SICK is the fourth album by German pop punk artists INDECENT BEHAVIOR, coming off the back of touring with bands such as NECK DEEP and ZEBRAHEAD. Consisting of twelve solid tracks of classic pop-punk music, it’s a trip down memory lane with a solid grasp on all the things that made the sound stand out when the genre first appeared on the alternative scene. On the concept behind the album the band said: "We live in a world full of impressions. What seems like an ocean full of possibilities to some is incredibly overwhelming, oppressive and unfair to others. There is no escape from the mass of unfiltered information that rains down on us every day. No light at the end of the dark news tunnel. No clear way out of the labyrinth of options, which instead of freedom only brings excessive demands. SICK was created precisely from these thoughts and is an album for everyone for whom it sometimes just gets too much. Who feel like they are living in a world that they simply don't understand. For all people who are looking for a place where they can feel understood and comfortable." This commitment to a safe space for escaping the sometimes painful realities of everyday life is a spirit the band embodies across the board, referring to themselves as a “familiar place where you forget your worries and fears…and simply be yourself.” The album starts with Grown Up, which roots the listener in this escapist skate shop and side parting reality through heavy use of drums and strong instrumental. Immediately setting the scene with lyrics such as “We’re grown up pop punk kids / that never seem to get old, grown up emo kids that never do what they’re told”. Before following up with Not In A Lifetime, which feels like a quintessential (updated) high school crush ballad. Its sister track later on in the album, I Fell In Love Every Weekend, capitalises on similar emotions. After Chaos we come to Sick, the titular track of the album, which addresses the themes of exhaustion and isolation head-on through its chorus of: “And I’m so tired of feeling sick / What’s wrong with cutting loose in a world that’s full of shit / Yeah I’m so tired of feeling sick / It’s not the best, I know, but the life I wanna pick” Along with lyrics calling out murder, politicians and, most relatably, people who show up uninvited to your parties. It sports a stripped-back monochromatic music video, with each band member being given solo shots to the camera, which works well with the powerful hook and catchy melody. The next track, Give Me Everything, features AIR DRAWN DAGGER, an electro-emo angst-pop collective from the UK. On Give Me Everything the vocals of INDECENT BEHAVIOR's HENRICK BERGMANN are complimented by DAGGER’s MAISIE in a way that feels energizing and unique. It’s a collaboration that comes across as natural, with a sense of genuine synergy across the two projects. Following on Shoot is a definite high point of the album, carrying a different energy with the use of a repetitive melody and raspier, more introspective vocals that provide a grit missing in many of the other tracks. Followed by a strong chorus and a hefty amount of guitar and bass, courtesy of CHRISTIAN NOß and DENIS SELZER. The track definitely leans more towards metal than the rest of the album, but in doing so it demonstrates a creative range that keeps listeners engaged. The rest of the album continues with Pointless, Black Water, No Direction and If I Had Two Lives, before finishing on The Story Never Ends, a collaborative track with indie rock band ALL TO GET HER from Switzerland. Overall, the album does what it sets out to do and does it well. There are times when this leads to feeling a bit one note, but it’s a note the band are incredibly skilled at playing and perfecting. Score: 6/10 SICK was released on 26th September 2025 via Long Beach Records. Words: Q Cummins Photos: Indecent Behaviour

We're nearing the end of October now - and creeping ever closer to every goth's favourite time of year, Halloween. This year, it's sure to bring more treats than tricks, like these recent tracks we've already found in our buckets of sweets: 5 Seconds of Summer - Telephone Busy 5 SECONDS OF SUMMER usher in a new era with Telephone Busy, the third single from their upcoming album EVERYONE’S A STAR, out November 14th 2025. Ahead of a massive world tour kicking off in March 2026, the band tease a sound that bridges their Sounds Good Feels Good and Youngblood eras with a sleek, modern pulse. A shimmering, synth-drenched beat underpins seductive vocals and alt-rock swagger, creating something that feels equal parts like a nightclub anthem and an arena-ready hit. It’s sexy, intoxicating, and undeniably confident. The track practically drips with hot girl summer energy, while showcasing 5 SECONDS OF SUMMER’s most intriguing evolution yet. Words: Zuzanna Pazola ALT BLK ERA - Okay (Cyber Racing) The sister duo from Nottingham ALT BLK ERA is back with a new single Okay (Cyber Racing). From addictive beats to head-lingering lyrics, NAYROBI BECKETT-MESSAM and CHAYA BECKETT-MESSAM came prepared with the full force of a song. Taking rapidly over all social media with their iconic “We put girls on game okay. We put a ***** back in her lane.”, the highly anticipated release brings a fresh perspective onto modern British rock. Currently on EU and UK tour supporting PENDULUM, the band duo has been gaining more and more attention with every new set. Words: Katerina Stepanikova Bad Omens - Dying To Love The Richmond, Virginia metalcore massive BAD OMENS release third single Dying To Love, following other singles they have dropped in the last few months. Yet again they don't fail to impress with this one. It's possible these songs are in the lead-up to an upcoming album, as this flows nicely into the previous single Impose - as well as the music video having similar dark lighting and tones. The track has relatable lyrics with "I've been dying to love, one more second is enough” showing that when you're in a not-so-great place, even one second of love can be enough. It almost feels like a call back to previous single Specter's lyric “Do you feel love?” Of course it wouldn't be a BAD OMENS release with out a hard-hitting breakdown and synth that stands out in a way that allows the bridge to sound even more eerie leading into that breakdown. Words: Lucas Grayson The Devil Wears Prada - Everybody Knows THE DEVIL WEARS PRADA not only have a potential AOTY contender on their hands with Flowers but also a SOTY single with new release Everybody Knows. They take a different route almost entirely with this being different from their whole catalogue. Singer JEREMY DEPOYSTER has changed up how he sounds over the years, but these faster verses make the single stand out. One thing that does stay consistent with the band here though is if a music video features MIKE HRANICA playing guitar, it's going to have at least one heart-wrenching lyric - this trend continuing with the line “Maybe I'm happy but that never lasts.” Words: Lucas Grayson Foo Fighters - Asking For A Friend Off the back of their tour announcement in North America with QUEENS OF THE STONE AGE, the FOO FIGHTERS have released a new single to mark the start of a new era. With a couple years out of the game - aside from an anniversary single earlier this year - the band are back to show they're hungrier and stronger than ever. Asking For A Friend takes them back to their roots with a melancholic descending riff and layered melodic vocals. The song springs into action for the second half jumping between a double tempo free for all and then reverting to the classic rock chorus seen in the first half. This track offers everything that the FOO FIGHTERS are, never keeping stagnant and rocking till the last moment. We only hope this indicates more new music is in the works, ready for their tour! Words: Amy Smyth South Arcade - Drive Myself Home SOUTH ARCADE are back with one of their heaviest bangers yet. The group have been on the rise in the punk rock community and are solidifying their place as a staple in the British scene. Drive Myself Home is a track full of distorted vocals, gritty guitar riffs and bass loaded dark instrumentals. Lead vocalist HARMONY offers her tough full bodied vocals as the lyrics speak through themes knowing when to quit. Each section of the song has its own identity with half time beats, empty choruses and a bridge that almost feels nostalgic in its melody. Drive Myself Home is their 3rd single this year and we hope this will lead into another EP or possibly a full album, only time will tell but we look forward to their next move! Words: Amy Smyth Story of the Year - Gasoline (All Rage Still Only Numb) STORY OF THE YEAR return back to a heavier sound with their first single since A Silent Murder in 2023. Gasoline (All Rage Still Only Numb) is the first single on their album A.R.S.O.N out February next year. The track has some bendy guitar riffs and some heavier ones throughout. It also has some screams from DAN MARSALA that haven't been heard since the bands 2017 album Wolves. Despite this heavier theme, the song does have quite a melodic bridge, along with a synth intro and outro. This is a welcome return of the band, and a nice first single and teaser for the upcoming album. Words: Lucas Grayson Paleface Swiss - Let Me Sleep Let Me Sleep is the latest single from PALEFACE SWISS’ upcoming The Wilted EP, and fans of this band won’t be disappointed. The track kicks off with an immediate barrage of screams, blast beats, and lyricism delivered to you with an absolute torrent of aggression. This single and the upcoming EP were written during their recent tour across the globe and aim to expand the band’s previous album, Cursed, but don’t expect a handful of B-sides being palmed off as a new EP, Let Me Sleep proves that. It’s brutal, emotional, and further pushes the band’s sound. Plus, if you’re fans of SLIPKNOT's Iowa era, you’re going to dig PALEFACE SWISS even more. Words: Aaron Richardson Editor: Naomi Colliar Duff Photos: Various Artists

If there's one word to describe WITCH FEVER, it's relentless. They've spent the last few years making appearances with other modern heavyweights in the UK alternative circuit like BIFFY CLYRO, NOVA TWINS, and CASSYETTE, and they're currently on a two-month arena tour across the EU and UK with rock titans VOLBEAT - this is a band who have an innate, fierce energy, especially evident in their never-ending live performances. On their sophomore album, FEVEREATEN, they capture that electric atmosphere in a way that's emotionally cathartic, heavier in intensity, and overall, bigger than anything they have done before. In the three years since their debut album, Congregation, it's clear that WITCH FEVER have grown in a myriad of ways; in emotional clarity, musical talent, and lyrical prowess. Kickstarting this record is DEAD TO ME!, a track that begins with the whining of guitar before a heavy drumbeat leads us into the initially-melodic vocals of AMY WALPOLE - before long she's bursting into the shouty chorus where there's a palpable rage that she sends coursing through our veins. The familiar breakneck pace of their debut is intertwined with slow, deliberate riffs - there's a definite doom metal element in this track, emblematic of the band's genre-blending abilities. Before we can recover from the intensity, we're led into the steady build-up of FINAL GIRL. Distorted wails bring us into a track that flows seamlessly from vocal harmonies to intense, grimy riffs. This will turn out to be a recurring theme in the album - the clash of meditative rhythms and verses spilling over with vitriol. Through the religious themes of WITCH FEVER, this is heaven and hell. 2022's Congregation saw the church of WALPOLE's childhood as a physical entity, realised through remembrance. Here, it's conceptual - the church is judgement, shame, the eternal feeling of observation; the lingering fear that you're being watched, and followed by unseen eyes. "That kind of thing doesn't go away," says the singer, even long after she left the church that instilled the feeling into her. This is the direct influence that creates the album's title, FEVEREATEN - it's the essence of being consumed by something inside you that you can't free yourself from. When it comes to tracks like THE GARDEN these religious elements are overt. Here the Garden of Eden is interpreted as an allegory for female liberation, against a backdrop of slow core fused with heavy alt-rock. It's a haunting track that leaves us reeling from the emotional breakdown even after it's wound down. Back-to-back tracks NORTHSTAR and DRANK THE SAP double down on the crushing walls of sound and sonic assault - ALISHA YARWOOD hits us with sprawling, textured riffs, duelling with ALEX THOMPSON's filthy basslines, while the crashing drums of ANNABELLE JOYCE are a relentless beat that serves as a force to be reckoned with. Following track Safe holds a raw tenderness in its vulnerable lyrics, an especially poignant ballad that stems from a personal relationship of WALPOLE's. Here, the quartet step out of their comfort zone and into a field of experimentation. Fading into the background are the metal-adjacent influences that permeate their discography, and taking the forefront are elements of soft shoegaze and soul-stirring verses steeped in catharsis. Title track FEVEREATEN emphasises the album's themes in its opening words. "I thought I'd gotten over it, but it consumes like I was born for it," sings WALPOLE. The quiet meditation on her emotional state soon leads into a fury-filled chorus in what becomes a vicious cycle between tranquility and wrath. A strong enough cycle between states that it persists through the anger-fuelled BURN TO HIT and SEE YA NEXT TUESDAY the latter of which is by far the heaviest in this track list. The breakdowns are unabating, and each one ignites a brighter fire within us before ultimately culminating in the track's full ignition and subsequent destruction. REPRISE ties in gothic elements with spine-chilling, sinister instrumentals that fluctuate between quiet and haunting, and imposing brutality. Splinters of the Lord's prayer are embedded in the lyrics, twisted into a takedown of religious mentalities and the false condemnation of women marked as witches. AMBER then returns to the lonely quiet of SAFE, carrying the same despondent reminiscence of a past relationship through sweeping, gloom-tinged instrumental sections. It all soon finds an end in I SEE IT. The experimentation reaches its peak here, and elements from all across this album meld together into a brutal hurricane of noise. The imagery is abstract, and the song strays away from any sense of usual structure or form. The instrumentals are harsh and storm-battered, and the vocals are increasingly manic, at the height of aggression and sheer cathartic rage. For this track's production, WALPOLE and THOMPSON ventured up the infamous Pendle Hill and channelled guttural screams into a dictaphone - sometimes, what you need is to let the world hear your rage. The track soon fades out into distorted whispers that linger on the wind, and we're left to recover from it all with just the distant sound of rainfall for company. FEVEREATEN is WITCH FEVER at their strongest; emotionally raw and still bleeding, experimental both instrumentally and lyrically, and emerging from this emotional battlefield of trauma with a sound that truly defines the band. This release sees each member of the band properly harnessing the power of their instruments, with extra-dynamic drum patterns, increased noise and texture to the guitar riffs, and lyrically, a sense of refinement that tops all their previous releases. This has been three years in the works, and it shows. With the release of FEVEREATEN on the horizon, the band's musical expedition reaches new heights, and if this is the journey they're taking us from, we'll be there every step of the way. Score: 9/10 FEVEREATEN will be released on 31st October 2025 via Music for Nations/Sony. Words: Naomi Colliar Duff Photos: Witch Fever

Power metal giants Helloween celebrate their 40th anniversary with a European tour, joined by heavy quintet Beast In Black. Now, that’s how you throw a birthday party, and we were invited. As for the cherry on the (birthday) cake, Helloween were promoting their 19th full studio album: ‘Giants & Monsters’, which launched on August 27th 2025. With a repertoire this massive and a two hours set, we were gifted a stadium-worthy show. Theatrical outfits, monster fights and glorious songs: there is no better way to get ready in the lead-up to THE goth holiday! Beast In Black did not miss the mark. After a strong Bloodstock set in 2024, the globally acclaimed and two times platinum album certified band came back on our grounds to support Helloween on their 40th anniversary tour. Here is the Beast In Black recipe: a melody that makes you want to go on an epic quest, some magnificent guit’hair’ography moves (yes, that’s a word) and an otherworldly singer reaching notes so high only werewolves can hear them. That is exactly what we got with hits like ‘Blind and Frozen’, One Night In Tokyo, the eponym ‘Beast In Black’, or the Diablo IV x Berserk collaboration anthem ‘Enter The Behelit’, from which OOR had the honour of receiving a limited-edition vinyl. Yannis Papadopoulos (vocalist) blessed us with a headline tour announcement: Beast In Black will be back in London on October 26th 2026 at the O2 Forum Kentish Town for the release of their upcoming 4th album. Papadopoulos ended the set with a special shout out to Helloween for bringing them on tour, leading into their final song, ‘No Surrender’. A chanting crowd welcomed the pumpkin kings as the lights went down. The stage was filled with screens and lights, giving us a spectacular show, which started with a video of old album covers celebrating 40 years in the industry. As each musician stepped onto the stage, followed by vocalists Michael Kiske and Andi Deris, the crowd got wilder and wilder, finally erupting in applause and screams when the first notes of ‘March Of Time’ filled the room. We were treated to an array of old and new songs and everything in between, accompanied by a striking light and video show, interaction from all band-members, splendid riffs, powerful beats and breathtaking vocals. And with a great sound, you could hear all of it intensely from any part of the floor. Some of the fans present that night (myself included) might have not been born for a good part of the band’s career, but we can say for sure that Mr Kiske and Deris sound as good as they did in the early days of Helloween. ‘Ride The Sky’, sung by guitarist Kai Hansen, hit us like a slap with an intense vocal performance that summoned an army of crowd surfers. The set was also balanced with power ballads like ‘Into The Sun’, showing once again how diverse metal can be. By the way, have you ever seen a pumpkin-man having a boiling bubble bath in a cauldron? No? Well, that’s just a normal sight at a Helloween gig. After ‘Universe’, which Deris said was his personal favourite from the new album, and yet another fan favourite ‘Hell Was Made In Heaven’, the “interval special” started. Dani Löble’ impressive drum solo literally shook the crowd to its core. Even the drum-kit itself was something else: everything you think belongs on a drum, double it, and you’ll get the fastest kicks in town. Whilst being a rock show staple, the drum solo also gave a well deserved rest to a non-stop chanting crowd, who was as ready as ever for ‘I Want Out’, the band’s most played song on Spotify. Seeing all the fans singing together on a hit like this really is what makes metal special. ‘Heavy Metal (Is The Law)’ and, of course, ‘Halloween’ were a perfect end to the main set, followed by a 4-songs encore, including ‘A Little Is a Little Too Much’ and we can tell you a lot of Helloween is definitely not enough! Well, that was one fricking hell of a birthday party! It was one of those shows that leaves you a bit empty (but in the best way), because how can you go back to reality after a soul-altering experience like this? We highly recommend checking out Beast In Black’s 2026 headline tour, which is already on sale, they can only get better and bigger. We hope to see Helloween back on tour soon again. A show like this deserves an even bigger venue, dare we say a stadium, or at least a festival’s main stage. Words and photos: Claire Cabanac

Hailing from Massachusetts, one of the veterans of metalcore, Killswitch Engage grace the OVO Wembley Arena for one of their biggest headline shows to date. Bringing Decapitated, Fit For An Autopsy and Hatebreed with them, making for a seriously strong metalcore line-up, with plenty of pits, screams and fun to be had. First up, Decapitated took to the stage bathed in thick smoke and mood lighting; the singer belted out one giant scream as the band ignited into an insane opening song; certainly owning the space of the mighty arena. It’s safe to say they had heads bopping with their style and talent; though not very unique in their approach to metalcore, the vocalists strength of unclean vocals and the bands consistency in the song playing make for very good promise in the future, maybe this is a band to keep an eye on. Following on, Fit For An Autopsy upped the ante, with a crazy energy that emanated through the arena; this band definitely began the pits and made sure the audience were warmed up, and the energy was absolutely reciprocated, creating a really cool atmosphere that set the tone for the rest of the show. It’s safe to say this band are loud, they are proud and they are unapologetically metalcore; top tier screams, breakdowns, and composition from these guys. Next up, a clear underdog favourite for the crowd, Hatebreed came out with their massive inflatable demon as a backdrop and an undeniable energy that the audience absolutely lapped up. The pit grew tenfold, the sound got turned up and Hatebreed did NOT stop moving as long as they had breath; completely complimenting their music, it honestly felt like being punched in the face over and over again in the best way possible. With lots of steam shooting out from the stage; mad breakdowns, walls of death and even more inflatables with them throwing out Hatebreed beach balls, these guys made for an incredible set. Finally, Killswitch Engage came to the stage and impressive doesn’t do them justice; they had an insane production, impeccable timings and Jesse Leach’s vocals were perfect, the screams and notes were hit perfectly capturing the bands more melodic tunes for this audience to soak up.  Not only that, they brought together setlist covering not only their new album but a whole range of their hits include a 5 song run at the end of the set that would make any Killswitch Engage fan go crazy, ‘In Due Time’ opened up this streak, followed by ‘This Fire’ which was so graciously accompanied by CM Punk visuals in the background to appease all the very many wrestling fans in attendance. ‘My Curse’ was next, bringing with it raw unfiltered energy from the crowd, who were eating the performance up. followed by ‘The End Of Heartache’ and ending on the brutal ‘My Last Serenade’, which closed off the epic night and made the band a staple arena act.  Words and Photos: Ben Blisset

It’s gloomy. Of course, it’s bloody gloomy. Paradise Lost are playing the Islington Assembly Hall in October. That might be one of the most gothic sentences ever composed. They’re also hot off the heels of their new album, Ascension, which has had quite the good time critically as of late. This has to be the umpteenth time the Paradise Lost boys have played in the capital, and for good reason. No British metal band has shown themselves to be musical chameleons quite like these guys. From the post-mining teenage wasteland that was the north of England in the 80s, this band emerged as a death metal, then a goth metal, then a synth metal, and then back to a sort of death metal group in the span of nearly four decades. They’ve got fans of all types, fans of their Depeche Mode era, fans of their early death metal careers, even new fans, you name it. Paradise Lost remain, as ever, a band for all seasons, though autumn still suits them best. They have brought with them fellow Northerners High Parasite and Italian doom aesthetes Messa who are also just coming off of a fantastic album. This is set to be a hell of a night. Starting off things are High Parasite who are pretty much the best band you could ask for to open for Paradise Lost. High Parasite is fronted by vocalist Aaron Stainthorpe (recently) formerly of My Dying Bride, another forerunner in the wave of northern doom of the early nineties along with Anathema. While there are similarities with Paradise Lost in their sound, the sound of High Parasite is one that developed independently to sound distinct yet clearly of the same musical haplogroup. Last year they came out with their debut album, “Forever We Burn”, and the songs played from that album are received quite well. It’s an opening set that feels both respectful and self-assured, a fitting continuation to the story of English doom. Next up is Messa, which was hotly anticipated this evening. Many in the lobby are clad with black Messa shirts, Italian accents threading through their conversations, clearly for them this is the real main event. “The Spin” was solid gold to anyone who had the pleasure to hear it, “scarlet doom” they call it, a fusion of Joy Division’s airy sensibilities and the delicate ghostly tones of modern doom. Much like Paradise Lost, it’s a pretty sophisticated affair. Sara Bianchin, dressed in a sharp black suit, commands the stage with an effortless gravitas. Blue and white lights dance across her face as the band launches into “Fire on the Roof”. There’s moments of quiet interspersed with moments of heaviness when they play “At Races” and “The Dress”, and although there’s the absence of some studio vocal effects, they still put on a whopping good performance. Guitarist Alberto Piccolo has his eyes closed as he rips into a fabulous guitar solo on “Immolation” whilst all the crowd can do is stare agape at the glory of the spectacle. It really is incredible, and this band deserves their own headline tour. Setting the fog machines on overdrive mode, they lumber out of the mist; Paradise Lost. Opening on “Serpent on the Cross”, they’re still as resplendent now as they were 20 years ago. What is a bit strange is drummer Jeff Singer looking like he’s been imprisoned inside the Fortress of Solitude, as the drums are behind plexiglass screens. While it does improve the drum sound, it does also bring to mind the band’s ever-rotating rhythm section. Ho hum. With little pomposity or flare, they break into “Tragic Idol” and “True Belief” and it is very clear that this will be a deep-cut show with some cuts of the new record sprinkled in. There is no doubt that there are a few people pissed off that staples like “Embers Fire” and “Enchantment” are absent, but these are seriously good songs in their own right, and they manage to include at least one song from each of their albums. Frontman Nick Holmes is back with his legendarily dry northern wit that led him to befriend the likes of Mikael Åkerfeldt and Peter Steele. Before an amazing performance of “Mouth” he says “the next one is from ‘Believe in Nothing’… the one with the bees on it”. And before “Nothing Sacred” he beckons to all of the fans of the “Host” era, which he follows up with “…all three of you”. At another point he states he will take a picture of the crowd to send to his grandmother “who lives pictures of crowds in London for some reason”. Not too long into the following song he informs us, wryly as ever; “my grandmother is dead, by the way”. A wonderful bit of dark humour to offset the even darker music. The performance is tight, confident, and unpretentious, the clear work of a band who have long stopped chasing validation. What was an hour and a half setlist ended up feeling a lot shorter, and before you know it, it’s all over. By the time the crowd filters out into the cold October night, Islington feels wrapped in a gothic veneer that lends it a bit of character. Paradise Lost, High Parasite, and Messa together create the picture of endurance, all with incredible new albums in tow, they are living proof that doom is still king even in 2025. Paradise Lost remain not just a band for all seasons, but for all time, and autumn, once again, is theirs for the taking. Words: Kiarash Golshani Photos: Cate Neves

“To love unconditionally, without fear or regret” is a rare and courageous sensibility for anyone to live by. To have it guide you, as you slam dance your way across international stages, smashing out aggressively positive hardcore bangers, well, that's nothing short of magnificent. The Aussie five piece, SPEED, carry this phrase and ethos alongside the release of their latest EP, ALL MY ANGELS. Born from their tortuous experiences of grief and its shifting landscape of existential pain, the record is testament to the strength found in expressing genuine vulnerability. Their epic and ecstatic rise in popularity over the past few years, has been accompanied by a series of tragic bereavements, shaping their creativity and truly cementing the messages of love and inclusivity they imbue. The blazing storm of global injustice fuels the sound of the EP’s first track, AIN'T MY GAME. As it blasts out, a frenzy of drums and distortion, lyrically, it's espousing solidarity and compassion, ‘The hardest fights take integrity. My loyalty lies where my heart and values meet. Gave all the fear in me to my misery.’ JEM SIOW's emphatic delivery punches through the irrepressible energy from the band, made up of AARON SIOW (bass), JOSH CLAYTON (guitar), DENNIS VICHIDVONGSA (guitar), and KANE VARDON (drums). This is a ride or die group, a real blood brothers team, making music for themselves, and for their beloved Sydney scene. Forming only six years ago, they are already in high demand internationally, and their down to earth sincerity, truly an Aussie gift, translates across all mediums making it impossible not to root for them. Thankfully, they consistently produce top notch hardcore, so it's an effortless exchange. When reading the track listing, the purposeful usage of ‘all caps’ is noted with an involuntary cognitive wince. PEACE opens with a blast of irrepressible anger and frustration, building to a grooving breakdown, ecstatic enough to make our eyes roll back and you sink right in. The first single released from the EP back in September, the strain of holding back the tide can almost be heard in the cracking in SIOW's voice as he repeatedly cries out, ‘I wiped all my tears to see’. The last part of this triptych is ALL MY ANGELS, a heart-breaking howl of loss in a cloud of unanswerable questions, ‘The burning question tugging on my soul is, when a life gets taken, where does it all go?’. Whipped up into a storm of power chords and riffs but slower than elsewhere on the EP, SPEED are seemingly weighed down by their grief. This is a chugging lament with a crowd rousing chorus, using the titular line to throw down amongst the rabble. Shifting tempos with well placed down tuning to finish off. It's piercing and it’s raw. Yes, hardcore’s having this breakthrough moment right now, and not to mention it in relation to SPEED would be negligent. For a genre that's still riddled with outdated forms of masculinity and gatekeeping, the new wave of inclusivity is a breath of fresh air. But in today's often lightning quick turnover of cultural production, the longevity of maintaining this position is impossible to predict. Regardless, it's pretty fucking exciting to see this vanguard of heavy music receiving such recognition, and SPEED, sits right beside US bands, TURNSTILE and KNOCKED LOOSE. ALL MY ANGELS is the work of friends experiencing life's tragic inevitabilities. In an era of tasteful displays of health and wellness, they are sharing real time processing of their deepest pain in a raw and authentic therapeutic release. SPEED's got that ‘big heart energy’ and throwing in a flute solo or sharing experiences of emotional struggle is par for the course. Consistently outspoken against inequality, cancelling slots at big name festivals in support of political boycotts and pushing boundaries of ‘acceptability’ for a hardcore band, shows us the credibility of their message. Undoubtedly, they are pushing an aesthetic and sound that is heavily ‘masculine’, which for some, breaches a code we haven’t necessarily made peace with yet. You can’t deny that the ferocity of the band's moshing is something that would keep many at a distance. Back in the 90s, FUGAZI tackled this head on with an outright ban at their gigs, and under a banner of 'inclusivity’, it for sure warrants consideration. However, there is something that runs bone deep in their effort to establish what is encouraging and welcoming in their music. It is also key to remember, that part of the beauty of hardcore is as a subculture, and by de facto, is not meant for the many. Only time will tell how this message translates out, on to the forefront of popular culture. Score: 9/10 ALL MY ANGELS was released on 23rd October 2025 via Flatspot Records/Last Ride Records. WORDS: Alana Madden PHOTOS: Speed

For the first time in thirteen years BIOHAZARD have released a new, louder than life album, Divided We Fall. Established in 1987, these trailblazers were amongst the originators of the fusion of hiphop hardcore and groove metal causing many generations of metal fans to be instantly captivated. Returning with their original lineup after a hiatus, fans have been stunned by their raw and chaotic live performances. Notably, BIOHAZARD have headlined stages at events such as Download Festival and Milwaukee Metal Fest in recent years. Fans have been enthusiastically anticipating the new album's release - but will it live up to their expectations after so many years? Well, to put it bluntly - BIOHAZARD has still got it. The album is overflowing with authenticity and emotion. They continue to demonstrate their influential position, showcasing their pure talent and relentless love for their music. If you're desperate for the pit, looking for an early morning pick me up, or simply a lover of the band, look no further than Divided We Fall. It is filled with chaos and standout moments, and quite frankly BIOHAZARD should be commended for their commitment to their sound and continuation of socially conscious lyricism. Guitarists and guitar enthusiasts in particular, this album is for you. Guitarists Bobby Hambel and Billy Graziadei provide abundant energy with powerful riffs and breathtaking solos. Death of Me is a standout for their prowess as guitarists. Crafted with precision and talent, the song features shining examples of their hardcore influences. The song contains heavy chugs, perfectly lingering notes and an astonishing solo. The song leaves the listener involuntarily headbanging and ready to two step the night away; it's pure aggression at its finest. To add to this, bassist Evan Seinfeld serves up a platter of chunky baselines that you can feel exploding in your chest. His bass brings a feeling of total dominance, especially in tracks where he plays alone. An example of this is the start of Fight to be Free, where the bass sets the tone for the whole song and increases the hostility of the track throughout. Many believe drums are the foundation to any good song. BIOHAZARD’s Divided We Fall is littered with dynamic drumming - from blast beats to exhilarating build ups. The album’s opening song Fuck the System has untamed rapid drumming, providing a shot of adrenaline right from the off. The drums have a key role in leading the track into an explosive breakdown when paired with defiant lyrics like “How much more can we take?”, leave listeners feeling empowered and angry over the current political climate. Lyrically, the album is well written and thought out. Billy Graziadei and Evan Seinfeld’s non-compliant shouts echo throughout the tracks. They are vocally profound and their voices feel unchanged, despite time away from performing. With uplifting songs such as I Will Overcome, the band portrays a positive message of living life in the moment, not regretting any choices while overcoming life’s obstacles - predominantly when people try to put you down. The prospect of fans all coming together to yell “I will overcome!” during live shows feels extremly exciting, and is sure to create a sense of unity and community amongst fans. It's especially important for inspiring music at a time where many feel uncertain of their future. On top of this, the track Forsaken highlights the importance of “justice and change”, showing the band's stance of distaste for war and declining human rights. The song features points about individuals fighting for women and children, despite not caring about them to begin with. The track feels like a riot, seeping with emotions of sadness and unbridled anger. The song feels currently incredibly relevant and the band should feel pride for continuing to speak out on the world’s issues. BIOHAZARD have remained legends in the metal scene, and this album removes any doubts over that. Whether you're a long time fan looking to reminisce, a recent fan or someone looking for something new, this album is for you. BIOHAZARD have stated that they will be embarking on a tour post album release, and it will definitely be worth attending to see the album live - especially if you love a mosh pit. Score: 8/10 Divided We Fall was released on October 17th 2025. Words: Alix England Photos: Biohazard

Even though warm and sunny days are no more, for some of us it is pop-punk season all year round. ACTION/ADVENTURE’s sophomore album Ever After provides a perfect soundtrack both to cheer up the listener, as well as to accompany the heaviness that comes with autumn - or fall, as they say in the band's home of Chicago. This release offers a great interpretation of what a classic pop-punk record should be, this time loaded with hefty riffs and overall a heavier, denser sound. The band formed a little over a decade ago, with their breakthrough moment being credited to a viral Tiktok video the band made back in 2020. Barricades, the song featured within, highlights the hurdles and prejudice faced by the all-BIPOC band in the scene. Indeed, the lack of diversity and representation within pop-punk music is still striking, despite big portions of the audience coming from a wide range of backgrounds. This experience, however, also meant that ACTION/ADVENTURE have their own unique story that they continue to tell all throughout their music journey. Shortly after having been signed to Pure Noise Records in 2021, the group released an EP titled Pulling Focus, followed by their debut full-length record in 2022. Its name Imposter Syndrome is self-explanatory: the lyrics focus on the aftermath of finally receiving some form of recognition and success, and the feelings of self-doubt that inevitably come along with it. Fast forward to this year, the band continues to explore similar themes with their sophomore album Ever After. Although the sound of some songs may appear bright at first glance, in true pop-punk spirit, it's loaded with some of the most vulnerable emotions one could confess. A group of musicians made it, did a couple of successful tour laps, and got to work with some of the loudest names in the scene: but what comes at the end, ‘ever after’? As guitarist and vocalist BROMPTON JACKSON discloses, the band has recently experienced one of the lowest points in their mental state. This is reflected in tracks such as That Time I Got Reincarnated As A Slime [AMV] which discusses the duality that touring life brings. Having to come down from the high, back home and once again to their day jobs, artists often lose themselves in the process: “I’ve relived so many lives, I forgot which one is mine”. Once we dive deeper into the lyrics, a lot of the songs on the new ACTION/ADVENTURE record simply cannot be taken lightly anymore. Seconds/Centuries opens with a melancholic acoustic intro, painting the imagery of hopelessness and despair. The song later grows into rageful screams and progressive riffs and solos, as if physically pulling the narrator out of this state and giving them energy to keep fighting. Floortime is another prime example; a cry over the world always moving on while all we can do is lie on the floor about it. The heavy topics of the record are also mirrored by the heavier texture of its musical sound. Tracks like Big Al Dente, despite being just short of three minutes, manage to include plenty of development within and even a breakdown at the end. ACTION/ADVENTURE did not forget to include some catchy choruses either: the melody of Spiral just begs to be sung along to next festival season. The album manages to keep uniformity and continuity without plummeting into bland repetition. Moreover, having two vocalists whose voices compliment each other so well makes for plenty of ability to expand their sound - so even those unfamiliar with the band at all are also in for a treat. If one could be convinced enough by this point to at least take a look at the tracklist, it would take them by surprise. It is ACTION/ADVENTURE’s first run of bringing on featured artists on an album - and it's three great names straight off the bat. Ex-REAL FRIENDS’ DAN LAMBTON joins them first, followed by BEN JORGENSEN of ARMOR FOR SLEEP, who also wrote a bridge for the song, and of course the UK’s pop-punk YouTubestar NOAHFINNCE. For the band, this must feel like one of the ‘pinch-me’ moments, but it is truly a glowing sign of their success. Despite all the self-consciousness the artists express in the lyrics, the music that they can create together will always be worth it. Ever After is clearly not the case of an album where all the hits have already been released as singles – there are plenty of gems hidden within, and every song is a great standalone piece. With all its unique genre-bending tricks, it is also an album that could satisfy not only the pop-punk audience, but also any lover of hard rock and heavy metal. Lead single Real Juicer Hours opened with: “I heard you had another breakdown, who cares?” Whether they meant it in the emotional or musical sense of the word, we suggest someone should and does in fact care. Score: 8/10 Ever After will be released on October 24th 2025 via Pure Noise Records. Words: Mariia Bulkina Photos: Action/Adventure

It’s pretty well documented that, aside from a host of dangerous creatures, there is something in the Australian water which causes them to produce some of the heaviest metal bands of the last 20 years. HEAVENSGATE is no exception to that rule, and in fact quite exemplary of it, with their sophomore EP A Heart Is A Heavy Burden. This release comes off the back of their first large tours overseas, hitting the road in Europe, the UK and the USA for the first time. This EP pulls no punches as it immediately confronts you with a chaotic assortment of chugs, blast beats and obscene noises somehow made by a guitar with the opening track Burden Of Being. From here the listener is catapulted into the first single to drop in the lead up to this release Oblivion. Much like the opener, this track is an onslaught, building to a truly cataclysmic breakdown preceded by the line “this world will ruin me”. This continues on into the second single Rain which is an overall similar experience, littered more with blast beats this time around. So far this experience has just been an auditory punch to the face. However, as we reach the midpoint of the EP, and the last of the 3 singles to be released, we see where HEAVENSGATE really stands out above the rest with Petichor. This heavy, atmospheric ballad is a moment of reprieve and reflection with the soft vocals courtesy of both the band’s singer NAZARETH THARATT and studio member JOSH ANG against a backdrop of ambient guitar driven soundscapes. This softer touch is continued into the next track Darling Blue. A lot of artists in metalcore try to mix softer elements into their heavier sound but few seem to stand out the way this band does. While this track contains the same reverb soaked guitars as the previous, it is the drum beat driving the verses and pushing the listener along gently through the track that makes it so unique. Finally, the EP ends with a return to annihilative heaviness on the closing track A Fawn Flayed. There’s not much that can be said that hasn’t been said already. This track is heavy and truly pushes the boundaries of that extensively. What is interesting however is how the end breakdown seems to almost call back to another project that some of the members of HEAVENSGATE were a part of, perhaps as a means of demonstrating their influence and their ability to execute the same ideas with greater intensity and precision. Regardless, this EP is a monolithic moment in this band’s career, which is likely to reach incredible highs in the future. This wonderful cacophony of metalcore, hardcore influence, shoegaze elements would easily be a release of the year contender for any fans of ALPHA WOLF, THROWN or MAKE THEM SUFFER. Score: 8/10 A Heart Is A Heavy Burden is out on 24th October 2025 via Pure Noise Records. Words: Alex Boyd Photos:

With her new album Poster Child, the first since signing with Fearless Records after nine years of independent releases, Pennsylvania native, but Nashville based TAYLOR ACORN infuses the gritty energy of late ’90s and early 2000s pop-punk with a contemporary edge, reinventing the genre that defined her. Best known for her pop punk, emo style with an added country vibe, the album is nothing short of a breakthrough and breakout sound for the new generation. Opening track People Pleaser dives straight into the feel of the album, giving a sense of optimism under the self-deprecation of lines like “Call me a people pleaser, only here for your leisure”. It’s clear from the first chorus that this album has been written with ACORN’s heart and soul laid bare. ​Following up is recent single Crashing Out, which has a heavier feel, with similarities to the likes of AGAINST THE CURRENT and HONEY REVENGE. The song benefits from a heavier guitar backing and is a high-energy pop-punk anthem, lamenting about the chaos of a turbulent relationship. ​Debut single Hangman is a guitar-fuelled, emotional pop punk ballad that blends raw energy with a melancholy edge. Taylor explores feeling emotionally stuck, saying it was "like the universe was playing a weird game," illustrated by lines like "Shake my fists up to the sky, is it my fate caught on the line? Can't you go easy on me?" ​Title track Poster Child talks of the need for showing yourself some love before being able to love someone else. "Poster child for screwing everything up, including us,” sings ACORN as crashing guitars underscore the emotional weight. ​ACORN said of the album, “When people listen to this album, I just want them to feel like they’re back in a time period that makes them feel good.” That sentiment is perfectly captured in Home Videos. Bringing us back to the year 1999, with nostalgic tales of childhood memories where “the worst thing you could break was a window or an arm”, the track sounds like it’s going to be a crowd favourite when played live. ​Cheap Dopamine is another slower track, where we hear ACORN asking questions to her past lover, and coming to the realisation of being in a one-sided, toxic relationship where she “Got so used to you using me, didn’t know I was losing me”, and comes to terms with the consequences of emotional dependency. ​Blood On Your Hands stands out as one of the album's strongest tracks, drawing from a place of heartbreak, anger, and defiance. With lines like "Only you, me, and God know the truth" and "Somehow you threw down the victim card," the song warns its antagonist after causing hurt. ​Goodbye, Good Riddance was selected as the lead single from Poster Child. Despite straightforward lyrics, the track delivers a hard-hitting, unapologetic message, offering listeners a clear sense of the album's overall energy and direction. ​ Sucker Punch downshifts the album into a gentler rhythm, with TAYLOR ACORN showcasing her crafting of emotionally resonant choruses wrapped in softer verses. ​The guitars shine in the track Vertigo, where ACORN tells us how her “heart's dead set” but her “head's so dizzy”, comparing her crush to dizzying disorientation. Theme Park brings us back to that nostalgia thread that winds through the album, where ACORN likens a new love to being a kid on a theme park ride, with feelings of adrenaline, excitement, and of course, throwing your hands up on a ride. ​Closing track Masquerade encapsulates the recurring theme of disenchantment and within her voice, ACORN displays a perfect medley of strength and fragility, mirroring the emotion she’s channelling with each line. The song culminates with the closing line “I’ll smash the champagne as I run out the door, cause this isn't fun anymore”, which delivers the final blow of the story we’ve been hearing throughout the album, where it’s clear that she’s ready for what comes next, but where she’s been hasn’t been so fun. ​Poster Child captures the infectious, nostalgic feel of what we expect from a pop punk artist, with each track clearly infused with her country influences. With each track, TAYLOR ACORN has presented an album showcasing that she’s not just revisiting the genre, she’s reshaping it for today. Score: 8/10 Poster Child is out on 24th October 2025 via Fearless Records Words: Lou Viner-Flood Photos: Good As Gold / Taylor Acorn

Hailing from Southern California, DAYSEEKER has long been known for their emotionally charged blend of post-hardcore, ambient rock, and melodic metal. While they’ve never leaned heavily into concept albums, their sixth full-length release, Creature In The Black Night comes close with its horror-inspired themes and cinematic vibes. From the first chord, you can hear that this is clearly their most immersive and deliberate musical statement to date. With its recurring vampiric imagery and death iconography, Creature In The Black Night may divide the opinions of followers of the band but will surely generate new interest from a new group of people. The first single, Pale Moonlight, offers an introduction to what people could expect from vocalist RORY RODRIGUEZ and the band in this era. The track showcases the sharper emotional edges and heavier melodic weight that carries through all of the songs on the album, with the vocals delivering aching vulnerability and seductive intensity. Charged with a captivating darkness that pulses beneath every note, with lines like “Fuck me in your dreams like you can't escape it; I can make a scene when I feel degraded”, Creature In The Black Night might be one of the slower tempo songs on the album, but it certainly conjures up specific images that accompany the listener as you make your way through the tracks. After a brief introduction to the seduction of Creature In The Black Night, Crawl Back To My Coffin solidifies that, though it is not a traditional concept album, it could be, if that is what the band wanted. There’s no other way to interpret the line “Came all this way, got out of my grave again, just to crawl back to my coffin” other than the narrator speaking of death and rebirth. We all know that a shapeshifter is something that can physically transform its form, and track Shapeshift encapsulates this with its continuation of the thread of darker, cinematic imagery with more shadowy, visual identity, with a synth-heavy guitar backing from GINO SGAMBELLURI and RAMONE VALERIO, and heavy drums from ZAC MAYFIELD. Soulburn follows next, driven by a melodic fire that meets lyrical precision; though the song is one of the slower tracks on the album, RODRIGUEZ spits venom with each line, “And when you say goodbye to all you've lost, I’ll be there so I can watch your soul burn alive”, spinning heartbreak into haunting harmony. What appears on the forefront as a sultry, vampiric anthem, Bloodlust soon reveals itself to be more about letting go of inhibitions and surrendering to the shadows within, conjuring images of dramatic graveyard rendezvous, with its deep layers of storytelling. Despite the track name, Cemetery Blues presents itself as the one track from the album which has a more typical DAYSEEKER sound to it, with tragic, emotive tropes like “The afterlife is colder than they told me it would be”. Nocturnal Remedy is a standout example of the way DAYSEEKER delivers poetically tragic lyricism. The song is expertly built around a chorus that's magnetic and demands attention. RODRIGUEZ also manages to showcase both his powerful clean singing alongside his screams, which heightens the emotional intensity of the track. The Living Dead slows down the allure after a run of high-energy tracks, bringing in a more heartbroken, sorrowful pace. It’s a track that is unflinching in its honesty and haunting in its beauty. Bringing the tempo back up towards the end of the album, Meet The Reaper aches with longing, tangled in the tension of love and surrender, with lines like “I’m addicted to the siren song, it’s a dull sound, drowning me out”. It evokes the death-tinged imagery that has been woven into the fabric of the album. Closing out the album is Forgotten Ghost, another track that breaks you in the softest way, with longing and aching feelings of grief and regret. Whilst we were expecting a heavier end to the album, it feels only right for DAYSEEKER to leave the listener wishing the story would unfold into more chapters, but instead being shown that life is temporary and nothing is promised. With Creature In The Black Night, DAYSEEKER have clearly evolved from their post-hardcore roots into something darker, and more mature. Crafting lyrics with raw emotion alongside seductive melody shows why they are considered to be a band whose songs continue to unfold across genres with heart and precision. Score: 8/10 Creature In The Black Night is out on 24th October 2025 via Spinefarm Records Words: Lou Viner-Flood Photos: Dayseeker