After a short stint in Europe, BEARTOOTH’s Pure Ecstasy Tour comes to the UK after 2 years, the last time the band came here was for their monumental show at Alexandra Palace; this time the band opted for something more intimate, for a show bursting with a sense of love, community and representation. Opening up the show were KINGDOM OF GIANTS, these American metalcore veterans were stirring up quite the crowd for their very short but very impactful set. Kicking the set off with their explosive song Asphalt, which slams you with intense riffs, drums and Dana Willax’s impressive, dirty vocals which were absolutely setting the bar for powerful voices during this show. Their energy did not falter through their seven-song set, only slowing in their melodic choruses led by their clean vocalist JT Guiterrez; more often than not, these choruses were broken up by some absolutely nasty solos and breakdowns - their set definitely set the bar for the rest of the night. Next up were SILVERSTEIN, who delivered an extremely entertaining set exploring their mix of emo and metalcore songs. Starting off with their newer more metalcore material in the songs Negative Space, Drain The Blood, with heavy riffs and instrumentals every metalcore fan just lapped up before shifting to full emo with Smashed Into Pieces of their debut; this song really showed the range in their discography with a song littered with emo-rasp, heavy basslines and plenty of sounds to get you headbanging back to the times of your teens. SILVERSTEIN really showed their experience during this set with impeccable crowd control, consistent energy and masterful playing. Then finally, with a room stacked with fans, BEARTOOTH donned the UK stage for the first time in a long time, and they wasted no time getting stuck in. Opening with the title track from their newest album Pure Ecstasy, which absolutely set the precedent for what this show will mean to frontman Caleb Shomo and the fans, this is an album about acceptance, representation and letting go. It seemed the perfect to ensnare an audience into BEARTOOTH’s new era; an era of love, community and self-love. It’s really amazing to see a singer so unapologetically himself and really coming into his own, the amount of passion and energy Shomo gave during this set was really quite incredible, playing a real mix of their discography to create a real musical journey. This new style has brought back a lot of their heavier tones seen on the first album to give a new context and meaning to it - if anything there’s an aggression to it, pleading to its listener to disregard what others think and be yourself; it’s really quite beautiful and means a lot to us here at Out Of Rage. A truly special moment arrived later in the set as Shomo revisited some of the famous ‘Woahs’ from their song In Between but instead opting to drop the mic and belt it at the top of his lungs to an impressive degree; the audience reciprocated with an incredibly loud response. It’s truly admirable the relationship the band have with their fans, the air of love was immeasurable making for a really beautiful set. Words and photos: Ben Blisset

Cardiff is already restless before YONAKA even take the stage. Three bands, one room, and an evening that moves steadily from dark alternative rock to outright punk aggression before landing somewhere in between. KNIFE BRIDE start the night. SNAYX turn up the intensity. YONAKA finish it. KNIFE BRIDE open with Lillies, immediately establishing their darker edge. Their sound is cinematic without becoming overworked, with heavy guitars and deliberate drums giving the songs plenty of weight. Crucify and Melancholia continue in the same vein, building a set that feels considered rather than rushed. There is a theatrical quality to the performance, particularly through Fang Dummy and Poisoned by God, where the band's heavier side comes through more strongly. They are not trying to overwhelm the crowd from the first song. Instead, the performance gradually draws attention towards the stage. Alone at the Altar and Worthy bring their set to a close, leaving KNIFE BRIDE as a strong first act and a clear contrast to what follows. Then SNAYX arrive and everything speeds up. Deranged hits hard from the start. The Brighton duo are direct and unapologetic, stripping things back to sharp guitars, driving rhythms and vocals delivered with plenty of aggression. Work and H.A.N.G keep the pace high, with the performance becoming increasingly physical as the set progresses. Boys In Blue brings another surge of energy, while Sink Or Swim keeps the momentum going before FAYX closes their set. There is very little wasted time between songs, and that works in their favour. SNAYX do not need elaborate production or lengthy introductions. The songs do the work. By the time YONAKA arrive, the crowd has already been put through two very different sets. Eat You Alive opens the headline performance before Problems and PREDATOR follow in quick succession. There is no drawn-out introduction. YONAKA get straight into it, with Theresa Jarvis immediately taking control of the stage. Punch Bag and Cruel keep the pace moving. The guitars sound heavy without overpowering the vocals, while Jarvis moves comfortably between more controlled sections and full-throated delivery. Then comes Miss Millennial, one of the stronger moments of the night. The chorus comes back from the crowd at full volume, followed by Call Me a Saint and Hit Me When I'm Sore. At the Beach provides a welcome change of pace. YONAKA spend much of the set operating at a high level of intensity, and this gives both the band and the audience a moment to breathe. It also makes the songs that follow hit harder. Trouble Follows, Stay a Little While Longer, Ordinary, Do It For You and Clique take the set through its middle section. The mix of heavier tracks and more melodic material shows how much YONAKA's sound has developed, although there are points where the consistency of the energy makes some songs less distinctive than others. Jarvis remains the focal point throughout. Her vocals cut through the guitars, and the interaction with the crowd becomes more noticeable as the set progresses. There is no need for excessive theatrics. The performance is carried by the songs and her presence on stage. Bite The Bullet begins the final run before the final notes of Seize the Power land hard, bringing the night to an appropriately direct close. After three sets that have moved from KNIFE BRIDE's darkness, through SNAYX's aggression, to YONAKA's blend of weight and melody, the room has travelled a fair distance. No unnecessary spectacle. No drawn-out goodbye. Just three bands pushing the same room in three different directions, before YONAKA leave it with the final word. Words and Photos: Mia Gailey

EIVØR’s Tungl is a spellbinding exploration of longing, transformation, and the courage to navigate the unknown, merging ancient Faroese traditions with industrial electronics, spectral atmospheres, and captivating vocals. For over two decades EIVØR has built a unique musical universe stretching across folk, electronics, and cinematic soundscapes, while also working on soundtracks for The Last Kingdom, God of War and God of War Ragnarök. Out on October 16th, Tungl (Faroese for “moon”) delves deeper into the shadows, offering music that is both ancient and futuristic, intimate and elemental. Following the darker turn of her last album, Enn, Tungl takes its immersive textures further. Industrial beats, spectral vocals, organic instrumentation and Faroese influences meet contemporary production. Seven of the ten tracks are sung in Faroese, reinforcing its cultural roots but reaching beyond language. “Tungl explores the ever-changing cycles of life” EIVØR explains. Like the moon it is named after, the album takes listeners through darker passages, spotlighting resilience and transformation. The album opens with Og mánin graet / And The Moon Cried establishing a ritualistic mood. Forceful guitar cuts through dark electronics, outstretched beats, and heavy distortion, providing a spellbinding set up. It takes its cue from the traditional Faroese chain dance, a communal singalong with rhythmic foot-stomping often associated with stories of Viking battles and bravery, linking the islands’ musical heritage with EIVØR’s adventurous contemporary sound. Her voice is a mixture of vulnerability and otherworldly intensity. Drekafljóð / Dragon Maiden follows, with an electronic battle horn and a bass heavy groove. Its industrial rhythms propel restless vocals, occasionally reminiscent of the experimental electronics and soaring delivery of BJÖRK. Its high-strung energy echoes the song’s themes that the singer herself describes as “trusting your intuition, embracing uncertainty, and finding the courage to surrender to life's unfolding.” Verjugarðar / Walls strikes a more complex balance between darkness and melody. Mid-paced folk arrangements underpin a memorable chorus without sacrificing the album’s shadowy atmosphere. It’s about the space between people, the people who hide behind silence and words not spoken.” The sparseness allows the longing to become a desperate plea to return to the light. On Spøkilsir / Revenants, things become unsettling again. Soft vocals, subtle pop elements and strange atmospheric details give the song the feeling of a dream that is beautiful but not entirely comforting. The ghosts at its centre represent the things we carry from our past, including regrets, insecurities and parts of ourselves we would rather hide. Yet the song also suggests that accepting these imperfections can help us connect with others. It’s a thoughtful idea wrapped in music that feels mysterious and strangely intimate. One of the album’s most affecting moments comes with Hinumegin / The Other Side, a slow, folk-leaning ballad that strips away much of the electronic weight, leaving space for ambient textures, distant percussion and EIVØR’s remarkable voice. The arrangement gradually builds into something cinematic, like a storm gathering far out at sea. Its restraint makes this quieter moment all the more powerful amid the album’s heavier rhythms and expansive production. From this stillness, Healer continues the album’s exploration of personal growth with a more reassuring perspective. One of the three English language tracks, it builds around a gentle, clockwork pulse, becoming a meditation on time and self-acceptance. EIVØR has described it as a conversation with her younger self, who struggled with self-doubt and feelings of inadequacy. Her vocals float above the trip-hop inspired rhythm, while the repeated lyrics offer reassurance. The song acknowledges that healing is never easy, and that honesty makes it all the more moving. That warmth continues with Eon, where delicate piano and subtle strings create a welcome contrast to the album’s darker moments. Its gentle melody and understated vocals feel intimate, offering a brief moment of calm before Tann tú saknar / The One You Long For brings back the electronics and heavier bass. With a more contemporary pop feel, the track captures the restless nature of longing through delicate vocals, mechanical rhythms and atmospheric production. The shift from Eon’s tranquillity to this unsettled mood is particularly effective. That tension continues on Fangað / Trapped, featuring EIVØR’s sister ELINBORG. Their voices complement each other beautifully amid haunting rhythms, prominent bass, electronic textures and organic instrumentation. Hints of throat-singing add to the track’s distinctive character, while the arrangement moves between powerful rhythms and atmospheric passages. It’s another example of how EIVØR blends diverse influences while maintaining a clear musical identity. All these contrasting moods come together in Everyone But Me, an English language ballad co-written with composer Danny Saul, with whom EIVØR previously worked on The Last Kingdom: Destiny Is All. As the closing track, it brings the album’s themes of uncertainty, self-discovery and change into focus. It describes life as a vast ocean that we must learn to navigate, even when the journey feels frightening. The song begins quietly, allowing her voice to lead the way before shimmering synthesisers and layered vocals gradually build towards an emotional climax. Its cinematic atmosphere occasionally recalls the dreamlike music of Angelo Badalamenti and Julee Cruise, while still retaining a sense of intimacy. As the song reaches its closing moments, warm synthesisers and hopeful choral choirs create the feeling of a sunrise after a long night. It’s a genuinely powerful ending, offering no easy answers but leaving the listener with a sense that moving forward is worthwhile. Much of Tungl’s DNA stems from EIVØR’s Faroese roots. Growing up in Syðrugøta, surrounded by the sea and unpredictable weather, shaped the album’s sense of longing. Recording with her band in a rented house in Velbastaður allowed for a more relaxed, organic process that captured their shared energy. These experiences shine through in the balance of electronic production, Faroese influences, and emotional depth, all anchored by the singer’s remarkable voice, shifting between fierce intensity and delicate fragility. Across its ten tracks, Tungl feels like a journey rather than a collection of songs. Darkness gradually gives way to tenderness, uncertainty makes room for acceptance, and moments of doubt are balanced by flashes of hope. It doesn’t try to push the darkness away; instead, it finds something beautiful within it. Adventurous, moving and often mesmerising, it is another strong statement from one of the most distinctive voices in contemporary Nordic music. To mark the album’s release, EIVØR will play two special launch shows on 17 October in the Faroe Islands and in Iceland on 23 October. These intimate shows will be a first performance of the album before the artist heads out on an extensive international tour across North America, followed by dates throughout Europe and the UK extending into 2027. Score: 9/10 Tungl will be released on 16th October 2026 via Nuclear Blast. Words: Lysandre Pons Photos: Adam Wamsley

MERYL STREEK takes the jarring and uncomfortable and spotlights it in front of us all on new album Stories They Don't Teach You At School, pulling our heads out of the sand to deliver incendiary punk-rage through spoken-word lyrics over a mix of jagged riffs, breakneck electronic mixes and relentless beats that pack power into every punching track. The Dublin punk poet maintains his status as a live wire in the political sphere, refusing to stay silent on matters the Irish and British governments attempt to silence themselves. Streek centres most of his work on the issues pervading Ireland, being so close to home and heart, but the experiences captured in his songs aren’t just exclusive to the Irish audience, with Streek raining fire down on the housing crises, violence against women, and the more personal feelings of depression, loss, and disillusionment in everyday life. Stories They Don’t Teach You At School diligently educates us on Irish injustices whilst portraying these stories in frenetic rhythms and incentivising statements that feel far too relatable from across the Irish Sea. Streek may use an eclectic combination of lyrical and instrumental methods to create a sonic protest, but the most important ingredient to this politically charged work is the intent. Whether it’s in his sharpened wordsmith approach that cuts through the bullshit of politics and biased media, or the more open moments where he injects raw emotion into screams, hoarse yells or mournful anecdotes of people we’ve lost, Streek goes into his work with the intent of getting the stories out for those who cannot speak. From the opener Welcome and its immediate lyrics “it’s because of the slimy politics”, the themes of the album are unavoidable, the track now the introduction to Streek’s live performances to stir up a frenzy from the get-go, while Rotten Fruit draws on the rage of seeing people struggle to survive and people turning away, and the guilt that comes from wanting to self-isolate because life is so fucking bleak, but choosing to get rightfully loud instead. One of the first singles released, Rags To Riches featured Streek dressed as a clown as he spits lyrics about the Sisyphean feat of living just to survive over a racing beat and synths, culminating in a dystopian monologue where we’re told how to eat, dress, sleep, and be grateful. Council Estates combines rough, gritty guitar riffs with soaring notes that resonate with the sentiment of the track, Streek mourning the ones “we left behind” who now believe “wrong is right”, the despondency evident in his spoken voice as he’s forced to move onward to Depression, a track that actually paints the personal horror of depressive spirals, of being the “last to the party, the first to leave” and putting a mask on as the world passes by, but the track instils that hope that it’s “not too late to become someone better”, abruptly falling away to a heartfelt vocalisation for the briefest of moments before the rhythms builds in speed and emotion, personifying the moment the spiral levels out and you can start to climb back up again. Kelly Lynch was a young woman who was brutally murdered in 2024. Despite evidence of 93 bruises and her personal life showing she was happy and building her life, her death was not treated as suspicious at the time, her family fighting tooth and nail for her case to be investigated properly. Streek brings this harrowing case to light on Kelly and asks why justice still hasn't been served for Kelly and her family, a track that has seen audiences come to a complete standstill in horror. Be The Hammer slows in instrumental weight, relying on a melancholic piano over a simplified electronic beat and harmonising backing vocals, the lyrics able to carry their own substantial emotional weight before building to a quickening rhythm and desperate shouts of “I haven't got the time”. Another fan favourite single, The Chancer eviscerates corrupt and greedy politicians over a punk heavy medley, speaking from the perspective of a political creep who talks a big game and does fuckall to help the public, a sudden takedown from Phill Jupitus cutting through with his delightful no-nonsense wit and intelligence. The pace picks up exponentially on Housing For All with an addictive electronic foundation and razor-sharp lyrics “you live by the sword and you'll die by it too”, Streek utilising news report vox pops of the Irish housing crisis to drive the point home. Bullet seems like a cathartic outpouring for Streek as he runs through everything he hates over a racing punk riff, whether it's political or personal no-one is safe from his vitriol. Life Is Not A Rehearsal feels almost chipper in sound, but coupled with the contradictory lyrics that turn it into an ode to the people we've lost it becomes more a beacon of hope in the depths of grief. Streek closes out with Frankie's Theme, a relentless monologue from Frankie McNamara, the creator behind viral social videos ‘Meditations for the Anxious Mind’, an upbeat electro-pop medley behind his voice as he soothes our worries and affirms we are enough and we deserve love, an unexpected gift from Streek after such an emotionally wrought album. Score: 8/10 Stories They Don't Teach You At School will be released on 9th October 2026 via Venn Records. Words: Julia Stark Photos: Meryl Streek

Since their formation in 2021, the Brighton based Italian/English band LAKE MALICE have constantly delivered epic music with their unique blend of heavy metal and hyper-pop sounds. On September 11th 2026 they delivered even more with their debut album I Wanna Know If It’s Real. The EU/UK tour following this album was something we could not miss, so we joined LAKE MALICE and their support bands EVILLE and CHAOSBAY on their tour. Also from Brighton, first up was EVILLE. The trio fit as a perfect opener for LAKE MALICE as their self defined ‘Brat Metal’ started the night with female rage, heavy metal screams and y2k themes with songs such as Bikini Top, Leech and their newest single Flip Phone (recorded featuring REDHOOK’s Emmy Mack) which massively complimented the themes of the I Wanna Know If It’s Real tour. EVILLE started the show with high energy that stayed consistent throughout and ended the set with a circle pit around singer/guitarist Eva Sheldrake and bassist/singer Jude Richards. This is definitely a band to keep an eye on in future. Not long after their second appearance at Wacken earlier this year and the release of their newest single The Lost Kids, next on the night’s line up was CHAOSBAY all the way from Berlin. This German four piece is rapidly rising through the ranks with a progressive and contemporary metal sound that feels nostalgic and similar to early KARNIVOOL blended with a modern metal sound. Bringing clean vocals and heavy screams is no small feat, yet frontman Jan Listing made it look and sound effortless while guitarist Alex Langner and bassist Matthias Heising brought the true chaos by bouncing around the stage without missing a single beat. Playing Maniac in the Mirror, How Does it Make You Feel? and a heavier cover of THE POLICE’s Message in a Bottle, that was filled to the brim with distinct metal breakdowns, keeping the room primed and buzzing for the upcoming headliner. Finally, LAKE MALICE opened their headline set with Chrome Red and Ghost in a Hell, released as singles earlier this year, showing that LAKE MALICE were here to show us exactly what the album is made of with their “future nostalgia”. Following on with more from the album came Scatterbrain and Magic Square thrown in next showing the crowd just how much their sound has grown since 2021, yet staying the unique style that couldn’t be mistaken for any other band. It’s evident that singer Alice Guala and guitarist Blake Cornwall had some fun writing this album with lyrics that express rage toward how modern social media has made the world so self obsessed and anxious without sacrificing catchy beats. This vibe was translated on stage with the already established live favourites Nobody Wants To Be You and the newer 90s Bitch. Alice dedicated their next song, Main Character Energy, to online misogynists and the modern “manosphere” culture. Originally featuring Synsy, they were instead joined by Eva and Jude of EVILLE who did not disappoint in keeping the rage alive. Next came Stop the Party which is a LAKE MALICE staple song and, although is a great song to jump and dance to live, Alice has previously confessed that this song is about her own anxiety which so many people can relate to; it’s such a powerful song that even if it doesn’t resonate with you it’s hard not to jump around to (and if you can jump higher than Blake anyone would be impressed). We were then transported back to social media taking over, pushing algorithms and seeking constant validation with the albums focus song Real Life exploring how moralism becomes performance when we need everyone to know what we’re thinking at all times. Speaking of performance, we were graced with some audience participation during the saxophone part for rly ok - although the band didn’t have a saxophone live, they made up for it with two blow-up saxophones being played by members from Manchester band EREBUS. Concluding the set were crowd pleasers galore, ending with Mitsuko, Blossom and Bloodbath. New and old LAKE MALICE fans went wild, even in such an intimate venue there were still a lot of crowd surfers during these classic songs. Surprising the crowd they also played a cover of New Religion, originally by BEBE REXHA and FAITHLESS, with their own future pop/metal twist; it may sound like this song was slightly out of place, but it blended seamlessly into the set and had everyone talking about it on their way out of the venue. Alice and Blake reminded the audience that they released this album in their 30s and how important resilience is, when you truly care about something you should keep going no matter what. This show was a masterpiece display of how we need to believe more in ourselves and not what social media tells us we can and can’t do. We can’t wait to see LAKE MALICE continue to break these boundaries. Words: Lex Winterbottom Photos: Roxy Moloney

The local goths, punks and emos never feel more alive than during Halloween as the spookiness and thrills become socially acceptable. This doesn’t stop Halloween lovers from being bound to the 31st October. These individuals are able to express their spooky loving identities through fashion and music. There are so many artists and bands that take inspiration from horror and Halloween for singular projects, offering a spot on the seasonal playlist. These songs simulate haunted houses, monsters, midnight rituals and the uneasy thrill of the unknown. However, there are some bands that embody the spirit of Halloween all year round where shadowy riffs, haunting melodies and macabre imagery are simply part of the atmosphere. Whether they put on a spookily theatrical show or continue to attract a horror audience, an eerie element lingers in their being. Here are 10 modern Halloween bands ensuring that being spooky is a way of life. ACID WITCH Surrounding their entire discography around spooky and morbid themes, ACID WITCH are still able to capture the silly atmosphere of the holiday as they believe that everyday is Halloween. With cheesy props, fun costumes and crowd interaction, the audience is bound to be entertained. Their style of horror metal blends both 70s and 80s psychedelic rock with death metal vocals. Eerie organs and samples from ’80s horror films help bind the tracks together, creating a distinctly haunted atmosphere. Each song carries its own reference or subtle nudge towards the spooky season, making the whole thing feel like an ode to Halloween. CREEPER With horror aesthetics and elaborate lore behind every major album, CREEPER has perfected the art of a dark, theatrical performance. Whilst Sangivoure I was closed with a finale film featuring Will Gould’s eye being staked, Sangivoure II follows the beheading of Gould’s head to mark the bloodthirsty themes of the album. Evolving from their horror punk and pop punk roots, the Southampton six piece band blends gothic rock and glam to convey their spooky theatrics. Their current aesthetic features a distinctive vampire-inspired makeup look that fans have eagerly adopted as their own. How could you not trust a band with a growing fanbase called the creeper cult? Photo by Harry Steel for Creeper DARK DIVINE Horror inspired story telling is a key feature of metalcore band DARK DIVINE. Their tracks feature thrilling riffs, orchestral layers and haunting dialogues that create a theatrical cinematic atmosphere. This dark sonic landscape creates an eerie, high-energy atmosphere that perfectly mirrors the suspense and drama of horror films. Through dark, stylized costuming and striking skeletal makeup, the band harnesses this energy to fuel a captivating live performance. Featuring fan favourite tracks Halloweentown, Drown and Hollowed, DARK DIVINE provides the perfect eerie soundtrack to elevate your day to day playlist. GHOST Delivering a theatrical blend of occult glamour, heavy metal and hard rock, GHOST is formed of the lead singer, Papa Emeritus and a group of masked band members, Nameless Ghouls. The Swedish band take pleasure in their intricate yet humorous lore through their Chapter series Using church-inspired props, artificial smoke and gloomy lighting, GHOST creates an eerie atmosphere for every live performance. At the centre of their visual identity is the distinctive face mask, which resembles an evil pope and has become an instantly recognisable symbol, one frequently copied by fans. Photo by GHOST GREEN LUNG The darkness of folk horror is a fascinating muse for London’s five doom metal band, GREEN LUNG. Their fourth album, Necropolitan, is packed with the eerie stories of London, Victorian cemeteries and occult history. These spooky tales have sparked fans’ curiosity, drawing them deeper into the local legends and folklore that surround the music. Their gigs are treated as theatrical pagan rituals displayed through atmospheric lighting and props such as large ceremonial Ooser heads. With soaring vocals, orchestral melodies and psychedelic synths, GREEN LUNG captures an audio experience that feels both ancient and cinematic. IN THIS MOMENT Showcasing masquerade-style performances with witchy and occult themes, IN THIS MOMENT embrace the essence of Halloween. The alternative metal band dives into themes of inner darkness, personal empowerment and defiance, often drawing on historical symbolism to deepen its aesthetic. Their elaborate stage designs have become a defining part of the live experience, continuing to attract new fans with a set that resembles a gothic church. The immersive show is characterised by the presence of the Blood Dancers who switch between props such as ceremonial knives and flowing ribbons. IN THIS MOMENT embrace a ritualistic performance where music, imagery and theatre become inseparable. MOTIONLESS IN WHITE With a horror themed aesthetic, spooky season lovers are drawn towards the metalcore band MOTIONLESS IN WHITE. The five-piece showcase their distinct personas through striking corpse paint, blood splatters and coordinated leather ensembles. There’s a playful theatricality to the live rendition of Werewolf, with the band and touring dancers frequently donning werewolf masks during the performance. Drawing on horror-film samples, aggressive guitar riffs and eerie synths, the band’s discography embraces a darker side, creating a suitably spooky atmosphere that feels mischievous. Balancing out the fun and fright of the 31st October, MOTIONLESS IN WHITE are the perfect band to keep the spirits alive. Photo by Motionless In White MOUTH ULCERS With music videos taken in the gloomy churches, MOUTH ULCERS are compelling the vampires and witches to dance along to their post punk tracks. MOUTH ULCERS revive the sound and aesthetics of 1980 with their debut EP, Silent Pictures. The London based quartet submerge listeners into an eerie soundscape filled with gloomy bass, simmering guitar melodies and ominous vocals. The chimes of church bells and glimmering synths help close the seven piece EP in The Perfect End, creating a unified piece to be enjoyed all year round. MOUTH ULCER’s distinctive sound is a bold statement of why both underground music and modern goth deserve to be embraced. THE HOWLING Feeding into a gothic and theatrical performance, THE HOWLING merges both alternative rock and gothic rock with a dramatic flair. The band style themselves in dark alternative outfits, embracing a minimal yet unified look. The foundation of their sound is capsuled through distorted basslines, ominous synthesizers and hard-driving drums. The lead vocals shift effortlessly through eerie melodies and blood curdling screams, all whilst maintaining a creepy and haunting tone. With the release of their debut EP Salvo, fans are eager to hear more projects from THE HOWLING. VENUS GRRRLS Born from riot grrrl origins, VENUS GRRRLS are an electrifying punk rock quartet with a witchy aesthetic. The Leeds and Newcastle based group take inspiration from fictional Scooby Doo band THE HEX GIRLS as their outfits resemble both a rockstar and a witch. The band’s stage presence and unapologetic attitude is mesmerising with the bands chemistry being undeniable. Their sound is built on distorted guitars, moody synths and clean vocals that compel listeners to step into a cobwebbed room. Utilising occult inspired coven as inspiration, moody lighting helps transform their staging, VENUS GRRRLS know how to put on a show. Words: Theviya R Karunaharan

There's a chill in the air as we enter this time of year so favoured by goths and emos. The moon hangs high in the sky, and the spirits of Samhain prowl through the dark of the night. Halloween is looming ever closer, and we're hoping for more treats than tricks - like these latest singles. Here's what we've been listening to lately: Track of the Week: As December Falls - Nervous (ft. Solence) Trust AS DECEMBER FALLS to come out with the dancey song of the summer just as we bid farewell to the season. Their latest single blends catchy, electronic elements with Bethany Curtis' signature vocals for a track that will be stuck in your head far longer than the three minute run time. And just when you think the track can’t get any better, SOLENCE's Markus Videsäter slides in with one of the most complimentary additions to a track. This song is made for a festival like Slam Dunk, so it’s just as well the band recently announced their spot on the lineup for 2027. Words: Jade du Preez Dälek - Surrealist Surrealist is a seemingly non-album single, following the release of DÄLEK’s 10th full-length studio album Brilliance Of A Falling Moon, and it shows they’ve still got it. In the nearly 25 years since classic and incredibly influential album From Filthy Tongue Of Gods And Griots, nobody has ever really come close to matching the thoughtful prose in MC Dälek’s lyricism and instrumentals that pull from more avant-garde and industrial influences. Surrealist, as accessible as it may be compared to certain entries in their discography (Black Smoke Rises comes to mind), still retains the same unique, forward thinking feel that they’ve always been known for, with a droney, shoegazey backdrop and sublime production, with echoing vocals during the chorus. It’s always a pleasure to be taken into DÄLEK’s own sonic universe, and this song is a true standout of their recent tenure. Words: Noise Leonard Diamante - Cool Down DIAMANTE returns with the cinematic rock ballad Cool Down, stripping back some of her characteristic 80s-inspired sound in favour of something edgier and heavier. The track puts her vocals at the forefront, showcasing a softer side before gradually slipping into sounds from modern rock territory. Just when the song seems to have settled into its atmospheric rhythm, a heavy breakdown crashes in, and it does not disappoint. Following Bite Of The Beast, the latest single arrives as part of DIAMANTE’s new chapter, continuing her move towards a heavier sound. Words: Lorena Hurtado Eville - Flip Phone (ft. Emmy Mack) Brat Metal is back. And it's better than ever. EVILLE dropped the baddest banger, Flip Phone, featuring the one and only Emmy Mack of REDHOOK. This collaboration feels overdue since exploding the stage together on their 2025 tour together. Littered with Y2K references and vibes, Mack’s Britney-esque vocals are harmonious with the hardcore elements EVILLE are bringing to the table, overall this track is possibly the most perfect team up ever created. EVILLE are about to round up their UK/EU tour with LAKE MALICE and join RISING INSANE in Germany in December! Words: Kei Wells From Ashes To New - Love Me Having honed their sound on their latest album, Reflections, FROM ASHES TO NEW have gone from strength to strength lately which is clear in their new single Love Me. It can be found on the deluxe version of that album, and it’s another confident, emotional output from the band who have enjoyed their most commercial success with this album. And as the first wave of Slam Dunk announcement role in, you might have spotted FROM ASHES TO NEW’s name on the lineup. We’ll just have to wait and see how this song performs live as the US nu-metal outfit roll into Leeds and London, but it’s a pretty safe bet that it will go down well with crowds. Words: Jade du Preez Hannah Wicklund - Marionettes Powerful, unleashed vocals have become a staple of HANNAH WICKLUND records, and Marionette is no exception. A building crescendo of guitars and piano, this track slams into a mesmerising final chorus showing Wicklund’s true vocal capabilities and just how much emotion she can deliver. Part of the EP of the same name, the track sits amongst three other songs that showcase an even more aggressive, loaded side of WICKLUND. Marionettes will inevitably resonate with audiences as she continues to tour the UK, insighting rage and rousing onlookers as she goes. Words: Jade du Preez LUNA KILLS - supervillain Just as the final quarter of 2026 gets underway, LUNA KILLS dazzles with their first release of the year. supervillian combines all the elements you know and love from the band, their nu-metal sound with electronic elements and impressive fry screams. Building towards a screaming breakdown that will have you scrubbing back just to hear it one more time, this track works wonders no matter if you’re listening through headphones or enjoying it live. And London audiences will get two chances to see LUNA KILLS take to the stage in November as they support FUTURE PALACE and VIANOVA. Words: Jade du Preez Nicotine Dolls - Here To California NICOTINE DOLLS return with Here To California, a track that turns heartbreak and uncertainty into something restless and forward-moving. The single builds around distorted guitars, pounding drums and Sam Cieri’s increasingly impassioned vocals, creating a sound that feels both vulnerable and explosive. There is a sense of escape running through the track, with California becoming less of a destination and more of an idea of leaving everything behind. As the instrumentation grows, Cieri’s vocals push the emotion further, giving the track a cathartic quality that feels built for both a crowded room and a long drive away from home. Words: Con Macadam Palaye Royale - Lost in Translation PALAYE ROYALE make their long-awaited return with Lost in Translation, produced by Chris Greatti, arriving alongside the announcement of their sixth album, Amsterdamage. The guitar work is outstanding, bringing out the indie Brit-rock influences that have appeared throughout their work over the years, while taking that sound further into a more radio-rock feel. The brothers have spoken about how making this upcoming album together healed them, and that connection is apparent in the song, with the vocals, instruments, and production bleeding into each other and becoming one. The bridge makes it an anthemic PALAYE ROYALE song, creating that heartwarming feeling that has become part of their sound. But this time, there’s a sense of leaving the darkness behind, with Lost in Translation becoming a guiding light for the future. Words: Lorena Hurtado PISS - Blocking A Scene You Can’t Remember With each passing day, it becomes all the more clear that PISS’ full-length debut album is going to be one for the ages, and we’re simply not ready for it. Their live sets were a good indicator of their talent, but whether or not those songs would translate to a studio setting is a different question entirely. Time Loop At Hot Slit’s single release was promising, but Blocking A Scene You Can’t Remember is a different thing entirely. The devastation, incredibly well-thought out lyrics spoken through the veneer of a stream of consciousness, the trembling yet heart-wrenching vocal performance, and the motif of Taylor Zantingh of having to interrupt herself with “cut, again” every so often before having to repeat the line, as the two-chords that score the song gradually ramp up in intensity. The anger, heartbreak, trauma and hopelessness delivered within just five minutes alone is palpable. This band’s music is utterly essential, and this is their best work yet. Words: Noise Leonard Spanish Love Songs - Doom Tripping SPANISH LOVE SONGS maintain their signature composition of hazy, upbeat melodies with end-of-the-world-but-we’ll-be-ok lyrics. A bright, 80s synthpop sound takes centre stage on Doom Tripping. The second release from their highly anticipated sixth album Future Nausea, Dylan Slocum takes you through his sombre internal monologue on the state of today. Recommended to be played loud in your car with the windows down and hoping for a better tomorrow; or at their upcoming UK tour in February 2027. “I’m vibing in hell” - with this single. Words: Kim Horsley Stand Atlantic - NEXT2U With only 15 days remaining before STAND ATLANTIC drop their latest album GODBREATH, the Aussie four piece released their final single NEXT2U. The group might be known for their slightly more unconventional love songs (we’re looking at you LOVE U ANYWAY), but this latest track is an ode to friendship and the loved ones they leave on the other side of the world every time they tour outside of Australia, as much as it’s for the romantics. And as a band approaching their 15 year anniversary in 2027, it’s refreshing to see that the love (and consistent, catchy pop punk tunes) are still there. Words: Jade du Preez Taylor Acorn - Growing Pains In TAYLOR ACORN’s latest slowed down track, Growing Pains, she laments about the pains that follow you throughout your life, even when you think you’ve moved on as an adult. It’s a gut punch of a message rolled up in her classic pop punk sound. A track from the deluxe version of her upcoming album Poster Child, which sees four new TAYLOR ACORN songs slip onto the new record, this song will be the perfect slowed down addition to her live set list. Words: Jade du Preez Weathers - Teeth WEATHERS continue their strong run of singles with Teeth, an alt-rock track driven by grungy guitar work and an incredibly catchy chorus. The guitars give the song a heavier edge, with lo-fi backing vocal effects appearing at key moments. Cameron Boyer’s distinctive vocals are a natural fit for the genre, giving the track the gritty quality that suits it so well. Longtime fans will also spot a cheeky lyrical nod to the hit C’est la vie, connecting the song to the band’s earlier work. The accompanying lyric visualiser further establishes its aesthetic, while its release alongside recent single Antidote continues to build excitement for whatever WEATHERS have in store next. Words: Lorena Hurtado Editor: Naomi Colliar Duff Photos: Various Artists

Somewhere between indie-rock, alt-pop, and a film soundtrack not yet made, you’ll find AFTERDRIVE. The Ipswich-raised four-piece has been steadily making a name for themselves, from festival stages to hometown shows, while opening for major artists such as MAGGIE LINDEMANN, and MCFLY. With BBC Radio 1 already taking notice of the band’s growing momentum, Dress to Drive offers a clear insight into why. Dress to Drive captures the moment of remembering the kind of relationship where everything made you feel invincible, powered by late-night drives, stupid decisions and falling too hard while convincing yourself it would all work out. This EP feels cinematic; it is not an EP you listen to, but one you can picture. Each track feels like another scene, another moment in a story that gradually pulls you in further. Fake License Plates opens the EP with the feeling of driving down the motorway with the windows down in the middle of summer. It’s carefree and nostalgic, but beneath the lyrics and chords is something more cinematic. It feels like the soundtrack to a film where the love interest is desperately running after the person they love. This track has an immediacy that pulls you into the world of Dress To Drive without needing explanation. Then comes Jewellery, which draws you deeper into the EP’s world and lands in exactly the right way. It immediately plays with contrast, introducing softer sections before throwing you into distorted guitars and forceful drums. The different vocal tones work brilliantly alongside this, creating unpredictable tension that deepens the EP’s central conflict and makes it increasingly unstable and difficult to resolve. Neon View is an immediate standout from the EP. This track has something unique and incredibly scenic that makes it easy to get lost. The repeated lyrics throughout the song solidify its feel and tie into the ongoing story. It is the kind of song you can dance around your kitchen without a second thought, while still feeling completely swept up in the moment. Afterdrive (Outro) brings the EP to a close with lyrics that make you want to scream them until you have nothing left, and before the vocals can even begin, the track sets the scene: a dial tone, keys in the ignition, people talking, and the unmistakable sound of a car speeding away. By the time it finishes, the EP feels less like four individual songs and more like you’ve watched something unfold. That is what makes Dress To Drive work so well; the storytelling throughout is phenomenal, but it never feels like the narrative gets in the way of the music. Each song had its own identity, its own atmosphere, and its own little world, while contributing to something bigger. And perhaps the biggest compliment of all? Once the EP ends, you immediately want to start it again. It leaves you wanting more, and that urge to go straight back to the beginning is exactly what a debut EP should achieve. AFTERDRIVE have taken the sound they’ve been developing over the past few years and turned it into something incredibly cohesive, cinematic, and unmistakably theirs. If this is the beginning of the AFTERDRIVE story, it’s an excellent one. Score: 8/10 Dress To Drive will be self released on 9th October 2026. Words: Morgan Ashman Photos: Afterdrive

As fans gathered in the heart of Camden Town in the aptly named Electric Ballroom, an undeniable buzz of electricity of anticipation and excitement filled the air. Returning to the UK on their headlining Angel Tour, German melodic tech-metal collective UNPROCESSED graced our stages for the second time this year after supporting JINJER back in January. On the day of their three-years-in-the-making album release, Death Of The Alter, US alt metal four-piece OF VIRTUE took to the stage to share their offering with the eagerly awaiting crowd and set the pace for the night ahead, proving to be the perfect warm up. It appears that this powerhouse band have really found and honed in on their sound since their last album Omen, released in 2023 and last played live to UK audiences in April of 2025, the hard work and dedication really shining through. Between a mix of new songs such as Flatline and Death Of The Alter, and old favourites Hypocrite and Sinner, the crowd matched the high intensity OF VIRTUE brought in spades, keeping spirits high enough to fill the rafters. But it wasn’t all unrelenting, high octane energy, lead vocalist Tyler Ennis taking opportunities between songs to slow things down and show appreciation and adoration for his fellow bandmates and loyal fans alike, accrediting their support in the success of his sober journey of one year. With this powerful and triumphant message resonating across the crowd, voices raised in cheers and fists punched the air, punctuated by the start of well loved song Sober. Rounding off the set with new song What’s It Like To Be Happy?, OF VIRTUE went out with a bang, receiving nothing but love for the newly presented material in what could be considered a real time listening party and album review, and cementing their well earned success. The lights lowered to almost darkness and smoke filled the stage, spotlights hitting the marks of where each band member of UNPROCESSED would be standing in a few short moments, prompting fans to roar with excitement. Out they came, full of energy and dived right in with the opening track 111. Despite releasing instrumental EP Lost Tapes in August, fans were left to wait a little longer to hear new songs live as the quartet kept the set almost exclusively to the track list of previously released album Angel, along with a few most popular songs such as Hell, Glass and Thrash. Even in a packed out room filled to each corner with gig-goers, UNPROCESSED proved that in a dimly lit, hazy room accompanied by smooth guitar riffs that scratch a musical itch and almost hypnotic polyrhythmic grooves, tech-metal melded with ambient synths and heavy percussion can be intimate and personal. A no easy feat, but for this incredibly talented group, it seems as if it is second nature. At the height of the night, when the energy of the room was palpable, the crowd were treated to a METALLICA cover of Creeping Death and as cheers erupted, the pit was opened, and moshers did what they do best. A moment between songs was seized for lead vocalist Manuel Gardner Fernandes to proudly tell the story of how far the band have come, from forming at age 16 in a small town in Germany and playing to small audiences with nothing but a dream and ambition, to now being frontrunners in the genre-bending alternative music scene. This was shown to be true by the guitar shredding from guitarist Christoph Schultz, blast beats from drummer Leon Pfeifer and background accompaniments of cello from bassist David John Levy, aiding the weaving heavy screaming and softer vocals on the well loved track Dark, Silent and Complete. And further proving that being a genre-fluid collective provides something for everyone, fans sang as one, echoing lyrics back towards the spotlit stage, some with hands raised in elation, others holding onto one another with tears in their eyes. A true testament to their ability to touch on raw emotions in all forms. But although the crowd were happy and satisfied at the end, the chants for more came thick and fast, all too eager to hear even more of the music they adore. And of course, UNPROCESSED delivered, coming back for an encore and playing tracks Terrestrial and arguably their most loved and well known, Deadrose. Not stopping to even catch their breath, UNPROCESSED continue on with the rest of the European leg of the tour, before keeping up the momentum in China in November. Words and photos: Ashleigh Robinson

The evening began with support artist BEKAH BOSSARD, who was met by an already enthusiastic crowd as she took to the stage. Joined by her bandmate, the pair delivered an acoustic set that provided a softer introduction to the evening. Their voices worked particularly well together, with the duetting vocals bringing warmth to the stripped back arrangements. Bossard’s delicate vocals suited the gentle instrumentation, while the pair’s connection with the audience created an easy sense of intimacy. Bossard made multiple acknowledgements about how engaged the crowd were, showing just how much of an impact her music can make. Overall, it was a fitting way to ease the room into the evening while still building anticipation for what was to come. Following a short interval, the lights went down and VIOLET GROHL took to the stage. The Jacaranda Baltic provided an appropriately intimate setting for the latest stop on her Be Sweet To Me tour, with the relatively small room allowing the focus to remain firmly on her and the songs. Rather than relying on elaborate production, Grohl kept things refreshingly simple and stripped back, accompanied by a band who provided plenty of grit without ever feeling overpowering. Her influences are impossible to ignore, bringing both an old skool yet fresh sound to the modern rock scene. Be Sweet To Me carries clear traces of ’90s alternative rock, particularly the grunge and female-fronted acts that defined the era such as THE CRANBERRIES, HOLE and even elements of MAZZY STAR. Live, however, these influences took on a heavier character. “595” felt really melodic and catchy, while similarly Cool Buzz showcased Grohl’s ability to create an infectious chorus. THUM was another standout, gradually building tension with heavier instrumentation without going over the top and allowing violets vocals to take centre stage. One of the evening’s more vulnerable moments came with Bug In The Cake, a deeply personal song written about Grohl’s grandmother. Among the heavy guitar lines, the track offered a glimpse of a more emotional side to her songwriting. The emotional weight could be felt through the crowd as everyone sang and danced along, and really respected how important Bug In The Cake is to Grohl. The set also featured several unreleased songs, offering a glimpse into the direction Grohl could take her music next. Without the familiarity of finished recordings, these tracks felt more open ended, with some already possessing their own distinct identity while others seemed to still be taking shape. Rather than feeling unfinished, there was something compelling about hearing an artist still building their identity and working out exactly how she wants her music to sound. What is already clear is that she already has such a genuine connection with her music. This came through most strongly during the quieter moments, where the performance became less about spectacle and more about communicating the emotion behind the songs, in which the crowd listened in admiration and sang their hearts out during those louder moments. There is still plenty for Grohl to discover as an artist, but Saturday night offered an encouraging glimpse of what that journey will become. In the intimate setting of the Jacaranda Baltic, she gave the audience more than enough reason to keep watching and follow her journey through the music industry. Words and Photos: Megan Alexander

After the release of the EP IT CALLS ME BY NAME in April of this year, WAGE WAR fans were more than satisfied, but clearly the band weren’t and carried their creative streak onwards. The band's 6th full length album Landfall was announced almost exactly a month before its release, crashing into the scene and causing a stir with such an unexpected release. The album is a 13 track onslaught of the best WAGE WAR have released yet. Having produced the album themselves for the first time, it contains all the DNA of a WAGE WAR project with the band taking as many creative turns as they like. The Floridian Metalcore quintet have been growing quietly under the radar, raising the bar with every release and performance, opening for the likes of DAYSEEKER and I PREVAIL, to name a few. Also having huge success with their own headline tours selling out show after show, 16 years into their career and they’re just getting started. The album opens with the pre-released track Landfall, cursing your ears with a loud warning siren, warning you of the brutal bludgeoning riff coming to assault your ears. Blast beats enhance the onslaught while Briton Bond - the unclean vocalist - screams, ripping across the track with his booming growls. Cody Quistad brings in the melody clean vocals, the whiplash between to two being a signature for the WAGE WAR flavour. The breakdown throws the listener through a whirlpool, giving a devastating half time drop before a complete halt that lasts a beat too long making you think the track might be done before slicing you with a few more bars of blast beats for good measure. Sweet Dreams is another of the pre-released tracks which mixes together all of the bands best traits, holding a feature for each type of fan to bang their heads to. Sonically they draw from all their past work having momentous breakdowns with a catchy vocal chorus, it's one that's bound to be stuck in your head for days. Silk switches up the tempo of the album, the introduction is gone, now you’re being thrown into the deep end. Briton doesn’t even stop for a breath between the verses, flaunting the range of horrifying textures his pipes can produce. A ripping guitar riff shreds through the landscape of the track, layered distortion along with an industrial beat drops you in madness with no map. The 4th track in the album, Figure 8, opens with an echoing guitar, in ways being the antithesis of the last track. Silk being led by Briton with his unclean vocals and screams this track leads with Cody’s melodic vocals. Despite being so different from the last track it never sways or sounds like a different artist, the band have truly curated their own signature sound and aren't afraid to stray from the norm all while being skilled enough to not lose said sound. Everything in the album before is phenomenal, but God Complex is truly a gem hidden in the middle of this record. It’s got a unique seductive tone as the melody dances with screeching instrumentals, a snare tuned to the heavens pierces your ear drums, disgusting drum fills and blast beats will not let you rest for even a moment. The track ends abruptly but leaves a lasting impression. If we had to choose one track from this album to recommend, it's definitely God Complex. Stay With Me takes us to the other end of the spectrum, the song tugs at the emotions the band can portray, opening with the lyrics “I never wanted you to see all the darkest parts of me”. Briton and Cody switching back and forth flaunting their vocal abilities, a hopeful undertone runs underneath the yearning of the lyrics. This is the kind of track where you can picture a room with their phone lights up swaying back and forth while singing the lyrics from the opioids of their souls. The next track brings in more of an electronic sound, the overtuned vocals creating a completely different texture to the rest of the album immediately catching your ears. Silence Has Spoken is the first track to front and centre a full guitar solo, drawing all your attention towards it. It also really stretches Cody's vocals right to the top of his full chest range rather than slipping into falsetto he sings with a gritty scream, an impressive technique to note. Way Of Pain once again drops you into the depths of metal hell. Despite only being eight tracks in the back and forth of the track listing might seem all over the place but its a genius balance between the bands different sounds, no section of the album feels like slump or drag, it truly keeps the listener interested at every turn. Briton brings his goblin-like vocal tone to the track, highlighting another technique not seen much in the rest of the album. Red Dot is the shortened song on the record but it jumps in making a huge impression with a vinyl screech beat like those seen in the nu-metal genre. It’s fast paced packed with electronic beats and a dragging drum beat syncopates, it's a track that will easily get a crowd off their feet and into the mosh pit. Blindfold and Song Of The Swamp, tracks 10 and 12 respectively, were previously released on their EP earlier this year, they fit perfectly into the track list here and you can very much see how all these tracks were written within the same creative spark. Between those two lies Spellbound, which is possibly the catchiest in the run of this record. It starts low with a haunting instrumental, a perfect track for an October release, it’s dark, spooky and is littered with references to various creatures and ghouls. The last on the album is Silhouette, the track with the longest runtime being just short of five minutes. Again, the bands ability to curate the tracklist for this album needs to be applauded, this is the perfect ending track. It starts low and spacious before sending the listener falling and spiralling through the chorus, it's raw and emotional but of course doesn’t let you leave the record without one more disastrous breakdown. Echoing out into the aether and leaving you as the listener in silence, with a head full of thoughts and the replay button calling your name. WAGE WAR have had a hell of a year not even factoring in their new album release. With a huge tour lined up ahead of them, they'll be playing various shows across the UK as well as just being announced for our very own Slam Dunk Festival next year - be sure to keep your eyes peeled for when they’re near you! Score: 10/10 Landfall will be released on 9th October 2026 via Fearless. Words: Amy Smyth Photos: Errick Easterday

Already labelled as one of the UK’s most exciting heavy bands, LOVE IS NOISE are far from happy to stand still and bask in the success of their debut album, To Live In A Different Way. Instead, they’ve self-produced their latest four-track EP; The space between happiness and heartache. The trio from Nottingham consists of Cam Humphrey on drums, Alex Ioannou on bass and lead guitar, alternating with fellow guitarist Sam Clark. Alex takes on a much more prominent and busier role as lead vocalist, ultimately adding a new and exciting layer to the band. Interestingly, this shows that the band have fully embraced this EP as a way of developing and finding their sound. Cam and Alex co-produced the tracks, and it feels more authentic and emotionally driven, which in this genre excels and pushes authentic and emotional work. What’s also worth appreciating is the album artwork. Not one piece or influence of AI features in the music, and the band wanted that to reflect in the artwork and refused to use it on the album cover. Instead, the artwork has been entirely hand-drawn by artist @msudrawings. It’s a dystopian setting which takes influence from the DC Universe, with dark elements oozing and pouring out of the image. It’s brilliant. The colour and detail within it applaud the craftsmanship and show how human input is much more powerful and creatively beautiful compared to the AI slop that, as a society, we’re drowning in. The opening track is smile. It opens with what sounds like a record being played via a tape or record player, giving it a sense of eeriness. Then the vocals hit, with the combination of Alex taking on his new role alongside the additional voice of Casper Frisk. The Swedish singer, who is best known for being the vocalist of heavy metal bands PALESKIN and HEARTACHES, brings such a great addition to this song. Alex is challenging himself by taking on a more prominent vocal performance, and an already established and successful vocalist can sometimes overshadow their counterpart. However, they blend together so well that at times it’s difficult to differentiate which singer is taking centre stage - a compliment to both as a pair and as individuals. The melody within the chorus is a very strong positive to this song. It blends the screams and softer notes in the bridge, while elements of BEARTOOTH ooze out of this track. The drums are very consistent and a strong reminder that this is a heavy track, even when the vocals sway in and out. Up next; the rain that follows me. It’s a much slower, more controlled track. But what is such a great point about this track is the screams. They aren’t erratic nor are they strained. They hit the chambers of the soul and set the hairs up on the back of the neck. For an artist who has taken on a bigger role, it’s a breath of fresh air to hear such talent, and the track is produced so well. The guitars are just as heavy as the drums, and this needs to happen. They can’t screech and riff erratically because it would overshadow the vocals and overcomplicate the track. The penultimate track is crying in the dark., and this is where things take a strange turn. The track is a transitional piece of music. It’s one minute and 27 seconds long, and the first half is distorted chords and muffled noise. Then some harmonious tones creep in and drift through the track as it builds up. The melody is actually really well composed and has a sense of SLEEP TOKEN to it, which works so well in today’s music scene, but then it abruptly stops. It’s almost random. The song abruptly ends and the final track kicks in. When it’s played in order of the album, it works; however, if this track is on shuffle, it could seem out of place. For such a short EP, the need for an interlude seems like a waste, and there is a sense of wonder about what this track could have been if it had been developed further. The final track is fury., and the title isn’t wrong for the description. It’s aggressive, it’s angry, it’s gnarly, and it’s by far the heaviest track they’ve released to date. Again, it’s a somewhat short track, but there is enough time to fully appreciate those banshee-esque screams in the background that mirror and the equally harrowing yet impressive screams courtesy of Alex. The distorted voice comes across as if it’s a warning to the audience. It breaks up the aggression, yet it doesn’t suppress it. It’s a heavy metal track that fits the criteria the greats have set before them, and LOVE IS NOISE have nailed it with this track. The EP is another great showcase for LOVE IS NOISE. Whether it be the impressive lead vocal debut performances by Alex and Cameron, the heavier direction of Fury, or the more experimental approach taken throughout the EP, The space between happiness and heartache. pushes that balance further than ever before. It’s heavier, more vulnerable and more expansive. LOVE IS NOISE have exerted themselves and pushed their new ideas into the music scene. Whether it hits or doesn’t, it’s an EP that they’ve poured their happiness and heartbreak into. Score: 8/10 The space between happiness and heartache. will be released on 9th October 2026 via Bloodblast. Words: David Waites Photos: Richard Mukuze