Rising from the depths of the darkest crypts of Costa Rica in the Central America, the death metal cult band Mortual is on the cusp of presenting its fans its newest and freshest offering to date. Consisting of the vocalist and guitarist Justin Sánchez, guitarist Juan Salas and drummer Chalo, the band is bringing their dark rituals and visions of spiritual ruins to all their fans across the globe, as well as the few chosen ones who can go see the band on their supporting mini tour around their home-country and some neighbouring countries. The band’s long-awaited, full-length debut album is made of eight striking songs, that follow in the footsteps of a trilogy of celebrated EPs. The listeners are met with aggressive guitars and head-shaking drums, as well as piercing vocals and bass across each one of the eight songs. The band march onto a swift tempo across the whole album, oftentimes resulting into a chaotic blend of sounds, as can be heard, for example, in the song 'Divine Monstrosity'. Serving heavy riffs that power up the melody when combined with the strong vocals and drums is a great start, although there are moments in the songs when it all becomes one and it is hard to recognise the specific sounds. Across some of these songs, Mortual have included captivating, intricate solos, such as the one in 'Skeletal Vortex'. Focusing on the guitar mastership of Justin Sánchez, the solo is not a long one, but shows off clever riffs and memorable vibratos, that add much to the overall experience for the listeners. It is also one of the few moments in this particular song where the guitar can be heard clearly, as Sánchez's vocals are not present, giving the listeners a chance to take in all the different melodies and harmonies and feel them as they are. For the closing track on the album, 'Ecstasy of Death', the band opted for no vocals, a slower tempo and hauntingly toned guitars, making the track stand out from the rest. The length of the song is a lot shorter as well, actually marking it the shortest one on Altar of Brutality. There is no drum work on the track either, but the bass is prominent, tying the unusual melody together and making it sound richer. The listeners can also hear synth in the background, which is not as audible, yet still noticeable. Altar of Brutality is an album that is bound to whirl a plethora of emotions into the listener’s mind, all while they are head-banging to the melody. Although the instruments often sound chaotic and blend together into an - on occasion - indefinable sound, there are still moments like the outstanding vibratos of the guitars that are well-worth listening to the piece. Mortual have once again showed the heavy scene that they can come up with a crushing album whilst simultaneously pushing for new soundscapes, and it is obvious that there is nothing that will stop the band from achieving its goals. Score: 7/10 Altar of Brutality will be released on July 4th via Nuclear Winter Records. Words: Katerina Stepanikova Photos: Mortual

Modern alt-rock band Marisa and The Moths from Reading have just wrapped up their short run of gigs supporting Inglorious, and thankfully for fans new and old, they won't have to wait long to hear them live again. Their latest album Live in Studio 3, Abbey Road Studios is set to release soon with eight live-recorded tracks, and a few extra live-on-tour tracks for those lucky enough to score physical editions. This album was a crowd-funded venture, and it has certainly paid off. Much like in their live sets, the band kicks off the album with a fan favourite, 'Needy'. It's introduced with all the pre-recording dialogue left in – as if to reaffirm that despite having all the polish of their regular releases here, they really do sound this good live. Strong vocals and lead-in guitar from Marisa Rodriguez, against Liam James Barnes' gritty bassline bring us into the start of a promising set, soon joined by Alex Ribchester's pounding drumbeat and the resounding guitar riffs of Alez D'Elia. 'Skin' is a personal favourite – it's a song where each member is given a moment to shine, all working in perfect coordination. Their grunge influence comes through most in this one with bold and brash vocals, and familiar, yet distinctive instrumentals to accompany. It's easy to tell where the band's inspirations lie, though their uniqueness is certifiable. Their third track 'Who Are You Waiting For?' is one that's raw and teeming with feelings, taking on an emotive, soul-stirring approach with its eponymous and extremely memorable chorus, while 'SAD' follows to capitalise on that emotional intensity, Marisa wearing her heart on her sleeve through its words. 'Get It Off My Chest' cuts right into the action with its crushing guitar tunes and rhythmic drums before the powerhouse vocals meet them with all the range of a grungier Amy Lee. 'Choke' arrives soon after, trading out the haunting highs and lows for the growly, commanding style of Lzzy Hale. It's one that comes straight from the heart, a passionate heartfelt release in its core. Penultimate song 'Pedestal' is a song that feels designed for the rhythm section, a showcase for their musical talents as guitar, bass, and drums take the centre stage for a short segment. 'Borderline' finishes off the album in a song that can only be described as pure catharsis. It's one you can imagine belting out at one of the band's concerts, setting free all the emotions you've been repressing. It's a perfect closer, bringing the live set to an end with eight dynamic hyperkinetic tracks. Live in Studio 3, Abbey Road Studios is an excellent showcase for the talents of Marisa and The Moths, serving as not just a great collection of tracks for fans, but a really strong introduction for any newcomers – it almost acts as a teaser for their live shows, letting listeners know exactly what they're in for with this band: an emotionally-led, sharp-edged and raw set packed tight with catharsis. Score: 8/10 Live in Studio 3, Abbey Road Studios will be released independently on July 4th 2025. Words: Naomi Colliar Duff Photos: Marisa and The Moths

An amalgamation of performers that possess this unwavering devotion to the hardcore genre, Respect For Zero was born from the tumultuous windy eastern coast of Italy, their craft never far diverting from these beginnings, with their tracks possessing a wuthering, windswept nature to them. In a world where music is so often viewed as a form of escapism, Overtime and its gritty realism is a breath of fresh air, becoming this incredibly accurate portrayal of life in the 21st century. It breaks from the norm, telling everything as it is, bringing back this sense of revolt and defiance that alternative music was based around. This sense of rebellion undermines everything they do, with Respect For Zero being unequivocally unafraid to be different, to be at odds with society. Opening with ‘Reaching Death’, the poignant depth of the EP is immediately apparent through a nostalgic yet unnerving bassline, centering the listener in the bleakness of the world of addiction. Whilst many artists falter when attempting to juggle a balance of meaning and method, Respect For Zero doesn’t, acing both. They play with such intensity and conviction, the likes of which have gone unseen in the hardcore scene since the glory days of Minor Threat. The calculated attack on culture the song projects is propelled by the pace, kick-started by the bass of Luca Paoletti, with the sturdy rhythm continuing on with the heavy hits of the drums, orchestrated by Luca Cruciani. Whilst the world still clings tenaciously to these barbaric, time-hallowed traditions of skirting around topics of abuse and addiction, Respect For Zero breaks through these taboos with deep lyricism, directly calling out not just to the audience, but to society as a whole, dragging the listener deep into their plea for change. ‘Mirror’ follows up ‘Reaching Death’. It is a visceral song full of texture, with the tremolo creating this snarling war cry, displaying headstrong defiance against a world that spoon feeds you propaganda. The message of ‘Mirror’ is clear, with the lyricism being strong and sturdy, much like System Of A Down’s Hypnotise, but at times lacks any metaphorical depth, not coming off as profound as it could be. ‘Mirror’ becomes a manifesto for those society has continually treated as zero, as gum on the sole of their shoe, as it directly questions the relationship between the mass media and society, whilst also creating a nuanced relationship between the listener and the band. Despite a lack of artistic meaning, the track is a highlight of the EP, in part due to its classic style, practically forcing the listener's head back and forward into an intense head thrash, taking control of your limbs, causing you to flail around as it invokes this deep need to mosh. It is a track that would truly be best heard live. ‘Sagnol’ is relatively forgettable, with a structure that is neither bland nor atonal, becoming generic with its cyclical structure and its overused fade out, symbolic of a hellish condemnation. ‘Born Again’ is where the EP picks up again. Hacking and sawing drumwork undermine the track, the use of cymbals becomes a steady saw slicing away like an axe to a tree underneath everything in this overlapping texture. Branches shake and tremble with the intensity of ‘Born Again’. The tension present within the song is immediately apparent due to an excellent blend of instrumentals, the bass, the guitar, and the drums all work in unison to create an overwhelming strain of pressure that builds and builds and builds. And just when the tension peaks, when the tree is one strike away from being toppled, the EP ends abruptly and anticlimactically. The tree never falls. There is no big showstopper finale, in a bleak yet realistic portrayal of life. Much like Sabrina Carpenter, Overtime is Short n’ Sweet. Respect For Zero crams an abundance of meaning into such a short EP, displaying an aptitude towards artistry despite its short runtime. Overtime forms the beginning of a new chapter, opening up the eyes of the world to the failures of society, and to their music. Score: 7/10 Overtime was released on June 30th 2025 via Time To Kill Records. Words: Dylan Milton Photos: Respect For Zero

Goooooooood morning, Vietnam. Five years after Genesis XIX, Teutonic thrash veterans Sodom return with The Arsonist, another salvo of amphetamine-tempo and scorched-earth heaviness, and it’s about time too. Lasting longer than your dad’s M-65 field jacket, Sodom have long specialized in a style of thrash that feels like the ratatatat of an AK-47, much-lauded albums like Agent Orange and In the Sign of Evil secured their rightful place in the Euro-thrash pantheon. If you’ve got a buddy into thrash, chances are they’re into Sodom, headbanging enthusiastically to songs about napalm, phosphorus grenades, and other such atrocities of war. But the band doesn’t aim to moralize; they prefer the well-worn adage: war isn’t about who’s right, but who’s left. This latest jig features a hell of a hard album cover; a burnt skeletal man touching a forlorn GI sorrowfully whilst they’re being towered over by the classic Sodom figure in gas-mask galore, armed with a goddamn flame-throwing M-16 rifle. Say what you want, but they never ever compromise with their album artwork. Production is a point of pride this time around. The drums, tracked by Toni Merkel, were recorded using a 24-track analog tape machine, a rarity in today’s DAW-dominated workflow. For those not in-the-loop with music production, the 24-track tape is a way that artists recorded music before the advent of digital recording which has become the norm. Frontman Tom Angelripper says that it’s; “No plastic!” And to be fair, the drums do cut through the mix nicely, with a rich low-end and crisp cymbal peaks that give the cymbals a vintage smear that stands in contrast to the razor-sharp sample layering you’ll find in modern metal drums. It still finds room to breathe more than the Pro Tools gridlocked norm. But let’s be honest: will the average listener even hear the difference, or even care? This isn’t Pet Sounds, and it won’t be a headphone-testing record. It’s really not that noticeable unless you’ve got your ear trained on it. Still, there’s a sincerity in the effort that’s hard not to respect. But even so, they probably could have just finessed this thing on a 16-track tape if they wanted a more noticeable analogue sound - it punches, but it doesn’t exactly bloom. With all that hype on production, expectations were high. As for the music… it tends to go on a bit. Thrash has been criticized by fans of other genres for being near-mindless skank beats over shredding guitars, and that’s a pretty apt description of what you get here. It’s a little bit disappointing as Agent Orange guitarist Frank Blackfire has been back on lead guitar duties since 2018. Though through it all, there are some standouts. The opener, ‘The Arsonist,’ is a nice soundscape reminiscent of Megadeth’s ‘The Threat Is Real’ before it plunges headlong into the audio jungle. Still, there are highlights. ‘Battle of Harvest Moon’ references a Vietnam War-era joint operation between the U.S. Marine Corps and ARVN forces in which a load of marines had to be pulled out of combat due to trench foot from waddling through rice paddies all day. Exciting. And no - flamethrowers were not involved. The next song ‘Trigger Discipline’ is a stand-out, sounding like a combination of In War And Pieces and something from Repentless. The song is presumably about some mad bastard shooting anybody he sees while yelling about his perceived lack of trigger discipline in something that is so camp it ends up in the realm of comical. Among other highlights are songs like ‘Witchhunter’ which is a tribute to their late drummer Chris Witchhunter, ‘Gun Without Groom’ which best showcases the analogue drum production Sodom are so proud of, ‘Taphephobia’ relates to the fear of being buried alive which nearly everyone can relate to and has a brilliantly devious riff, while ‘Return to God in Parts’ rides a fast D-beat rhythm over galloping power chords, a nod to their earlier offerings to be sure. But despite the peaks, the album never quite catches fire. It smoulders, sputters, and seems to just fade into the background after a while. There’s little here to challenge the listener or push the genre forward. Tracks bleed together in tempo and tonality, offering little dynamic range or structural risk-taking and you end up with what is essentially white noise. Credit where credit is due though, Tom Angelripper is in his 60's now, but he sounds almost exactly the same as he did 10 or even 20 years ago, so there’s no keeping that man down. The machine gun guitar and bass work here isn’t exactly extraordinary, and doesn’t seem to stray far from the well-treaded thrash path, but does a serviceable job to stop this album from becoming an overly dull listening experience. The band has nothing to prove, they’ve already got many classics under their belt and are well beloved. Is it too late for a little revamping? Potentially, but in the end, The Arsonist is… fine. It won’t redefine thrash, nor will it convert any prospective new fans. But if you’re already in the trenches with Sodom, you’ll find enough to crank up the volume and lose some of your hearing over. And when the tour rolls through town and they’re firing away at these songs whilst you’re two-stepping in camouflage in the pit; will you even care? Score: 5/10 The Arsonist was released on June 27th 2025 via Steamhammer/SPV. Words: Kiarash Golshani Photos: Sodom

Fresh from their latest Europe and UK tour, and a big Australian tour, Skegss have come back regenerated with their newest release, the EP Top Heavy. The duo from Byron Bay, Australia, is well on their way to take over the surf and garage rock scene once again - and this time, the music also has a little bit of something something from bossa nova to give their songs a little musical twist. The drummer Jonny Lani and vocalist/guitarist/bassist Ben Reed have already proved to their fanbase that they are ready to push through the boundaries further, and this time round is no different. The track 'Blood In The Sky' is surprisingly the only song that gives listeners the surf-rock sound of Skegss in the form of reverb-drenched electric guitars and slower melody. At the same time though, the song intertwines the energising surf-rock with the relaxed and melodic sounds of bossa nova, creating a very distinctive song that is memorable even after listening to the whole project. The songs 'So Excited' and 'Ain't For The Faint', on the other hand, are both absolutely closer to the rock side of things, introducing a different perspective into the use of guitars and drums. Both songs are energetic and upbeat, and are a lovely feature since a number of the songs found here are slower in tempo. 'So Excited' especially features some well-executed backing vocals that add depth to the overall sound and melody, most notably when paired with the sharp snares found within. Since the tempo of the songs has been mentioned, the slowest song of them all, 'State Of Hawaii', can not be forgotten. It's the opening track for the whole EP, and has also been released as a single. The song is set to capture the dream of escape from everyday stress and the laid-back nature of the titular seaside island, which can be found in the lyrics and melody, cleverly followed by a trumpet and backing vocals - as well as revisiting the previously mentioned elements of bossa nova once again. The overall narrative of the EP is very typical of Skegss, which is always a great sign of a good project by this talented duo. Although many of the songs are slower, often using re-occurring rhythms, the Top Heavy EP still managed to pull together six unique tracks that are all interesting to listen to. It is a quick listen-through, which might be seen as a disadvantage as the listeners are likely to yearn for more, but nonetheless it is still a solid project that is set to find its way into the hearts of the band’s loyal fans. However, previous fans are not the only people who may enjoy this - this is also an EP for people who have just discovered this Australian powerhouse. In short, it's no wonder that this duo is rapidly taking over the stages of their homeland, as well the ones around the world. Score: 8/10 Top Heavy was released on June 27th 2025 via Loma Vista Recordings. Words: Katerina Stepanikova Photos: Skegss

Hailing from Nashville, Tennessee; Royale Lynn’s debut album BLACK MAGIC fuses alternative and indie with rock and country. BLACK MAGIC delves into mental health battles, channelling Lynn’s own personal struggles as the driver behind this work. Royale Lynn has taken clear influence from such established artists as Evanescence and Flyleaf, with a Wage War inspired punchiness to create “super catchy hook-heavy anthems”. Lynn has been on the scene since 2023, finding success with her first single 'Six Feet Deep'. Since the release of her first single, Royale Lynn has toured with household names such as Seether, Skillet and Dirty Honey, as well as featuring at some of the USA’s biggest rock festivals including Aftershock and Rocklahoma, and has even toured with such established acts as Asking Alexandria. BLACK MAGIC is made up of twelve tracks tackling the important subject of mental wellbeing. This is a subject that is sure to resonate with a wide spectrum of listeners, as the stigma around mental health gradually becomes less and less potent. The opening track is named 'GREED', which opens powerfully with the lyrics “I can see behind your eyes the sickness has consumed you”; a real statement of intent for the rest of the album right from the outset. It’s an incredibly catchy tune for sure and, for the listener, a real head-bopper. The second track, 'E.V.I.L.', is deeply dark but incredibly well composed, coming across as a pulsing ball of electronic energy. As another catchy, easy to move along to song; for this listener it has real potential as a future arena classic for live audiences everywhere. The third track of the album is title track 'BLACK MAGIC'. The opening features operatic vocals and a sole piano, before kicking in with thumping percussion, metal guitar work and an infectious chorus. For this listener, it was a nostalgia trip back to when music was on MTV - fans of Evanescence will draw parallels with the masterpiece 'Bring Me To Life' which this listener certainly enjoyed. 'Sacrifice' is the fourth entry on the album, which opens with a Spiritbox-esque guitar led intro, that repeats as an addictive riff throughout the track. The lyrics “Control takes a piece of my soul” and “But that’s the sacrifice I’ve made” gives the impression of a witch-hunt, which this listener believes is the meaning behind this song - it can often feel like it’s us against the world and it’s not easy to avoid losing a part of yourself to appease others. The fifth track of this album is 'PANDORA'S BOX', which smoothly begins with delicately plucked metal strings, strongly reminiscent of 'Enter Sandman'. As the track progresses, Lynn’s vocals once again contribute to an Evanescence sound that also hints towards Spiritbox’s 'Jaded', with the varied riffs contrasting with the remainder of the track. The song has an almost Eastern feel to it in places - a formula proven to be successful by Lacuna Coil’s hit Karmacode album. Luckily, it has again worked well, with 'PANDORA'S BOX' being a high point for the album. The sixth track, 'DRAGON', is lyrically brilliant and an instant head-banger. Cutting lyrics such as “You didn’t know karma had teeth” showcase Lynn’s creative fury in this track, which is sure to grab the attention of and resonate with audiences everywhere. Aggressive guitar and bass work provides an appropriate accompaniment to what is a bona-fide rock banger sure to be popular on the live circuit. This is a theme that continues into the seventh track, 'WHEN WE DIE', which explores the universal eternal question of what happens to us when we meet our eventual end. Drum machine beats and synthesisers contrast with and complement thundering heavy metal riffs wonderfully, creating some interesting genre-shifts within the space of the one song. For this listener, 'WHEN WE DIE' is a pick of the album, turning a dark deep topic into a catchy fun listen. The eighth track of this album is 'WTCH'. Opening with the lyrics “Catch me if you can, you can burn me like a witch”, it’s hard not to appreciate and respect the sheer attitude on display here. Instrumentally heavy from the first second, the clear formula of energy, sass and catchiness continues here. It's not hard to find comparisons in this track with the work of Wargasm, namely fan-favourite 'Bang Ya Head' which featured the talents of the great Fred Durst. Such a contribution would not be out of place on 'WTCH' either - attitude-wise, it’s worthy. The witch theme is one that’s being embraced by women throughout the world of rock right now, with the message being clear; if you feel like you don’t fit in - own it! The ninth track of this album is 'DARK MODE'. This really is a not so subtle window into Royale Lynn’s Nashville roots - country style vocals work to provide something just a little different from much of the rest of the album, while the heavy metal instrumentals offer enough continuity to ensure the track doesn’t feel totally out of place. 'INSIDE OUT' is tenth on the album, and showcases a pop influence with a catchy hook the likes of Ke$ha would be proud of! Sure to be another popular live performance, you can almost hear an audience already chanting along to this one. The eleventh track of this album is 'DEATH WISH' and it features vocals from Danny Worsnop of Asking Alexandria fame. This song kicks hard with Worsnop’s impactful vocals contributing, and again, is something just different enough to distinguish 'DEATH WISH' from the rest of the album to keep the listener hooked. The album's finale is 'BATTLEGROUND'. This song goes out with a bang and is a fine conclusion to the themes of struggle and non-compliance heard in the preceding tracks. A slightly slower pace bringing together all the elements of the album so far: heavy metal guitars, bass and drums, alongside drum machines and synthesisers; lyrically, this track does feel like a natural closing point. To sum up, Black Magic is extremely impressive as an album in its own right, and it’s hard to believe that this is a debut offering. The lyrics and vocals come across as mature and seasoned, with nearly every track featuring an energy and catchiness that has proven to be a winning formula. The mental health message is such an important one that will resonate with so many and it is a struggle to find any real particular points of criticism with the production. The closest that this listener can find is that, despite how enjoyable this album was to listen to, these are songs made for an arena - written to enthral and excite. They’re good to listen to when sat in the car or on the sofa - but they’ll be at their best when the lights are flashing and a whole community of fans is singing along to every word. This is an artist to watch with interest. Score: 9/10 Black Magic was released on June 27th 2025. Words: Dulce Mendes Photos: Royale Lynn

Heaven Shall Burn are back, and they’ve brought the usual: crushing riffs, heartfelt fury, a choir or two, and enough political intent to make you feel like you should be reading a manifesto with your headphones on. Heimat, their tenth album, lands with a lot of weight, both in theme and sound. It’s big, it’s bold, and yes, it might be a little long. But when it hits, it hits hard. Things open with ‘Ad Arma’, a moody instrumental that sounds like the prelude to an impending battle. Then without much warning, you’re launched into ‘War Is the Father of All’, a sprawling seven-minute track that throws orchestral swells, gospel vocals, and machine-gun drumming at you all in the first breath. It’s a lot, but definitely not in a bad way. It’s the kind of track that tells you to buckle up, this is going to be dramatic. From there, things start to feel more familiar. ‘My Revocation of Compliance’ and ‘Confounder’ get right down to business with pummelling riffs, harsh vocals, and the kind of rhythmic precision that could scare a metronome. This is Heaven Shall Burn in their comfort zone, doing what they do best. The guitars wail, the drums pound, and Marcus Bischoff growls like he’s got a bone to pick with the entire planet. ‘Empowerment’ and ‘Those Left Behind’ keep the energy going, though you may start to feel the album’s weight settling in by this point. There’s a bit of sameness in the middle stretch, not bad by any means, but a few songs blur into each other if you’re not paying attention. That said, the band’s commitment is never in doubt. Every note feels purposeful, even if a few could’ve taken the day off. One of the standout moments comes with ‘A Silent Guard’. It’s slower, more emotionally charged, and shows a different side of the band. It still hits hard, but there’s a sense of reflection here, like a moment of quiet defiance in the middle of a riot. It’s one of the more memorable tracks, simply because it takes a breath where others don’t. Then there’s the cover of Killswitch Engage’s ‘Numbered Days’, which features Jesse Leach himself. It’s a bold move to cover such a well-loved metalcore classic, but HSB pull it off. It’s heavier, slightly more aggressive, but still respectful to the source material. Hearing Leach and Bischoff trade lines is like a crossover episode you never knew you needed. Thematically, the album’s title, Heimat, roughly translates to “home” or "native land" in German, but it’s a loaded term. In the wrong hands, it can drift into uncomfortable territory. Thankfully, Heaven Shall Burn use it as a jumping-off point to explore ideas of belonging, resistance, and identity. There’s real intent behind the lyrics, and even if the politics aren’t your thing, the conviction is impossible to ignore. Production-wise, everything sounds massive. The drums are thunderous, the guitars cut through like buzzsaws, and the orchestral elements swell without being overbearing. It’s the kind of album that deserves good speakers, or at least headphones that don’t come free with your phone. The mix is clean but still gritty enough to avoid feeling too polished. Now, the one issue that keeps this from hitting higher marks is the length. At 51 minutes, Heimat isn’t outrageously long, but it definitely starts to drag at points. There are moments where you check the tracklist and wonder how many more are coming. A bit of trimming here and there could’ve helped tighten things up. It’s not a dealbreaker, but it does make the full listen feel like more of a commitment than it probably needs to be. With all that said, Heimat is a solid, confident album from a band that knows its strengths. It doesn’t reinvent their sound, and it’s not trying to. What it offers is a refined, passionate version of what Heaven Shall Burn have always done - make music that’s heavy, heartfelt, and built for the long haul. It might not convert the unconverted, but if you’re already on board, this one’s for you. Score: 7/10 Heimat was released on June 27th 2025. Words: Vee Richardson Photos: Heaven Shall Burn

Let’s be honest - if you heard that The Bear’s Matty Matheson was fronting a new hardcore band, your first instinct might’ve been to roll your eyes. A chef, a TV personality, an actor… now a punk vocalist? On paper, it’s got all the hallmarks of a chaotic vanity side project. But those who’ve spent time in and around the hardcore scene know better. Matheson’s connection to this world isn’t some passing trend - it’s been part of his life for years. Long before he was a household name, he was fronting grimy Ontario band Sex Tears, shouting his lungs out in the corners of DIY venues and staying tethered to the culture that shaped him. And then you factor in Wade MacNeil. Yes, that Wade MacNeil - Alexisonfire guitarist, Gallows frontman, and a generational voice in post-hardcore. Throw in Daniel and Ian Romano, plus Tommy Major (all from Daniel Romano’s Outfit), and suddenly, this isn’t just some novelty record - it’s a serious lineup with serious pedigree. Written and recorded in just two days, Mental Madness is a raw, urgent blast of classic ‘80s-style hardcore, supercharged with anthemic hooks, swaggering riffs, and a sense of joyful menace. It’s fast, loose, and loud as hell - but it’s also built with purpose by people who know exactly what they’re doing. Mental Madness is a blistering crash course in '80s hardcore, filtered through a modern, scorched-earth lens. It’s ferocious, fuzzed-out, and unrepentantly raw - true chain-punk energy from start to finish. The guitars snarl and grind, the drums swing like wrecking balls, and the whole thing feels like it’s teetering on the edge of chaos in the best way possible. But the real surprise? Matty Matheson’s vocals. Drenched in reverb and delivered with guttural force, his performance is equal parts unhinged preacher and hardcore lifer - commanding, cathartic, and totally convincing. For anyone who only knows him as the lovable chaos merchant from The Bear or his joyful cooking videos, it’s a total gut-punch. This isn’t cosplay. It’s conviction. Written and recorded - supposedly - in just two days a few years back, Mental Madness feels anything but rushed. There’s urgency, sure, but it’s not slapdash or half-baked. It’s tight, focused chaos - the kind that only comes from players who’ve been doing this for decades and know exactly how to channel instinct into impact. Each track is crafted with intention, whether it features a rapid blastbeat or a heavy, stomping groove. The chemistry among the band members is unmistakable. You can sense the trust, the relaxed vibe, and the shared musical language that has developed over years of friendship. Though it may have been recorded quickly, the result sounds like the culmination of a lifetime of experiences. The record is a whistlestop tour through a variety of hardcore styles - never content to sit still, never dragging its heels. 'Highway', for example, swerves into almost classic rock territory, riding a swaggering groove that wouldn’t feel out of place on a fuzzed-out biker soundtrack. It’s got that same grizzled charm and southern-fried stomp you’d find on a Cancer Bats deep cut - gritty, catchy, and laced with a wild-eyed confidence. Elsewhere, tracks dive headfirst into frantic thrash, knuckle-dragging stompers, and moments of unhinged, feedback-drenched noise. It’s all delivered with the same fearless energy, like the band’s throwing every influence they’ve ever loved into the fire just to see what burns brightest. We went into this record with some (admittedly reasonable) reservations. Would Pig Pen end up being just a fun, short-lived passion project? A celebrity side quest for Matty, and another entry in Wade’s ever-growing discography? But from the first track, any doubts are flattened. There’s real, and entirely unsurprising, talent on display here. This is a solid, cohesive hardcore record built on chemistry, conviction, and a deep-rooted love for the genre. It’s simply too good to be a one-off. Of course, with Matty’s filming commitments and Wade juggling more bands than most of us can name, the question isn’t if Pig Pen can keep this momentum, but how. Will this become a full-blown project, or is it destined to exist in flashes between filming schedules and tour cycles? Either way, we’ve got two simple requests. First: keep playing shows and keep making records. Second: UK tour soon, lads? We’re waiting. Score: 7/10 Mental Madness was released on June 27th 2025. Words: Andrew Nile Photos: Pig Pen

The unstoppable Italian trio, King Potenaz, has returned with a new offering of stoner doom metal named Arcane Desert Rituals Vol. 1. Originally formed in 2019 while the members Giuseppe Guarini, Francesco Pesato and Piero Schiavone were jamming together, the band have managed to squeeze more rawness, aggression and darkness into their second album. Consisting of four lengthy songs, Arcane Desert Rituals Vol. 1 is a textbook example of stoner doom metal, with its distinctive slow melodies and haunting sounds of guitars. All four songs are opening with prolonged, intensifying intros, that in most cases transition into Guarini’s fry screams. The first and second song, 'Rivers Of Death' and 'The Empty Hand Pt. 1', are both similar sounding pieces in terms of guitars, vocals and drums. Listeners are not necessarily surprised by any novelties, which might be a let down, especially with songs that are over ten minutes in length - but may be assured by the elements they know from experience. There are no transitions between the tracks either, resulting sometimes in confusing listen-throughs, when the beginning and the end of certain tracks are not clear. The third song, called 'Sabbatum Sanctum', is the shortest one from the four, at a positively humble five minutes and forty-nine seconds. Starting with a dreadful intro, where a tambourine takes over the narrative, the song then proceeds to give the much relieved audience distorted guitars and crushing drums. Followed by dystopian vocals, the song is once again a text-book example of the genre it is ought to represent, and King Potenaz once again proves that they are veterans of this genre. Although the finale of the song seems to be distant at first, the track ends rather abruptly, making it sound odd and awkward for some of the listeners. As it happens sometimes, even in this case, it is worth to wait until the end of the album for the best piece. The closing song, titled 'Ariadne, The Serpent Witch', is a magical piece, very distant from the rest of the songs, yet still corresponding with the narrative of the genre. It is not only the best song of the entire project, but also the longest one - with almost fourteen minutes under its belt. Funny enough, it is also the only song that has a full guest feature on it, namely Jana Maista, who has also lent her vocals for backing vocals in “Sabbatum Sanctum”, and Marcella Loconte, who wrote the lyrics for the song. Highlighting Guarini’s guitar and Pensato’s bass throughout the whole track, it's surely a surprising ending to a fairly well-made album. Apart from the repeating similarities and lacking transitions between the songs, Arcane Desert Rituals Vol. 1 is a project that has had a lot of work put towards its completion, and it is visible that the creators thought about the album as a whole, as well as the individual songs. It is a solid fit for anyone who enjoys the stoner doom metal side of music, and would likely be enjoyable even for metal fans who are not that familiar with the genre. Score: 6/10 Arcane Desert Rituals Vol.1 was released on June 27th via Majestic Mountain Records. Words: Katerina Stepanikova Photos: King Potenaz

Swinging in full force with their slavic roots, Varhara is finally bringing their highly anticipated third album ПЕРВЫЙ ВЗДОХ ПОСЛЕ (The First Breath After). Originating from Saint Petersburg in Russia, the band formed in 2019, consisting of the drummer Vladimir Ogoltelov, guitarist Ekaterina Balyantseva, bassist and vocalist Igor Bely, and guitarist and keyboardist Alexander Kalinin, and since then has been surprising listeners across the world with their approach to shoegaze and atmospheric black metal. Andrey Novozhilov The band’s latest project is made of six different tracks, all sang in the entirety in their native Russian language. “Smola”, the first track, and “Uragan”, the second one, are explosions of angry drums, piercing through the subtle sounding guitars. Bely’s urgent-sounding vocals are complementing the overall sound with his screams. The band mastered the art of emotional breakdowns and atmospheric tension in their songs, as the listeners can especially appreciate in “Uragan”. The following songs “Iskra”, and the title-track “Pervij Vzdokh Posle”, however, are leaning even more towards the atmospheric, and sometimes almost symphonic side of Varhara’s discography, showing off more Balyantseva and Kalinin’s ability to capture moments and create scenes with their instruments, while Ogoltelov’s bass drum keeps on telling the stories of the past. While “Iskra” is dependent on Bely”s vocals, that are helping to keep the narrative alive, “Pervij Vzdokh Posle” is an instrumental piece, relying solemnly on the energetic guitars and brumming bass, that is very prominent throughout the whole song, building the soundscape brick by brick. In the contrast with the previous songs, “Prazdnik” and “Burial”, the last two songs on the album, are heavier in their nature, exhibiting more shoegaze elements. The guitar distortions are more pronounced in “Prazdnik”, giving it sort of “doomsday” feel compared to the narrative-like sound of “Iskra”. “Prazdnik” is by far one of the heaviest tracks of the album, and it is evident that Varhara did not hold back with the heaviness on this track, from the already mentioned distortions to the fast-working bass drums and angry cymbals. On the other hand, “Burial” sounds almost uplifting, compared to the previous songs, with the clever usage of distortion, while also maintaining the atmospheric aspect of the band’s style, sounding almost hopeful, which is ironic with the song’s title. It can be interpreted as a new journey after death, new beginnings and perhaps new life. The track is indeed a perfectly picked departure from The First Breath After. The album has fulfilled many expectations, and is a great piece of music. The alteration between the band’s styles is on point and keeps the listeners engaged throughout the project, offering new perspectives with each song. Although there is a downside of no transitions between the songs, making the listening experience slightly packed and sometimes overwhelming, the album is still a solid piece with greatly executed riffs and mesmerising vocals, that are sure to make one stay on their feet. Score: 8/10 Words: Katerina Stepanikova Varhara’s new album is coming out on 20th June via These Hands Melt.

Hiroe’s debut full length album Wield feels like an argument put to instrument , building its soundscape to anger as the project presses on before resolving into the sultry energy of making up. Throughout its six instrumental tracks, it offers welcome variation in a genre that often struggles with similar sounding pieces. Album opener ‘The Calm’ is aptly named, with its pretty guitar melodies and light drumming - but the story really starts at ‘Tides’ with a crash-lead drum and a swung feel that gives both the Deftones influence that Hiroe claim, as well as the feeling of when someone in a relationship makes the comment that lets each party know they’re about to get into it. As the midpoint solo kicks off the anger builds, as snapped words turn into raised voices, with the subtle raising of the pitch of the guitar as the riff slows down encompassing the consumption of the heavy emotion. Between the last act of ‘Tides’ and final side A track ‘Collider’ the debate is in full swing, with the last act of ‘Tides’ swapping into an alternative rock soundscape reminiscent of the track name, building up to the anger part of a lovers tiff. As for ‘Collider’, the pace is maintained with a looped-shred riff and guitar-monies akin to that of an argument going around in circles, while the drumwork includes a hidden snare section which is impactful in its departure from most of the drumwork throughout Wield, before launching back into a power chord-driven that has the pitch of the guitars creeping up to develop it as a motif. By now, the tiff is in full swing while the guitars speak over each other, fighting for attention while repeating the same points. ‘Collider’ ebbs and flows before finishing with power. Side B’s opener ‘Dancing at the End of the World’ introduces some floor lead drums with its winding melody - the eye of the storm has been hit. The build back up to Hiroe’s maximum is effective also, with the upwards pitch motif making a return, but this time with a more heavy handed approach that adds some variation. The standout of this project is penultimate track ‘The Crush’. The heaviest of the six, it adds a metalcore flavour to the project that was unexpected on the first listen, and awaited on the next. The increasingly heavy hand to build to this point feels like it makes sense, then hits its stride with a riff reminiscent of that in A Day to Remember’s '2nd Sucks'; not a band we expected to come to mind upon hitting play. The slow and swung melodies feel more impactful in this heavier soundscape, and the static flares added into the mix give the track more depth as it moves into its second half. The outro builds beautifully with piano melodies infused into its swelling, until it literally crashes out into 15 seconds of ambient fade out - a painful reminder that it is still prog. Album closer ‘I’ve Been Waiting For You All My Life’ is delightful in its creepiness: opening with static and a haunted house style melody as it transcends, that static turning into a dark ambience as the drums deepen to incorporate rolls in its beats. ‘I’ve Been Waiting For You All My Life’ is a sultry make up after the passion of the conflict, coming together over the best of the drumming on the project while slowing the tempo right down in another Deftones-esque track. The only shame here is the finish is a bit lacklustre compared to the main body of the track, with ten seconds of ambience and five of actual silence - a little flare may have been effective. All in all, this is not the worst of prog or dreamgaze that has sat in the listening pile, though it is up there for some of the most nap-inducing, with the lack of lyrics being both a respectable choice for Hiroe and a tangible factor in this sentiment. Structurally, most of these tracks are pretty similar: slow start, then two sections each of the melody focused and the riff focused atop four bar phrase drumlines, with fills on bar four. The sounds and melodies used in this structure are still quite varied, and unlike others of the genre, nor have they let the track lengths run away with themselves, but it is still hard to get behind on a matter of personal taste (or personal distaste, for transparency’s sake). Nevertheless, to all those looking for a heavier hand in their prog rock and a story to be told, it can be found in Hiroe’s debut. Score: 7/10 Wield was released on June 20th 2025. Words: Julia Brunton Photos: Hiroe

On a warm June evening, a small band from Brooklyn, NY, played their first ever show on UK soil. Couch Slut are an angry, sludgy, noisy band whose sound can go all the way from depressive near black metal to a swarm of bees who are collectively furious at the state of the world. They’re a defiantly queer band, who have been releasing music for over ten years now, and so for the opportunity to have finally arisen for us to see them it was nothing short of a privilege to attend. On top of all that, the only support slot was filled by a band near and dear to us - our first ever cover stars, the ever wonderful Death Goals! With two aggressive, abrasive queer bands on one lineup, the night was set to be stellar. At 7:45, the delightful duo that is Death Goals took to the stage. In a room that was already far too warm and sweaty without a band even playing yet, they gave their utmost in order to add to that. With bangers old and new alike, they played with a fire and an energy that’ll have you dripping just watching them. From the aggression of the classic ‘Shrike’ to the screamo stylings of the Coventry dedicated ‘Covo’, and the melancholic heaviness of the phenomenally named ‘If I’m the Enemy Then Who’s the Protagonist?’. With raucous guitar screeches, powerful paired vocals, and artillery strike breakdowns, the twosome have rarely sounded so devastating. It was all the better with their crowd involvement though, as they had multiple ‘guests’ joining them on vocals, a song half-sung from the crowd, a healthy crowdsurf from vocalist/guitarist Harry - leaving poor vocalist/drummer George all on his lonesome on stage - as well as a couple of stage divers and moshers willing to brave the humidity to have some fun. Even on a sweltering June evening, there’s no fun like Death Goals fun. After the abrasive, high energy queer aggression of Death Goals, we had a fairly welcome break before the more lumbering, unsettling sound of Couch SLut. Nearing 9:00, their starting time, things were starting to cool down a tad, but as the room filled more and more the Dome just kept on getting hotter and hotter, so it was a small mercy that their set was not built for the moshers. As described earlier, the band are an amalgamation of numerous genres - from sludge to black metal to hardcore to noise rock to punk and even more. Once they walked out onstage, all the tension that had been building up in anticipation of their set was released in a chorus of whoops and cheers, affirming the palpable excitement of the band at playing their first ever UK show. Whilst they did come on to a wash of green and purple light, vocalist Megan Osztrosits then made the request of red light to replace the previous, which then bathed them for the duration. The unsettling look only served to heighten the unsettling atmosphere, with songs like ‘Couch Slut Lewis’ and ‘Ode To Jimbo’ working to uncork all of the nerves inside every onlooker. Working through their set, the band showed their appreciation for being able to escape their home country of the US for a brief time, as a yell of “Fuck ICE!” came from the crowd in response. With the world in the state it is right now, being able to watch bands play is a real luxury, and watching bands as vital as Couch Slut feels quite poignant within the context of 2025. As they wrapped up on quite the depressing note with ‘The Stupid Man’, they looked grateful to have received such a warm crowd - and relieved to be leaving such a warm room! Once the heat subsided, the night felt like a dream. In the midst of so much conflict, a small room came together in celebration of queerness, and in defiance of hate, fascism, sexism, homophobia, transphobia, and so much more. These bands and these events are more important than ever, so we can’t thank Couch Slut and Death Goals enough for their engagement and their power, despite the weight of the world on all our shoulders. Words: Jake Longhurst Photos: Artemi Falzon