There’s a strange electricity around LEAP right now, the kind you only get when a band feels on the cusp of something bigger. For the past two years they’ve been grafting across the UK and Europe, tearing up tiny venues and festivals with sweat-soaked, chaotic sets that turn strangers into family. That energy has been building, feeding a fanbase that doesn’t just listen but connects, and now it’s been captured in full on Entropy - the band’s long-awaited debut album. The record arrives self-released, and that independence feels important. There’s no gloss of a major label sheen here, no sense of compromise. What you hear instead is the sound of a band still running on instinct, on grit, on pure hunger. Entropy is messy in places, rough around the edges in others, but that’s exactly why it works. It’s an album that sounds like it was made to be lived through, not just listened to. The journey starts with Over&Out, a track that doesn’t just open the record but detonates it. It’s a full-tilt blast of riffs and pounding drums, like the lights going down and the first roar of the crowd. From the first second, it feels less like a song and more like a declaration: this is who LEAP are, and they’re not easing you in gently. That momentum slams straight into Play Dead, a swaggering punch of noise and sweat. It’s rowdy, loose, almost unhinged - the kind of song that makes more sense in a packed venue than it ever could on headphones. And that’s the beauty of it: LEAP know how to bottle the atmosphere of their live shows and pour it straight into a track, making you feel like you’re shoulder-to-shoulder in the pit even if you’re alone in your room. The mood starts to shift with Exit Signs, which bristles with restless tension. It’s jittery, like pacing through the night with something gnawing at you, shadows lurking in every corner. Then comes Waste Your Love, where the noise dials back just enough to let vulnerability creep in. JACK SCOTT's voice carries more weight here, almost bruised, reminding you that beneath the chaos and bravado there’s a raw, emotional core. By the time Do Or Die crashes in, the pace has picked up again, all urgency and grit. It feels like a song written with a chip on its shoulder - daring you, or maybe daring the band themselves, to keep fighting through. Then, right at the heart of the record, comes its most fragile moment: I Was Never There. This is the album’s gut-punch. Stripped-back and haunting, it peels away the chaos to show LEAP at their most exposed. Scott’s vocals feel cracked, on the edge of breaking, and that vulnerability makes the song hit harder than any wall of sound could. It’s the kind of track that lingers long after it ends, heavy in the silence it leaves behind. That silence doesn’t last long, though; Sinking Feeling, the monster single that first teased the album, crashes in with dancefloor-ready beats wrapped around lyrics full of dread and anxiety. It’s LEAP in their purest form: upbeat, anthemic, and built for movement, yet lyrically locked into the kind of honesty that cuts close to the bone. It’s a contradiction - joyful and desperate at once - and that’s why it works so perfectly. The back half of Entropy feels like the band stretching their wings. Messages thrums with nervous energy, while Energies experiments with flashes of electronica threaded through the rock backbone, proof that LEAP aren’t content to be boxed into one sound. Then comes The Downfall, an eruption that feels cinematic in scale. It’s huge, crashing, built for festival stages - a track that captures both devastation and euphoria at once. It’s the storm before the calm, leading into the closer Eclipse. As an ending, Eclipse doesn’t resolve the chaos so much as release it. It feels like the deep exhale after holding your breath for nearly an hour, the lights coming back on after the final song of a gig, leaving you a little dazed but buzzing. It doesn’t try to tie everything up neatly, and it shouldn’t. LEAP have never been about neatness. They’re about catharsis, and that’s exactly what Entropy leaves you with. LEAP’s debut is messy, chaotic, vulnerable, and alive. It’s the sound of a band refusing to polish the edges, choosing instead to capture the sweat and grit that has built their reputation. Across its eleven tracks, Entropy swings from full-throttle chaos to quiet devastation, always with that undercurrent of hope - not the cheesy kind, but the real, lived-through kind that comes from admitting you’re broken and finding joy in the wreckage anyway. Entropy feels like both a reward for the fans who’ve carried them this far and a promise of what’s still to come. LEAP are only just getting started, but this debut makes one thing clear: they’ve already found their voice, and it’s one worth shouting with. Score: 9/10 Entropy was released on 3rd October 2025. Words: Mia Gailey Photos: LEAP

SABATON. Legends. How did we get here? To understand Legends is to understand what happened to this band in the years leading up to its release. When Carolus Rex hit the power metal scene in 2012 it was shaken to its very foundation. Sweden’s SABATON had already earned a reputation with Attero Dominatus (and yes, the Latin remains indefensible), but Carolus Rex was where the vision cohered. The low-register vocals, the dense keyboard layers, the military themes delivered with staunch conviction, all of it locked into place. They were the loudest historians in metal. It told the story of the Swedish Empire’s rise and fall with the pomposity of an opera and the tact of a historical record. To this day, it stands as a masterpiece of maximalist power metal, an album that leaves no room for air, yet breathes all the same. From there, the band faced a fork in the road; evolve or entrench. They chose to move forward, although the SABATON sense of 'forward' meant doubling down on what gained them popularity. 2014’s Heroes narrowed the scope from empires to individuals. It’s an excellent record, packed with muscular riffs and heart-swelling hooks, yet the sense of majesty from Carolus Rex could not be replicated. Still, consistency was never Sabaton’s hamartia. It was complacency. Around this point, probably out of fear of becoming stagnant, they flirted with experimentation on The Last Stand. The most notorious of these experiments was The Lost Battalion, where they replaced the drums with the sounds of machine guns. It’s a decision that confounded fans, and seemed too 'far out'. The song itself works as a concept, even if it stumbles as an anthem. It’s catchy, clever, but strangely hollow, its novelty outpacing its potential for greatness. Then came Blood of Bannockburn, the first Sabaton song in major key, a song so inexplicably happy in tone that fans wondered if the band had started satirizing itself. The tonal whiplash was genuine. People wondered: “What were they thinking?” When the full album arrived, the narrative solidified. The title track and Winged Hussars immediately drew attention. Both are quintessential SABATON ; sweeping, movielike, and revelling in their vivid imagery. The Last Stand recounts the Protestant sack of Rome in 1527, while Winged Hussars recounts the lifting of the siege of Vienna. They’re massive and shamelessly fun tracks. Yet they also introduced some of the more negative aspects of the future, such as gimmicky choruses and songs built around hooks rather than riffs. These songs also became instant meme material, appropriated by internet crusader LARPers who, naturally, missed the point entirely. SABATON’s curated grandeur, meant to evoke the tragedy and scale of history, warts and all, became fodder for online culture to remix and recycle to its whims. Then came their World War I two-album detour, and something inside the machine got stuck. The motivation is there, but the execution reveals creative fatigue. It’s as if the band was drowning in its own hype, doomed to repeat the same battles a la Edge of Tomorrow. Songs began to repeat their predecessors with slight adjustments to make sure they weren’t overt derivatives; Steel Commanders borrows the main riff from Shiroyama, Seven Pillars of Wisdom mirrors The White Death, The Great War reworks Carolus Rex, 82nd All the Way uses parts from No Bullets Fly, and Stormtroopers recalls 1648. The patterns multiply until to the seasoned fan they become impossible to ignore. That’s not to say there aren’t good songs on those albums, but for every good song there’s two uninspired ones to contend with. And so now we are up to speed with 2025’s Legends, with a new label and guitarist Thobbe Englund back in the saddle for the first time since The Last Stand, time to see if they have learned their lesson and can break out of their funk. The album is a showcase of notable people throughout history, focusing on individuals or groups ranging from the west to the far east for the first time, which in itself is a huge step for the group who tend to keep things more euro-focused. Within the first few seconds of opening track Templars there are familiar contours of 1648, but then it spurls into a rousing hook, it has a nice choral flavour, and the ‘Deus Vult’ kiddies already love it, so it succeeds. No points for guessing what the next track, Hordes of Khan, is about. It’s a strange entry in the SABATON canon; a tonal departure from the band’s past concerns with mercy and humanity (No Bullets Fly or Christmas Truce for instance). Here, “no mercy is shown” is delivered with just as much vigour. The song itself is fine. A pretty straightforward heavy metal number, that doesn’t take much advantage of its setting. It seemed like there was a potential for more eastern instrumentation that wasn’t realised. Next is A Tiger Among Dragons - talking personally a bit, I am a massive fan of the Chinese Three Kingdoms period, and had extremely high hopes for this one. Not only that, but to have a song about the flying general himself, the master of Red Hare, the terror of Hulao Gate, and the lord of Xiapi castle, Lü Bu, is amazing. This one is different, it’s actually more subdued than expected. If you were expecting a fast-paced ode to Lü Fengxian cutting his way through Cao Cao’s poor militia, then you’re mistaken. Staccato riffs, tactical pacing, a calculated sense of tension punctuated by pounding war drums. The band’s grasp of the subject matter feels tenuous (“A legend untold?” They do know this is the national epic of China, right?), but the gesture alone feels refreshing. It’s an enjoyably different romp with a slightly more progressive tint than we’ve seen for a very long time (and a jaw harp!). Then comes Crossing the Rubicon, a keyboard-saturated song on Julius Caesar defying Pompey and… crossing the Rubicon, complete with “the die has been cast” references. The realm of Rome in metal is held firmly by Canadian death metallers EX DEO, so SABATON does not try to tread on their toes here. It’s unfortunately quite forgettable, with its grandiose tone never penetrating the armour to reach the heart. I, Emperor tackles the tale of the greatest general who ever lived, Napoleon Bonaparte. And it's about time too; what took you guys so long? This track thrives on a marching backbeat that trods around like an elephant. You can practically hear the map of Europe crumpling under the Grande Armée’s heels. Unfortunately, the lyrics reduce the most complicated general in history to a string of playground boasts, with zingers like: “I will conquer all/I will rule you/I’ll win… the war/I will destroy you/.” SABATON once made their name on specificity and visceral imagery to bring you closer to the action; dates, battles, place names, the thrill of detail, and the absence of that here feels like a departure from their ethos. It’s an overall simplistic song that lamentably doesn’t give l'Empereur the grandiose history lesson he deserves. Why on God’s green earth SABATON decided to give their high-intensity thrashy number to Joan of Arc of all people, I will never understand. Maid of Steel (pun intended) reimagines the maid of Orléans as a whirlwind of death to the Plantagenet interlopers, if you hadn’t heard of her before this song then you’d assume she was some kind of cyborg. Regardless, it is a Coat of Arms-ey speed metal feminist bonanza that’s over before you can even process what just happened. More of this pace in the future, please. The Impaler sounds like it came straight off of The Art of War, as it has inherited that same lumbering pace, although lyrically it’s much less like madlibs and seems like there’s an effort to tell more of a story here. Even though SABATON lauded the mass genocide of Genghis Khan in the previous tracks, here the act of impaling is seen as slightly more lamentable. The guitar solo here is also quite beautiful. It’s probably the best song on the album. Go figure. The next song, Lightning at the Gates, describes the long march of Carthaginian general Hannibal Barca over the alps with his elephants to invade Rome in the 3rd century BC. This one is possibly the most cannibalistic song they have ever released, with the main riff being a poorly hidden expy of Uprising mixed with Hearts of Iron, complete with “as the winter’s drawing near…”. It’s shameless, really, and the fans seem to be eating it up, but quite a few are noticing the similarities. This could have very easily come from a SABATON song generator, sounding altogether well-trodden and derivative. I speak as someone with a deep love for this band, brazen cannibalisations like this are hindering them from evolving their sound. The legend of Hannibal deserves better than this. Things do not improve with the next song, The Duelist, about legendary Japanese Ronin duellist and author of the ‘Book of Five Rings’, Miyamoto Musashi. This is basically Saboteurs. Yeah, there are some differences, but down to the riffs and the structure, it’s essentially the same song with a different coat of paint. Another wasted potential for an amazing historical figure that probably won’t be revisited by them. I’m not mad, I’m disappointed. The next song, The Cycle Of Songs, is a bit of a doozy - a song about Senusret III, an obscure Egyptian ruler from the Twelfth Dynasty, known primarily for his campaigns against the Nubians. This is quite an odd choice. He’s not exactly a very well-known pharaoh, and to have a song this epic feels like the strangest creative choice on the album so far. To think, this could have been the Napoleon song. The result is surprisingly strong: towering riffs, an unexpectedly ripping guitar solo, and a sense of scale that feels natural. The entire affair is confounding. At least it’s one of the better songs on the album. Finally, Till Seger. The organ hums; the choir swells. Gustavus Adolphus returns, the Lion of the North, Der Löwe aus Mitternacht, and with him, a sense of circular closure. Like Ruina Imperii before it, it’s sung entirely in Swedish, the track deliberately recalls the motifs of that 2012 classic. It’s both homage and self-assessment. A poignant way of showcasing where the band is musically compared to many years ago. To listen to Legends is to listen to a band that can’t seem to come to terms with their own power. Expansive in theme, conservative in sound, and intermittently brilliant in spite of itself. I’m sure that there will be a “history edition” of this album soon, maybe a web series detailing the history of each track. That’s all well and good. But the music comes first. And behind the historical veneer hides a deep creative inertia. It’s the sound of a group that understands exactly what it’s capable of, yet seems terrified of what might happen if it strays too far from the proven formula. There is nothing I want more in this world than for SABATON to succeed - they defined my teenage years and married my love of history and metal into some incredible material. To see them a decade later, still wading through the same sonic trench, invites a different kind of question: not how did they get here, but why are we still in the same trench? To take influence from yourself is not a bad thing at all, Sabaton could thrive not with bringing back riffs, but themes, returning to the sweeping epics in their more SAVATAGE-influenced days, or to resurrect the pulse-pounding monsters like Night Witches and Ghost Division. They could follow the same rediscovery arc as BLIND GUARDIAN, who recently reembraced their speed-metal roots with renewed vitality, perhaps they could revisit the blistering album pace of Coat of Arms. But Legends plays it too safe and too self-conscious. Its singles, the assumed centrepieces, are among the least inspired tracks the band has ever released. But oddly the songs that haven’t been released as singles seem to be the best ones. They may sound similar to their previous outputs, but moments on songs like The Impaler and A Tiger Among Dragons hint at a more progressive future for the Swedes if they committed to it. Until the next one, I have hope. Hope that their best album is yet to release, And maybe, just maybe, they’ll have the courage to march toward it. After all, what’s the price of a mile? Score: 6/10 Legends will be released on October 17th 2025 via Better Noise Music. Words: Kiarash Golshani Photos: Sabaton

There's a new chill in the air outside, and the dark is arriving a little earlier with every passing day - it's a sign we're well and truly nearing the end of the year. Still, that doesn't mean that the few months remaining don't have a lot for us to look forward to, including recent track releases like these! Artio - The Devil You Know Feat. Cody Frost Ahead of their much anticipated new album Soul Riot, set for release in early 2026, Leeds powerhouse ARTIO have teamed up with CODY FROST for the explosive new single The Devil You Know. Lead by RAE BRAZILL's piercing lyricism, the track challenges the systems that exploit and undermine artists, transforming resistance into a powerful reclaiming of strength and self-determination. With hard hitting attacks of the scene with lines like “Spend all their time watching Daddy do investing, all I got is luck and manifesting”, this track is an unapologetic introduction to what we can expect from Soul Riot. Words: Lou Viner-Flood Aviana (Feat. Eddie Berg) - WORLDS PULSE The part-masked metal ensemble from Sweden recently released their outro track, WORLDS PULSE, alongside the announcement for their fourth album VOID coming out at the end of the month. Joining them on this track is the king of multitasking and fellow Swede EDDIE BERG, vocalist and violinist of alt metalcore band IMMINENCE. Powerful throughout, the track leads you on a journey through layers of electronic melodies and ruthless, unforgiving breakdowns. The clear standout element is the blend of HOLMQVIST and BERG’s mix of clean and fry vocals effortlessly harmonising over each other. Violin quavers over earth-cracking cyber surges leaving you empty as the track fades out and reaching for that replay button to see if that actually just happened. Words: Danielle Henderson BEAR - Shapeshifter The Belgian crew in BEAR are known, amongst the right circles, for their glorious grasp of hefty slabs of dizzyingly aggressive music, and their latest track Shapeshifter actually feels like both more and less of the same. With twisting time signatures and riffs that intertwine over themselves across multiple instruments, along with growled vocals that trade off with cleaner lyrics, there is no room for predictability, nor time to slow down. It’s all or nothing from the get go, and whilst it’s not quite as much of an all-out-assault as usual, it’s still a blistering sub four-minute rager that’s well worth digging into. Words: Jasmine Longhurst Castdoubt - Cracked Relative newcomers on the scene, CASTDOUBT have very recently dropped their debut single - it's a perfect introduction to the band, and to what we can expect from them. There's no waiting around for the rhythm to kick in; from the start we’re hit face-first with sheer deathcore intensity, and increasingly brutal growling vocals. The drums are relentless, and the riffs are filthy. It's a shorter track and clocks in at only two minutes, but that only leaves us wanting more. This may be the first we're seeing of CASTDOUBT, but rest assured, we're not casting any doubt in saying they're one to watch. Words: Naomi Colliar Duff CHERYM x Uninvited - Sofa Bed CHERYM and UNINVITED have teamed up to make a lesbian yearning classic on Sofa Bed. With its wilting chord progressions and a conundrum that queer women know all too well - a crush on an affectionate friend who has only expressed interest in men. It’s angst tailor-made for pop punk, with gorgeous harmonies from CHERYM’s HANNAH and UNINVITED’s JAY in its choruses suiting Sofa Bed to autumn walks with your headphones on and long showers after a sleepover with your current crush alike. Words: Julia Brunton Dry Socket - MB Uptempo hardcore punk is a glorious thing, and in their usual fashion, DRY SOCKET have plenty of the goods for the discerning listener. Their latest EP Violencia Split has just been released, and it’s a gutpunch that fits into less than six minutes of your time. Opening track MB is over before you know it, yet still longer than half of the EP - and it’s a spittle-flecked, pissed off ode to everything happening in the world. Your blood will be pumping after this, so chuck it on and go for a run that you’ll never even realise you did. Words: Jasmine Longhurst Frank Turner - Giraffes #1 Following the release of his 10th album last year, his 3000th show earlier this year and preceding the release of his highly anticipated new run of rarities coming in November, aptly titled The Next Ten Years, FRANK TURNER'S latest single release is a cover of his friend and label mate CHRIS T-T’s Giraffes #1. Departing from the keys and softer sound of the original in favour of continuing his previous cover tradition of simple production and power chords on a simple acoustic guitar, TURNER, alongside harmonies from CHRIS on the chorus, brings attention to the rallying lyrics of “stick your neck out, stand up taller” that still feel as relevant in our current political climate as it did upon its original release over 20 years ago. A wonderful tribute to one of his early influences and supporters. Words: Liv Styles God Alone - Tony Gawk Hailing from across the way in Cork, Ireland, GOD ALONE are experts at blending abrasive mathcore, frenetic post punk, dance rhythms, and anything else that feels right into concerted efforts to demolish buildings. The final single released before their latest album The Beep Test, Tony Gawk has set the standard high with plenty of abrasion and furious sonic warfare. Guitars that, even in the quietest moments, run a nerve-jangling melody, before all hell breaks loose into a full-scale attempt to burn out every amp in the venue - or both your headphones, depending on how you’re listening. Words: Jasmine Longhurst headcage - like glass The post hardcore quartet from Newcastle are making waves with their latest single like glass. Following a string of releases over the last few months, like glass has become the pinnacle of their career so far. With a chord progression in the chorus that will tickle all the right parts of your brain and the dreamlike tone of vocalist LEYUM PATTISON this track will stick in your mind for days after hearing it. Like Glass is just the track for those looking for something new and refreshing with a hint of early 2000s nostalgia. HEADCAGE has finally found their sound and there’s no going back. Words: Danielle Henderson Holy Wars - Metamorphosis Through trauma and grief, great art is often made. The new track Metamorphosis from alt-rock LA band HOLY WARS is no exception. Written following the loss of vocalist KAT LEON's parents and sister, the track is a perfect showcase of the emotive intensity that comes with closure and reinvention, with the ultimate question being asked “How do I exist in metamorphosis?”. Thunderous guitar riffs and pounding drums drive the track with raw, haunting energy, accompanying the deeply personal lyrics. Words: Lou Viner-Flood Ice Nine Kills - The Laugh Track “So join the parade, turn that frown upside down.” From songs about horror movies to infamous villains, ICE NINE KILLS has a multitude of cult songs under its belt. With adding the almost symphonic-like The Laugh Track into its repertoire, the band offers a unique perspective into the mind of one of the most influential villains of all times, The Joker. Combining its signature guitar riffs with the lead singer SPENCER CHARNAS’ voice, the final product brings in a beautifully haunting melody just in time for Halloween, while also unveiling more from the band’s upcoming album, that is already highly anticipated. Words: Katerina Stepanikova Kila Kosa - Pulse KILA KOSA is a newly formed band from South London, instantly setting the bar high with the release of their debut single Pulse. It is a blend of classic nu-metal and metalcore riffs, with raw vocals and punk SOFT PLAY-like energy spreading throughout the whole song. Both Pulse and its music video have strong production right away. The frontman ANTONI FRANCO, for one, has previously been writing music as a solo artist. KILA KOSA appears to be the next experiment, however not lacking some prior knowledge and experience. The band also recently played their debut set at New Cross Inn, and although the tunes were still unfamiliar, the crowd was left no choice but to mosh like it was their favourite act. Words: Mariia Bulkina LEAP - Do or Die London based LEAP are talking about the ties between friendship and music and needing to do or die in their new single Do or Die, from their debut album Entropy. Blending crushing guitar lines with heavy percussion and driven by verses like “Steppin' outside like we're famous, show the whole world that we're made of steel”, it’s clear to see why this track is the bands favourite and is a shining example of why you should keep an eye on these guys, as this is surely only the beginning. Words: Lou Viner-Flood Pinkshift – Authority Problem Rowdy punks PINKSHIFT are back with Authority Problem - their first single since releasing their sophomore album Earthkeeper. In just over two minutes they pack in punchy punk verses full of system defiant lyrics and bouncy breakdowns. In true PINKSHIFT style there is an addictive air of condescension towards the establishment they hate, shown through the “ne ne ni neh neh” hook running through the first bridge and chorus as well as Ashrita Kumar’s delivery of “you don’t want me here?/You want me away?” in the final verse/breakdown. This is a very strong single from the Baltimore trio; the setlist for their winter/spring tours is looking solid already. Words: Julia Brunton Rob Zombie - Punks and Demons Needing no introduction, the iconic ROB ZOMBIE has once again blessed fans with his newest single Punks And Demons. Known for his theatrical horror themed music, this single is no exception, featuring his standard vocal distortion and pitch shifting tactics creating a recognisable aggressive sound. Instrumentally, the guitars are full of heavy chunky riffs combined with electrifying fast paced drumming which immensely adds to the angsty atmosphere. It is abundantly clear that the song has heavy punk influences. Although catchy, the lyrics leave much to be desired with short verses and many choruses containing the repetition of “Punks and demons! Satan! Satan!”. With the release of The Great Satan coming in February 2026 fans must be eagerly waiting to see what ROB ZOMBIE will produce next. Words: Alix England Spanish Love Songs - Cocaine & Lexapro SPANISH LOVE SONGS are back for the first time since 2023's No Joy with double single Cocaine & Lexapro/Berlin leading up to the release of their EP A Brief Intermission In The Passing Of Time in November. They make their comeback with a new alternative rock track featuring KEVIN DEVINE. The track has standout lyrics in "The problem is not a problem till you call it by name" that can really be about any kind of problem - which is a pretty universal message. With melodic clean guitar riffs thought, DYLAN SLOCUM's vocals are well partnered with KEVIN's much softer voice. Yet again, this is another earworm from the band. Words: Lucas Grayson Unprocessed - Beyond Heaven’s Gate Known for their highly intricate guitar and bass riffs, UNPROCESSED’s latest track does not disappoint. Beyond Heaven’s Gate is the fifth single released ahead of their new album Angel out on Halloween. Starting with a modern rock approach the track evolves into the 5-piece’s progressive signature style and it is seriously catchy. Hammering drums accompany mind bending grooves and melodies. The track questions our existence and opens up to the possibility of other realms beyond our comprehension looking down on us, ending with you having a slight existential crisis but also humming the hook over and over. Words: Danielle Henderson Editor: Naomi Colliar Duff Photos: Various Artists

Victim 2 is the fifth album by Ohio-based band A KILLER’S CONFESSION, following up 2024’s Victim 1. This time the killer is returning to share remorse, his righteous kills having turned into an indiscriminate murder spree after his first murder. The album begins with the track Hopeless Grey, an upbeat entrance that immediately sets a strong tone. It’s a strong combination of drums, vocals and the sort of electronic guitar that heavily reminds us of early 2000s alternative music videos - the kind where bands are superimposed onto CGI cityscapes with a strong emphasis on primary colours and the sort of early century cyber-futurism that has since become its own nostalgic subculture. This is reflective of lead band member WAYLON REAVIS’ own creative process. The former MUSHROOMHEAD vocalist says that when it comes to genre: “I don't like doing the same thing over and over... I like to experiment. I like to try to invent something new, take something that you know and mix it with modern metal. I'm not trying to create a new genre, but I like to be challenged and hear new things. If it rings in the ears and it makes you bob your head, it's good. It don't matter what style it is. I think a true artist should be interested in expanding themselves and where they can do anything they want. That's where AKC really excels.” A similar sound can also be heard on later tracks Hollow and The Suffering. But the next song on the album is In Case of Emergency. Which immediately pivots the listener back into the realm of more traditional metal. We pick back up with intensive vocals, raw sound and aggressive guitar followed by, around the two minute mark, a shout and sudden pensive silence. While this song has a similar mix of ‘light and dark’ to Hopeless Grey, it plays with extremes instead of layering the two which forces more listener attention. After this, we take another turn to the retro through Hollow’s emphasis on electronic-sounding vocals and synths, before arguably the best track on the album, Facts. Facts has a strong instrumental and a ridiculously fun hook in a repeated growl of “I BRING YOU FACTS”. It feels like a perfect pit song, and immediately brings up the energy, particularly when it comes to the bridge: “Eye to eye / The facts don't lie My principles are carved in stone / To each their own I testify / On which I'll die My principles are carved in stone / To each their own” Overall the ideal song for amping yourself up for a particularly intense gym workout. Next up is by far the most popular track to come out of the Victim 2 project so far, AKC’s cover of NIRVANA's Heart Shaped Box. This is, fortunately or unfortunately, by far the best song on the album. The cover allows the space for the whole band to display their technical prowess in a way that feels almost as good as the original, giving the track a definite A KILLER’S CONFESSION spin while still paying homage to one of the most influential bands in history. The second half of the album post-Heart Shaped Box is more similar sounding. While there are some stand-out moments such as the high energy vocals of Headstone; interesting horror movie sounding chimes in Baptized by the Fire; incredibly impressive drums in Darkside. Many feel like callbacks to previous tracks. Headstone has another pensive (if not more upbeat) bridge around two minutes in; Darkside has a repetition of “hate” and “fate” that feels similar to the earlier track Facts, while The Suffering as mentioned earlier calls back to the 2000s synthy sound found on Hopeless Grey. Towards the end, Endless Silence has some of the best lyrics across the album: “Looking at the floor, this is something that we've done before Lock and load, I'll go to war, it's something I've been waiting for And I'm sure that my bullets never miss Now we stand and we look at the dark abyss” However, it feels like the choice to sing rather than rap is a missed cross-genre opportunity. Finally the album finishes with Hand of God, a pensive summary of the album’s main themes and reflections. As a standalone project it’s a 6, almost 7. But if held at gunpoint and forced to consider it in context of the story AKC are trying to tell, then it’s a 5. It’s a solid album with enough feel-good fight songs to keep the lights on at the most moderate of metal bars, but falls a bit short of selling us on a deep and meaningful narrative about a murderer. Score: 5/10 Victim 2 was released on September 19th 2025 via MNRK Heavy. Words: Q Cummins Photos: A Killer's Confession

With traces of trip-hop, d’n’b, techno and metal, Endlessly is the second formal album release for SCALER (discounting the remix of their 2021 EP Flood). Consisting of ten synth packed tracks with features from artists including AKIKO HARUNA, ART SCHOOL GIRLFRIEND, TLYA X AN, ELDON and SHADOW STEVIE, the Bristol act have returned - but will it have us listening to it endlessly? Describing the album SCALER said “Endlessly is an album made to be experienced as an album: an enthralling journey from start to finish, something to soak in.” This is apparent in the album layout alone, notably on tracks such as Broken Entry and Sinking In. Both start by carrying over the sounds of the previous track, causing a seamless transition that then blends into the tone and atmosphere of the next song. It's both tone and atmosphere that hold such a prominent role throughout Endlessly, with many songs such as quiet when it speaks, where industrial and ambient soundscaping build an immersive listening environment without vocals, while tracks such as Broken Entry, (yearn), cold storage and Ravine play with distorted sound sampling to create a sense of presence. For the majority of the album there’s a feeling of tension, fast-paced bpms with thundering layers of distortion, hypnotic looping and a rollercoaster of pressure. Each thundery fast-paced track giving way to moments of pensivity, echoes of voices turning to fading whispers. (yearn) is perhaps the best example of this, layering choir vocals that sound almost haunting over a heavy breakbeat sound that builds through into a cacophony before suddenly fading into nothing. It’s a track and an album that would feel just as fitting to hear in a futuristic streetracer-style video game, as it would in a sweaty warehouse rave at two in the morning. When it comes to collaborations, Evolve seems to be the band’s favourite child. Speaking about its production, JAMES RUSHFORTH said: “The strange bells in the chorus were the first element that set the scene, they created the perfect backdrop that inspired the rest of the song. Talia's amazing melodic choices make the song a standout moment on the record - the harmonies and backing vocals throughout the track envelop you further into the swathes of emotion… I was trying to encourage everyone to sit back a little and rely on songwriting more than sonic warfare, a practice we’re not particularly well versed in… We had visualised an expansive abandoned cityscape being flooded, a sense of no future or past. It felt like a mental state.” Evolve also has a visualiser. Starring and edited by TLYA X AN it warps and distorts her silhouette to the rhythm of the track. Showcasing both TLYA’s vocal talent and multimedia artistry, while Salt (ft AKIKO HARUNA), Mirage (ft ART SCHOOL GIRLFRIEND) and Sinking In (ft SHADOW STEVIE) all have their own unique appeal. A real highlight from the album is Salvation ft ELDON. The song itself is covered in static with heavy reverberation and a haunting repetition of piano chords. ELDON’s vocals, alongside intense guitar riffs, add a layer of punk to the sinister. Bringing the album to a place that feels political and nuanced with a message of global grief, corruption, deception and brutality. Finally, the tension eases with the last track on the album Ravine. Looping into echoes as the album reaches a sense of quiet finality. Endlessly is a great release. It brings a lot to the table and manages to be experimental without falling into the traps of being too pretentious or avante-garde that it loses sight of its audience. There’s a repeatability to it and a strong reflection of the Bristol scene it aims to capture in the process. Score: 7/10 Endlessly was released on September 26th 2025. Words: Q Cummins Photos: Scaler

Two decades in, and THE RED JUMPSUIT APPARATUS are still setting hearts and speakers on fire. With hits like Face Down and Your Guardian Angel, they became voices for a generation, blending anthemic rock with socially conscious themes. Now, with X’s For Eyes, THE RED JUMPSUIT APPARATUS return with a record that reflects their journey and proves they still have something to say - full of urgency, emotion, and soaring hooks. They kick things off with a bang. Always The King is a commanding collaboration with KELLIN QUINN of SLEEPING WITH SIRENS. Two voices that defined an era collide, trading grit and grace across verses that surge with energy. “Still got love for the hometown”, the band reflects - a line that captures loyalty and the fire that still drives them forward. From the first note, the album feels alive, regal, and self-assured. That momentum flows into Purple Halo, where twilight-shimmering guitars and haunting vocals give way to a chorus that bursts with anthemic intensity, leaving traces of melancholy and wonder. Expansive yet intimate, it perfectly balances mood and momentum. Then comes a moment of introspection. Perfection examines the cost of chasing impossible ideals. RONNIE WINTER’s restless vocals thread through verses steeped in self-doubt, exploding into choruses that feel like exhalations - imperfection embraced, honesty amplified. The title track hits like a storm breaking over jagged cliffs. Jagged guitars collide with WINTER’s raw, visceral vocals, crafting a sound that’s urgent and cathartic. Lyrically, it meditates on deception, emotional exposure, and the cost of seeing the world—or yourself - too clearly. By the chorus, the intensity is impossible to ignore. Swagger and hooks arrive next. Bad Beat is a gambling metaphor turned rock anthem, striding with attitude and punchy riffs. Then comes Slipping Through (No Kings), a previously released track that distills THE RED JUMPSUIT APPARATUS' layered, anthemic sound and lingering sense of urgency, its soaring refrains echoing the fragility of control and connection. Soft edges and cinematic storytelling follow on from this, as Home Improvement masks heartbreak in clever renovation metaphors, while Twenty Hour Drive is a restless, road-worn anthem pulsing with motion and freedom. Kins and Carroll continues the cinematic thread, painting a corner of the world with specificity and nostalgia, making the personal universal. The album closes with strength and reflection. Getting By condenses survival into melody, acknowledging exhaustion without resignation and carrying quiet resilience in every note. Finally, Worth It closes the record on affirmation, tender yet resolute - a celebration of scars, struggles, and victories alike. Every song, lyric, and chord feels intentional, a reminder that everything endured has been worth it. X’s For Eyes proves that THE RED JUMPSUIT APPARATUS remain a band of substance and stamina, capable of turning vulnerability into power, melody into movement, and honesty into anthems. Two decades in, they are still not just surviving - they’re thriving, and this album is proof that their fire burns brighter than ever. Score: 9/10 X's For Eyes was released on October 3rd 2025. Words: Mia Gailey Photos: The Red Jumpsuit Apparatus

Forty years ago, an odd band claiming to hail from a tomb in Antarctica took over the shock rock and metal scene, and has been gracing crowds around the world with its now iconic lyrics and gnarly looks ever since. Being arguably the founding fathers of masked bands, GWAR has built a solid community of people of all ages, who are passionate about the band’s stories and music, and the number keeps increasing every day. After three long years since the last release, The New Dark Ages, the band has finally come out with a new project, and it's accompanied by a multitude of special additions as the band’s thank you to everyone who has supported them throughout the long and exciting journey. GWAR’s latest EP, The Return Of Gor Gor, features a return of the long-lost three-ton Tyrannosaurus Rex Gor Gor. In three completely new songs, the intergalactic warlords are set to explain everything that has happened, starting with the opening track The Great Circus Train Disaster. Serving heavy guitars and drums from the first note, GWAR once again does not hold back on using various sounds and instruments in a span of one song, bringing the ultimate listening experience even on releases that are much less than full-length. The listeners ought to know that the wee Gor Gor is now a twenty-foot tall crossdressing dinosaur trying to find his way in the cruel human world. Following with the song Lot Lizard, the plot thickens, as it turns out the pet T-Rex is plotting a big and juicy revenge, that somehow involves lots of hotdogs in questionable orifices. Showing off the iconic guitar skills of BälSäc and Grodius of the Maximus Clan and the insane bass of Beefcake the Mighty, the song is a rollercoaster of riffs, accompanied by Blöthar’s vocals and Jizmak Da Gusha’s aggressive drums. The piece depicts Gor Gor’s anger and struggles accurately with the use of instruments and melodies, allowing the listeners to picture the scene in their heads as it happens. The last new addition to GWAR’s repertoire is the ultimate final track Tyrant King. Closing up the story of the unexpected reunion, the track is energetic, aggressive and as chaotic as the band can get, revolving around the anger of Gor Gor, who has decided to wipe out the human race for everything they have put them through for good. Arguably the heaviest track on the album, it is, as with the other two songs, a perfect example of GWAR’s creativity and a proof that the intergalactic warlords still burst with creativity, even after forty years on the scene. The four remaining songs featured on the EP are live recordings from the band’s 2024 tour, specifically from their show at The Masquerade in in Atlanta. The songs chosen for The Return Of Gor Gor are Crack in the Egg, The Founding Fathers, America Must Be Destroyed and Fishfuck. Featuring some spoken parts, as well as the full songs, the live versions give the songs another dimension and really give the EP a new perspective, even if those who aren't fond of live recordings might just skip them. Nonetheless, they are still fitting for the narrative of the whole release and are a fun addition to listen to, together with the thirty-two page comic detailing the return of Gor Gor which is included with all versions of the release, that is set to make the listening experience even more immersive for those who decide to buy a physical copy of this unmissable piece of art. The EP is a proper celebration of GWAR’s anniversary on the scene, and going back to their roots, while still adding something new, is the best way to celebrate, together with the other surprises the band has to offer to their fans. Although the live recordings at the end might not be everyone’s cup of tea, they still add depth to the EP and are a fun touch. The Return Of Gor Gor is a great release that showcases GWAR’s impeccable form and their ability to turn everything into a chaotic masterpiece, and will surely make anyone who enjoys the work of the legends of shock rock laugh their way into the afternoon. Score: 9/10 The Return Of Gor Gor was released on July 25th 2025 via Pit Records. Words: Katerina Stepanikova Photos: GWAR

If you’ve ever found yourself on the streets of Tokyo, you undoubtedly passed by the energetic madness that is a multi-story arcade. Floors loaded with rows of garishly flashing machines and brightly lit surfaces covered with kawaii cartoons and neon, awash with the never-ending din of electronic pings, boings and ball-bearing-clatters. The size and scale of its sensory overload may be hard to imagine, but listening to SNOOPER’s new LP Worldwide should help to get you there. Propelled out of the Nashville DIY scene, SNOOPER’s popularity has grown swiftly from its inception during the pandemic. The brainchild of BLAIR TRAMEL and CONNOR CUMMIN, who unintentionally birthed this kitschy-art-punk band by drawing on a zingy collage of references and experimentations. Their freeform associations encapsulate them within the ‘egg punk’ sub-genre that emanates out from America’s post-punk DIY scenes. The name was coined via the beloved underground band, THE CONEHEADS, who in turn were named after the early 90s sci-fi comedy film. The egg punk style was further cemented after a hand drawn meme quite literally illustrated its position on the punk axis: Egg punk (cartoonish, bright, saccarine) across from chain punk (studs, monochrome, leather). You get the idea! Having a reputation for outlandish live shows, filled with handmade props and puppets, this latest release embodies the same innovative and off-beat style from which they have built a solid fanbase. This time, however, the production delivers something a little more polished for our ears. Working for the first time with a producer, Worldwide was recorded in LA with JOHN CONGLETON (ST. VINCENT, SHARON VAN ETTEN, ANGEL OLSEN) and with additional members in bassist HAPPY HAUGEN, drummer BRAD BARTEAU, and guitarist CONNER SULLIVAN. The result is a clean but heaped on, sort of noise, giving space for the various layers of each song, but still capturing the discombobulated lo-fi edge that has defined them. Their recently released Guard Dog is a super fast bop, with some punchy hooks and psychedelic dimension shifts throughout. Spacey samples and processing on the vocals and guitars push this further than your standard pop-punk hit. Guard Dog barks out the lyrics ‘Sometimes there's too much to say, know it won’t come out the right way. Think, think AND make it go away, what do I want to convey’. Expressing perhaps an oversaturation of our online identities? Or is it maybe an ode to neuro-divergence? It’s really quite hard to know, as their lyrics seem almost as irreverent as the collaged aesthetics of their visuals. From here, it feels like the album comes into its own, with the tracks becoming more dynamic and fleshed out. Hologram is full of retro samples and a cool synthy post-punk vibe. Its quick changing effects gives it an air of the Jetsons jamming with KRAFTWERK in the basement of CBGB’s. ‘Star 69’ is a jump around the room track, with an echo of indie electro samples and beats that have us recalling THE GO! TEAM’s moment in the sun. Throughout most of the record, vocals are kept fairly consistently clean, acting as an anchor to the brain-frying jumble of distorted instruments. Trying to take this all in via your laptop, is a terrible mistake, it requires the close up clarity from a pair of headphones to begin to comb through the songs. Initially the album feels a little repetitive and surface at points, but the more you listen and explore, the more you get back. The nuances start to buff up to a high gloss and every listen brings something new to the fore. There is a lot to be said for listening on repeat for the sake of a review. So with homage to the days when you would listen to a record relentlessly, until you could afford another, familiarity is key. Come Together is a highlight of the album. A neat and snappy bootleg of THE BEATLES chorus, chopped up and cranked up into a DEVO style catchy hook. Pom Pom is a song about cheerleading, but with the tongue in cheek exaggeration of a John Waters film. Subdivision is the final track and there’s a noticeably slower tempo and, dare we say, a softer feel. But not really, it's just slightly different mastering that feels intentional for a finale. The lyrics are slightly more direct than much of the rest of the album, with a poke at societal shifts and expectations - "Sanity starts to thin, structure is a safety pin". There's a fun eccentric escapism listening to Worldwide and to embodying SNOOPER’s mix of high-octane noise and outsider spirit. It’s an universe with a well worn finish, slightly down at heel, but this makes all the technicolour sheen of it feel tangible and real enough for us to be able to blend together with it effortlessly. Score: 7/10 Worldwide was released on October 3rd 2025. Words: Alana Madden Photos: Snooper

Experimental, brutal and addictive are words that come to mind when describing genre non-conformists Tallah. These heavy-hitters provide an abundant dose of raw chaotic energy and thrilling performances, leaving you ready to dive into the mosh pit. Tallah have captured the hearts of over 100K listeners on Spotify alone, with hypnotic ferocity live across the globe. It is apparent to many that Tallah’s mark on the metal scene is not to be ignored. Tallah vocalist Justin Bonitz’s mesmerising variety of vocals delivers lyrically chilling storytelling that conjures an immersive atmosphere. Tallah’s newly released album ‘Primeval: Obsession // Detachment’ showcases a variety of vocal techniques, funky basslines and powerful riffs. Set in space, ‘Primeval: Obsession // Detachment’ follows the fate of nurse Ana and assassin Sheela embarking on a journey to complete trials that test their moral limits. Commenting on what inspired the album's concept, Justin admitted “lyrically I didn’t really have a concept at first, I just kind of wrote what the music made me feel” after listening to Max Portnoy’s (Tallah’s bassist & co-song writer) carefully crafted instrumentals. Unlike past albums, Justin explained that ‘Primeval: Obsession // Detachment’ was more than just a simple ‘concept’, it was an outlet to express his own emotion. Yet when asked, Justin decided to not elaborate on the concept any further, in a move that he explained was to help fans conceptualise their own interpretations of the story, and to relate to the music in a more personal manner. Justin later mentioned a strong affinity towards concept albums, stating that they will remain at the forefront of his mind in both his and the band's career. Citing renowned metal musician and Youtuber Jared Dines, Justin was advised that “a lot of musicians have so much to say and once they’ve said it their career starts to feel stale”, which appears to have become a mantra for Tallah as they continue their sonic journey. To many, growls, gutturals and squeals create the perfect concoction of audio genius when combined with profound lyrics and bewitching clean vocals. “Ones that come to mind are Corey Taylor [Slipknot], Chester Bennington [Linkin Park] and Jonathan Davis [Korn]” Justin stated amongst a long list of iconic frontmen as well as some obscure role models such as Disney villains, unconventional to a genre considered aggressive in nature. This is due to a confession that: “doing a bunch of vocals was really self-critical because when I started doing vocals I really hated my voice - I was doing everything I could to not sound like me”. Yet in his twenties, Justin embraced his unique voice and harnessed his plethora of techniques to create the intriguing soundscape he’s so synonymous with. In a performance context, Justin credited Maynard James-Keenan (Tool) for his “twitchy movements” and hobbies such as martial arts, as well as movies, which all contribute to his erratic stage presence and unpredictability as a vocalist. Unconventionally to the modern state of metal, Tallah prefers to take an old-school approach when creating music. Established in 2018, Tallah has never used a click track when performing live, pushing them to record the album completely live as seen performed on the Audiotree sessions on Youtube. When asked about fan opinion on the decision to record live, Justin believes that “our ears are conditioned for tuned vocals and 4/4 time signatures, so when you break that norm, people are like "woah this sounds weird"”. However to some it may be a “breath of fresh air”, as it used to be the standard for bands of the past. Justin expressed his admiration for live recordings, stating: “ I wish more musicians would do that. That’s why I got into metal, it was so real compared to pop and hip-hop”. He expressed that to him, metal is raw and authentic and longed for bands to shift back into an experimental direction and not follow suit. However, he was aware that many fans may not even know that the album was executed differently and that some people just like music for the music and not the technicalities. In a world where making music is so accessible and efficient, guitar modelling software like Archetype Gojira and the rise of MIDI instrumentation has led Justin to feel that it is a “double edged sword”, In that prior generations wrote music with tones and sounds that felt ‘right’ rather than being widely perceived as correct, and mixed around that accordingly, often leading to distinctive sounds and people with experience catered to what they liked. He feels that bands aren’t experimenting with mixing and tones as much as they used to, and it is creating a form of flavour fatigue in metal, wherein a lot of bands are deliberately chasing similarities in sounds reminiscent to other prominent artists at the moment, rather than forming their own sound. He commented, “fans were blown away when I say I track guitars without tracking the raw signal and using DI amp sounds”, showing his stance for future generations' understanding of creating music without modern technological advancement in music. Continuing the pattern of in-house production, Tallah completely manufactured their music videos without outsourcing, bar the help of a few friends. Tallah’s music videos are striking in both content and visuals within the ‘Primeval: Obsession // Detachment’ roster. Music videos include scenes such as angsty congregations of fans under a bridge, to a bizarre puppet show or a trippy dystopian landscape. Justin informed us that the music videos weren’t “on the nose” to the concept with the exception of their track ‘What We Know’ , they were just what they imagined doing for the songs. The adrenaline-boosting visual of Justin hanging from under a bridge left viewers hyped for what was to come next. Justin declared, “it wasn’t scary” but “I was a little worried I was just going to let go involuntarily" after so many takes. He also divulged that rust was getting into his eyes each take showing his level of dedication to the music video and the band itself. ‘As Fate Undoes’, ripped from your favourite cheesy 80s movie, debuts a group of whimsical ‘muppets’ the band must conquer before besting the lead antagonist, a puppet of Justin himself!. When asked about the puppet, Justin erupted in contagious laughter, brandishing the puppet like a trophy and exclaiming, “I couldn’t believe it! They even got the dots and everything!”. Justin later announced that it was bassist Max Portnoy’s decision, and he was completely unaware until shoot day, adding insight to the band's lightheartedness and dedication to fun despite their deep seriousness towards their music. Interestingly, we discovered a hope for an imminent return to the UK, due to feeling so at home. Justin proudly stated, “I could hear the audience singing over me through my in-ears”, “that was incredible like I almost wanted to cry, I’ve never had people so enthusiastic about our music before” after speaking to guitarist Derrick Schneider. Last seen in the UK in 2024 off the back of an incredibly successful sellout London show (a credible achievement for them!), Justin also touched on how amazing It is to be with British record label ‘Earache Records’ and have such strong support from UK fans. Therefore, UK fans should keep an eager eye on what Tallah unleashes next! Words: Alix England Photos: Tallah

Way back in the early to mid '00s, when social media was in its infancy, one website had a stranglehold on the alternative scene. It made many proficient in HTML, and was the home to a golden era of deathcore and mathcore. That website was MySpace. It was where bands like GWEN STACY, THE SAWTOOTH GRIN, TOWER OF ROME, and HEAVY HEAVY LOW LOW got their big break and, for some, it was when these -core genres were at their best. But, dear reader, we might be on the verge of a renaissance. In comes DEATH GOALS, a UK-based duo with an already impressive slate of releases under their belt, with their latest EP, Survival is an Act of Defiance. It’s a short-but-sweet “Queercore” EP that’s reminiscent of that MySpace deathcore golden era that you might just not be able to get enough of. Survival is an Act of Defiance was tipped as the band’s most politically-charged and aggressive release to date that manages to impressively blend elements of deathcore, mathcore, and sasscore into five tracks spanning just 10 minutes. Think THE CALLOUS DAOBOYS meets CONVERGE meets THE NUMBER TWELVE LOOKS LIKE YOU. It’s chaotic as hell with a slew of queer guest vocalists each pushing a message: as the world becomes increasingly hostile toward the queer community, they won’t back down, and will continue to spread love, solidarity, and compassion, no matter what. Now, have you ever wondered how many panic chords are too many panic chords? The answer, according to DEATH GOALS, is there are never too many panic chords. Survival is an Act of Defiance is utter mayhem and the absolute barrage of panic chords throughout the EP barely gives you enough time to breathe, even during Even an Empire Can Burn which features a monologue from the vocalist of CAINHURST, the background instrumental puts out a feeling of dissonance and unease. But that’s the point, you’re not supposed to feel at peace while listening to this EP. It’s raw, it’s energetic, and it’s aggressive. Also, who else could blend together electronic, dancehall/reggaeton drums, and mathcore rhythms in one track? DEATH GOALS, that’s who. Overall, Survival is an Act of Defiance tells an important message with an audible smack in the face. No matter how much you beat on the queer community, they’ll come back stronger than ever. The EP could have done with being a little longer as you’ll definitely be left wanting more, but with releases that span as far back as 2018, if you’re new to DEATH GOALS there’s plenty to sink your teeth into. Score: 7/10 Survival Is An Act Of Defiance was released on August 29th 2025. Words: Aaron Richardson Photos: Death Goals

Hailing from Oxfordshire, atmospheric post-hardcore band, Lastelle, spent the last night of their Exist tour in the darkened Room 3 of Corporation in Sheffield, closing out the nine date run with an evening of sad songs, heavy screaming and lots of crowd participation. Best known for their lyrics confronting the ‘emotionally uncomfortable’ with lines about the struggles of facing loss, living with neurodivergence and the art of discovering yourselves, Lastelle made a cold, Friday night in Yorkshire all worth the while. Local support, Displacer, a newly formed emotional hardcore band hailing from Sheffield, warmed up the crowd with their powerful mix of choruses full of aggressive vocals, big breakdowns, blending with their emotional delivery. Nottingham based Math-infused UK post-hardcore band Blight Town followed next, with a few fans making their presence known in the crowd, singing along to every word; both to the clean vocals from the lead vocalist and the heavier vocals provided by the drummer due to a ‘fucked voice’ from the front man. What he lacked in what we assume are usually much stronger vocals, he made up for in some melodic movement across the stage, and stating that ‘Sheff crowds go mad’, which was about to become apparent once Lastelle graced the stage. Headliners Lastelle are quickly finding their audience amongst the UK scene, as well as further afield, where they are drawing comparisons to other bands like Welsh wonders Holding Absence and Casey, and gathering an army of fans in their wake. Performing with ‘EXIST’ signs hung above the crowd, it was only right that the band opened their set with the song ‘Exist’ from the recently released EP Exist Vol. II. It didn’t take long to see why the band are making waves within the scene. With drummer, Mike Hayden, bringing back up vocals alongside lead vocalist Adam Rigozzi, the small but packed room started to really get into the sound we were hearing. The band slammed out track after track after track, with the crowd matching the energy of the band in complete harmony, which Rigozzi encouraged by stating ‘Sheffield, I wanna feel your energy’. Continuing with the set list of absolute crowd pleasers, some even featuring a surprise flugelhorn, Rigozzi let the masses know that though he had ‘come to sing some sad songs’ there would of course be some fun ‘“Having fun at a Lastelle gig, who would’ve thought it?!’ Spending a large amount of time on top of speakers, peering and singing into the crowd, encouraging those on the edge to get involved, Rigozzi jumped into the crowd, ready to ignite the inevitable moshpit. With fan faves ‘Coping Without a Cure’, ‘Tired Eyes’ and ‘Pine’ bringing Rigozzi and the crowd closer with each line, the front man never seemed to tire of the full on engagement from the congregation. At one point during the evening, the band let us know that a music video was being recorded that night, which only made the atmosphere even more intoxicating and energised, even with the introduction of a slow mosh. Surprisingly, it took until the final song of the night ‘Breathe Me In’ before the well loved but potentially overdone ‘Yorkshire, Yorkshire, Yorkshire’ chant came out to play, but the night ended on a high with the entire crowd, be they a fan of old or new, chanting the words back at Rigozzi. Closing out this tour in Sheffield was definitely a choice well made for Lastelle; from the neverending crowd participation, the typical Yorkshire energy, and the venue choice adding the cherry on top. The bands new EP Exist Vol. II is out now and you can catch them again at Alt-Fest in Cardiff on 28th November before they head out to Europe in January. Words: Lou Viner-Flood Photos: James Smyth

One of the last festivals of the summer Amplified took place in Corporation in Sheffield last weekend with an impressive line up of: Confessions of a Traitor, Red Method, Continents, Seething Akira, Cobermouth, Swarm 6ix, DJINOVA, InRetrospect, Pulse, Waterlines, Asleep At The Helm, Within Reach & From Tyranny. 13 amazing bands, no clashes and hosted indoors for an affordable price. Amplified has the makings of a festival you could add to your summer rotation. FROM TYRANNY From Tyranny opened up the festival on the second stage and made a lasting impression on this writer. The Scottish metalcore band had the crowd headbanging once they entered the venue, with their heavy riffs and harsh vocals, making sure if this was your first time ever hearing them, you’d be adding them to your playlist as soon as you got home. WITHIN REACH Within Reach were the first band on the main stage and kept the momentum up that From Tyranny brought. The whole crowd was enamoured with their set, nodding and two-stepping from the front to the back of the room. For the people who had just arrived at Amplified, a welcome surprise and a sign of things to come throughout the day. ASLEEP AT THE HELM Back to the second stage and Asleep At The Helm continued with the high energy and helped keep up the precedent of the day. Jimmy’s Vocals had arms and legs swinging in the crowd, paired with Dan, Nat & Lewis melodic riffs spelled a recipe for success. WATERLINES Highly anticipated Waterlines were next, and this was a very special occasion, as it was Front man Benji’s birthday. Where better to celebrate than on stage surrounded by the Waterlines’ fans. Waterlines had the crowd so hyped, Corporation’s neighbours could definitely hear the party that was happening. Between rows of daisy chains of people and the wall of death during Brace, this really was a phenomenal set. PULSE We headed back to the second stage for Pulse and after chatting to them in the green room knew we couldn’t miss their set. The Pulse lads are so lovely and their set was so good, definitely check out Sanity to hear some stunning gutturals and practice your best two step moves. IN RETROSPECT You can’t go to a gig in Yorkshire and not check out Leeds finest InRetrospect, and we were lucky enough to hear their new song ‘Toxic’ which is unreleased at the time of writing this. As per usual InRetrospect don’t miss! The crowd loved the performance and proves that this set is a sign of big things to come. SWARM 6IX After taking a break from Headbanging and moshing, we came back just in time to catch Swarm 6ix, and they left a lasting impression on me! Their vibes, the music and their overall stage presence had me sad when their set was over! SEETHING AKIRA Now if you’ve never heard of Seething Akira you’re 100% missing out! As usual their performance was high energy and chaotic in the best way! Kit jumped off stage and ran into the pit losing one of his shoes but continued to sing while being in the middle of a spectacular mosh pit. All the crowd were true fans singing along to all the songs and showing that concert etiquette is alive and well making sure the person next to them was okay! CONTINENTS Second to last on the main stage was Welsh faves Continents! The crowd had been at Corp all day but Continents made sure to keep the fans spirits high and let them know the night wasn’t done yet! They played all the classics, brought incredible energy to their set and ended with one of my favourites ‘LIFELINE’. Continents had the crowd enthralled with their talent and made sure they left lasting impression. CONFESSIONS OF A TRAITOR Confessions of a Traitor ended the festival in style, showing why Amplified made the right decision in making them the headliners. Stephen showed off his vocal skills while balancing between the stage and barrier, something I wouldn’t be able to attempt in my wildest dreams! Running into the crowd and letting the crowd know that although it;s the end of the night, the energy is still very much there. This was an excellent choice on Amplified’s part on how to close the festival and had people wanting to know when they can buy tickets for next year! In summary, if you're looking for a way to end the summer that won't break the bank but still give you the same quality as any other festival, Amplified is a contender. With no clashes and a stacked line up with bands from different parts of the metal umbrella, you’ll be spoilt for choice and there is something for everyone. Words: Dollie Himuyandi Photos: Robert Halls