Queen Square didn’t look like itself. Forget the postcard lawns and neat cobblestones—by Friday night it was a breathing, sweating organism of punks, locals, and anyone who wanted to lose themselves in the noise. The air was warm and restless, humming with feedback from the soundcheck and the tang of cider in the heat. The Block Party had finally arrived, and Friday felt like the lit fuse before a controlled explosion. Lambrini Girls Brighton’s Lambrini Girls came on like a dare. Phoebe Lunny didn’t just step into the crowd—she claimed it, pushing moshers into gear while her green summer dress stuck to her in the heat. “God’s Country” spat bile and glitter in equal measure, “Cuntology 101” tore through the square like a brawl. Someone next to me lost their wine bottle to the pit; someone else caught it mid-song and took a swig before disappearing into the churn. Everything was loud, messy, and grinning with teeth. Soft Play Soft Play arrived with the subtlety of a punch in the ribs. Laurie Vincent’s mirrored guitar threw sunlight into the pit, Isaac Holman hunched over the kit like it was a fight he intended to win. “Girl Fight” was so short and savage the crowd demanded it again—and got it. The pit by now was a rolling storm: elbows, laughter, wine sloshing over denim jackets. Then “Everything and Nothing” hit, and just like that, arms were round shoulders, and you could taste the salt of sweat in the air. Punk, it turns out, is just as good at hugging as it is at hurting. IDLES By the time IDLES strode out, the square was at boiling point. “Colossus” began slow and menacing, the kind of build that makes your chest tight, until it finally snapped—and all hell broke loose. Bodies slammed, cider sprayed, someone poured a plastic cup of wine over their head and didn’t stop smiling. Joe Talbot was both conductor and confessor. Between growls, he talked about mental health, addiction, and tenderness like he was talking to each person one-on-one. “Mother” went out to his dad, “Danny Nedelko” roared as a sweaty declaration of love for every stranger in the pit. And then the politics came centre stage—a massive QR code for Medical Aid for Palestinians, a chorus of “Free Palestine” from the crowd, the kind of moment where you realise the music is just the megaphone. Lee Kiernan and Mark Bowen refused to stay put, diving into the pit like regular punters, shredding from inside the chaos. The night’s best story came when a kid named Aiden was pulled up to play guitar on “Rottweiler.” He nailed it, wine still dripping off the crash barriers from earlier, crowd roaring like a football match in extra time. The setlist didn’t give anyone breathing space—“Mr Motivator,” “Car Crash,” “I’m Scum,” “The Wheel”—each one another wave to be swallowed by. In the pit, grit got in your teeth, someone’s boot left a bruise, and the wine-and-cider mix on the ground turned to a sticky perfume rising with the heat. And yet, every fall was met with a hand up, every lost shoe somehow returned. Friday wasn’t just an opener—it was a baptism by noise. Lambrini Girls lit the first match, Soft Play threw it into the tinder, and IDLES made damn sure the whole square burned bright. It was feral, political, human, and drunk in every sense of the word. You left Queen Square with ringing ears, bruised ribs, grit on your skin, and the lingering taste of someone else’s wine. And you knew—there’s nowhere else, no other band, that could’ve made this happen quite like Bristol’s own. Words: Mia Gailey

After a couple of heavy hitting EP's and singles - with their first only having dropped in 2022 - Perpetual Paradox, a band hailing from London that consists of Adrian Caucelo on vocals, Oliver Miles on lead guitar, Jorge Nuñes on rhythm guitar, André de Barros on bass and Will Armstrong on the drums, has finally graced us with their debut album Deathwish. This release has the potential to stand as any modern deathcore fan's top album drop of the year already. The album really pushes to include recurring themes throughout the album, such as war and self-destruction, which are shown off both within the music and lyrical content. The album starts with a slow burner by the name of 'Alea Lacta Est', that starts with a gradual building guitar riff, backed by eerie whispering and faint drums. As it nears the end of the track, the vocals transition into clear and hard hitting yells to start off the second track 'Forgiveness is a Weakness'. This dramatically switches up the vibe, with heavy hitting drums, gnarly vocals and some hefty guitars, it comes right out the gate as a dramatic way to truly kick off the album. The song continues with the a bombardment of drum beats and screams galore, until a hard hitting breakdown hits us with the lyrics "No forgiveness" to wrap up the second song. Perpetual Paradox then waste no time kicking into the midground of the album, 'Backbone of Existence', hitting us with detailed guitar runs and some mellow lyrics throughout the song, switching between harsh guitar tones and some heavy drumming coming through. 'Self/Gravity' comes next, and this song provides the atmosphere and themes that the band have worked so hard to distribute throughout their album. About halfway into the song we run into some beautiful clean vocals from Adrian, who proceeds to throw us right back into the deep end for the finale of the song with an immense blast breakdown, accompanied by some scathing guitar riffs. This then transitions into the brutal 'Unhealable Wounds', which starts off fast and heavy. With an immense vocal performance that resonated perfectly with all instrumentals, Adrian powers through the lyrics and screams - it's obvious these guys know how to make potent deathcore. Slowing down as they reach the end of the song, the music then ramps back up as we enter 'Deathwish' the title track of the album. Again, vocalist Adrian almost barks out the lyrics here until proceeding to smack us once again with a different approach, guiding us into a calmer, more mellow section of the song before a guttural finish to hammer home this excellent title track. Before the album's end, Perpetual Paradox have one last treat up their sleeve by the name of 'Into the Void', an incredible five minute track. Right out the gates, the band shows us once again how lyrically talented and musically gifted each member is, from the vocals to each instrument, all the way through to the production allowing everything some room to breathe. We get multiple vocalisations again, with cleans and gutturals both taking centre stage across the track, all whilst the track moves precisely and powerfully underneath. As we reach the last minute we get an astonishing crescendo into what sounds like rainpour and thunder, gradually getting quieter as the guitars come to a slow but grinding stop, to wrap up the album in a tense, atmospheric manner befitting of the themes and style. Deathwish is an absolutely amazing piece of music from Perpetual Paradox - not only does it show their talent off, but it's blatant that a lot of the time and care has been put into this record. Marking a phenomenal debut, the potential this band have shown off is a truly wonderful thing to behold, and we can't wait to hear more of the Londoners'music. Score: 8/10 Deathwish was released on June 27th 2025. Words: Jack Thomson Photos: Perpetual Paradox

The self-titled debut album from Bruxist hits you in the face the way punk rock was always meant to. A crust punk assault infused with death metal brutality, the Aussie boys have kicked, stomped, and declared war with this explosive first release. If you like 90’s crust punk with aggressive anthems, heavy guitars and fast tempo bands such as Driller Killer, or if you like the heavy aspect of Swedish death metal, the soul stirring screams and heavy guitars scales of bands such as Escarnium, or maybe you’re just looking for a good head-banging album to add to your playlist, then this album is for you to try. With over three decades of combined experience in the underground scene, you can hear a rich mix of influences - each track stitched together with raw intensity and purpose. The album opens with 'Inversion', immediately setting the tone. Drummer Dan Nahum drives the tempo like a war march, while the distorted vocals pair perfectly with the savage guitar riffs from Dav Byrne and Terry Vainoras. It's a headlong charge into battle - your head bangs, your teeth clench. The name of the band suddenly makes perfect sense. Most tracks clock in at under three minutes, but they don’t need any longer to make an impact. They’re rapid, feral, aggressive - and most importantly, raw. 'Six Feet Headfirst' shows how seamlessly the band can shift tempo without losing momentum. One moment you're in the throes of a pit-worthy riff, the next you're in a slow, almost ritualistic rally cry, only to be thrown back into the chaos seconds later. Tracks like 'Black Sheep Discipline' and 'Wide Awake' showcase a bold genre-blending approach. One moment it’s blistering hardcore punk, the next it flirts with doom or straight-up rock ‘n’ roll. On paper, it just shouldn’t be this tight, this seamless - but somehow, it is. 'Divide and Conquer' and 'Piss and Vinegar' are arguably the heaviest cuts on the album. They’ve got everything a death metal fan could want - blast beats, guttural growls, crushing riffs, with a defiant dose of classic rockin' swagger thrown in for good measure. The album closes with 'Hydra', a chaotic yet fitting end to this sonic blitz. It’s not just noise - it’s controlled demolition. Overall, this debut is a high-speed, high-energy explosion of everything metal. Whether you're blasting it through your headphones or shaking the walls with your speakers, one thing’s for certain: it’s loud, it’s powerful, and it’s one hell of a first album. Score: 7/10 Bruxist was released on July 19th 2025. Words: David Waites Photos: Bruxist

Finnish experimental heavy rock outfit Warchief has returned with their sophomore full-length, Toil & Trouble. The album's title, referencing a line from Shakespeare's Macbeth, encapsulates the central tension between beauty and brutality that the band explores throughout the record. This album finds the Jyväskylä-based band pushing deeper into the sonic territories they've mapped since their 2015 debut. This latest offering represents a significant evolution in their sound, transforming what was once a straightforward heavy rock approach into something far more nuanced and emotionally resonant. From the moment 'Ghost Egg' unfolds its hypnotic opening passage, it becomes clear that Warchief has spent their time wisely since 2019's Morning Home EP. The album's six tracks weave together the band's established foundation of stoner, doom, and sludge with an increasingly sophisticated understanding of dynamics and space. The result is a collection of songs that breathe with organic intensity, alternating between crushing heaviness and moments of unexpected delicacy. 'Toil & Trouble' immediately establishes the album's central tension between beauty and brutality. The track builds methodically, allowing each element to emerge naturally before erupting into a wall of distorted guitars and thunderous percussion. It perfectly encapsulates the band's evolved approach: patient, deliberate, and ultimately devastating. The interplay between quieter passages and explosive climaxes feels genuinely earned rather than manufactured, showcasing a band that has matured and learned to trust the power of restraint. The album's experimental nature reveals itself in the sprawling 'To Whatever End', which stretches nearly eighteen minutes of evolving soundscapes. Here, Warchief demonstrates their willingness to abandon traditional song structures in favour of something more exploratory. Progressive rock influences seep through the cracks, while the band's doom and sludge foundation provides the gravitational pull that keeps everything grounded. It's an ambitious piece that showcases the band's significant growth as composers, moving beyond simple heavy riffs to create genuine sonic narratives. 'Maailmankaikkeus On Pikimusta Ja Täynnä Suuria Vaarallisia Tahtia' is perhaps the album’s most adventurous moment. The Finnish title translates roughly to 'The Universe Is Pitch Black And Full Of Big Dangerous Stars', and the music lives up to this cosmic imagery. The track incorporates ambient textures and atmospheric elements that recall the band's alt-rock and grunge influences while maintaining their signature weight. It's a perfect example of how Warchief has learned to integrate their diverse influences without losing its essential character. The album's production deserves particular praise for capturing the crushing weight of the band's heavier moments and the subtle details of their quieter passages. 'I Can't Sleep At Night' benefits enormously from this dynamic range, with whispered vocals and delicate guitar work sitting comfortably alongside massive, distorted crescendos. The mix allows every element to breathe, creating a sense of space that enhances the album's emotional impact. 'Mothmaker' is an ideal album closer, combining the best elements of Warchief's evolved sound into a cohesive statement. The track moves seamlessly between different moods and textures, demonstrating the band's mastery of their expanded palette. This 'evolved sound' is characterised by a more intricate use of dynamics, a greater emphasis on melody, and a willingness to experiment with structure and form. It summarises the album's themes and promises of even greater things. Toil & Trouble succeeds because it never feels like an exercise in genre-hopping or technical showmanship. Instead, it presents a band that has genuinely grown into their experimental impulses, creating music that feels both challenging and emotionally honest. The album's six tracks form a coherent journey through darkness and light, chaos and order, beauty and brutality. It's the work of a band that understands the difference between complexity and complication, choosing depth over mere difficulty. Warchief has crafted an album that demands attention and rewards patience. Toil & Trouble establishes them as one of the most compelling voices in contemporary heavy rock, proving that experimentation and heaviness coexist meaningfully. Score: 7/10 Toil & Trouble was released on July 18th 2025. Words: Kelly Gowe Photos: Warchief

After their 2023 release PARASITE, Chicago’s own sludge/doom act STOMACH are back with their second album, LOW DEMON. Originally a duo consisting of drummer and vocalist John Hoffman and guitarist Adam Tomlinson, the band have more recently forged into a collective of three, with the addition of bassist Kirk Syrek who you may know from Sick/Tired, a band in which Tomlinson also plays. You may also recognise the members of STOMACH from band Weekend Nachos, who both Hoffman and Tomlinson were/are involved with. The future of Weekend Nachos remains ominous with their “Still basically broken up but felt like playing some shows in 2024” bio on X. The transition to the sound that STOMACH creates, rather than the other two projects mentioned, is more gloomy, atmospheric, and reflective. With tracks that span up to almost the twenty minute mark, this gives stark contrast to the short bursts Weekend Nachos presented to their listeners. LOW DEMON was recorded in 2024 at The Pit II in Genova, Illinois and was mixed and mastered by Will Killingsworth - who you may be familiar with from a plethora of bands, including Orchid and Ampere. The five track album spans over forty minutes of ground-shaking distortion and devastating vocals capturing themes of a raw nature, with scratchy vocals that transport you to moments of highs and lows that bring your attention to the intricacies of the human self. ‘DREDGED’ starts things off with a moody drone that sets the perfect tone for the album, echoing drum beats across this intro track, which smoothly transitions to ‘BASTARD SCUM’. The second track brings a solid doom sound under emotive vocals, that strain lyrics against radio sound samples interlacing with the track. These seem to allow you to come in and out of focus before Hoffman comes back in with the line “Cruelty is gone”. The last few minutes of the track feature a stunning, nigh trance-inducing outro that feels fulfilling. This track is a personal highlight and definitely one to listen to. The two singles included on this album are ‘GET THROUGH WINTER’ and ‘OSCILLATE’, which were both released earlier this year. Both offer different approaches to the genre and showcase what this band can do. ‘OSCILLATE’ honours a sludgier sound at the beginning and then falls into a doom outro, whilst ‘Get Through Winter’ plays more on the doomy side throughout. Out of the two, ‘OSCILLATE’ packs a punch right from the get-go making it a great choice for a first single release, although listening to the singles separately doesn’t do justice to the LOW DEMON project as a whole. The album closes with a seventeen minute spectacle named 'SHIVERS // DRAFTS' in which, around the halfway mark, the guitar brings a new dimension that is punctuated by forceful drums. This is where the track really comes into its own as the riff drags fondly for the rest of its duration. Listen long enough, and you’ll be presented with indiscernible horrors that signify the end. With the band and their sound often described as dismal, this offering from STOMACH is truly dismal in the best way possible. Full of riffs, and creating a potent atmosphere that chokes the listener throughout, LOW DEMON is a characterful and smothering piece of heavy music that's well worth visiting. Score: 8/10 Low Demon was released on July 18th 2025. Words: Danielle Henderson Photos: Stomach

Birmingham thrash metal trio Margarita Witch Cult made waves with their 2023 debut, bringing their occult rock anthems to the masses in a ritualistic bloodbath of an offering with their eponymous album. They soon made rapid-fire appearances across the UK, touring with the likes of Cancer Bats, and Monster Magnet, spreading their darkness across the country and paving the way for their new release, Strung Out In Hell, an unholy collection of sin-filled tracks dragged up from the fiery depths. We open with 'Crawl Home To Your Coffin', a track packed tight with an intense riff and bassline from Scott Abbott and Jim Thing, before George Casual's pounding drumbeat kicks in like a bloody heart beating beneath the floorboards. When the darkness-infused vocals hit our ears, it's beginning to feel like Halloween itself coming through the speakers. 'Scream Bloody Murder' follows, a track that surely belongs in the background of an Evil Dead film. As its name suggests, it screams bloody murder with its groovy bassline and spooky chorus, the soundtrack to a bloodsoaked demonic killing spree. 'Conqueror Worm' feels more deliberate and focused in its instrumentals, bolder and heavier, while ‘Witches Candle' brings the tempo up in what sounds like a tribute to Black Sabbath as its chorus hits. One of the shorter tracks in this release, it doesn't overstay its welcome. The next track is an unexpected one. A thrash metal reimagining of 'White Wedding' by Billy Idol feels like a suggestion simply thrown out as a what-if during a late-night studio session. You might think it should have been left on paper, but when the band cut into their dark, grimy riffs, it all comes together perfectly. It's as if we're given a window into an alternate universe where Billy Idol worshipped the devil and channelled directly into his music. 'Mars Rover' follows and opens with a rolling drumbeat, the beats hitting in a repeated rhythm as the virtuosic lead guitar comes in. Soon, it's almost impossible to resist banging your head to this outcry of loneliness on the cold surface of Mars. After this comes 'Dig Your Way Out', one infused with a more psychedelic nature and a change in vocal style; in this track, Abbott screeches his way through the lyrics, tapping into satanic growls and yells as if he's painfully crawling up the fiery cliffs of hell itself. While Margarita Witch Cult have origins in this century, they could have fooled us; the next track, 'The Fool' feels like a confession that the band have travelled through time from the 70s and brought their music with them. It's a standout on this album, blending timeless jazz elements with psychedelic rock in a memorable concoction that's sure to stick with us. 'Who Put Bella In The Wych Elm' starts with a slow, minute-and-a-half build-up, but the wait is well worth it. This is the band's essence dialled up to eleven. The intense vocals from a few tracks ago return, and wailing guitars join the mix against the rhythmic clash of symbols. This one runs long, clocking in at just under seven minutes – perhaps to its detriment, as it begins to fall into the thralls of monotony. It's as if the song is a ritual in itself, and the chorus is an occult chant. Despite that, it's a solid closer, and its words linger in our minds after the album has long since ceased playing. To wrap this all up, Strung Out in Hell is a worthy successor to Margarita Witch Cult's self-titled debut, taking everything that worked about it and tossing it into hellfire, roasting it over a fiery pit and infusing the very essence of darkness into it. It's the band at their best yet, and begs the question: have the band made a deal with Satan himself to guarantee the searing quality of their sound? If so, he's held up his side of the bargain. Score: 8/10 Strung Out in Hell was released on July 18th 2025 via Heavy Psych Sounds. Words: Naomi Colliar Duff Photos: Margarita Witch Cult

If you’re on the lookout for more punk in your life, look no further. The South England progressive punks in DARKO have recently released Canvas, the finale to a trilogy of thematically linked EPs which began with Sparkle and Greyscale. The EP consists of seven songs in total, making it the longest of the three releases. The mood for the EP is set off to a melodic start through the first song, ‘Grey Havens’. Short but sweet, and very impactful, the instrumentally driven track builds the atmosphere of the EP from a light beginning to a heavy conclusion, as though easing you into what is to come. Track two of the EP, ‘Dared to Dream’, starts off with building instrumentals once again before it hits you with a burst of screamy layered vocals. This is the kind of song you could oh so easily envision people shouting along to in an intimate venue, with every lyric yelled back at the band. The screams at the end really bring the track together and give you a hint of the vocal range to come from the rest of the EP. The title track and first single release of the EP, ‘Canvas’, alternates between a more groovy punk sound and the previous heavier sound we have been familiarised with from the rest of the EP. We then hop into ‘Override!’, the second single release from the EP and are faced with fast verses contrasting with a slower chorus, before meeting us with a final powerful scream before the last verse. If you'd thought the EP was a bit calm for your taste so far, you surely won’t be disappointed by what's to come as we head straight into the next track. ‘Hectic’ sounds exactly like what the name might imply - just over one minute of pure brutality before its abrupt conclusion. If chaos and growls are what you are after, this song is the one for you. ‘Goodbye Bastards’ feels like a moment of calm compared to the previous track, whilst still having the same feel as the songs that came before it - you certainly aren’t getting a moment to sit down. This, like the rest of the EP, sounds like it would go down extremely well in a live setting, however this song feels like it would be optimal for a larger crowd to be shouting the title back to the band. To conclude the EP, ‘Aux III’ follows on from ‘Aux I’ and ‘Aux II’, which feature on the previous EPs in the trilogy. This third installment more closely matches the first in sound, moving away from the more guttural vocals prevalent in the second, giving a very full circle feeling overall. Not only does it work as the perfect finale to the series of songs, but it also acts as the perfect conclusion to the EP. Score: 7/10 Canvas was released on July 18th 2025 via Lockjaw Records. Words: Libby Percival Photos: DARKO

The Polish death metal band Clairvoyance has come back with a new offering, and this time it’s the full-length album Chasm Of Immurement. Consisting of the members Maciej Cesarczyk, Denis Didenko, Kacper Pawluk, Vlad Levchenko and Adrian Sczepański, the band quickly caught attention of the metal scene across the world and is now making its way up the rungs of the music ladder swiftly. Offering fans six new songs, Chasm Of Immurement is a blend of heavy-sounding instruments with resonating screams. The full-length album offers up lyrics that are centred around the topics of inner struggles and mental health, as the listeners can hear in the song 'Eternal Blaze', and through the use of Sczepański’s drums, they are able to hear the inner monologue – perhaps a silent call for help, or just a sign of what's going on. Throughout the songs, but most particularly within 'Hymn Of The Befouled', 'Fleshmachine' and 'Reign Of Silence', the band intensifies its rhythms and presence, creating an aggressive melody full of hate and resentment. Packed with Csesarczyk’s and Didenko’s vocals, the two songs offer a deep dive into the battle that has been going on inside someone’s head, and shows what happens when you fight the inner demons to finally take over the control. 'Reign Of Silence' notably offers an extensive use of guitars, showing off head-turning riffs that echo around thanks to Didenko’s and Pawluk’s skill in their instruments. A highlight of the song is a guitar solo that fits into the melody like a glove, seamlessly sliding into the song. One thing that could be tweaked here is a slight increase in variation across the record of the intensity found, as there is not much change to be seen. There is, however, a small breakdown in the song 'Blood Divine'. If the listener does not listen carefully, they might miss it, as it is not significantly different to the rest of the song, but it provides a slight change in the tempo of the track - all while still making the drum, bass and guitar work stand out. The snares are very prominent in this track, and the alternating sound of two guitars adds a lot of depth to the overall finish. The last song on the album 'Monument To Dread' - but by no means the least - is once again an aggressive showcase of Didenko and Pawluk’s expertise with guitar, as well as Levchenko’s incredible work with his bass. The breakdowns in the song hit hard, which is perfect as the song is seven minutes long, making it the longest feature of Chasm Of Immurement. The track is cleverly composed, changing tempos and rhythms throughout its duration and resulting into an interesting mix of sounds. There is also a small bridge in the middle, primarily showcasing the guitars, that is a welcome surprise for any listeners who catch it. Clairvoyance’s Chasm Of Immurement is a chaotic release full of anger and frustration that is bound to be played for moshpits aplenty. Although the melodies are repetitive in the songs and there are no transitions, it still manages to capture the talent and precise musicianship of the band members. This Polish force of nature knows how to make an eye-catching album, and keeps on pushing through with force and metal. Score: 7/10 Chasm Of Immurement was released on July 18th 2025 via Carbonized Records. Words: Katerina Stepanikova Photos: Clairvoyance

Blind Equation returns with a vengeance on their third full-length album, A Funeral in Purgatory. Following their 2023 release Death Awaits, the project helmed by songwriter and vocalist James McHenry steps confidently into new sonic territory, delivering what McHenry himself describes as “the heaviest and most brutal Blind Equation album to date, while simultaneously being the most soft and heartfelt.” It's a bold claim, but one the record thoroughly lives up to The album is a culmination of both musical evolution and practical growth, having spent more time touring since their last release, Blind Equation brings a sharpened sense of what hits hardest in a live setting. This awareness informs every track on A Funeral in Purgatory, resulting in a meticulously crafted, emotionally charged record that merges fury with vulnerability. The opening track, 'This Eternal Curse', sets the tone with an explosive mix of ethereal synths, pounding drums, and guttural vocals that build into a trance-laced breakdown, an exhilarating taste of the genre-defying energy that permeates the entire album. Released ahead of the full LP, lead single 'Nothing' dropped on May 22 and gave fans a preview of what was to come, the track is a chaotic yet cohesive blend of breakcore drums, glitchy synths, and McHenry’s unmistakable vocal delivery. Collaboration is another standout theme, On 'It Feels Like The End', JOHNNASCUS joins forces with Blind Equation to deliver a masterclass in electronic brutality, This track finds a sweet spot between cyber-grind aggression and emotional nuance, proving that genre fusion doesn’t have to sacrifice cohesion. Meanwhile, 'Flashback', a collaboration with MySpace-era trancecore artist Strawberry Hospital, offers one of the album’s most immersive moments, its atmospheric synths and breakcore beats spiralling into chaos as Strawberry Hospital’s dreamy backing vocals perfectly complement McHenry’s anguished screams. The album closes with 'Incomplete', a cathartic, beautifully layered track that transitions from mournful melodies into a synth-and-riff frenzy. It’s a fitting end to an emotional rollercoaster - offering a sense of finality that still feels unresolved, in the best possible way. This is an album that demands attention, one that drips with emotional depth while pummelling you with relentless soundscapes. Brutal, heartfelt, and wholly unforgettable, this might just be Blind Equation’s one-way ticket through the glass ceiling. Score: 8/10 A Funeral in Purgatory was released on July 18th 2025. Words: Sage James Photos: Blind Equation

The Sheffield-based force of nature Ba’al have recently released their newest album, and it is their most ambitious work to date. Formed in 2016 and ultimately winning Metal 2 The Masses in 2017 - thereby securing a slot to play at the legendary Bloodstock Festival - the band members Joe Stamps (vocals), Nick Gosling (guitar), Richard Spencer (bass), Luke Rutter (drums) and Chris Mole (guitar) successfully skyrocketed towards their success almost immediately, and have been playing for a healthy audience ever since. The band’s second full-length album consists of six lengthy, elaborate songs, emphasising post-black metal guitars and drums throughout. Right off the bat, the first song of the album, 'Mother’s Concrete Womb', is a long and emotional track, that brings to the table a plethora of different elements. From grieving guitars to aggressive drums, and some synths especially at the beginning of the song, accompanied by beautifully sad violin and Joe Stamps’ piercing vocals, the overall performance gives the listeners a unique immersive soundscape experience full of pain, frustration and sadness. The tempo and vocals change few times throughout the song, emphasising certain parts and lyrics. At the end, the song seamlessly flows into the next one, 'Waxwork Gorgon', which is an interesting and welcomed feature. Another stand out song is 'Floral Cairn', predominantly thanks to an emotional bridge-like part, that uses clear vocals but gets more intense with each word told. It is an unexpected twist, as the track uses heavy instruments and vocals for the majority, and it pins down a visceral feeling of despair, before going into a full panic and breakdown. The piece is brilliantly written and beautifully executed, giving the music life-like atmosphere, that is easy for the listeners to understand and sympathise with. 'The Ocean That Fills A Wound' is not only the longest song on the album, but is also heavier on synths and sound effects, creating a unique atmosphere from the beginning. It starts subtly with guitar strumming, easy-going drums and clear vocals, which already marks it out as different from the rest of the album, and continues like this for a good chunk of time, before transitioning into heavier notes. The song once again evokes a plethora of powerful feelings in the listeners, with its usage of melodies, riffs and lyrics, and although the heavier elements in the song sound similar to the rest of the songs on the album, it is still one of the most fascinating songs on The Fine Line Between Heaven and Here, especially considering the writing and recording process. The Fine Line Between Heaven and Here is a great second album, that features some heavy riffs and heavier lyrics. The way it manages to evoke such deep emotions in the listener is remarkable, however the repetitive sounds and sometimes the length of the songs can be very overwhelming, especially when listened to in one go. Nonetheless, Ba’al have once again proved to the metal scene that they're absolutely not here to play around. Score: 7/10 The Fine Line Between Heaven and Here was released on July 18th 2025 via Road To Masochist. Words: Katerina Stepanikova Photos: Ba'al

Hailing from North West England, grisly shock rockers WARD XVI have gained a reputation for their horror-inspired theatrics. They take inspiration from greats in the genre such as Ghost and Alice Cooper, wearing those influences on the sleeves of their striped asylum-themed get-ups, weaving horror-filled narratives through their music in much the same way. Their new release, ID3NTITY, is the third chapter in their saga of mayhem, following the crazed serial killer Psychoberrie in her horrific escapades, as she slashes her way through the country with her band of misfits in tow. The story begins with 'Regeneration', opening with a radio montage of headlines being read, detailing the crimes of our protagonist and informing the public of her imminent release from the asylum into society. Immediately after the voices cease, we're hit by a wall of sound, intense guitars and Psychoberrie's haunting vocals. It's almost a chant that runs through the track, repeated and threatening as she sings "welcome to the last day of your life". A strong introduction to the mayhem that is yet to unfold. 'Into the Wilderness' follows, an account of our protagonist's release as she steps beyond the bars of her prison and into her freedom. Much like the last song, it falls into repetition with its chorus, though the track is loud and punchy enough to carry it – a trend that persists through the following tracks. The circus motif is a continuing theme too, coming through in a fairground melody introduction to 'What's in the Box', and through repeated lyrics about the playing of games in 'Macabaret'. They're both action-packed, fast tempo tracks that really give off a sense of the chaos-fuelled action this motley crew of maniacs bring with them. Next up is a personal favourite, and first single release, 'Blood is the New Black'. It's one that's received acclaim from publications such as Kerrang! and Metal Hammer, and for good reason. An earworm of a riff runs through the track, while Psychoberrie's dramatic, in-your-face vocals refuse to leave your mind. As the track comes to its penultimate moments, Rico Rameres comes in with a growly rap verse that's very reminiscent of the hard-hitting punches from early Slipknot. Peppered throughout the album are occasional spoken word interludes that help to further this horror-story narrative. There's an element of threes permeating this release – it's their third album, with three interludes; it's a story in three acts. As we reach the height of the second act with 'Amoeba of Madness', the tempo is brought down with a look into the inner workings of Psychoberrie's mind. A lament, emotional elements coming into play as she sings about the "sickness in her mind" and her desire for someone to take under her wing. The third act of ID3NTITY follows after the last interlude, consisting of only one, final song: 'We are Legion', a villainous melody about how this unstoppable maniac crew, when all is said and done, still stands triumphant. It's a dark, threatening track that reinforces that they are out there in the darkness, ready to take down anyone that stands in their way. WARD XVI are legion, and they are one. This whole nightmarish saga of madness comes to an end with an unlucky-for-some thirteen tracks. It's a number that marks them as an outlier in recent rock releases, with more and more bands preferring eight to ten tracks. Despite that, ID3NTITY is a tight piece of work. It's a theatrical, shocking sensory experience that fittingly encapsulates their identity as a band, and reaffirms their status as one to be reckoned with. With their enthralling flair for the dramatic, one can only imagine where this band will go next. Score: 8/10 ID3NTITY was released on July 11th 2025 via Earache Records. Words: Naomi Colliar Duff Photos: WARD XVI

Introducing The Constant Void, the latest offering from one of progressive metal’s most exciting rising acts: Philosophobia. Following the success of their self-titled debut, which was received with an outpouring of support, the band returns with a deeper, more emotionally charged collection of songs that mark a clear evolution in both sound and storytelling. Comprised of members spread across Europe and featuring heavy creative input from current and former members of Kamelot, this album takes everything they achieved with their debut and elevates it. The Constant Void is a masterclass in modern progressive metal - ambitious, heartfelt, and at times devastating. If you’re a fan of Dragonforce's guitar solos, Epica's cinematic storytelling, or if Philosophobia’s first album already blew you away, then The Constant Void needs to be your next listen. Domenik Papaemmanouil’s vocals are a standout—emotive, powerful, and gripping throughout. Andreas Ballnus delivers jaw-dropping guitar work, complemented by Tobias Weißgerber’s soul-stirring keys. Sebastian Heuckmann steps in on bass, replacing Kristoffer Gildenlöw, and doesn’t look out of place for a second. Rounding out the lineup is Alex Landenburg on drums, bringing precision and punch to the band’s dynamic sound. The album opens with 'Intro', a synth-driven piece that hints at the melodic complexity to come. 'King of Fools' follows, delivering the headbanging energy every metal fan craves, full to the brim with thunderous drums and blistering riffs reminiscent of classic American rockin' metal, yet distinctly Philosophobia. 'The Forgotten Part 1' carries that energy forward but detours into a beautiful slowed-down guitar solo before launching back into a hard rock fury, whilst 'Inside His Room' mixes synth layers with a heavy influence from bands like Killswitch Engage, albeit with enough originality to be far from a carbon copy. 'Will You Remember' is where the emotional depth truly begins to show. A gentle intro of guitar and keys gradually builds, until the drums crash in and the vocals soar through a shredding chorus that’s destined to become a crowd favourite. Then, there’s 'F 40.8' - an absolute shred-fest with incredible keyboard solos performed by Vikram Shankar. 'Underneath Grassroots' slows things down. A poignant, heartfelt track that feels like a serenade to someone lost. It offers a very vulnerable side to the band; one that no doubt will resonate with fans. 'The Fall', the penultimate track, continues the seamless blend of hard-hitting riffs and atmospheric synths. There’s even a touch of ‘80s metal flair in the guitar work toward the end. Finally, we arrive at 'The Forgotten Part 2' - a 20-minute epic that showcases the full scope of Philosophobia’s talents. With narrative passages, haunting synths, thunderous instrumentation, and a spoken word section by Rob Leland, this track is a journey through every corner of progressive metal. It feels like the entire album was building toward this moment, and it delivers on every level. Even the album artwork is worth a mention - visually stunning, and perfectly matched to the sonic world Philosophobia has crafted. With The Constant Void, Philosophobia hasn’t just matched their debut - they’ve surpassed it. This is a band poised to take the progressive metal scene by storm. Score: 8/10 The Constant Void was released on July 11th 2025. Words: David Waites Photos: Philosophobia