Do you think that a 16 year old could front a metalcore band? If your answer is no, then let me introduce you to Storm, who might be able to change your mind. Storm is a 16 year old boy from Norway who's already gained a lot of attention online and offline, being nominated for awards and having already played huge stages such as Download and Tons of Rock. His debut album Join The Storm has been four years in the making, with the eyes of the scene already keenly on him. The album is jam-packed with a range of genres from metalcore to deathcore, to rap and EDM, so let's take a walk through each one of them. The opening track is a short intro, featuring a robotic voice that feels heavily inspired by the POST HUMAN era of Bring Me The Horizon, and this voice devolves into a crowd chanting the name of the album with EDM building behind, perfectly leading into the first actual song of the album. ‘Moonlight’ is a genre-melting track, in much the same vein as the album mas a whole, bringing elements of EDM and metalcore together, with sections of autotuned vocals much like modern rap and trap tracks. The breakdown is quite short, with not much build up, but is suitably heavy nonetheless. It also calls back the chanting heard into the intro to the album. The lyrics are somewhat simple yet catchy, and will certainly be an easy sing along for a crowd. The next track ‘Alien Perspective’ is much more electronic and features a drum and bass beat - the vocals are much more rap-based than the last track, but it still keeps an alt metal backing, especially in the chorus. The lyricism is very conversational, which in some circumstances can be done well but in this scenario there are many words that aren't needed, almost feeling crammed into lines. This might simply be a case of overwriting, or a slight language barrier, but frankly for a 16 year old this is still a commendable effort. ‘Walking Dead’ opens much heavier, with elements of deathcore creeping in before switching to a fast paced drum and bass beat, then again switching to a more metal chorus with the most present drums and guitars of the album. The track also features a shredding guitar solo towards the end over some blast beats, while lead vocalist Leo screams over them. Leo's vocals are stable and comfortable flipping between screaming and singing, and there's no denying the kid's talent as main vocalist. ‘Asphyxiate’ is a short interlude that cleverly leads into ‘Suffocating’, featuring distant EDM music which lays straight over into the start of the next track. ‘Suffocating’ has a very grand feeling, and is the stand out track of the album; it's extremely catchy and a great genre-bending metalcore track. The lyrics are some of their best and the breakdown is devastating, although perhaps it could have lasted slightly longer to get even more out of it. The following track is ‘Black Hole’ and it's a lot more pop punk than the rest of the album, almost reminiscent of early 5 Seconds of Summer albeit slightly heavier. The lyrics again are simple yet catchy, a relatable track about being attracted to someone so much that they feel like a ‘Black Hole’. ‘Fame’ returns the sound back to the mix of metalcore with EDM, featuring synths and vocal distortion. The lyrics are repetitive but the vocals change tone quite often, with impressive screams to close out the track. The second to last track ‘Running From My Heart’ starts much more laid back, taking more of an influence from Bad Omens' balladric approach to metalcore. Leo's vocals really take a moment to stand out in the first half as he near-solos, whilst in the last minute the track drops into a drum and synth-filled orchestra to support the last chorus. The closing track of the album ‘Fever Dream’ returns to a classic metalcore tune with elements of rap in the second and third verse, with influences from nu-metal and industrial all the way to the -core genres ringing in the background to make one of the heaviest tracks on the album. This track is lyrically the strongest here, and the longest track on the album, allowing it to have a large variety in sections in a solid display of the genres Storm can traverse. The album is well put together with interludes, varying runtimes and genres representing different emotions throughout. In fact, the only part that fell slightly flat was the end of the album, as it could've been more emotive for fans with an outro or simply switching songs and making ‘Running From My Heart’ the closer. Every song is incredibly well mixed and mastered with seemingly no flaws sound wise, which for such a young artist still finding his bearings in the metalcore genre is incredibly impressive. As mentioned before, the lyricism on the album is by no means bad, but it would be amazing to see some more complexity in future, to allow for even deeper connection and variety. Storm's music is good, no doubt, and this 16 year old has a clear passion for the genre. We just hope to see him continue in this direction, continue improving and to not give up on the music he wants to create. He's clearly poised to be a potent musician for decades to come, and hopefully this can be the first step in a long and successful journey along that road. Score: 7/10 Join The Storm will be released on August 22nd 2025 via Indie Recordings. Words: Amy Smyth Photos: Storm

In the Irish language, Rún is a word with a multitude of meanings; secret, mystery, love. The scope and poetic nature of the word encompass the sound that new band Rún makes. Rún’s self-titled debut album is brought to you by three esteemed artists from Ireland. Vocalist Tara Baoth Mooney (also known as the Clumsy Giantess) has years of creative projects under her belt spanning visual art and textiles. Diarmuid MacDiarmada (Nurse With Wound collaborator, and brother to Cormac MacDiarmada of Lankum) is a multi-instrumentalist with over 30 years experience across many aspects of music scenes in Ireland. The drummer and sound designer, Rian Trench, is a well known producer amongst other things, with a particular presence in the electronic music scenes. The album was recorded in Trench’s studio The Meadow, on Ireland’s east coast. Combined, the trio have created a seven track piece that layers stoner/sludge, cosmic jazz, and acid folk. The album is packed with experimental, all encompassing tracks, and if you were to describe it with one word, it would be layers. Aside from the instruments you would expect, you can hear layers upon layers of chattering and whispering, domestic clattering, and even flies buzzing. The intro track ‘Paidir Poball (Pupil)’ brings an eerie, almost psychedelic feeling from the get go, with stunning traditional Irish vocals. Some aspects feel distanced, whilst others feel right on top of you, with whispering and scraping sounds scattered across the track. They become uncomfortable at times, adding an element of other-worldliness. The welcome durge of the guitars burst in and create a chilling atmosphere that builds. The background scraping and grating can still be heard as the song reaches its peak. The deep choral throat singing soars through, familiar sounds are coming in and out of consciousness which then progress into a robotic vocal, a big contrast to the chanting earlier. ‘Your Death My Body’ begins with an addictive beat, the lyrics here are spoken, with emotional ruptures affecting the pitch and tempo of the piece. Notable influence from the likes of Portishead or Massive Attack can be picked up in this track, with the drum beat and the wavering background synths, the ending sounding like something being mixed in a mixing bowl, that then blends into a structured pattern. ‘Terror Moon’ was the first single, released back in May, and this track provided a great introduction to the group with a driving drum beat that crashes into a hypnotic, reverberating groove. The stoner buzz comes through here, whilst the standout point is the very crisp percussion that sharpens the edges of the blurry surroundings of guitar and vocals. The second single 'Strike It' that was released last month has the beloved stoner driving force, with more crisp drumlines and vocals that break out into wails and then break down even further into rumbling distortion. Rún is a busy album, with lots of elements all happening at once. Each track stands on its own, even the shorter experimental interludes. Many of the sound effects produced throughout the album sound like everyday objects that have been repurposed to make new sounds that are immersive and surrealistic. The level of exploration and creativity in this album is exciting and frankly, enormously impressive. The triad will be playing a small string of shows in the UK in November that you will certainly not want to miss out on. Score: 9/10 Rún will be released on August 22nd 2025 via Rocket Recordings. Words: Danielle Henderson Photos: Rún

Experimental and extreme metal bands are drawing on an ever growing multitude of musical influences, and seem to be becoming less beholden to purist ideals of the past. Yet, however jarring, to navigate the mysterious cartography of algorithmic searches, an online presence still requires a selection of nouns and adjectives to portion them off into their overflowing categories. With a diversity of creative influences, Atlanta-based band Malevich have leveraged this symptom of modern music making. Using a litany of sub-genre headings, they help us define their sound and ultimately, drawing us in, including; post-death metal influenced blackened screamo sludge, death grind and power ambient. Phew. Malevich’s forthcoming LP, Under a Gilded Sun, is a continuation of this cauldron of styles. Neatly and deftly layered on top of each other, it explores a dark and bubbling world of disaffected, anti-authoritarian, grimy discordance. Over the past decade, Malevich’s commitment to intensity and ear shattering sounds in early records like Our Hollow and Only the Flies felt like a release of growling, dark matter, seemingly pouring out of a rip in some demonic dimension of sub-space. Proudly anti-fascist, they have been ever ready to devour the capitalist experiment and ideologically corrupt systems, across the board. Now, with Under a Gilded Sun, they have made this intent crystal clear, stating “Malevich wanted it to be known that they weren’t making extreme music that was void of purpose”. They seem to take personal affront to the scene they see around them, “The lack of teeth found on the thoughtful side of extreme music is concerning; hordes of reverb-soaked faux-black metal bands tremolo picking for the sake of selfish art and not anger”. The record opens immediately into a cacophony of blast beats and a guitar chiming, all draped in fuzz, on the first track, ‘Blossom in Full Force’. A raspy straining voice rallies out at us, with the lyrics, “Existing in absolute discordance. Caught in the perpetual tension between atoms and wholes”, acutely describing exactly how this intense barrage of an opening feels. Drawing out a melodic line with layers of synth and guitar, as the grasping and pained vocals continue, the combination of dirt digging screams and beats, with the eerie atmospheric drifts, produce a strange, but thoroughly enjoyable flow. Malevich introduce three different vocalists from their multi-tasking four piece - Connor Ray, Sasha Schilbrach-Cole, Daniel De-Simone. This dissonant harmonic vocal layering is a mainstay through the LP, adding invaluable texture and depth. A communion of lost souls crying out by the songs close of “No one exists on their own”, and their resistance to the alienation of corporate individualism. Hitting us right in the centre of the album is an unexpected tonal shift, its quiet, its gentle, its unexpected, and so it feels, just as drastic. ‘Illusion Never Changed’ is a clear, distortion-free lament for the earth, or society, or freedom, or all three and more. We are softly carried along, until finally the vocalist can’t hold back any more, screaming back at us, filling the song with a sort of bubble of noise. From here, we jump back into the clawing nature of the previous tracks, a standout being ‘A Sun that only Sets’, full of seriously sweet guitar melodies, from Josh McIntyre and Ray, momentarily invoking a sort of Velvet Underground feel. Depicting a sonic landscape that undulates through gnarly sci-fi vistas and analogue vintage horror, the music drops out several times, only to swoop back in with those post-something guitars, jangling through the gritty haze and guttural death vocals. As it descends into one of Malevich’s well crafted, dissonant rambles, it shakes off the confusion and into a sort of mechanically repetitive ‘fuck you’. The LPs final track is ‘Supine, Under the Gilded Sun’. Atmospherically stomping and smashing through the life force of a cymbal and onwards through a mush of synths, until falling away into a distillation of minimal riffing and singing. Clarity is the wrong word, as there is still grit soaked through it, but you feel it cut through murk. In the train-chug-like rhythm we pendulate between almost soothing, singing, and the forcing out of a mass, of dark, scratchy, pain. As this final track, and the LP, draws to a close, a wall of distortion slowly engulfs it, until all has dropped away into a sparkling, pulsing synth. With a sense of floating through infinity and beginning to lose their transmission, you might contemplate if you had accidentally tuned into someone's swan song. There is something deeply pensive here, combined with a sense of toil and struggle, both ideologically and also in pushing their creative boundaries - "As the costs rise ever higher, my sweat as feed for another". As their creativity evolves and it intersects with radical, progressive politics, even when the message seems bleak, it is where the album feels at its most successful. Under a Gilded Sun may be crying out for justice, but it has a purpose, an essential component, if metal’s confines, and its gatekeepers, are potentially dissolving. What if the only way to go, is unavoidable progress… Score: 7/10 Under A Gilded Sun will be released on August 22nd via Church Road Records. Words: Alana Madden Photos: Malevich

Burn It Down is approaching fast, and if you haven’t got your ticket yet, now is the time! If you haven’t only heard of a few of the bands, or even know just the headliners, here are 10 bands you should check out. Hell hotel This Surrey/Sussex duo formed last year and have had their tracks played on the likes of BBC Introducing as well as local radio shows. They have supported Kid Brunswick, and are slowly building a strong fan base via their shows and social media. Mouth Culture A true upcoming act to watch! They have a fast growing fan base and it’s clear to see why. They have supported You Me At Six on the Final Nights Of Six Tour, as well as having a few festivals and own tours under their belt. Coast to Coast Coast to Coast are celebrating 10 years of becoming a band on the weekend of the festivals. They will be playing a mix from their discography, full of heartfelt anthems! Xile Xile are a band originating from New Zealand, but now reside in the UK. Their style is self proclaimed as Kiwi hardstyle metallic hardcore, and that sums up their sound perfectly! Split Chain Although Split Chain have only been on the scene for 2 years, they have rapidly become a fan favourite, with their debut album released last month. Later this year they will be touring North America with Counterparts. Crashface This up and coming duo have been supported by Alyx Holcombe as well as working together with other bands in the scene. It’s the perfect time to check them out whilst they’re still on the smaller stages as they bring an amazing energy to their shows! Hyphen Hyphen brings a rap-punk sound to the festival, helping his crowd feel like they have a place to belong with his motivational lyrics and positive energy on stage. Guilt Trip This Mancunian metalcore band has been on the scene since 2015 but have formed a strong fan base, touring across the world, including opening for Architects. Perfect for fans of bands such as Malevolence. Cancer Bats Cancer Bats are playing their only UK show at Burn It Down, the first time in the UK since 2019! With seven albums plus a number of extended plays, they have a strong fan base build over the past 21 years. The Canadian band are great for fans of Hatebreed and similar. Static Dress Static Dress are headlining the Friday, playing Rouge Carpet Disaster in full, making it one not to miss! The Leeds band have built up a following with lead singer collaborating with other bands and appearing at several gigs over the past few years. They also opened up on Bring Me The Horizon’s latest UK tour. Words: Angel Turley

Some bands take years to find their voice. PLAIINS crash through the door, already shouting. Their debut album Happy Faces is a brash, witty, and relentlessly energetic blast of British punk spirit with just enough indie swagger to keep things unpredictable. Recorded in Hamburg but rooted firmly in the grit, humour, and chaos of the UK scene, it is the kind of record that feels like a night out gone slightly off the rails; in the best way possible. The band, made up of Chris Reardon on vocals and guitar, Timon Lanzinger on bass, David Suhlrie on drums, and Florian Kaninck on guitar, have been building momentum since forming in late 2020. They have shared stages with everyone from Press Club to ITCHY, dropped more than twenty tracks, and landed features on BBC Radio 1, BBC Introducing, and Kerrang! Magazine. With that kind of pace, you might expect a debut album to feel like a greatest hits round-up. Instead, Happy Faces feels like a proper statement of intent: loud, clever, and bursting with personality. The opening title track wastes no time in setting the tone. It barrels in with jagged guitar riffs, a rhythm section that pushes everything forward, and vocals that shift between shout-along choruses and sly, rhythmic verses. Chris Reardon’s choice to lean into his natural English accent rather than an Americanised delivery makes the whole thing hit harder; it is conversational, but also confrontational. It sounds like someone telling you a joke that also happens to be true. 'Dirty Fish' and 'Be More Animal' keep the momentum high, leaning into the band’s punk backbone but sneaking in indie hooks that keep you humming along even after the tracks end. There is polish here, but only just enough to keep things from flying completely off the rails. The rest is wild-eyed energy and the kind of riffs that kick down the door whether you invite them in or not. By the time you hit 'Hotel Biscuits', you realise PLAIINS have a knack for turning the ridiculous into the memorable. The title sounds like a throwaway gag, but the delivery makes it something you will be chanting the next time you are stuck in traffic. That is a running theme across Happy Faces. The humour is immediate, but there is always something sharper underneath. 'Amazon Warehouse' and 'Do One' push harder into that lyrical bite. These songs still come dressed in scrappy riffs and pounding drums, but there is no mistaking the commentary hiding between the lines. They feel like they are written in the moment, fuelled by the kind of conversations that start light and end in half-serious rants. Then there is 'Executive Me', which stands out as one of the album’s most intriguing tracks. The band have joked that it could be a psychological thriller in song form, and they are not wrong. It is tense and slightly unhinged, building a sense of unease before exploding into its chorus. This is PLAIINS at their most cinematic, without losing their rough edges. In the middle of the record, 'Beef Cake' and 'Sports Bar' are pure fun. They feel like sketches of exaggerated characters you might meet on a Saturday night, delivered with a wink but grounded in a reality you recognise. It is here that you feel the band’s ability to balance cartoonish energy with songs that still work on a straight rock level. The final stretch shows a little more range. 'Row She Said' has a darker, more melodic feel, while 'C’est La Vie' bounces between sardonic humour and something approaching sincerity. 'Special K' kicks the tempo back up before 'Four AM' winds things down with a looser, almost reflective close. It is the kind of ending that feels like walking home after a long night, half-smiling, half-thinking about everything that just happened. Underneath all that chaos though, there is a clear vision. Reardon has said the band wanted the album to be coherent, characterful, and fun while still having depth. That paper bag metaphor he uses, smiling face on the outside, something more complex underneath, fits perfectly. The songs are accessible and often silly on the surface, but they also reward closer listening. The humour makes the serious moments hit harder, and the energy means even the heavier subjects never feel weighed down. Production-wise, the album is tight without sanding down its rough edges. Working with producer Manuel Renner at Ueberlaerm Studios, the band have kept a live, in-the-room feel. The drums were recorded at Sound Pauli in Hamburg, and you can hear the air in the room when they hit. The guitars are crunchy and immediate, the bass has real bite, and the vocals are front and centre without overpowering the mix. It sounds like a band having fun but taking the craft seriously. For a debut, Happy Faces is confident without being overblown. It is punk at its core, but the indie and rock influences keep it varied. Fans of IDLES, The Hives, Soft Play, Bad Nerves, The Streets, and Viagra Boys will find plenty to enjoy here, but PLAIINS never sound like they are imitating anyone. They have a voice of their own; loud, funny, and unafraid to poke at anything that catches their eye. It is rare to find a record that can make you laugh out loud one moment and then land an unexpectedly thoughtful line the next, yet Happy Faces manages it over and over again. It is a debut that feels lived in, like a band who know exactly who they are and have no interest in toning it down for anyone. Score: 9/10 Happy Faces was released on August 15th 2025 via Long Branch Records. Words: Kelly Gowe Photos: PLAIINS

In a world so intent on pursuing sinful goals, Anthrodynia questions the limits of mankind's pettiness and triviality in the Edmonton-based duo's first album Unspeakable Horrors Emanating From Within. With the pair's impressive backgrounds within the alternative genre as a whole (Derek Orther appearing in the death metal band Begrime Exemious, Durrell Smith being a former member of both Mahria and Kuroi Jukai), they become a herald of the music scene. Combining squeaking synths and trigger-happy tremolos in a marriage of doom metal and death metal, the sound carries an underlying sense of emotion with it, allowing the band's first album to be poignant and purposeful. Opening with ‘Severed From Mundanity’, Unspeakable Horrors Emanating From Within is already a heavy hitter. A real sense of evolution is displayed through this track as it outlines the album's descent into mutiny, encapsulating the world with an audible sense of darkness. The instrumentals are thick, sending a ceaseless torrent of water trickling down the listener's mouth in the form of this steady bass, the intensity of it all being suffocating. A distinct tie to organised religion is present, through lyrics such as “where no light will follow, where no violins will sing” in a description of the world to come - if humanity continues with its selfish ways - that is eerily similar to biblical depictions of hell. It's morbid, nihilistic to the extremes, never flattering away from this aggressive stance on life. Derek Orther in this track produces a masterclass in audio manipulation, the effects being firm and consistent, layering together in a deadly cocktail that makes the whole album so venomously addictive. A deceptively simple yet disgustingly eerie bass is heard as ‘Engulfed From Grief’ begins. It is a song that seeps down into your very soul, reverberating around bones and flesh, eating you from the inside out. It builds and builds, anticipation being so thick in the air it is sickening before it comes crashing down into a climax. Masterful manipulation of instruments collide together in this impenetrable listening storm supported by the continuous trill of the drums (Durell Smith). The vocals take on this animalistic portrayal of grief, growling and hissing at times in an anthropomorphism of man overcome by the torment of anguish. Yet, at times, the vocals do seem pushed to the side and forgotten in a recurring theme throughout. The instrumentals are so strong that they overpower it, not slotting together exactly right. It is a nitpick of an otherwise solid album. The track succumbs to a tonality at the end, circling this one fazed out stabilising note, making it apparent that grief has won the fight. ‘Cathartic Dissemination’ is instrumental. Lacking any vocals, it flourishes more than the other tracks as the deliberate layering becomes apparent. It possesses a tonal build-up, depicting the incessant repetitiveness of everyday life before dismantling it down into complexities, disfiguring and tainting the world with a borderline angelic harmony of instrumentals. Through this, ‘Cathartic Dissemination’ departs from usual motifs of hell that are commonly found engraved within the death metal genre. Anthrodynia in their work prefer to be more grey, rather than completely black or white. The track doesn’t paint a depiction of heaven or hell - that is made very much apparent by the synth that eventually picks up and overwhelms the static, angelic beauty, placing the audience in an excruciating purgatory. It ends with a cathartic release as everyday life is severed, a screeching sound being heard as if it were a car with worn-out brakes grinding to a halt, signalling the end of the journey. ‘A Rotten Sun’ is complete whiplash from ‘Cathartic Dissemination’. It is full-bodied and deliberate, not being a simple stinging papercut but a full on dog bite, carrying a purposefully violent tone. Just like Dante's Inferno, it is short but spiteful, with a still impressive runtime of 04:44, which is significantly shorter than the rest of the tracks. It’s small, but deadly, displaying a solid, yet ongoing, evolution of sound with the steady backbone of the drums, the bass serving as the ribcage whilst the deep strumming guitars form arms and fingers of the grotesque, rotting beast that is Anthrodynia. ‘Suffering Pure Light’ carries on with this brutal crusade, the title being incredibly metal in an almost patronising way, with its juxtaposition of light with incessant violence in a condemnation of everything the world deems as ‘pure’. The track is the finishing garnish to an already impressive first album, tying it all together in a cyclical structure as it recalls the same intense elements present in the opening track, ‘Severed From Mundanity’. Whilst not exactly challenging the status quo with its stereotypical interpretations of both the doom and death metal genres and its, at times, surface-level lyrics, Unspeakable Horrors Emanating From Within is still an album that is sure to please fans of Disembowelment, Spectral Voice, and other major pioneers of the genre. Their, while not entirely unique, takes on the genre and their nihilistic sound, churned together with lyrics intertwined thickly with allusions of religion and belief, are sure to send Anthrodynia skyrocketing with success. Score: 7/10 Unspeakable Horrors Emanating From Within was released on August 15th 2025 via Nameless Graves Records. Words: Dylan Milton Photos: Anthrodynia

mgk, or Machine Gun Kelly, has become a significant figure in the alternative hip-hop scene as of the past few years, after switching his genre from his well known hip hop rap and leaning more into his punk side - even collaborating with high-profile figures in the alternative scene such as Yungblud, Kellin Quinn and Bring Me The Horizon. Plenty of his fans think he's done an excellent job expanding his style and connecting to fans all over the world with his music, however there are many who think that Colson Baker should've just stayed at home in Houston, Texas, instead of making music. The controversial musician's highly anticipated release lost americana is finally here, and fans have been excited to hear what was coming next - we can confidently say that you are in for a ride while listening to this album. It's certainly very upbeat, and may even be a real proper summer album, perfect for car rides with the windows down and blasting music with your friends. The album - at points - radiates happiness, and that carefree feeling you can only get during the warmest months of the year. This album definitely has a more overt pop influence across it, however the heavy guitars do pick up in some songs like ‘outlaw overture’. The drumming also plays a big part in this, as it picks up in the chorus but keeps a steady beat throughout each verse. The song ‘dont wait run fast’ opens with an impressive guitar riff, as the overall tone of the album became a lot more angsty here. mgk's vocals are more harsh here, and with the melodic riffs in the background this song takes on a more grungy feel to it compared to the others on the album. A common theme in this album is fatherhood and love, shown off poignantly in the song ‘treading water’. The track is a very emotional one, and fans worldwide have resonated with it deeply. A couple lyrics that particularly stood out are “I wrote this song in room 3, spending Christmas in rehabilitation” and “I broke this home but I’ll change for my daughter, so she’s not alone.” These lyrics hit hard as he sings about his personal struggles in a way that feels heartbreakingly honest, and you really can’t help but listen and take them all in. The track ‘orpheus’ is heartbreakingly similar too, where mgk's vocals are raw and impactful to make the lyrics all the more vulnerable. “I will love you for all my days. Somewhere in a different realm, we’re still together.” You can't help but believe that mgk is speaking from his heart with these lyrics, and they reach every one of us. This album is an emotional rollercoaster that deals with heavy themes, but also keeps it upbeat with some of the songs. You will go from feeling happy and free to crying and screaming along with the lyrics. mgk is raw and honest with his words, talking about real things he has experienced and it is likely an album that people will keep close to their hearts. It doesn't have the consistency of a better album, musically or thematically, but is still a great piece by an artist who hasn't always put his strongest musical foot forwards. Score: 7/10 lost americana was released on August 8th 2025. Words: Kelsey Mainwaring Photos: mgk

For the first time in our conversation, Humour are stumped. You’d think - with a band name such as theirs - that it would be easy, but upon being asked for their favourite joke, they’ve come up empty. After a good 10 seconds of umm-ing and ahh-ing, lyricist Andreas Christodoulidis chuckles: “I guess we’re not actually very funny!” Perhaps their lack of a ready-made stand-up routine should not be at all surprising, especially after listening to their newly released debut album, ‘Learning Greek’. For all its numerous strengths, this record is unlikely to draw comparisons to Weird Al any time soon, with emotionally weighty subject matter and a crushing, emo-inspired musical palate to match. “I find it easier to write about heavier stuff than the cheery bits of life”, he says, commenting on his own writing style. It’s fortunate, with this in mind, that the lyricist is so willing to mine his personal life for art. The title 'Learning Greek' is not a metaphor: during the making of the album, Christodoulidis was extensively exploring his ancestry, evidence of which is scattered throughout its runtime. Memorial directly retells a segment of the Iliad, whilst Aphid and Die Rich both invoke characters from Greek mythology. “The amazing thing about those stories”, Christodoulidis muses, “is that even after thousands of years, they still hit you quite immediately, with their depictions of these relatable human moments.” Deliberately associating your own art with the classics is a daunting prospect, and one that Humour don’t take lightly. “We were worried that it was quite pretentious”, guitarist Jack Lyall states, “but that’s where presenting it in this erratic, heavy music makes it a little bit different. You’d never expect these stories to be told in this way, and you wouldn’t expect this music to be about that either.” For an album with such a strong theme, it’s surprising to learn that it wasn’t originally conceived as a concept album. “We didn’t write it with a theme in mind,” Lyall recalls. “It was only when we wrote a really shit song called ‘Learning Greek’ where we had this realisation that every song was looking at Andreas’ family and Greek history.” After some reworking, that title track would go on to become one of the most poignant moments on the record, not least because of the inclusion of Christodoulidis and his father, reading On Philhellenes Street by poet Andreas Embirikos together. Though on paper just an interlude, with a runtime that fails to make the minute mark, it is this short track that connects the album’s themes, not least because of the generational impact that it proves these stories to have. “He didn’t even know I was recording!” Christodoulidis laughs, “I’d been doing it in secret for months, not with any specific intention in mind, but then Jack came to me with the instrumental for that song, and it worked really well.” “I was about to abandon it”, Lyall interjects, “because I thought ‘What’s the point? I don’t really know where this is going’. But with those recordings, everything about the track really fell into place.” With the covert operation to record these recitals complete, all that was left to do was to show Christoudoulidis’ dad the finished product, still unbeknownst to the central role he played on it. “He was bewildered when he heard it!” the frontman remembers, “He just had nothing to say except ‘oh! Sounds good.’” After the complex, at times subterfuge-laced creative process for ‘Learning Greek’, taking these songs on the road has become a liberating experience for Humour. “When you play live, the emotions of a song are what hit people first.” Lyall adds “Even though they are about quite specific things, we try to bring the universal feelings out of the stories, and that’s easier to do at a show.” “People hearing the recordings is way more daunting than playing them live,” Christodoulidis adds, “when the song is out there, and people can listen carefully and replay it, deconstruct it. And, y’know, reviews are written, of course, that’s the thing that scares me a little bit”. It’s this vulnerability that makes Humour such an admirable band. On ‘Learning Greek’, they have laid a piece of themselves on the line, all the while dressing it up in an anxious, angsty sound. And though many reviewers will have their say on the merits of their work, there is surely one that towers in importance above the rest… “My dad has heard the album in full now,” Andreas Christodoulidis reveals, “he liked the bits that he’s in!” Photo by Simon Arinze at 2000Trees Humour's 'Learning Greek' is available now via So Young Records. Words: Ali Glen Cover photo: Rosie Sco Cover Design and 2000Trees photo: Simon Arinze With thanks to: Prescription PR

Jacob Duarte’s band project Narrow Head have seen significant success the past couple of years following the release of their stunning third album Moments Of Clarity. Touring the world, playing festivals, and even releasing a small split E.P with Momma in which they adoringly covered each other's music, Narrow Head has never shied away from heavy resonant riffs, dark yet complicated subject matter, and dreamlike soundscapes to offset the listener but even we couldn’t have guessed what other ideas Jacob could be sitting on - namely Deluxe Edition, the first release under Jacob’s new solo moniker Nihilistic Easyrider. With this new project, Jacob has cast us into the roots of his writing style and influences with an album filled with those same dreamlike melodies, but with a taste of the forefathers of pop-punk and 2000’s era emo. A collection of songs written throughout Jacob’s career, the record serves as an anthology of his imagination and amazing ear for melody. ‘Getaway Plan’ was the first single released and it is a masterclass of a pop-rock song. Launching you immediately into a heart-racing riff, beautifully laid vocals and a drum beat that will have all of us restless leg syndrome sufferers looking like we’re air drumming for Slayer! Following ‘Getaway Plan’ we fall into the more relaxed tones of ‘Weekend Fever’ another big singalong chorus with a more stripped-back sound. ‘Facedown’, the last single released, is Nihilistic Easyrider at his most pop-punk, almost reminiscent of Enema-era blink-182. The fast drums and big chorus are made for stage dives and crowd vocals, and our only complaint is that this one isn't long enough! ‘Drive All Night’ and ‘Don’t Get Scared Now’ are two of the biggest highlights of this record. ‘Drive All Night’ fades in like a sulking teenager wandering and stomping through the house, closing doors a little too rough. This leads into a moody riff that builds internally, brooding and bubbling over like angst or frustration, and then culminates into a beautiful chorus that will absolutely have you driving all night with it on repeat. ‘Don’t Get Scared Now’ has beautiful swelling guitars from the open, a truly romantic opening that one could slow dance to before collapsing into its moody and quasi-Narrow Head chorus. This song sounds like heartbreak feels - long days in your room alone, a warm drink untouched and a second blanket in an attempt to comfort your melancholic mind. ‘Sanitorium’ is another of the shorter tracks on the record, with gorgeous synths and lyrics made for full venues to yell back at Jacob. Despite the song's obvious lyrical references to depression and suicide, the damned thing is so upbeat that the track plays a trick on you, and the inherent sadness, hidden in plain sight, could almost go unnoticed. ‘Everything Is So F*cked Up’ is a full-blooded folk/emo classic. Jacob flaunts the type of music he must have grown up hearing, and he uses this influence to create a piece with a fantastic twist into his own style. The jaunty piano riffs, that same swelling we heard in ‘Don’t Get Scared Now’ but reborn anew with a country twang. Something tells us this talented Texan has not yet yee’d his last haw. Deluxe Edition feels like an album of songs that Jacob can truly wear on his sleeve. The influences of his local music scene and culture, the radio pop-rock of the early 2000s, all skillfully mixed together with the earworm melodic harmonies of 1990’s emo. Duarte pulls all of this together, and creates what is a strong contender for album of the year, certainly if your music taste is found where the tunes all have a summery disposition and endless replayability. Nihilistic Easyrider deserves all of your attention this summer - with U.S tour dates on the horizon - so right now is the best time to get in on the ground floor with Deluxe Edition and, with nihilistic ease, ride it all the way to the top. Score: 9/10 Deluxe Edition was released on July 25th 2025 via Run For Cover Records. Words: Spencer Cunningham Photos: Nihilistic Easyrider

It's hard to believe that BABYMETAL is officially celebrating its fifteenth anniversary on the metal scene, but the Japanese band is well ahead of the celebrations, and for this big occasion the group has released its fourth full-length album, METAL FORTH, that's stuffed fit to burst with big names and bigger riffs. Together with the exciting release, SU-METAL, MOAMETAL and MOMOMETAL embarked on a huge worldwide tour, playing in Europe and the United Kingdom, as well as doing an extensive tour across The States and prepping for one later this year in Asia. The ten-track, full-length album offers a near-excessive, yet very exciting selection of seven collaborations, that are all well-known and relevant metal bands and artists, such as Poppy, featured on the opening song ‘from me to u’, Bloodywood, who took over ‘Kon! Kon!’, and Tom Morello on the striking ‘METALI!!’. The previous mentioned tracks, as well as the others, offer a unique listening experience, combining BABYMETAL’s iconic usage of instruments, with heavily-used guitars and drums, and SU-METAL, MOAMETAL and MOMOMETAL’s distinctive voices that have been a hallmark of the band since the very beginning. The three previously mentioned songs are all very prominent for various reasons. The opening track ‘from me to u’ with the ‘Queen of Metal’ herself, Poppy, is not only a powerhouse of a song - especially for a track that is supposed to introduce you to the album - but it is also one of the few songs in BABYMETAL’s discography that is sung predominantly in English, making it a special piece to listen to. The band’s appreciation for femme artists does not end here, however, as the metal sensation Spiritbox, fronted by the talented Courtney LaPlante, is featured on the album as well, specifically on the song ‘My Queen’. Even though LaPlante’s part does not last long, her raw vocals and striking screams are highly complementary within the piece. In ‘Kon! Kon!’, however, the listeners are met with a catchy blend of Japanese, English and Hindi, as Bloodywood brings its own twist in the overall melody, resulting in one of the most stand-out pieces of the project. The only breakdown of the song is aggressive and merciless, bound to not leave one head still. The last mentioned song, ‘METALI!!’, offers listeners a modern metal twist on classical Japanese music, thanks to Tom Morello’s unmistakable way with a guitar and the use of shamisen, that have landed a perfect balance and depth to the song, which has recently become popular with the bands fans since the EU and UK tour. ‘Sunset Kiss’ is a lovely collaboration with the American progressive rock band Polyphia, and although it is a tad weaker compared to the other tracks, it is still exciting to listen to. Strongly resembling the style of Japanese rock often used in anime openings, the song features catchy instrumental parts, as well as some synthesized parts that fit in amazingly. Apart from the strong collaborations, BABYMETAL also returned with three new tracks that all fit in the band's discography perfectly, while bringing in new and fresh dynamics. ‘KxAxWxAxIxI’ is very reminiscent of the band’s earlier work, with rumbling screams and extensive rap-parts. The song uses many elements such as synths and sound effects that add more life to the overall atmosphere. On the other hand, ‘Algorism’ and ‘White Flame —白炎—’ are very energetic releases that stun the listeners from the first notes. Both heavily incorporate guitar riffs and drums alongside the soft voices and occasional screams of SU-METAL, MOAMETAL and MOMOMETAL to create a memorable listening experience that only the metal sensation from Japan can bring. Metal Forth is a strong candidate for the best album of the year, as every song brings with it new twists and excitement that absolutely does not slow down across the album. The album is packed with mind-blowing collaborations and songs that fans of BABYMETAL did not know they needed. The Fox-God messengers have, once again, proved to the world that their music has no boundaries and that even after fifteen years they are still one of the most innovative bands on the metal scene. Score: 9/10 METAL FORTH was released on August 8th 2025 via Capitol Records. Words: Katerina Stepanikova Photos: BABYMETAL

American punk rock band Rise Against - formed in Chicago in 1999 - are known for their social commentary, reaching the hearts of millions worldwide with topics such as politics, animal rights, war and environmentalism. When they have something to say they don’t hesitate, shouting it at the top of their lungs while delivering it in a way that is both beautiful and potent, making the band into something more than just musicians for so many individuals, and helping to make people feel seen and heard. Now, Rise Against are back with the highly anticipated album Ricochet. Jam-packed with aggressive riffs, catchy hooks, and vocals that are so powerful you'll feel them throughout your body. The album starts off with the track ‘Nod’ that was previously released back in January, and immediately you can tell that Rise Against have stuck to their roots, with Tim Mcllrath’s iconic vocals and guitar riffs that bring the song to life. ‘I Want It All’ and ‘Ricochet’ were the other two releases prior to the album. ‘I Want It All’ has kind of a grunge feel to it, felt keenly during the chorus as Tim is screaming “Don’t you want it all?”, whilst accompanied by soul-shaking riffs, while ‘Ricochet’ is a bit more mellow - but don’t be fooled, it is packed with driving drums and powerful, melodic vocals. The fourth song on the album is ‘Damage Is Done’, a beautifully thought out and well written track about how hurt and pain is something that cannot be reversed, but we are left with the choice to learn from it and grow, or let it hurt us forever. The chorus particularly stands out in this song, once it finally hits after an exciting build up it's like you can feel the lyrics and you get taken over by these melodic riffs. ‘Us Against The World’ is about the hard fight for a better world, and a reminder that it always starts with a minority of voices before it grows into something more. “I know you’re scared but you're not alone” - this is a reminder that, no matter how lonely it may feel fighting these issues, there will always be people right there fighting with you and wanting the same things. Rise Against have always been loud about their beliefs and this song feels like a reminder that they are fighting too, just like every one of us. Coming next is the song ‘Black Crown’, which tells an incredibly impactful story about preparing for a doomsday scenario to survive the last days on Earth, instead of putting all that energy into saving what's left of the world. Everyone and everything would be gone, and you would be left alone, ruling a world that nobody would be living in. Starting off with a heavy riff before going into the soul touching vocals is ‘Sink Like A Stone’, which touches on the subject of mental health. “You’re gonna sink like a stone, 'cause if you carry this weight on your own you're gonna break down.” This song is a reminder to put your mental health first, because you cannot take on the weight of anyone else's without dealing with your own. Rise Against have talked about many issues thus far, yet this song stands out to us because it is something we often forget. Afterwards is the electric ‘Forty Days’. This song really picks up towards the end, when everything hits ten times harder to really punch the message of the song home, holding onto something you love no matter what and committing to that even during the hard times. The guitar almost creeps up on you during ‘State Of Emergency’. Things starts off short and slow, before building up and taking more control. The chanting in this song borders on overpowering as the lyrics talk about the world, and how it always makes us always feel like we are in a state of emergency - “We never understand what the story's about so we all shake our hands, stamp our feet, scream and shout." ‘Gold Long Gone’ starts off with a beautiful guitar line joining Tim’s raw vocals, and this song takes its time. It's about where we are as a society and where we actually want be, and how there's such a big gap between the two. Nearing the end of the album, we have the song ‘Soldier’, which is a real anthem that makes you want to scream along with “I’m not your soldier anymore!” With the heavy guitar and drumming, these lyrics are repeated throughout, telling the poignant story of a soldier has finally opened their eyes and can no longer defend what they have been defending all this time. They end it off with ‘Prizefighter’ which is ultimately about creating music not only for their fans, but for themselves as well. Rise Against have outdone themselves with this album, each song has its own important message that tells a microcosm of the story of this album. We love their passion and it's clear to see that they put their everything into every one of their songs. This album not only weaves a poignant story, it also shows just how talented these guys are - they gave us a collection of electrifying riffs and intense drumming and also made a powerful point with each song. Rise Against have done punk rock proud again. Score: 9/10 Ricochet was released today on August 15th 2025. Words: Kelsey Mainwaring Photos: Rise Against

The Italian melodic power metal force Alterium has hit the scene with its latest release Stormrage, pushing themselves above the parapet. The band took over the charts in 2024, two years after being formed, with the full-length debut album Of War and Flames that featured nine original songs and a cover of Sabaton’s hit song 'Bismarck'. The band has played at numerous festivals and concerts since, with an upcoming festival tour this summer and a debut appearance at the acclaimed ProgPower festival in Atlanta, USA, and guest appearances at Fabio Lione’s Dawn of Victory’s shows across the Europe this autumn. The short yet powerful EP Stormrage has two new songs inside, one cover song and a jaw-dropping symphonic version of one of their most acclaimed songs, 'Of War and Flames'. By making the project a bridge between their debut album Of War and Flames and upcoming full-length releases and blending in the best of their power metal, Alterium have created a pathway for future projects, and a superb foundation on which to build. 'Stormrage' is a fast-paced song full of powerful guitars thanks to the guitarists Paolo Campitelli, who is also playing the keyboards, and Alessandro Mammola, hitting drums that are guided by Dario Gozzi, and dynamic bass played by Luca Scalabrin, all while combined with the strong vocals of the singer Nicoletta Rosellini. The song is a perfect introductory piece, as it takes the listeners into the world of the band and immerses them in their sounds. The next song, 'Sui', starts off a bit slower, even though it picks up pretty quickly. Featuring ear-catching riffs at the beginning, the song is diving more into the lore of Stormrage, narrated by the talented Rosellini, who delivers her lines on point and oftentimes layers her vocals throughout the song, creating beautiful harmonies. Unfortunately, apart from the drums, the rest of the instruments are not as prominent for a good chunk of the song, resulting in a sound that's not as rich in some instances. The third song on the EP, 'Paradise Lost', is a cover of the Symphony X song and showcases Campitelli’s keyboard skills in a way that complements the overall sound of the song. By using synths only in certain parts, rather than throughout the whole song, the band achieved a rich melody that is neither chaotic nor overwhelming, which is perfectly suited for the song. Carrying the atmosphere of a closing piece, the song feels like a proper goodbye at the end, hinting at something new that is about to come. Once again, the use of guitars in the song is well executed, with the riffs and solos not being forced and blending in well with the rest of the instruments. The last song of the release is not a new piece, but it still holds a big impact on the overall listener experience. As the song 'Of War and Flames' is one of the band’s most prominent releases, bearing the name of their debut album, Alterium decided to level it up a notch and put the symphonic version of this iconic song on the EP. Featuring plenty of classical instruments such as pianos and violins, as well as a choir, the sound is grandiose from beginning to end, creating a unique sound whilst still upholding everything the fans love about the song. Rosellini’s voice fits in wonderfully with the symphonic melody, and the song makes one long for more songs like this from the band in the future, as it would elevate the band’s performance. Although Stormrage is only four songs long, it still bears pieces that are both unique and memorable. From the EP's title track to the stunning orchestral version of one of their acclaimed songs, the listeners are met with rich guitars and bass, prominent drums and a voice that is one of the best on the scene. Unfortunately, sometimes the instruments got lost in the background, as the voice and the drums were a powerful combo, resulting into a weaker melody, but this does not take from the listening experience the EP offers to anyone who listens to it. Alterium have once again confirmed that they are ready to take over the power metal scene, and are not afraid to bring more of their trademark charm and energy with them. Score: 8/10 Stormrage was released on July 25th 2025. Words: Katerina Stepanikova Photos: Alterium