A scavenging vulture calls through a desolate desert. Heavy, black boots kick up sand in their path. Into a rundown town on the fringes of the American frontier saunter three men clad in black, the sun a distant memory in the blackened sky above. The scene is now set for In the Company of Serpents' fifth studio album, A Crack in Everything. The Denver doom metal trio have always questioned the limits and boundaries of genre, and their latest release is no stranger to that, marrying up acoustic, spaghetti western tones to crushing doom riffs in a combination that can only be described as a cinematic vision. The album takes its title from Leonard Cohen's 'Anthem'; in this, he sings "There is a crack in everything. That's how the light gets in.' That line encapsulates the album's themes entirely – it's a personal piece, born from emotional defeat and a losing battle with alcoholism, but despite the misery and loss, it sets out to find that crack where the light can shine through, that glimmer of hope in the distance. The nine-track LP kicks off with 'Don't Look In The Mirror', a perfect establishing shot for what to expect with this record. Clashing drums from Andy Thomas meet powerful riffs from Ben Pitts, in the lead-up to deep, guttural vocals from Grant Netzorg. The track delves into Netzorg's personal struggles with depression and addiction, the despair channelled into visceral intensity. What follows is 'A Patchwork Art', a song that encapsulates the band's style and themes. It begins with the western twang of guitars, an intro that wouldn't be out of place in a Clint Eastwood movie, but it isn’t long before the growling vocals arrive on the horizon. Over the course of the track, the spaghetti western themes begin to bend and buckle under the weight of the heavy sludge, giving way entirely by the end. The track evokes a certain image; a showdown in the sandy streets of the old west, the light leaving the sky as darkness takes over. It's a symbolic battle between light and dark, despair and depression coming out the apparent winner. 'Delirium' follows, an acoustic piece in the transition between scenes. It offers a well-needed reprieve from the crushing gloom. The peace is short-lived, however, as 'Cinders' arrives on the scene soon after. It falls in line with the rest of the tracks, tying together raw, emotional intensity, with eerie instrumental passages. Memorable riffs cling tightly to the mind, though ultimately this track does little to stand out among its companions. First single release, and fifth track 'Endless Well' features guest vocals from Jeff Owens from the band Goya, bringing a new fighter to this perpetual internal battle, and with him, soaring backing vocals that offer a welcome contrast in style. The track is ultimately about "daydreaming for some cataclysm to come along and wipe the collective slate clean," Netzorg says, and that wish for the apocalypse is evident in the sludge metal riffs that run through this one. However, it's not all about wallowing in despair – in its ending lines, it suggests there is a way to escape this self-imposed prison cell: "Resurrection, or perhaps rebirth? A fierce rejection of this state: inert," Netzorg growls. 'Buzzard Logic' is one of the longer tracks in this album, hitting a sprawling, darkness-infused eight minutes. It's one that lands definitively in the camp of metal, and brings a very welcome increase in tempo that helps to break up the length – unfortunately, that speed is brief, before the track returns to the status quo of slower, esoteric melodies. Another instrumental interlude, 'Tremens', follows. It's the kind of slow, relaxed strumming you might expect at a campfire out in the wilds of the desert, and leads into the next track well. 'Until Death Darkens Our Door' is a standout in that it primarily takes the southern gothic approach in both vocals and instrumentals. The band's Denver roots come through most here, dark country influence permeating its sorrowful tones. It's a track that informs listeners of why the band stand out amongst the crowd – they're far from your average post-metal band, bending the constraints of genre and style. Finally, we reach 'Ghosts On The Periphery'. A haunting climax to this inner turmoil, the shadows of the all-consuming darkness within revealing themselves in their entirety. Another track of eight minutes, though this length feels earned. After six brutal minutes of crushing guitar and bass, we're given the radiance of light through the return of the spaghetti western instrumentals. To close off this saga, the final, eponymous lines are spoken: "There is a crack in everything. That's how the light gets in." A Crack in Everything stands out in the band's repertoire as a deeply personal collection of tracks, delving into themes of addiction and depression. It straddles the line between genres, never quite clashing with its southern guitar twangs and growling doom metal vocals. While the tracks each have their own merits, one point of contention may be that some struggle to stand out, hard to distinguish from others in style and form. Ultimately, this album is a well-crafted saga of darkness and light, and In the Company of Serpents have proven themselves as standouts in the genre. Score: 7/10 A Crack in Everything was released on July 11th 2025. Words: Naomi Colliar Duff Photos: In The Company Of Serpents

Swedish death metal band Decadence Incarnate, renowned for their melodic intensity and thought-provoking lyrics, recently returned with their latest EP, Eternal Rebellion. Known for pushing musical boundaries, the band delves deeper into socio-political themes and personal struggles in this powerful release, showcasing their evolution both musically and lyrically. Prior to the EP’s launch, singles ‘Lightbringer’ and ‘Illusion of Freedom’ set the stage with hard-hitting political lyrics and infectious riffs that linger long after the final note. ‘Lightbringer’ is an anthemic track that tackles the complexities of leadership and the duality of power, while ‘Illusion of Freedom’ critiques modern society’s façade of liberty, layered with blistering guitar solos and relentless drumming. These tracks not only highlight the band’s ability to blend heavy metal with meaningful commentary but also demonstrate their commitment to addressing contemporary issues through their music. With Eternal Rebellion, Decadence Incarnate are breaking every boundary possible, solidifying their place as a band to watch in the global metal scene, and proving their commitment to artistic growth and fearless expression. The EP is a testament to their ability to evolve and adapt while maintaining the core elements that define their sound. It is a bold statement that challenges the status quo and invites listeners to question and reflect on the world around them. The band’s dedication to pushing the limits of their genre is evident in every track of Eternal Rebellion. They have not only created a powerful musical statement but have also established themselves as a force to be reckoned with in the metal community. Their willingness to explore complex themes and experiment with new sounds sets them apart from their peers and ensures that they remain relevant and influential. In short, Decadence Incarnate’s Eternal Rebellion is a remarkable EP that showcases the band’s growth and evolution. With its thought-provoking lyrics, powerful instrumentals, and fearless expression, it is a must-listen for fans of metal and anyone who appreciates music that challenges and inspires. The band’s commitment to artistic integrity and their ability to connect with listeners on a deeper level make them a standout act in the metal scene, and Eternal Rebellion is a testament to their enduring talent and creativity. Score: 8/10 Eternal Rebellion was released on July 11th 2025. Words: Lisa York Photos: Decadence Incarnate

Calva Louise have steadily carved out a name for themselves since forming in London in 2016, with an ever-evolving sound that defies genre and expectations. The dynamic trio have caught the attention of BBC Radio 1 and a growing global fanbase, rightfully earning their spot as one of the station’s 'Artists You Need to Know'. Their latest release, Edge of the Abyss, is a bold, eclectic, and thrilling addition to their discography, bursting with energy, experimentation, and surprises. The album opens with 'Tunnel Vision', a frantic rollercoaster of time signature shifts and sharp hooks. Long-time fans will feel right at home with the band’s signature unpredictability, but there’s a refined polish here too, Jess Allanic’s vocals soar and snarl in equal measure, locking in perfectly with the driving guitars and explosive drums. It’s a standout opener, and one you'll find yourself having it on repeat constantly. Then comes 'Aimless', a track that playfully teases with an intro reminiscent of Britney Spears’ 'Toxic', only to explode into a riff-heavy anthem that’s pure Calva Louise. Bilingual lyrics in English and Spanish add to the track’s dynamic punch, while thunderous drums and snarling guitar lines push it into full-blown chaos in the best way possible. Midway through, 'Impeccable' lives up to its name, infused with rave-like energy and an infectious beat, it’s the album’s danceable core, compelling you to move whether you’re in a club or your bedroom. The genre-bending continues with 'The Abyss', a fully Spanish-language track featuring shimmering synths and a thudding bassline that pulses with dark allure. It’s immersive, catchy, and proves Calva Louise’s versatility without missing a beat. As the album nears its climax, 'Hate in Me' delivers a heavy, headbang-ready punch, unapologetic and intense. It’s one of the heaviest cuts on the album, demanding attention with its raw emotion and unrelenting pace. Closing things out is 'Under The Skin', a hauntingly ethereal power ballad that showcases the band’s emotional depth. Growling vocals, layered instrumentals, and a crushing breakdown bring the album to a cathartic and cinematic close. Edge of the Abyss is an exhilarating ride from start to finish - a fearless blend of punk, metal, synth, and pop that refuses to be boxed in. Calva Louise aren’t just pushing boundaries here, they’re obliterating them. Score: 10/10 Edge of the Abyss was released on July 11th, 2025 via Mascot Records. Words: Sage James Photos: Calva Louise

There’s something deeply stirring about music that balances the sacred and the profane, that dares to channel centuries-old spiritual tradition through a contemporary and often confrontational lens. Requiem, the latest offering from avant-garde outfit All Men Unto Me, does exactly that. It’s an album that feels like it was recorded in a cathedral at midnight, haunting, cavernous, and unashamedly intense. With frontman Rylan Gleave of Ashenspire at the emotional and sonic helm, this record isn't just listened to, it’s experienced. Across eight immersive tracks, Requiem offers a genre-defying journey through despair, transcendence, and catharsis. We begin with 'Introit', a track that immediately situates listeners in a realm somewhere between Swans-style post-rock and orchestral gothic. The atmosphere is thick and immersive, as screeching violins slice through a dense fog of distorted guitars and methodical drums. Gleave’s vocals start as a solemn presence and gradually become a commanding force, elevating the track to something both chaotic and divine. It's a bold and cinematic opening, setting the emotional and sonic stakes high. Following this is 'Kyrie Eleison', a softer, more intimate offering that trades bombast for vulnerability. Gleave’s voice sounds fragile here, almost desperate, as if genuinely reaching out to some divine presence for mercy or understanding. Stripped-back instrumentation and a raw vocal performance make it one of the album’s most personal and affecting moments, demonstrating the band’s skill at emotional contrast. The third track, 'Sequentia', is the only one accompanied by a music video at the time of writing, and it’s easy to see why - it’s a standout. The production is driven by a deep resonant bassline and a thundering kick drum that provides both tension and momentum. Gleave’s vocals glide hauntingly over this rhythmic backbone, creating a track that feels ritualistic, almost like a summoning. The accompanying visuals only heighten this sense of mystery and grandeur, positioning 'Sequentia' as the record’s sonic centrepiece. 'Agnus Dei' leans even further into religious imagery, resembling a twisted, modern hymn. The classical organ and eerie choral vocals give it the feel of a service being held in a crumbling chapel, the sacred space reimagined through a distorted, apocalyptic lens. It’s beautiful and unsettling, another track that blurs the line between devotion and despair. The album closes with 'In Paradisum', a quiet, reverent track built on a foundation of echoing guitar strums and Gleave’s soft, almost whispering voice. It serves as a gentle exit from an otherwise intense record, like stepping out of a storm into candlelight. There’s a sense of peace here - perhaps not resolution, but acceptance. Requiem is a masterclass in emotional range and sonic atmosphere. It’s a requiem in the truest sense: a lament, a prayer, and a confrontation with the divine, all wrapped in a challenging but beautiful musical package. For those willing to give themselves over to the experience, it’s nothing short of transcendent. Score: 8/10 Requiem was released on June 27th, 2025 via The Larvarium. Words: Sage James Photos: All Men Unto Me

Like a 1990s death metal concept come to life, the band Kontusion was conceived amidst the languor and distress of the global pandemic. Described by some as a metal ‘super-group’, Kontusion’s only two full time members, guitarist/vocalist Mark Bronzino and drummer Chris Moore, hail from the legendary hardcore and metal scenes of America’s East Coast and former bands like Iron Regan, Mammoth Grinder, Repulsion and Coke Bust. Having connected, pre-pandemic, over their shared hunger to make the kind of mean af, old school death metal, they were desperate to hear themselves, Moore and Bronzino also had the kind of chops, as well as the time, to pull it off. Thus in a wide-spread lock down, the devil found work for those idle musician’s thumbs, and Kontusion was born. Their eponymous first EP dropped in 2022, which included the undoubtedly punishing ‘Rotting with Sickness’, was highly praised for its authentic and brilliantly delivered primeval heaviness. Now, coming for us later this month, is their first full length album, Insatiable Lust For Death. It’s another relentless onslaught of blast beat drums, insane levels of distortion, and gritty dark sounds in the lowest of registers, which feels something like being buried alive. In comparison to the first EP, Insatiable Lust For Death has a fractionally cleaner production, but don’t worry, it’s still like listening to the bowels of the earth on long wave radio, hitting hard with deconstructed flows and raw frequencies, a homage to those early death metal recordings. Losing none of its savageness, tracks like ‘Hemorrhage’ really play up those dense hardcore drums from the band's muscle memory. Every now and again we are treated to a throwback thrash guitar riff, cutting through the grime, always short lived, returning quickly to the power chords and growls. The video released for ‘Subjugation’ is an edit of grainy and distorted footage, flicking between the band playing live, warfare and the saccharine positivity of American retro advertising. Ranging from the 40s on to present day, the video closes with an aerial shot of the Gaza strip, followed by footage of the pro Palestine protests which stops this feeling a little cliché. Hitting home and speaking in support of the oppressed, as well as against the media’s suppression of footage, freedoms of speech and support of the Palestinian people. No-one is free until we are all free. Free Palestine! With this video in mind, the onslaught of sound we get from Kontusion and their position within a counterculture, fits like a glove, and we can only say we want more of it. They emphasise that part of the concept is about reflecting “the darkness of a world marred by chaos, where large scale atrocities run amok”, and we couldn’t agree more. True to the tone of the album, the band comments that the lead single, ‘Throne Of Skulls’ “lyrically tackles the path of destruction and death in the hell-bent pursuit of power concentrated into the hands of the few’’. Bronzino also adds for the die-hard metallers, it’s full of “charging, galloping riffs, backed by stomping rhythms, in the vein of Cianide, Convulse, and even the legends Carcass with what could potentially be called the ‘C beat,”. Taking the darkest, roughest elements of their knowledge and experience, this slurry of sound is a ‘bash you over the head’ kind of retrospective of their death metal dreams/nightmares. ‘Countless Atrocities’ opens with some assaulting drums and one of those ‘oh so brief’ guitar solos, shredding through the primeval deluge as it summons some avenging dark figure, to wreak vengeance on the earth. Melting into a pulsing onslaught, ‘Revenge’ makes your head an antenna for what feels like some V for Vendetta type messaging, hijacking the air waves; even if the death metal guttural growl gives us no sense of a single word spoken… A real nice break down, and another brief but insane guitar solo, will have you nodding with your grumpy face as it gets deep. After this release we are fully ready to support Kontusion’s dark reign against the 1%. Score: 8/10 Words: Alana Madden Photos: Louie Palu via Kontusion

Reading & Leeds has always been a haven for the bold, the loud, and the left-of-centre. While main stage headliners tend to dominate the spotlight, it’s often the alternative acts tucked into late-afternoon sets or hiding out in smaller tents that end up stealing the show. The 2025 lineup captures a wide-ranging definition of “alternative” — spanning punk, emo, hardcore, indie rock, experimental pop, and everything in between. Whether you’re chasing high-gloss emo revivalism, snarling post-punk, or genre-defying internet weirdos, this year’s bill is packed with artists ready to leave a lasting mark. Some are returning festival veterans with reputations for ferocious live shows. Others are new names poised to blow up — the ones you’ll be bragging about seeing first. That’s the thrill of Reading & Leeds: a mix of the tried-and-true and the next big thing, all sharing a lineup built for discovery. If you’re plotting your weekend and want to catch the most exciting alternative acts on the lineup; from cult favourites with massive followings to rising stars making serious noise, start with these ten. Whether you're drawn to chaotic punk energy, soaring emo hooks, or experimental twists on pop and rock, these sets are guaranteed to leave an impression. Wallows With their breezy, guitar-driven alt-rock, Wallows have carved out a distinct space in the modern indie landscape. Led by Dylan Minnette, the trio blends nostalgic ‘90s tones with contemporary pop clarity, resulting in tracks that are as emotionally resonant as they are catchy. Known for fan favorites like “Are You Bored Yet?” and “Remember When,” their live performances strike a balance between infectious energy and heartfelt lyricism. At Reading & Leeds 2025, Wallows are set to bring the kind of emotionally rich set that will have you dancing one moment and swaying pensively the next. Lambrini Girls Crude, cathartic, and completely irresistible, Lambrini Girls are one of the most vital punk acts in the UK right now. Their feral live shows feel like a protest and a party all at once, and their razor-sharp lyricism tackles everything from queer rage to political hypocrisy with humour and fury. If you’re looking for sweat, speed, and an unfiltered punch to the gut, don’t miss their set — it’ll be one of the rowdiest, most important moments of the weekend. Mannequin Pussy Philadelphia’s Mannequin Pussy balance abrasive punk with disarming vulnerability like few others. On stage, they’re all-in: fiery, explosive, and emotionally raw. Vocalist Marisa Dabice shifts effortlessly between tender melodies and full-throated screams, backed by a band that understands tension and release in all the right ways. Their latest material expands their sonic palette without losing the bite that made them such a force to begin with. Expect chaos, catharsis, and one of the most emotionally gripping sets of the weekend. High Vis Blending post-punk, hardcore, and Britpop melancholy, High Vis make music that feels like both a war cry and a warm embrace. Their songs are working-class anthems, buzzing with grief, resilience, and a uniquely British swagger. Live, they’re relentless, channelling rage into solidarity with every shout-along chorus. If you’re into the gritty heart of alternative music, the kind that’s as real as it is loud, High Vis are essential viewing. Soft Play Formerly known as Slaves, Soft Play have re-emerged with a sharper focus and the same ferocious energy. Their brash blend of punk and garage rock has always translated well on festival stages, but their newer material shows a band that’s grown without losing their confrontational edge. Whether they’re shouting about social decay or simply causing a ruckus, Soft Play guarantees chaos — and a very good time. Pale Waves Pale Waves have evolved from indie-pop darlings to full-blown alt-rock contenders. Their blend of arena-ready hooks and goth-tinged aesthetics makes for a compelling festival presence. Frontwoman Heather Baron-Gracie delivers each lyric with intensity and flair, while the band’s polished production ensures the live experience hits as hard as the recordings. From moody bangers to heart-on-sleeve ballads, they’ll give you a little drama and a lot of emotion. Bilmuri Equal parts chaotic and cathartic, Bilmuri (the solo project of former Attack Attack! guitarist Johnny Franck) is a genre-hopping whirlwind of post-hardcore, pop-punk, and internet-era absurdity. His music is as likely to make you laugh as it is to move you, often in the same track. Live, Bilmuri brings a raw, DIY energy that cuts through any over-polished festival set. If you like your alt-rock with a heavy side of weird, this one’s for you. South Arcade One of the most exciting new bands in the UK scene, South Arcade are pop-rock firecrackers with a Gen Z twist. Their sharp hooks and unapologetically modern aesthetic make them a thrilling addition to this year’s bill. Don’t let their youth fool you — this band has polish, presence, and serious potential. Catch them now before they blow up completely. This is the kind of set you’ll brag about seeing early. Enter Shikari No strangers to Reading & Leeds, Enter Shikari remain one of the most innovative and politically charged live acts in UK rock. Their blend of electronic chaos, hardcore intensity, and massive choruses ensures that no two sets are the same — and every single one is unforgettable. With a discography full of anthems and a fanbase that goes all in, this is guaranteed to be a highlight of the weekend. Bring Me The Horizon Bring Me The Horizon are arguably the defining alternative band of their generation, and their headline set at Reading & Leeds is a full-circle moment. From deathcore outsiders to arena rock visionaries, they’ve evolved with style and intention. Expect a set that blends cinematic production with heavy-hitting fan favourites across their diverse discography. Whether you’re a diehard or a casual listener, BMTH are going to put on a masterclass in how to own a festival stage. Words: Jason De Medonca

As we look ahead to the summer of 2025, Limp Bizkit is set to make waves once again on the UK festival circuit. With confirmed appearances at iconic events like Download Festival and Reading & Leeds, the band is preparing to bring their high-octane nu-metal sound back to a new generation of fans. While their music still carries the same raw energy that made them one of the most iconic acts of the late '90s and early 2000s, their upcoming festival sets will reflect a more nuanced approach, blending nostalgia with a modern awareness of the changing cultural landscape. That makes us reflect on the band’s career and wonder, what would be their best songs in our opinion? 10) Gold Cobra After an eight-year hiatus and a few reunion shows with Wes Borland back on guitar, the band took everyone back to their roots with a big dose of self-awareness and derision. 'Gold Cobra' gave the band an opportunity for renewal while keeping the characteristic elements that made them. Its brash and unapologetic tone reminded everyone of the absurd humor so inherent to the band’s music. Some lyrics and imagery in the video are thought to poke fun at critics who dismissed Limp Bizkit over the years, embracing their outsider status instead of fighting it, reminding everyone about who they are. 9) Boiler While we know the band for their aggressive, party-heavy anthems, 'Boiler' offered a new approach and marked a turn with its introspective and darker tone. It delves into themes of betrayal, emotional turmoil, and the haunting effects of a toxic relationship, the raw vocal delivery reflecting the intensity of the emotions at play. An atmospheric and brooding instrumental blending heavy guitar riffs with a slower, more haunting pace compared to the typical frenetic energy of the band's other tracks will make you do a double take. Its combination of emotional depth and heavy sound made "Boiler" one of the more memorable and powerful songs on the album. 8) My Way The song was propulsed to a larger audience when it got picked up as main theme for WrestleMania X-7, making it stand out on a hit heavy album. Its powerful and anthemic quickly made it a fan favourite. It is a declaration of personal autonomy and defiance, with Fred Durst asserting that he will live life on his own terms, regardless of what others think or expect. With heavy guitar riffs with a catchy, memorable chorus, it is hard to forget and a perfect example of the band’s ability to blend rap-rock with nu-metal. 'My Way' therefore quickly became a staple of Limp Bizkit’s live shows which you definitely watch out for during festivals! 7) Nobody Like You feat. Jonathan Davis & Scott Weiland An often underrated yet powerful track making an example of how different vocal styles can blend, while keeping their identities, to come together to deliver a punch. The track stands out for its intense energy and raw emotion with Jonathan Davis’s (Korn) tortured delivery, Scott Weiland’s (Stone Temple Pilots) melodic edge, and Fred Durst’s aggressive style. They weave together to create a volatile landscape that mirrors the song’s themes of betrayal and isolation. Its dynamic and high-impact structure is also empowered by the extended drum solo delivered by John Otto​, adding a sense of urgency and chaos that sets the track apart. Interestingly, "Nobody Like You" is often cited by fans as one of Limp Bizkit’s hidden gems, despite being rarely performed live due to its powerhouse lineup. 6) Nookie Produced by Terry Date, 'Nookie' helped catapult the band into mainstream popularity. Despite (or perhaps because of) its controversy, "Nookie" became Limp Bizkit’s breakout hit earning heavy rotation on MTV and being nominated for a MTV Video Music Award. The title was initially thrown around jokingly during the writing sessions but the band thought it was funny and catchy enough to stick, even though it was risky. Some mainstream radio stations hesitated or outright refused to play it at first before adding it to their playlists due to the song’s popularity and demand. It ended up fitting the song’s raw, unfiltered vibe perfectly and becoming an ultimate live party song. 5) Behind Blue Eyes Taking everyone aback with this cover of The Who’s classic song, it hits a pause to show a vulnerable side of the band that also drew new crowds in. Fred Durst’s emotional vocals, paired with a stripped-down arrangement, breathe new life into the original while maintaining the melancholy tone of The Who’s version. It brought a new generation to connect with both the song and bands as its topics of isolation, inner conflict, and the pain of being misunderstood resonated widely. 4) Re-Arranged A call-out to everyone who has felt alienated and alone, 'Re-Arranged' marked a turn for many of us. Reflecting on feelings of betrayal, blame, and emotional exhaustion that are familiar to many, it stands out as one of the band’s most introspective and melodic tracks. Built around a brooding bassline and a slow, hypnotic groove, the song captures a deep sense of disillusionment, rumored to be a direct response to the backlash Limp Bizkit faced following their rise to fame and controversies surrounding Woodstock '99. This powerful track is a testament to Limp Bizkit’s ability to balance emotional depth with their trademark swagger. 3) Rollin’ (Air Raid Vehicle) Built on a thumping beat, distorted guitar riffs, and Fred Durst’s signature barked vocals, the song serves as a rallying anthem of reckless energy and defiant attitude. With its chant-like hook and infectious rhythm, 'Rollin'' quickly became a cultural touchstone, synonymous with the early 2000s nu metal explosion. It remains one of Limp Bizkit’s most iconic tracks, emblematic of their chaotic, larger-than-life presence during their prime. Fun fact, the "Air Raid Vehicle" version is the heavy rock version; there’s also a "Rollin' (Urban Assault Vehicle)" remix featuring DMX, Method Man, and Redman, which leans more toward hip-hop, showing the band’s will to cross genres. 2) My Generation Fueled by Wes Borland’s jagged guitar riffs, John Otto’s frenetic drumming, and Fred Durst’s raw, confrontational vocals, the song captures the frustration and defiance of a youth culture feeling misunderstood and dismissed by older generations. With its explosive energy and in-your-face attitude, 'My Generation' became a defining rally cry within the nu metal movement and beyond. The track’s chaotic structure and call-and-response chorus made it a staple of Limp Bizkit’s live shows, where its mosh-ready vibe ignites crowds. 1) Break Stuff The Limp Bizkit song everyone is likely to think of first. This enduring track, captures pure, unfiltered aggression in under three minutes. Built on a simple, heavy groove and sharp, choppy riffs, the song distills everyday frustration into a visceral anthem of rage and release. Fred Durst’s sneering, barely restrained delivery perfectly matches the song’s theme, that feeling when everything seems to go wrong and all you want to do is let it out to be able to move on. Though controversial, the song remains a defining example of the band’s ability to tap into raw, primal emotions with brutal honesty and simplicity. As Limp Bizkit gears up to hit the UK festival stages in 2025, both old and new fans will get a rare opportunity to experience the explosive energy that made them legends. Whether you're ready to throw down to “Break Stuff,” shout along to “My Generation,” or get swept up in the anthemic nostalgia of “Rollin’”, these shows promise to be a celebration of the band's legacy and their enduring connection with audiences. With a setlist likely packed with some of these essential tracks, there's no better time to dive back into the chaos and remember why Limp Bizkit’s music still hits just as hard today. Don’t miss your chance to be part of the mayhem, it’s time to grab your ticket, dust off your baggy jeans, and get ready to rage. Catch Limp Bizkit at Reading and Leeds Festival this summer. Words: Lysandre Pons

In 2024, Polar released their new album Five Arrows, a hard hitting post hardcore record that truly felt full of raw talent on the UK music scene. With backing from industry experts such as BBC Radio 1, Metal Hammer, and Knotfest, this band are a force to be reckoned with and are quite rightfully rising up the ranks. Fast forward to 2025 and Polar are on a UK tour showcasing their passion, energy, and emotionally charged lyrics across various venues and festival sites. Their Bournemouth leg of the tour included the main support in Mancunians Asleep at the Helm and Bournemouth locals On Borrowed Time. Opening the show was On Borrowed Time. Bringing the energy early on in a show can often be tough, but vocalist James Leatherbarrow brought the audience together for a rather enthusiastic start alongside the super tight breakdowns of the band. His vocals had a punk/hardcore feel akin to early Frank Carter in Gallows and as he bound around the little space left in the venue you couldn’t help but admire the showmanship. With a handful of songs on Spotify, and a newly recorded album on it’s way, it seems this is a band to truly keep an eye on. Whilst Oasis may be the biggest band out of Manchester, I think Asleep At The Helm are definitely a band that showcases Manchester’s metalcore finest. With some truly guttural face melting breakdowns, you couldn’t help but compare them to the likes of Malevolence and Loathe and truly see the potential for what’s to come. Their new single Equilibrium is a metalcore classic in the making and left the whole room loving their set and left singer Jimmy Dahmer almost jumping over the barrier with enthusiasm. I must also give a mention to bassist Nat Douglas who’s bass lines shook the whole venue in the best way possible. Of course the main reason we were there was to see headliners Polar. Established in 2009, this Guilford based hardcore band were ready to bring the madness to this south coast venue. Early songs in the setlist included the electrifying 2024 hits “We Won’t Sleep” and “A New Mentality”, with the latter being the perfect song to encourage the much needed gang vocals that most definitely set the room alight with energy. Positioning himself in the audience throughout the whole set, vocalist Adam Woodford truly placed himself with the fans and allowed that moment of companionship and camaraderie throughout the show as he moshed and screamed head to head with some of his most eager audience members. By the time they reached the 2013 release “Glass Cutter” you could tell how technically tight this band are, and by that respect how truly underrated they are. Followed swiftly by 2022 hit “Dissolve Me” you can see how their songs have grown and matured since starting in 2009. As the show moves forward, you soon realise that a large portion of their set is from both their latest album Five Arrows, and songs written since the line up had a shake up. The blends of guitarists Bruno Consani and Simon Richardson alongside bassist Stefan Whiting and drummer Max Flohr are layered in emotions and complexities that truly show defiance and craftsmanship in their songwriting. Whilst a band changing lineups is never the easiest thing to do, this change was one hundred percent the right call with professionalism and skill radiating from the stage. Closing the show with “Swimming With Sharks” you could certainly say that the audience were hooked by this performance. Coming together both band and audience as if we were in someone’s basement, you could see that Polar are a force to be reckoned with and deserved the rapturous applause given to them tonight. An underrated band that delivered solid track after track with no moment skipped. A truly worthy band in the UK scene that should arguably be up there with the greats after this iconic performance. Words and Photos: Laura Davies

Tucked deep in the Cotswold countryside, 2000trees once again proved why it's the beating heart of the UK’s alternative scene. More than just a festival, it felt like a gathering of misfits, diehards, and newcomers all bound by a love of raw, honest music. Across three relentless days, Trees delivered everything from throat-shredding hardcore to emotionally charged singalongs—each set woven into the fabric of a weekend that felt both intimate and explosive. Whether you were crying in a tent or screaming in a pit, 2000trees didn’t just host the music—it made you feel every second of it. Unpeople Wednesday’s warm up included Unpeople’s first set of the weekend, bringing the party to the forest stage with a covers-centric set. Cover highlights included x song and y song, even treating their Wednesday crowd to some new material never-before seen. As for the crowd the tree roots didn't stop a hectic pit, nor did the rolled ankles that these roots produced, while crowd surfers sailed over the barrier. Punctuating the end of the set was an engagement; then and all weekend 2000Trees were feeling the love. Photo: Jez Pennington Hot Milk The headliners for the evening were Manchester duo hot milk, also gracing the forest stage now lit by strings of fairy lights overhead. The duo were packed with energy, and Hannah seemed to have holes on her mind: wanting one larger than her asshole on poppers and wondering who was going to be the clitoris in her vaginal mosh pit. Nevertheless, she still took the time to remind 2000 Trees that we are all a family as she made sure the security could do their thing, and gave some love to Kneecap as an example of how we can make domestic change before infusing the party energy with tracks such as Swallow This and Woosy. The set ended on a loving note, with Hannah and Jim embracing and closing the evening with ‘Will you feel better.’ Photo: Joe Singh Grief Ritual In the morning political hardcore band Grief Ritual served vocals, with their lead vocalist’s screams notably sharp as they rang out to a full cave tent. As for their politics: songs about taxing billionaires, calls for a free Palestine and Hong Kong as well as welcome tracks about ecocide and Swine about criticising the police. The crowd was moving as the set closed and their vocalist reminded us that trans rights are human rights. FREAK At half 12 Essex natives FREAK hopped onto the axiom stage, opening with ‘What Happened?’ to lounging festival goers seeking reprieve from the Gloucestershire heat. Nevertheless they brought the energy they could muster across their 25 minutes, as Cake turned into no money - a song, FREAK explained, that is about having no money. They also treated 2000 trees to an unreleased track, and after a little coaching set closer I Like to Smile When I’m Sad saw the pit open and the steps coming in twos. Solid Set, good vibes, would love to see FREAK be able to get away from his mic stand a little more. Photo: Carla Mundy HYPHEN The afternoon sun had begun to wane into a welcome evening haze when Hyphen would take the Nue stage at 5pm, with the tent overflowing and the air thick. Hyphen played a greatest hits set over his half an hour: This Might Be It, Hate Yachts not Dingies, Coca Butter, Confidence, Deskjob, and Marching powder made their appearances as Hyphen boogied around the stage. One thing about Hyphen is that he knows how to work a crowd, with regular “finish the line” call and responses and dancing with the crowd as the crowd surfers kept coming. As for his politics Hyphen highlighted remembering who the real enemy is re former tourmate Bob Vylan, saying “you can disagree with their words but you can’t disagree with their anger or sadness.” This began the first of the “free Palestine” chants of the set, the second spilling out onto the hills as the crowd dispersed at the end of his set. PVRIS PVRIS were the calm before the storm, with Lynn Gunn's dark pop beats entertaining a crowd of sunkissed couples embracing over their one hour and fifteen minute set. What Gunn lacks in confidence when it comes to crowd work - especially of this size - she makes up for in beautiful live vocals, carrying up the main stage hill and showing the balance of natural talent and honed skill. The set itself contained plenty of crowd favourites from across their discography, from 2021’s ‘Snakes’ or ‘You and I’ from 2014’s seminal work White Noise, though even those less well known still got the people dancing loosely in the evening sun. Photo: Sophie Ditchfield Kneecap The storm, of course, was the final headliner Keecap, returning for their 3rd 2000 Trees and in the middle of a heavy touring year. They started with the “sexy” songs - ‘ITS BEEN AGES’, ‘Fenian c*nts’ and ‘Better Way to Live’ - before bringing the bass in with ‘Sick in the Head’ and ‘Your Sniffer Dogs are Sh*te’ while black balloons with the Palestinian flag and “free Bob Vylan” written on them in white marker. The crowd at this point began to chant “free Palestine”, giving the Derry trio the opportunity to discuss their manifesto of empathy and understanding from one colonised nation to another. ‘I’m flush’ followed before the banter about the oldies in the back and DJ provo’s nip slip which got the jokes rolling about pirating their movie and the joys of performing their first trees when Boris Johnson finally stepped down as prime minister. To close out they went for ‘Get Your Brits Out’ ‘HOOD’ and Recap, their newest track with Mozy; DJ provo got to come out from behind the decks to finish the crowd off for Thursday. We don’t need to tell you that kneecap were fantastic - as expected, one of the highlights of the weekend. Photo: Joe Singh Mallavora Mallavora opened the main stage up on Friday, with frontwoman Jessica transitioning seamlessly from ethereal clean vocals to powerful screams. The themes of their setlist are speaking out against injustice, be that the rise of misinformation and the rise of authoritarianism or bringing out Jen of Jenna and the Degenerates for upcoming release “Smile”, discussing invisible disability. The circle pits had opened up by 11:15am, and by 11:30 and closing track ‘Disorder’ the crowd had grown Trash Boat Trash Boat hit 2000trees like a stormcloud of emotion and distortion. Their genre-shifting set tore between hardcore heaviness and melodic introspection, creating a push-pull energy that resonated deeply with the crowd. Tobi Duncan’s vocals were emotionally charged and guttural, especially during “Alpha Omega” and “He’s So Good,” which triggered mosh pits and mass singalongs alike. Between raw breakdowns and soaring hooks, the band reminded everyone why they’re one of the UK’s most dynamic live acts. Cathartic, powerful, and uncompromising—Trash Boat didn’t just play to the crowd, they connected with them. A standout moment of the weekend. Photo: Trash Boat Coheed and Cambria The first of the co-headliners for Friday was prog-metalers Coheed and Cambria, who between their transcendent guitar melodies and smooth vocals cracked the dad jokes: be that their guitar player attempting to count the trees to see if there were in fact 2000, or the weather appropriate “2000 trees more like 2000 degrees” which gained laughs from the crowd and the vindication of watchers who had made that joke earlier in the day. By in large their late afternoon set was about the music, with their beautiful melodies making them jump with the lively pit to the front of the field as people further back swayed and stirred their vodka mixers with the end of their sunglasses. Photo: Jez Pennington Split Chain At 2000trees, Split Chain opened their set like a battering ram—tight, aggressive, and impossible to ignore. Their raw blend of hardcore and metallic riffs cut through the afternoon haze, drawing in a curious crowd and converting them into instant fans. Frontman delivery was urgent and feral, matched by a rhythm section that thundered with intent. For a rising band, their presence was huge—owning the stage with the confidence of seasoned veterans. Amidst the festival’s indie and alt leanings, Split Chain stood out as a no-frills punch to the face—uncompromising, visceral, and thrillingly real. Taking Back Sunday Closing out Friday night, Taking Back Sunday delivered a headline set that was both a celebration and a homecoming for every emo kid-turned-adult in the crowd. Bathed in stage lights and nostalgia, the band powered through a hit-stacked set—“You’re So Last Summer,” “Liar (It Takes One to Know One),” and “MakeDamnSure” landing like emotional fireworks. Adam Lazzara commanded the stage with ease, blending heartfelt gratitude with high-energy swagger. Their decades-spanning catalogue felt timeless, uniting generations of fans in a chorus of catharsis. As the final note rang out across Upcote Farm, it was clear: this was a headline slot earned and owned. Photo: Gareth Bull The Hara The Hara’s set at 2000treeson the Forest Stage was nothing short of chaos—in the best possible way. With their signature blend of glam-infused alt-rock and unhinged theatrics, they delivered a performance that was part gig, part spectacle. Josh Taylor prowled the stage like a man possessed, belting out every line with venom and charm, while the band held down a wall of sound that was both polished and feral. From explosive choruses to intimate breakdowns, The Hara blurred genre boundaries with ease. By the final note, the tent was electric. In a sea of bands, The Hara performed—and absolutely owned it. La Dispute La Dispute brought a breathtaking intensity to 2000trees that silenced casual chatter and demanded full emotional presence. Jordan Dreyer’s spoken-shouted vocals cut like poetry on fire, narrating stories of grief, memory, and quiet devastation. Their set was less about spectacle and more about surrender—each song unfolding like a confessional. Tracks like “King Park” and “Woman (In Mirror)” were delivered with aching precision, building from fragile whispers to cathartic crescendos. The crowd stood rapt, moved more by feeling than frenzy. In a festival full of noise and chaos, La Dispute offered something rare: stillness, vulnerability, and the power of restraint. Vukovi As for Saturday evening, Vukovi stole the show and served the Out of Rage favourite set of the weekend. Full of energy from set opener GUNGHO, with lead singer Janine hoisting herself over the barrier to perform directly to the chaotic pit that erupted from jump. The crowdwork between, of course, was based on the sweltering heat - be that of Janine’s choice to wear a full body black sparkled suit or her choice to wear her crocs, which came up during the set enough that her request for it not to be covered will have to be ignored. The highlight of the set of course is the final moments of 2000 Trees legend Mr Fridge, who launched himself into the pit and was crowdsurfing to the delight of Janine who was unable to sing for watching him. Alas, he began to rip apart over the course of their set, sending frozen peas and alternative milks flying across the main stage as his cardboard walls fell to the wayside. The closure of the set saw Janine being crowdsurfed while playing La Di Da, and finished with Mr Fridge getting his final applause on the stage; the energy was high and the vibes great, Vukovi stood out as the best act of the weekend. Photo: Carla Mundy 2000 Trees is the pinnacle of the alternative scene as a community - from the political calls from the artists to the culture of kindness that exists among the festivalgoers. The weekend was a joy to attend and had packed days whether you were looking to leave with broken bones or to introduce your children to live music. The passion in the crowd was palpable and not a person left without a new friend, the only thing left to say is RIP Mr Fridge, you are gone but never forgotten. Words: Julia brunton and Mia Gailey

Four years after Australian pop punk band Tonight Alive went on hiatus in 2018 due to physical and mental health concerns, lead vocalist Jenna McDougall announced a new solo project, ‘Hevenshe’. One year after the release of her EP ‘Wild Wild Heart’, she took to the stage for her first international shows under the Hevenshe moniker, having performed at 2000trees one week before her London debut. With support by UNINVITED, Hevenshe was set to grace the stage on this summery evening in London. UNINVITED took to the stage with a quintessentially pop punk sound and energy, as they gave their all for a short, but sweet set. A four-piece band hailing from Glasgow, they knew how to keep the audience engaged, with heads bopping across the pit. After an explosive start to their set, they took things downtempo with ‘Survivor’s Guilt’, from their debut EP ‘I Feel A Bit Weird’. Lead vocalist and guitarist Jay Dhlakama and bassist Taylor-Ray Dillon demonstrated their vocal range and versatility, as they sung about a topic that is held dearly. Ending their set with ‘But What If I’m James Dean Instead?’, set to come out this Thursday, they energised the audience, who were ready to welcome Hevenshe to London with open arms. UNINVITED are a band to look out for, and we’re looking forward to seeing more from them. Uninvited As soon as Hevenshe took to the stage, the audience erupted with cheers as she opened her set with a bang. With her guitar, her touring drummer and her laptop playing backing tracks, Hevenshe kicked off her set with songs from ‘Wild Wild Heart’, showcasing the cathartic and empowering sounds she has carried with her since Tonight Alive. Before slowing down with ‘The Blessing’, she addressed the audience in what can only be described as heartwarming, as she said that she imagined that she was in England when writing the song. One year later, her imaginary scenario became reality. With only her guitar on hand, Hevenshe treated the audience to four unreleased songs, including ‘Nothing I Can Do About It’, releasing next month. Strumming chords and singing painfully relatable lyrics made for an intimate atmosphere at Omeara, as Hevenshe workshopped songs born out of voice memos and notes in real time. Unlike a lot of gigs, she left the order of the songs ‘Eden’, ‘I Am Enough’ and ‘See You Again’ to an audience vote, as the crowd was filled with people following this project from day 1 through a membership to her Patreon page, giving them access to a community filled with Hevenshe fans (and Hevenshe herself). This level of openness to her audience is nothing new for Hevenshe. The audience voted for the last unreleased song to be ‘See You Again’, a homage to her fanbase that was in the making for four years. As she split the audience into three sections, singing three different parts, the extent of the fanbase she had cultivated over the years as part of Tonight Alive and as Hevenshe could really be felt. We could tell that everyone was there for the long run. It's no surprise that this was the biggest turnout to a Hevenshe show ever. Despite a few tech issues during the show, we could tell that no one was fazed by them. All they wanted was to see Hevenshe present herself as she is through her music and lyricism. The night ended with ‘Try Not To Fear’, and we believe that Hevenshe should have nothing to fear. With a dedicated fanbase behind her, we think that this is only the beginning of many more firsts and bigger turnouts to her shows. One thing is for sure – Hevenshe wants more London, and London wants more of her. Words and photos: Atoosa Salamat

Since 2005, Mother Mother have been rocking stages all over the world, and on the 16th of July it was London's turn to experience their wicked show. Playing their biggest UK Headline show at the iconic Brixton Academy, fans queued around the block to make sure they were inside in time to catch every single song they had in store. The quintet from Canada have been rising in popularity for many years with songs such as Hayloft II and many more going viral online, creating attention even from non fans. But first to the stage was the very unique Fish in a Bird Cage. It's not often an act like Fish in a Bird Cage plays a stage like Brixton Academy. The venue packed with over four thousand, was given a much more technical than on the surface performance by the soloist, Dusten Townsend from Canada. The one man band sported an Explorer style get up for this show with a hat to complete. He spent the majority of hit set with a mic in front, an electric cello in hand while also controlling a soundboard with his foot and having a foot rattle attached to said foot, using it to create a layer of precision in certain sections of each song, which also encouraged the audience to clap on the beat. As he played he had a female vocalist join him in some songs to add backing vocals while for some opting for prerecorded vocals on his soundboard. He took moments in between sets to look at the crowd, stating it's definitely the biggest show he's ever played. He's also just finished his first ever solo tour, it's great to see such a small artist have an opportunity to play such an iconic stage. For the last section of his set he changed his cello for an accordion, giving the song's a more folk music like vibe, some of them trotting in a ¾ time signature to amplify that. His last song was “Fish in a Birdcage” from the album “Fish in a birdcage” which by far got the loudest cheers from the audience who were very involved the entire set, he without a doubt captured a few hearts tonight. As the lights dimmed once again one by one Mother Mother made their way onto the stage receiving ground shaking screams just for the first song, The Sticks. The light show that came along with the music was something to behold with screen visuals, lasers and lights all pulsating with the music . Mother Mother are listed as an indie rock band but their music truly is more than that with elements and influences of all kinds of genres including rap, metal and even country. Ryan Guldemond led the way with his centre stage singing and rapping while Molly Guldemond and Jasmin Parkin brought the raw powerful vocals and Ali Siadat on drums, and Mike Young on bass on their raised platform behind being the driving force of the entire performance. The show ran smoothly as they would draw attention to different parts of the stage, giving them a moment to shine while another member was perhaps changing a guitar or fetching a refreshment, making it barely noticeable. The whole band sharing the stage rather than the usual leads and backing. Hayloft II their biggest hit of course got an incredible reception however it seemed that with every single song the crowd got louder and louder which you wouldn't have even thought was possible after this, but they did! With the rise of social media and the concept of ‘blowing up’ overnight, it's getting tougher to cultivate a crowd that will sing every word and cheer for every song, but it's clear this was just that type of fanbase. They also took a moment to cover Chappell Roans Hot To Go which naturally every person who knew the dance was dancing along which was very entertaining to see in such a diverse crowd. Between songs Ryan took moments to express how happy they were to be on stage, thanking every supporter of live music because without the fans, no one else in the building would be there, not then, the security, the show runners, the techs, it's a very important sentiment to keep. As they continued with songs like The Matrix, Explode and The Stand each member took their moments to shine with the others constantly interacting and just looking like they were having a genuinely good time being on stage and being together with the other band members. Explode saw the audience singing backing vocals almost creating a call and return between the band and crowd which was once again very loud. For a small section of the concert, the drummer and bassist came forward switching to a ukulele and singular drum and cymbal for an acoustic style set. During this section they mashed up many different songs until Ryan explained that he thought someone in the crowd had something to say… this eventually turned into a proposal between fans in the crowd, a beautiful moment that made every face in the building smile. The band celebrated this by letting the bride to be choose a song for them to play a small piece of, she chose the song Gods Plan which the band of course had not prepared for but played a solid minute of regardless. The talent of the band to play a song together without any prompts leaving it just to memory or pure freestyle and still play what felt like a fleshed out version of the song was breathtaking. After a short encore the band returned back to their instruments to close out the performance with a few more songs and of course including their timeless track Oh Ana. During these reviews we typically listen for the songs that get loud receptions but it was clear after just a few songs that the crowd was truly ecstatic for every single song. The crowd filled the room with their love and admiration for the band, and the band returned by filling it with music. We hope to see Mother Mother continue to spread their positivity across the globe and hopefully see them back soon. Words: Amy Smyth Photos: Tyler Whiting

It's A Day to Remember meets Coheed and Cambria in Born Of Osiris’ latest album Through Shadows, released 11th July via Sumerian Records. In a word, the project is Solid - with a deliberate capital S - covering themes of facing darkness and finding one's place within the wider world. Opener 'Seppuku' is an example of gorgeous metalcore, from its drumming to the shredding in an impressive breakdown that utilises electronic runs in the background to prop up the distortion that make up the searching themes. It’s follow up is the first of the five singles featured on the project, 'Elevate': the comparison to Coheed and Cambria comes here with the sharp guitar riffs and melody-packed drumming, and becomes only more clear as title track 'Through Shadows' introduces a choral motif in its beginning before those sharp guitar riffs kick in. Thematically, Through Shadows is cohesive, with 'The War that You Are' discussing themes of being in community but not feeling secure in one’s place, on a backdrop of stabbing double bass drums. The lyrics in this track, as in others such as ‘Through Shadows’ or ‘Activated’, talk of being ready for a war but not wanting to fight alone, while the track builds and resolves into chaos in the same way unspoken feelings often do. 'The War that You Are' stands out particularly obviously during the first half of the project for its building soundscape and strong balance between the clean and screamed vocals. 'Inverno' reintroduces the choral motif - this time, in the form of a nursery rhyme style melody - in an otherwise high energy and angry offering that brings the bass face out, but as the midpoint of the project approaches, original comments are getting harder to make. The electronic mix at the end of 'A Mind Short Circuiting' is an interesting switch up which is well produced, but the fade out that has been used on the majority of the songs has started to become tired by now. Luckily, the second act introduction and third single in the track order 'In Desolation' arrives to pick up the energy, marked with a China crash lead; the marker of a good metalcore song. The clean vocal chorus, covering themes of clarity and processing one’s surroundings, add some optimism within the themes of facing darkness, as well as showing off Ronnie Canizaro’s range in terms of his vocals, as the track halves its tempo again and again before a finale of a growl of the title crafts a single that shows Born Of Osiris were saving the best until all but last in terms of the singles from this cycle. Final single 'Torchbearer' is good as a heavier side of metalcore but is not much to write home about, while its follow up 'Activated' has beautiful vocals from Underoath’s Spencer Chamberlain and a saxophone which was a nice surprise, but overall shifts the vibe a little bit to a more party-metalcore vibe which is welcome sonically but confusing thematically. 'Dark Fable' again does not stand out over the solid shredding in its bridge and it is not meeting the expectation of darkness that its title would infer; still a headbopper, that said. As for the final two tracks: 'Transcendence' offers more of the synth blend with the melody foregrounded in the final mix, and the nice touch of the synth hitting half time as the track reaches its end, while album closer 'Blackwater' gives the hook “What do I give the world/What has it taken away” as a perfect summation of the themes of the project, though sonically could be described as non-offensive metalcore otherwise. The use of the ticking clock was effective, but a fade out to finish the project was disappointing. All in all, Through Shadows is a high quality project made for those who enjoy the themes and movements of metalcore infused with the technical elements of prog and shoegaze-style metal. The album’s themes are cohesive and well executed; this would fill the void for a metalcore head who is feeling like they’ve ran out of projects, but it may not stick in the memory. Score: 7/10 Words: Julia Brunton Photos: Born Of Osiris