed that hasn't already been said, they are simply just incredible; their passion only rivals their pure aggression and relentlessness to delivering a kick ass show, if you have any kind of interest in heavy music or hardcore, this band has to make your bucket list; because how can you miss the chance to see some flute played in a breakdown? Finally, it was time for Malevolence; in an act we can only call legendary, before the band took to the stage, Alan Ford, known as Brick Top from Guy Ritchie’s film ‘Snatch’, graced Brixton with his presence as he riled up the crowd, ready for the headliner. Letting the audience know that he has seen some crazy stuff, but he’s never seen what the band were about to do; he introduced them and Malevolence took to the stage for their biggest ever sold out, headline crowd. And what an entrance, opening with ‘Blood To The Leech’ they spared no expense making sure they meant business; the set design of the stage erupted to show off their extravagant set up and was honestly worthy of an arena and that’s honestly where we see this band heading, with the resurgence of heavier music into the fray it’s easy to see why Malevolence would be at the forefront of that movement. A set combining the best of their new album 'Where Only The Truth Is Spoken', the intense 'Malicious Intent' with the ferocity of crowdpleasers 'Self Supremacy' and 'Keep Your Distance', the Brixton pit was spun into a frenzy. Guitarist Josh Baines led by example, infusing the set with delicious solos, backed up by the ferocity of Konan Hall's raspy vocals. In moments like their ethereal 'Higher Place', both shone with immense furiosity. Still, Wilkie Robinson's deep-hitting bass pushed their set to the extreme, tempoed by Charlie Thorpe's wicked percussion. From 'Salt The Wound' to 'Still Waters Run Deep', Brixton left no survivors. This was a homecoming of immense proportions. The set only escalated in energy from then, with Frontman Alex Taylor asking the crowd to erupt into as many circle pits as possible, and it is safe to say the crowd turned into a stormy sea filled with whirlpools that made any passive audience member be sucked into the chaos of the set. This show felt like a real stepping stone and just an inkling into what Malevolence have planned next. They’ll go bigger, they’ll go harder, and they’re going to rule heavy music for many years to come. Words and Photos: Ben Blisset

Britain’s PUPIL SLICER have been a whirlwind of underground heavy music for a number of years now, so with the release of their third LP Fleshwork they’ve really become a part of the furniture. Having already passed through searing grindcore on the outstanding debut release Mirrors, and a more conceptual melodic metalcore record with their fantastic sophomore release Blossom, it’s time to see whether an album that was meant to be the best of both worlds has really hit the nail on the head, or whether SLICER will be going back to the drawing room. Before digging into individual tracks, let’s the record as a whole. Trying to bridge the gap between the first two LP’s is no mean feat, what with the vast scope seen between not only the premise and intent of each, but also the nearly entirely disparate sonic styles. However, Fleshwork does a remarkably good job of not only melding the two, but also advancing both in a manner that feels both meaningful and deliberate. This record sounds something akin to a CONVERGE record that has spent an awful lot of time in the presence of THE DILLINGER ESCAPE PLAN, but with a more overt focus on making the listener uncomfortable within their own skin. To sum it up rather succinctly, the band commented about the themes within; “How much pain can you inflict on yourself and others before you cease to be human? There is no limit; all of the worst things to happen to the human race have been caused by its own members.” That said, digging into the record does jar even the most prepared. Early single Heather kicks the door in on an abrasive ride that makes it to 36 minutes, and acts as the salt before the wound of Gordian takes the listener for a violent sprint into Sacrosanct. The opening trio is a razor-sharp barrage of blackened, bloody metalcore that pulls no punches and furiously romps into action. It’s particularly gratifying to hear the refreshed lineup firing on all cylinders - KATE DAVIES is as good as they have ever been, both on guitar and vocally, whilst JOSH ANDREWS and LUKE BOOTH run amok on drums and bass respectively. The midfield trio of Innocence, Black Scrawl and Nomad don’t allow much breathing room either - on a nine track record, it’s remarkable the potency PUPIL SLICER have attained at keeping the listener’s attention even without much let up - the momentary let up on Innocence being the most notable thus far, but even that is eventually let go and sent into the void by an unholy sonic amalgam, which will doubtlessly be an incredibly cathartic moment to play live. The final three tracks are a separate entity. The eponymous Fleshwork acts like some sort of industrial behemoth enacting grave vengeance upon an entire civilization, with a gargantuan riff leaving us entirely at the behest of the band, whilst White Noise does allow for time to survey the wreckage. Finale Cenote is an uncomfortably epic eight minutes - blending the unsettling atmospherics of NINE INCH NAILS’ most unhinged moments with black metal, post-metal, and a decent dose of that Converge-esque sound, it closes the record superbly, leaving things feeling just a half-step away from resolved in an altogether perfectly thematic manner. Dealing with the oppression of those who are poor or queer, disabled or people of colour, Fleshwork is a grandiose work which, quite frankly, our government would do well to take heed of. Combining delicate subject matter, overpowering musical excellence, and a level of abrasion that, whilst not completely unheard, feels like a level above anything we’ve seen from the band in the context it’s provided. A powerful, poignant, and potent effort from Pupil Slicer. Score: 9/10 Fleshwork was released on November 7th 2025 via Prosthetic Records. Words: Jasmine Longhurst Photos: Pupil Slicer

Over the past two years, San Francisco’s CHOKECHERRY have appeared on multiple tour lineups, made their mark at several festivals, and now, it's finally time for the release of their debut album. The best way to experience this record is front to back, uninterrupted and no distractions. It ties in everything from punk rock to dream pop to shoegaze with some clear nods to some hardcore legends throughout some moments. We float into the album with opening track Porcelain Warrior. Its dreamy guitar intro and hazy vocals build up to a chorus that showcases how flawlessly IZZIE CLARK and E. SCARLETT LEVINSON can blend their vocals. It’s one of the slightly longer tracks coming in at exactly four minutes, a length that can sometimes risk feeling repetitive, but they’ve managed to keep its momentum all the way through to the end. They take a sharp turn with Major Threat, the last song to be released prior to the album. Being a louder track but keeping that dreamy vibe and being vocally inspired by TURNSTILE’S BRENDAN YATES, this track was built to be performed to a rowdy crowd - one that would be going just as hard as the audience at a show for said hardcore band. Only two tracks into the ten-track album and we have seen the range that CHOKECHERRY have to offer. One of the records standout moments, Secrets, delivers a raw and emotional punch. A consistent theme throughout this record is way each song builds, never leaving you disappointed. At its halfway point, there’s an ethereal moment where the whole band shines in unison, making you want to replay this one section repeatedly. The second half of the album takes a more upbeat turn with a notable punk rock influence. The moment You Love It When kicks in, you know it’s going to be a fan favourite. The vocals, reminiscent of HAYLEY WILLIAMS and CHLOE SLATER, bring in a fierce tone that has been underlying since the start. This switch to a more intense tone prevented all the tracks from sounding like they were blending into one, and they made the switch at the perfect time. We are led out of the track with delicate yet powerful riffs allowing the song to fade out the way it came in, creating a full circle moment. February is one of, if not the most chaotic song on the album, in the best possible way. It switches effortlessly between whispering to full blown intensity, keeping your attention throughout. As this is one of the louder moments, it makes you reflect on the fact that this isn’t a huge band of people - as well as delivering vocals, CLARK is on guitar and LEVINSON is on bass. It’s inspiring how they both manage to fill up so much space in these songs and makes you picture what a CHOKECHERRY show would play out like. The album ends on a note that we were expecting: the title track that ties everything together, Ripe Fruit Rots and Falls. Like the album itself, it starts off melodic and builds up into an explosive conclusion. This track has a sense of nostalgia built into it with some spoken extracts placed throughout, creating a sense of connection and conversation with the audience whilst also adding a personal touch. It's always a great moment when a title track closes out an album - it feels like the story has officially come to an end. This is a beautifully produced and well-crafted album. At first, the album’s ten tracks made it feel short, but CHOKECHERRY make up for it with the track lengths. Only one of them falls under 3 minutes, adding a depth to the listening experience making it feel slightly more cinematic. It flows like a story and creates a sense of connection without any filler tracks. A perfect listen if you’re a fan of anyone from LUVCAT to JACK OFF JILL to POPPY. With how well they put together their debut album, these guys are ones to keep an eye on. The balance between everything they gave us makes it one of those projects you must listen to in full every single time. It would be no surprise if in the next couple of years, CHOKECHERRY became a well-known name in the scene. Score: 8/10 Ripe Fruit Rots and Falls will be released on November 14th 2025 via Fearless Records. Words: Isabella Jacklin Photos: Whitney Otte

Chicago-based velvet-grunge space rock collective LAVISHER are back with their second album Aligned & Vital, a record that showcases their unique ability to paint lush, distorted realms where beauty and decay dissolve into a swirling river of sound. From the first track, singer, songwriter, and guitarist GAVIN CUSHMAN III and drummer BENJAMIN STANDAGE provide a record which captures an expansive blend of vibrant tracks that fuse retro charm with forward thinking soundscapes. No Sign Of Mine wastes no time setting the tone for the album; grungy, raw, and steeped in the DNA of bands like ALICE IN CHAINS and SILVERCHAIR. With Preemptive Waltz, the band plunges into a swirly landscape of gritty textures and complex grooves, fusing grace with grit. Accompanied by a visually arresting video, described by frontman GAVIN CUSHMAN III as a “personal torment fever dream,” Sultry stands out as a richly atmospheric track. We hear layered textures and with a brooding undercurrent, which evokes the haunting solitude of rain-slicked city nights driving through the city, offering a compelling glimpse into LAVISHER’s darker sonic terrain. Ancients opens with a slower, more relaxed vibe than its counterparts, leaning more into the melody. While its placement feels slightly out of sync with the surrounding tracks, it offers a moment of calm in an otherwise charged landscape. Way Too Much introduces a distinct shift in tone compared to its neighboring tracks, injecting a fresh energy into the album’s sonic palette through its intensified guitar presence and more simplistic lyrics, compared to the rest of the record. With its heavy riffs and reverb-soaked textures, it channels a rawness reminiscent of SICK JOY. This track is easily one of the album’s standout moments and our favourite track on Aligned & Vital. Charmer sustains the intensity but dials back the tempo, embracing a 90s grunge aesthetic that feels right at home among the album’s gritty textures. It’s a slow burn, but one that smolders effectively. Ironically, the track Gritty is perhaps the least gritty of the bunch. While it doesn’t quite match the rawness implied by its name, its punchy chorus ensures it still leaves a mark. Howl is another slower start track on Aligned & Vital; beginning in a subdued fashion, but gradually building with melodic guitar lines and clean, post-rock inflected vocals. It’s a slow bloom that adds depth to the album’s emotional range Title track, Aligned & Vital continues the descent into slower tempos, but thrashing guitars eventually rise to the surface, lifting the track with a sense of urgency. Its lyrics may be simple, but they’re well written and effective. Detached is a punchy, riff driven track that fuses thunderous guitar work with melodic hooks, Lavisher’s trademark fusion of raw intensity and ambient depth further than other tracks on the record. It kicks off with a playful, offbeat riff and some glistening guitar flourishes, anchored by a toe-tapping groove. Driven by a standout chorus and rich harmony vocals, it’s one of the songs that stick with you. Redress emerges as the most impressive track on the record, an emotionally resonant closer that leaves a lasting impression, which is a shame as it is the final song. Its seamless blend of evocative lyrics and powerful guitar riffs strikes a chord that earlier tracks struggle to match. It’s a bittersweet triumph, making us wish more of the record maintained the same richness and precision in sound. The album explores emotional duality, weaving together threads of nostalgia and bold experimentation. LAVISHER’s sound pays homage to the likes of QUEENS OF THE STONE AGE and A PERFECT CIRCLE, while echoing the atmospheric depth of DEFTONES and the raw edge of FAILURE. Score: 6/10 Aligned & Vital will be released on November 14th 2025 via Nefarious Industries. Words: Lou Viner-Flood Photos: Lena Jackson

On the third floor of Bread & Butter, the iconic Shoreditch café in London, Ian Shelton, frontman of MILITARIE GUN, leans back and smiles. There’s a calm to him that contrasts the turbulence behind the band’s latest record, God Save The Gun—a project that’s unflinchingly human, darkly honest, and, at times, surprisingly funny. Shelton has spent the past three years crafting the album, wrestling with addiction, trauma, and cycles of self-destruction, all while trying to find moments of self-belief amid the chaos. Unlike the band’s 2023 debut, Life Under The Gun, which casts the vocalist as a witness to hardship, this record instead turns the lens inward. He’s no longer just observing—he’s the protagonist of his own unraveling. “I thought I was playing a character,” Shelton admits. “But it was becoming my reality. Right before recording, I realized I was really losing control and needed to do something about it. When I read back the lyrics, they were saying, ‘Yeah man, you’re fucking up.’” The album opens with the raw confession “I’ve been slipping up” on B A D I D E A, a line written late in the process but perfectly capturing the record’s emotional core. Shelton reflects, “Our songs are emotionally honest—they reflect what I’m living through. That track came at the right moment to embody it.” For much of the writing, he tried to mask his experiences behind a character, but by early 2024 the boundary between fiction and reality blurred. “The more I wrote, the heavier it weighed on me. By the time I got to the song God Save The Gun, I knew I had to live the words. Otherwise, it’d be ironic or untrue.” Themes of collapse and confidence, self-destruction and self-belief, run throughout the record. Shelton explains that the three-year writing process allowed ideas to emerge naturally. “Some of the earliest tracks, like Fill Me With Paint and Kick, explore seeking validation and reflecting on trauma,” he says. “I don’t write with premeditation—these ideas surfaced subconsciously. It wasn’t until the record was complete that the themes became clear.” Kick in particular wrestles with Shelton’s complicated childhood—where he once used his past as justification for self-destructive behavior, he now found himself embracing it. The band wrote God Save The Gun over three years, giving Shelton the time to process his experiences fully. “The biggest thing we had was time,” he explains. “We’re always writing songs, so we only make a new album when the songs are ready—not rushing anything.” However, he doesn’t write with premeditation. “I might have a lyric or a title, but that’s it,” he says. “Everything else comes from my subconscious as I start singing.” Recurring motifs—addiction, trauma, self-doubt—emerged naturally, and only after the album was complete could he identify the overarching themes. “Without three years to process everything, it wouldn’t be the same,” he reflects. “I’d have had to rush through all these experiences that ultimately took years to work through.” Alongside bandmates William Acuna, Waylon Trim, David Stalsworth and Kevin Kiley, collaboration was crucial to shaping the sound. Working with creatives Phillip Odom, James Goodson, Riley MacIntyre, Nick Panella and others, gave Shelton the chance to refine the songs collectively. “Phil pulls honesty out of me—if a lyric’s too guarded, he’ll push me. Riley ensures the emotion comes through. James and I work intuitively, and Nick helped solve a songwriting puzzle for God Owes Me Money. These people bring out parts of me I didn’t know existed,” he says. The album’s cover art depicts Shelton as a cult leader offering salvation, subverting the idea of a charismatic rock ‘n’ roll messiah. “It’s about the impossibility of external salvation,” he explains. “Ultimately, only you can change your life. Cults, religion, and recovery are often sold as solutions but can undermine your mental health. I wanted the imagery to reflect that tension—the wish that someone could take it all away, while knowing you’re the only one who can.” Tracks like I Won’t Murder Your Friend confront heavy subjects with unflinching honesty. Shelton calls it “a dressing down of suicidal tendencies. Music often glorifies martyrdom, but I wanted to flip that perspective. Suicide hurts others. Writing the song forced me to live by that standard myself. It was about taking that option off the table.” The album’s emotional arc moves from introspection to empathy, from self-absorption to noticing others’ struggles. “After I Won’t Murder Your Friend, it felt natural to progress to Thought You Were Waving and beyond. It mirrors the challenge of stepping outside your own pain and seeing what others are going through,” he says. This tension between isolation and outward-looking connection threads through the record, giving it both narrative and emotional cohesion. The climactic title track, God Save The Gun, functions as both narrative apex and personal reckoning. “Your people love you, they don’t let it show / and I know you’re out of control,” Shelton sings, addressing various characters, though he admits he was the one who needed to hear it most. “You shouldn’t have to wait until your life is completely destroyed to try to improve it, and I don’t want to lose what I’ve worked for because I have a drinking problem.” Its final lines—“If you want to keep your life, you gotta let it go”—resonate as both warning and credo. Despite the darkness, Shelton approaches the album with absurdist humor, likening it to a comedy in the vein of The Royal Tenenbaums, where real pain is filtered through wit and timing. “Comedy allows the heaviness to be approachable. You can see something painful, but through a lens that makes it easier to process,” he says. Three years of writing, countless collaborators, and a personal reckoning later, God Save The Gun stands as a record of confrontation, catharsis, and transformation. Shelton’s honesty, vulnerability, and vision create an album that refuses easy answers, inviting listeners into the messy, beautiful complexity of a life being lived—and survived. Words: Mia Gailey Images (Including The Cover): Nolan Knight Cover Design: Robert Halls With Thanks To: Prescription PR

NATIVE JAMES is a solo project that seem to be on countless playlists, line ups, and one’s not to miss lists. Melding together British Grime and Metal to create something quite spectacular, NATIVE JAMES is taking the music circuit by storm, and my goodness is this a storm like no other. Having only been on the music scene in this live band form for just over a year, it’s incredible to see the artist and his live musicians to make such noise. Hot off the tracks of the second release, NATIVE JAMES has embarked on a UK tour to showcase his EP Confessions Of A Sinner. Packing out shows in an intimate barrierless room the energy felt alive. The blended audience of both rap and metal fans can usually feel somewhat unusual, however this gig was to be something quite special. It felt like a bubbling atmosphere where audiences would experience a show of such uniqueness you almost had to be there to understand just how brilliant it was. KITE THIEF stormed the stage supporting NATIVE JAMES and had the crowd jumping within seconds. Loud, unapologetic and full of fire, their set was impossible to ignore. The band’s energy never once dipped, feeding off the room and giving it straight back. Every chorus hit like a punch, with the audience shouting right along, new fans were created instantly in that room. The female vocals stood out in particular, powerful and clear above the grit of the guitars. It was a confident, high-energy performance that proved KITE THIEF know exactly how to own a stage. They interacted with fans of their set immediately afterwards at the merch table adding a small town charm and humbleness to their electric performance. Right after the energetic set, NATIVE JAMES exploded onto the stage with the song Fallen. With guttural screams, head banging and rap filled verses, this was the textbook example of just how to blend two genres together. The live band allows the metal riffs to shine through whilst the vocalist has vocals that just lend to this hybrid of clean screams and sharp raps, that would leave any veteran vocalist wishing they had this much stage presence. The artist hails himself as a blend of anarchy, black culture, and metal music and this couldn't have been more accurate throughout the show as mosh pits are incited and statements are made throughout. Every breakdown felt like a rumble of thunder and every slick verse came with such precision you couldn't help but wonder how he had only been playing live with the band for such a short time. Throwing back to his initial singles, the songs Mugen Train and Hammer showcased that the talent didn’t develop slowly over time, it was there from the beginning. And it’s only getting better as he went from strength to strength with songs off his new EP such as GTFU and Do What You Want. The former allowing NATIVE JAMES to get the crowd jumping and the latter getting the crowd chanting as the bass line pumped through your chest. Between songs, the vocalist and the band interacted with the crowd like old friends; cracking jokes and bringing the audience into such camaraderie that left the whole venue moving around together. The moment the last song came to an end, you could feel that this show wasn't quite over, despite what the setlist said, with the audience demanding an encore. With so few songs to his name, the vocalist allowed the audience to pick what song was repeated, which resulted in the venue coming alive one last time. NATIVE JAMES is an artist that needs to be on everyone's radar. With announcements for shows and festivals such as Download 2026, the only way is up for this genre defying project. Add him to your Spotify list, check him out at a show, just don't skip him as NATIVE JAMES is causing a disruption to the scene and you don't want to miss out. Words: Laura Davies, Lauren Wenham Photos: Lauren Wenham

In one word, California quintet AUDITORY ANGUISH have devoured on their Sophomore EP AFA. Spanning only 5 tracks and a barely-over 11 minute runtime, AUDITORY ANGUISH craft memorable tracks blending wonderfully the shredding-based melodies of death metal with the unrelenting speed of hardcore. To open is the title track AFA, which vocalist DAVID MONTES informs us stands for "Auditory Fucking Anguish" as an introduction for the first breakdown that AUDITORY ANGUISH treat us to on this EP, which bounces along its tempo set by a cowbell beat then swapping between faster and slower progressions as if lightly showing off. The first full track on the project is Chained in a Hole; the first of two exemplary hardcore track names, the second being album closer Unrelenting Blade. Chained in a Hole is also the first example of the blend between hardcore and black metal that AUDITORY ANGUISH have instilled into their work, managing to be melody-heavy while keeping the deep hardcore vocals and builds to bleeding breakdowns. Its follow up Clementine is punchier, leaning more into the hardcore of the soundscape: trading guitar melodies in its intro then picking it up into the first verse and breakdown to produce sweet windmill juice. Clementine is well balanced in its vocals and breakdowns, with crisp round-the-kit fills from drummer ABE MENDOZA and closes out with a cool sample of a rewinding tape, though the plughole-winding down to close it out was a disappointingly standard choice. Tierra Santa leans more into a black metal soundscape in its introduction, though it doesn’t take long for the beat to drop and the tempo to hit an unrelenting speed. The star of this track is MENDOZA's drumming, however: the touch of using chimes in lieu of a hi-hat adds a range of sound to Tierra Santa, then as the breakdown rips into the second half the taps on the hi-hat break up the instrumental sections perfectly. Furthermore, the speed at which he hits the double bass/snare lines warrant repeat listens, then the fills themselves rocket launch around the kit in such as way you barely register MENDOZA changing the drum line completely. Unrelenting Blade closes AFA, with a slow-turned-chaotic opening minute resolving into a chorus backed with a beautiful guitar solo that transcends into an anime-opening style movement. The final minute of AFA is a stomping build as the riffs get more frantic before hardcutting to nothing; the remaining tension feels somewhat effective, though is frustrating as the EP clicks itself off. AFA felt like a breath of fresh air for hardcore: an EP able to control the chaos of hardcore and incorporate the melodies and beauty of black metal without either element overpowering the other. Some of the production choices on AFA were not to taste, but as a sophomore EP this almost self-titled project feels like a perfect introduction to a quintet ready to make their name in the global scene. Score: 8/10 AFA will be released on November 14th 2025 via Creator-Destructor records. Words: Julia Brunton Photos: AUDITORY ANGUISH

Emotional metal has never felt better. THE PLOT IN YOU brought the very best sad metal bands America has over with them on this European tour. With numerous sold out dates and all others getting close to selling out, the fans across the continent have been showing their love for all bands on the lineup. Heavy feelings and heavier breakdowns was the theme of the tour and it delivered on all fronts to massive success. CANE HILL are regulars on the UK scene despite hailing from the swamps of Louisiana. The metalcore mob loves it across the pond, saying it every time they are over here. As their set started, an alarm sounding as their set began was all the more motivation for them to play even louder. Ripping into the colossal opening riff of 2020’s Power Of The High got the crowd moving instantly. The set focused primarily on the songs of their most recent album a piece of me i never let you find., and playing through half of the tracks on the album went down great with the crowd, bringing with them the energy and belting the lyrics back at vocalist ELIJAH WITT. If you are familiar with CANE HILL sets, you know about them getting “slutty” and dedicating a slower song “to the fellas”. Closing out their set with The Midnight Sun, they left the crowd in great spirits for the rest of the night. If CANE HILL are a band you are not keeping a close eye on, you are missing out. The self proclaimed “sad metal band” are doing big things and keep growing stronger with everything they do. SAOSIN are juggernauts of the post-hardcore scene. Having been around since 2003, they are veterans of the game, but have not lost any of their passion over the years. Nineteen years after the release of their self-titled album - sorry if that makes you feel old, the songs are still getting a huge reaction. Opening with the iconic Sleepers brought out big cheers from the crowd and hoards of people singing along to every word. That energy from the crowd was matched by the band. Rhythm guitarist and backing vocalist BEAU BURCHELL was beaming from ear to ear throughout the set, whilst both him and lead vocalist COVE REBER were having a lot of fun with fan interactions between songs, as well as making sure everyone knew the correct pronunciation for the band name. Playing You’re Not Alone, REBER was emotional because of the overwhelming love the crowd showed for a song that is so meaningful to him. Closing out with the iconic Seven Years from their 2003 debut EP Translating The Name left the crowd wanting more great music and ready for the rest of the night. Even now, SAOSIN are still as strong as ever and ready for more years of greatness. CURRENTS are a band that have gone through many lineup changes, but that monumental feeling that makes them who they are has prevailed - even without any founding members remaining in the band. The band embarked on this tour off the back of releasing their latest EP All That Follows on Halloween, which gave a lot of the tracks a live debut. The crowd were loving hearing new music with a huge pit erupting throughout the whole set. Bodies flying everywhere pumped up the band to use the whole stage and encourage more movement from the crowd. The audience responded by having a sea of surfers coming over the top at all times. Vocalist BRIAN WILLE had command of the crowd, using hand gestures to separate the pit, ready for it to fly into action for the breakdowns. This latest EP and run of shows is proof that they are stronger than ever and still constantly growing as a band. They left the crowd full of energy and very ready for the headline of the night. THE PLOT IN YOU are a band that should need no introduction, having been going strong and growing since their formation in 2010. In the fifteen years of their existence, founder and vocalist LANDON TEWERS has been putting his heart into the band, which has paid off by the band being a huge success. Setting off on this European tour with many sold out shows is a proof that the Ohio band has a loyal following across the world. A lot of attention to detail has gone into every aspect of their live shows with elaborate staging that added a great atmosphere to the set. Opening the set with Don’t Look Away from Vol. 2 brought the crowd to life from the visceral opening scream of TEWERS, with the crushing riff from guitarist JOSH CHILDRESS hitting straight after, sending the moshers into a frenzy. Following it up with Divide from Vol. 1 gave a chance for singing along as well as chaotic pits. In 2024, the band released 9 tracks through 3 EP releases as part of their Vol. series. These songs were a key focus of the set, which the fans were loving. Going back to their beloved 2018 album Dispose for THE ONE YOU LOVED slowed down the moshers but got everyone in the room singing along. The set slowed down most when TEWERS sat down on a wooden chair, illuminated only by a lamp above his head, to play acoustically and get everyone in their feelings for the bands latest single Silence. The rest of the band joined him on stage one by one for the big finish of the song which had the crowd loud and emotional. The band closed out the night on the viral sensation FEEL NOTHING, which made the crowd give every last bit of energy they had left. The room was bouncing from front to back and by the end of the song there was a feeling of euphoria in the air. Complete strangers who will never see each other again were embracing because they knew that together they had just witnessed something spectacular. You are doing yourself a disservice if you haven’t seen THE PLOT IN YOU live. It’s more than just a show, it’s a narrative and emotional journey you will never forget. Words: Alex Long Photos: Tyler Whiting