Brighton's bubble-gum-grunge quartet, PORCELAIN DOLL, returns with their latest EP, Beauty and Control, Pt.1, a raw and honest collection of songs born from a period of chronic pain, relationship struggles and a sense of not belonging. The band's signature fuzzy guitars and catchy hooks provide a powerful backdrop for frontwoman FREJA's distinct vocals and deeply relatable lyrics. The EP kicks off with Apocalypse, a track that immediately establishes a mood of being over it all (relatable!). The sludgy, distorted guitar and strong drum work, particularly the hi-hat and satisfying kick and snare tones, lay a solid foundation. Vocally, we’re not sure the way the lyrics are sung lifts the song, however, the lyrics feel incredibly relevant. Despite some minor production flaws (halfway through it sounds like the track skips or the timing jumps) -the song builds to a powerful and creative outro, a clear highlight of the track. Pretty in My Coffin starts with great snare work and an engaging guitar melody. A highlight is the excellent drum mix with effective panning on the tom rolls. Unfortunately, the vocals become a point of contention as the style, along with potentially forced pronunciations, slightly detracts from the song. While the high-pitched vocals are more engaging, the lower, spoken-style delivery feels less effective. Unfortunately, in the mix, the bass tone is good but gets lost in the chorus. Despite these issues, the lyrics' vivid imagery remains a strong point. The standout track of the EP is Love Me, a slow, sludgy, and haunting song that immediately sets an effective mood. The instrumentals are exceptionally cohesive, and the echoing intro is particularly well-mixed. Vocally, this track shows significant improvement; the volume is better controlled, and the use of whispering and softer vocals is highly effective. The poignant lyric, "Bet you'd love me if I kept my mouth shut", perfectly captures the song's potential exploration of toxic relationships. The track’s strong rhythm and powerful outro make it the most cohesive and emotionally impactful song on the EP. Finally, Self Destruct boasts excellent mixing and dynamic control. The vocal melody skillfully dances around the guitar riff, creating a very catchy hook. The addition of a quirky "woah woah" vocal riff and effective lower-range background vocals elevates the performance. The drums stand out with a great tone and a cool beat change during the bridge. A memorable moment occurs when the instruments cut out, leaving just the vocals and drums before the final chorus section, concluding with an effective distorted guitar fade-out. PORCELAIN DOLL’s latest EP, Beauty and Control, Pt.1, is a powerful showcase of their sound and a clear step forward for the band. While there are some minor production and vocal inconsistencies in one or two songs, the EP is a strong, impactful statement with attitude. The band's knack for creating memorable outros is consistent throughout the record with relatable and relevant lyrics. Overall, this EP demonstrates PORCELAIN DOLL’s potential as a unique voice in the alternative rock scene, solidifying their reputation for crafting punchy, relatable, and genuinely catchy songs. Score: 7/10 Beauty and Control, Pt.1 was released on September 12th 2025. Words: Katherine Russell Photos: Porcelain Doll

LORNA SHORE’s fifth album, I Feel The Everblack Festering Within Me, is not just a collection of songs; it’s an experience - an unflinching plunge into darkness, despair, and catharsis that leaves a lingering mark on the listener. Emerging three years after Pain Remains, the band returns with a record that is simultaneously ferocious and cinematic, brutal yet hauntingly beautiful, proving once again why they are one of the most compelling extreme metal acts of the modern era. From the opening tremors of Prison of Flesh, it’s clear that this is an album that demands attention. The track begins with a suffocating heaviness, a sonic weight that presses against the listener, immediately drawing you into LORNA SHORE’s bleak, post-apocalyptic vision. The guitars cut through like shards of glass, drums hammer with relentless precision, and WILL RAMOS’ vocals range from guttural devastation to soaring, almost ethereal highs. It’s a relentless introduction, yet beneath the chaos lies a meticulous structure, a subtle orchestration that elevates the track beyond simple aggression. It’s a declaration: this is a band unafraid to confront darkness head-on. The first single, Oblivion, feels like the heart of the album. RAMOS himself describes it as a vision of humanity’s self-inflicted demise, a world of fire and ruin where hope is fleeting. The track perfectly embodies this narrative: it is apocalyptic yet intimate, massive yet personal. The blast beats and tremolo riffs create a sense of unstoppable momentum, while atmospheric layers and haunting melodies whisper moments of fragile beauty amidst the carnage. Oblivion is catharsis in sound - a terrifying, exhilarating meditation on destruction, responsibility, and the human condition. In Darkness and Unbreakable continue this journey, showing a band comfortable with contrasts. Moments of blistering intensity are juxtaposed with atmospheric interludes, giving the listener room to breathe before being thrown back into the maelstrom. In Darkness feels suffocating and oppressive, perfectly mirroring the emotional weight of the album’s themes. Unbreakable, by contrast, is a rallying cry, a glimpse of resilience amidst despair, reminding listeners that even in the darkest worlds, there are threads of defiance. The album’s middle section, with Glenwood and Lionheart, highlights LORNA SHORE’s ability to blend narrative, emotion, and sheer technical mastery. “Glenwood” builds tension with almost cinematic precision, its layers of melody and atmospheric effects creating a ghostly, haunting aura. Lionheart unleashes full-scale aggression, riffs slicing like blades over precise, punishing percussion. It’s here that the album feels most alive - a perfect balance of brutality and storytelling, demonstrating that LORNA SHORE have mastered the art of emotional extremity. Death Can Take Me and War Machine are relentless in their ferocity, but they also carry a weight beyond physical intensity. These tracks are steeped in existential reflection, questioning mortality, purpose, and human agency. The interplay of crushing riffs, rapid-fire drumming, and RAMOS’ expressive vocals evokes a sense of struggle and catharsis, drawing the listener into a shared confrontation with despair and resilience. It’s a testament to the band’s ability to craft not only technically impressive music but emotionally resonant experiences. A Nameless Hymn is a standout moment, blending melodic undercurrents with choral atmospheres that feel both mournful and transcendent. The track’s sense of scale and emotional depth is staggering, a reminder that LORNA SHORE are not just destroyers of sound, but architects of experience. The closing track, Forevermore, serves as both an elegy and a triumphant farewell. It encapsulates the album’s themes of destruction, reflection, and catharsis, leaving the listener in awe of the emotional journey they’ve just undergone. What makes I Feel The Everblack Festering Within Me extraordinary is its ability to balance extremes; brutality and beauty, despair and catharsis, chaos and precision. LORNA SHORE’s technical mastery is unquestionable, but it’s their emotional depth that truly sets this album apart. Each track feels intentional, each crescendo and silence laden with meaning, each moment crafted to evoke a visceral response. The album is a journey through darkness, but it’s also a testament to resilience, to confronting the void and finding meaning amidst the ruin. In a musical landscape where extreme metal can sometimes feel repetitive or formulaic, LORNA SHORE refuse to compromise. They challenge themselves, their listeners, and the genre itself, demanding not only attention but reflection. I Feel the Everblack Festering Within Me is not easy listening, nor should it be. It is an experience, a statement, a work of art that confronts mortality, despair, and the human spirit with unflinching honesty. This album confirms LORNA SHORE’s position at the forefront of modern extreme metal. It is ambitious, unrelenting, and emotionally resonant - a true masterpiece of the genre. For fans of intensity, complexity, and music that doesn’t shy away from the darkness, I Feel the Everblack Festering Within Me is an essential listen. Rating: 9.5/10 I Feel The Everblack Festering Within Me was released on September 12th 2025. Words: Mia Gailey Photos: Lorna Shore

The Oxford-based post-hardcore band LASTELLE has once again captivated audiences with their latest EP, Exist vol. ii. Following the success of their 2021 EP Delicate, LASTELLE continues to impress with their ability to blend atmospheric melodies with raw, emotionally charged lyrics that resonate deeply with listeners. Known for their poignant exploration of mental health struggles, LASTELLE’s new EP is a testament to their growth as artists and their commitment to addressing important themes through their music. The EP opens with the all-but title track Exist, which immediately draws listeners into the depths of the human experience. The powerful vocals of ADAM, MARK, and FREDDIE are a highlight, delivering a message that is both introspective and universal. The track captures the essence of simply going through life, existing in a world that often feels overwhelming and chaotic. It sets the tone for the EP, inviting listeners to reflect on their own journeys and the challenges they face. Tired Eyes, one of the singles released prior to the EP, is a standout track that hits like a punch in the gut. The song is filled with spiralling emotion and lyrics that resonate with anyone who has ever felt the weight of exhaustion and despair. The intensity of the music, combined with the raw honesty of the lyrics, makes Tired Eyes a powerful and moving piece that lingers in the mind long after the track ends. Bitter Roots opens with a cry for help in German, followed by a hard-hitting answer phone message that evokes a deep sense of empathy and understanding. As the song intensifies, it feels as though the listener is drowning in the moment, experiencing the overwhelming emotions that accompany a crisis. The track is a powerful exploration of vulnerability and the struggle to reach out for help, making it a poignant addition to the EP. Bitter Seeds is another emotionally charged track that delves into the depths of heartbreak and the struggles of a breakup. The song is bound to pull on heartstrings, as it resonates with anyone who has experienced the pain of losing someone important. The combination of screams and a driving drumbeat creates a sense of urgency and intensity, while the standout lyric “this misery loves company” captures the universal feeling of isolation and despair that often accompanies heartbreak. Rounding off the EP is The Silence Hurts the Most II, a ballad that explores the depths of a depressive episode and the feeling of being trapped in a cycle of despair. The track is a poignant reflection on the silence that often accompanies mental health struggles, highlighting the pain and isolation that can come with feeling so low. The emotional depth of the lyrics, combined with the haunting melody, makes The Silence Hurts the Most II a powerful and moving conclusion to the EP. Exist vol. ii is an incredible EP that showcases LASTELLE’s ability to create music that is both emotionally resonant and musically compelling. The band’s exploration of mental health themes is both timely and important, offering listeners a sense of connection and understanding. With their latest release, LASTELLE has solidified their place in the post-hardcore scene and continues to push the boundaries of what is possible with their music. Score: 8/10 Exist vol. ii was released on September 12th 2025. Words: Lisa York Photos: LASTELLE

When a band re-emerges after a long silence, expectations can be tricky to manage. For fans of JESUS ON EXTASY, the German industrial rock outfit formed in 2005, the announcement of Between Despair and Disbelief marked more than just another release - it was a statement of intent. Following a hiatus in 2014 and only sporadic activity since their 2020 return, this record is the band’s first full-length release in over a decade, and while it isn’t flawless, it is unapologetically theirs - dark, defiant, and steeped in the industrial-glam fusion that first made them a cult name. From the outset, JESUS ON EXTASY leans hard into their trademark contrasts, combining eerie synth layers and a theatricality that might, at times, feel out of step with today’s hyper-polished production. This release isn’t slick industrial rock for mainstream playlists. Instead, it’s raw and sometimes jagged, like rediscovering a demo tape that never sanded down its edges but still carries an undeniably gripping sound. That sense of imperfection may divide listeners, but it’s also what gives Between Despair and Disbelief its unique character. There’s a strong nostalgic pull here: the record echoes the late 2000s/early 2010s industrial wave that JESUS ON EXTASY once helped define, recalling a time when their tracks Assassinate Me and Neochrome marked them out as rising stars. Something Far Away, the album’s sixth track, distinctly taps into that spirit, layering pulsing beats beneath distorted guitars in a way that feels both familiar and reinvigorated. It solidifies the album’s message that this is a reaffirmation rather than a reinvention, and that JESUS ON EXTASY are here to remind listeners why they carved out their niche in the first place. A Hard Goodbye is another standout moment, forming the emotional centerpiece of the album. It’s a slow-burner that begins quietly and tentatively before spiraling into chaos, only to collapse back into silence as it fades out. It painfully captures heartbreak not as a clean wound but as a storm of grief, anger, and longing, putting into words a feeling that is all too familiar to many. The title track, Between Despair and Disbelief, is also a highlight. At just over a minute long, it strips away vocals and theatrics for a haunting instrumental interlude. Its brevity only strengthens its impact, giving you the feeling of stumbling upon something you maybe shouldn’t have found. Small touches like this show JESUS ON EXTASY know when to pull back, letting the mood they’ve set speak louder than the volume of the track. The closing track, Will It Ever Stop, leaves a lasting impression. Its electronic pulses weave over the vocals with an almost retro-futuristic shimmer, adding a strange sense of hope to an otherwise brooding record. It’s a fitting finale, looking back to the band’s origins while simultaneously glancing towards something new. Restraint is a key part of this entire album. Where many modern industrial acts chase maximalism, JESUS ON EXTASY resists that urge. Their arrangements aren’t flashy or overstuffed, with distorted riffs and electronic textures adding depth without becoming overwhelming. The result is heavy and atmospheric, without tipping too deep into chaos. That said, this record won’t win over everyone. The theatrical flourishes sometimes outpace the execution, and some may wish for tighter production closer to genre heavyweights like NINE INCH NAILS. Imperfection has, arguably, always been part of JESUS ON EXTASY’s sound though, and two decades after their inception they still thrive just left of centre, sounding defiantly underground in a scene that has grown increasingly slicker and more crowded. Between Despair and Disbelief carries the aura of music that’s discovered in the wild corners of the internet rather than being served up by modern algorithms. It’s rough around the edges, yet nostalgic and strangely comforting in its brutal honesty. More than anything, it sounds like a band reconnecting with its own DNA. It won’t convert sceptics and may not dominate 2025’s sonic landscape, but for those tuned into its frequency, this is a welcome resurrection. Score: 6/10 Between Despair and Disbelief was released on September 12th 2025, via Metropolis Records. Words: Zuzanna Pazola Photos: Jesus on Extasy

Can you imagine having to wait almost a decade for your favourite band to release an album? That's exactly what I SEE STARS fans have had to do, but that wait has finally come to an end! After taking years to put together an album before covid hit, the band decided to use the time they had due to the pandemic to scrap what they had made. Starting again to make something that really lives up to their expectations and artistic vision. The album has 14 tracks that combine genres like metalcore, electronicore, glitchcore, alt rock and pop, some sticking in their lane and others mixing them all into one. We start off with a 30 second intro called Spin It, presenting us with the familiar sound of a spinning carnival wheel, which of course leads us straight into the title track of the album, THE WHEEL. This song acts as an appetiser of sorts, introducing us to what the album really tastes like - in just two minutes it brings a range of distortion, synths, breakdowns and tempo changes, never staying the same for too long. Eliminator opens with a deep, resonant bassline that fills your ears before lead vocalist DEVIN brings in low yearning vocals, slowly building with the music before dropping. Influences come from all directions in this song, DEVIN's vocals resembling that of 90s punk and metal in some places, while other parts are smooth and buttery. The track drops into a metalcore chorus bringing together old and new sounds, elements of electronic and glitchcore all colliding brutally. The last 30 seconds of the track make you think the song is over, before pummelling the listener with one last instrumental breakdown. D4MAGE DONE brings out a more traditional metalcore side of the band, a much grander sound with melancholy tones. DEVIN once again flaunts his vocals, stretching all the way up to an F5 with ease before releasing a critical scream for the drop. The track is well rounded and full sounding, accompanied by constant drum fills that smooth out the track making every beat hit just right. The next number brings a much more spacious feel that reflects its name FLOAT, in company with a brain shaking electronic bassline. The lyrics explore the feeling of not belonging and not wanting to move, hence the name. The melody is addictive and pulls at the heartstrings as it introduces a low piano at the halfway mark, building into a distorted electronicore drop seasoned with desperate screams. Drift echoes back the anger in the opening tracks with layered vocals and a drum and bass beat then switching to a bass drum infused, hardcore beat. The recurring deep synth bass is brought back with screeching and glitching sound effects; the track is short and sharp, a packed punch in the middle of the album. are we 3ven immediately starts echoing its title as the vocals open the melody smoothly. The majority of the track is lowered a level from the rest of the album so far, but is still hard hitting and metal to its core. The bridge introduces an enchanting vocal line, piling its layers on until it finally comes crashing down. The close out reintroduces those electronic, glitching sounds from earlier tracks, bringing it full circle to give the listener a reminder of the albums purpose. The next track runs more melancholic than its previous - Flood Light has a specious feel to it, emphasised with synths and reverbed vocals. DEVIN opts to go completely melodic for this track, keeping the same vocal tone throughout, making the chorus extremely catchy and easy to follow. This track might be one that goes underrated during the release but it's a very solid number, something that even those that aren't huge metal fans could become addicted to. carry on for you instantly leans into the electronic elements with a drum and bass beat and distorted backing vocals. It's once again more sombre, almost lo-fi in some elements, the vocals low and effortless. The track offers another side unseen in the rest of the album, while still at its core portraying the band's colours. In its last minute it transforms into something even more grand, before echoing out without a huge climax that still remains satisfying. SPLIT brings back the ripping guitars and traditional rock drum tones with a thunderous bass to accompany it. The vocals descend suspensefully as DEVIN drags out his words,, before dropping into the chorus screaming “split, split, split it up” - it's easy to imagine what this might encourage a live crowd to do. The last minute of the track provides the best breakdown of the album, with a built up that distorts the senses crashing into a half time beat and bringing back those chanting lyrics, this is a must have at their live shows, the carnage that this track would cause would be momentous. The next track collaborates with an artist that many I SEE STARS fans will be familiar with in PALAYE ROYALE - having supported the band multiple times, it is very possible that their first exposure to the band was through this artist. Lost It combines their musical styles as both DEVIN and REMINGTON combine their vocal tones, singing one verse each before blending together for the last half, going back and forth and mixing DEVIN's effortless high tone and REMINGTON's low raspy growls complimenting each other. The song itself has a feeling of hope to it, encouraging and supporting fans from afar - this has everything it takes to be a fan favourite. Afterdark displays a more laid back vibe, with elements of alt rock and pop melding into one. Starting with an acoustic guitar and building into a classic rock, leading with synths and incorporating a basic piano in parts, the bass building texture slowly and adding what feel like improvised guitar riffs from BRENT ALLEN. Adding and building textures to make no two parts of the song the same, with a mellow ending that fizzles out into thin air. The second to last track Anomaly was released as a single way back in 2023 and has had its time in the spotlight ,with it being one of their biggest tracks, but it is easy to see why it was added to this album. It melds beautifully with the tones found in the rest of their album, the theme of feeling different and being lost while being a metalcore banger. If you were lucky enough like us to catch their show in London earlier this year, this song caught some of the loudest reactions in their set - it's now one of their defining tracks as an artist and deserves its spot on their first album in nine years. Curtain Call finally brings the album to its desolate end, rolling all 14 tracks into one as it explores the uncertainty of life in all its aspects. The song is longing and melancholic, with atmospheric instrumentals and layers of revered and even choirs adding to the vocals. The band describes this song as “... almost like the wheel spinning in song form - it keeps turning round and is just racing through time and emotions.” All in all, this album has been more than worth the wait, the band having been in the process of making one album and completely scrapping it to put together a real success story of an album. It both hides and showcases the bands struggles and their growth in these last nine years, whilst having a musical mastery that feels powerful, mature, and very listenable. THE WHEEL is a masterclass in making a return. Score: 10/10 THE WHEEL was released on September 12th 2025. Words: Amy Smyth Photos: I See Stars

It's been five long years since Swedish post-rock trio BARRENS released their debut album into the world, but it was immediately apparent then that they would come to haunt the scene with their gloomy, atmospheric ambience, and with their upcoming release Corpse Lights on the horizon, that truth is cemented. Corpse lights – alternatively known as will-o'-the-wisps in varying folklores – are believed by some to be a visual representation of the soul leaving the body. BARRENS have taken that tale and applied it in metaphor; through this album, they channel pieces of their collective soul into their music and release it into the world. What we find at the end of this path they lead us on is sheer mental catharsis. Light clashes with dark, space and silence intertwine before heavy brutality overtakes, all in an impressive display of potent compositional dynamics. Memory Eraser starts us off with an elongated drone that acts as the central line running through the track, the force of gravity that holds it all together. Ambient instrumental parts draw themselves towards it over the course of two and a half minutes, and this sets the scene for what we're about to witness. The Derelict picks up immediately where our opener leaves off, and MARKKU HILDÉN brings us directly into the fray of this emotional battleground with heavy, pounding drumbeats. JOHAN G. WITHER adds a recurring, subtle, guitar riff that haunts our ears, while we're introduced to electronic synth elements from KENTA JANSSON. A winding, instrumental river, the track takes us on as many twists and turns as possible – for one minute, it's an incredibly intense display of drumwork, and for the next, soul-stirring melodies take the spotlight. Sorrowed is built on an earworm of a riff that becomes increasingly harder to shake from our minds, even when percussion and synth elements are the central focus. Despite being one of the longer tracks on this release with its almost eight minute runtime, the band retains a dynamic progression that keeps us firmly invested until the passionate, frenetic culmination in its final minute. While this one drew us into the darkness, Periastron follows as the antithesis – it can only be described as a beautiful array of light. An ever-rising sun glows bright over a desolate landscape, and we know what it's like to feel hope again. Apastron leads us with slow, deliberate guitar strums, giving us a short moment for quiet reflection that is much needed in the anticipation of what comes next. Right out the gate, No Light lives up to its name – we're assaulted by a thick slab of sound, surrounding us with a visceral edge that feels raw and bloody. Collapsar, the following track, carries shades of AKIRA YAMAOKA, incredibly reminiscent of his work on the Silent Hill series. There's an element of darkwave that lurks in the peripheral of this piece, while occasional twinkles of percussion shine through the dense fog, all contributing to the emotional turmoil permeating the ambient passages. The penultimate track Remnants is a much-needed respite, a PHILIP GLASS-esque spectral melody that lurks in quiet minimalism, infused with a meditative gentle sorrow. Both sides of the spectrum exist in BARRENS – sheer, vigorous intensity, and calm serenity. A Nothing Expands is the ultimate climax as the album reaches its end – this is a track that combines various elements throughout this release and blends them into the zenith of it all. The synth-driven elements ring out with their light-in-the-dark tones, and grimy guitar fights the rolling and perpetual beat of drums as we witness the final wisp of the band's collective soul dissipate in the air. Corpse Lights is an album that has been a long time coming – BARRENS have clearly spent that time honing their talent, and refining their instrumental abilities, because it's extremely evident in this release. They strike a fine balance; each track carries its own, distinct atmosphere, while none feel out of place as part of the whole. Shadows and light are forces constantly at war with one another, and that concept is realised fully through the fluidity of their ambient scores. It may be another long while until BARRENS return, but if the result is anywhere near this level of quality, it will be worth it. Score: 9/10 Corpse Lights was released on September 12th 2025 via Pelagic Records. Words: Naomi Colliar Duff Photos: Barrens

For hardcore, it begins and ends with the scene. For Out Of Rage, a magazine deep-rooted in the hardcore identity, Liverpool’s No Play was the perfect finale to the festival season. The Scouse promotion has ensured that heavy music has had a home on the Mersey all year round, but in Port City, last weekend’s festivities were the cherry on top of it all, in their own terms the Liver Bird on top of the Royal Liver Building, or even the Mohamed Salah on the Liverpool FC starting formation. No Play is yet another source of the cities musical pride, spurred on by John, Paul, Ringo and George and spin kicked into the present with unmatched brutality. A day of phenomenal talent with local acts front and center, with Hardcore was the beating pulse of the proceedings, but there was also the opportunity to crowdkill punters in the pit as far into the genres of thrash, rock and jazz. As chaotic as the karaoke-fueled hen parties that take over the city's nightlife, across five stages, Liverpool was heavy and at its best. Headlined by the iconic GUILT TRIP, here are the bands we saw at No Play 2025: DEMEANOUR “Protect scouse dolls” is printed on DEMEANOUR vocalist Izabel Lavin’s shirt. Starting as she means to go on, she uses the set to scream about the issues that she believes in, gathering her thoughts about supporting the local scene and making hardcore more accessible to women and non-binary people between songs. From Birkenhead, DEMEANOUR bring furious riffs that ooze with groove, demanding the crowd's attention front and center. As the opening band for the main stage, they set the tone for the shred that would continue to devastate for the rest of the day. RUST Canada was represented across the pond with Ontario hardcore outfit RUST. Bringing the grit, the band represented everything great about North American hardcore. Fast-paced, formulaic riffs, both technical and relentless, fill the foundations of their sound, which is so hellbent on starting fires. Amongst it all, vocalist Mike Parsram would acclimatise themselves to the Arts stage with both low monstrous growls and high intensity screeches. Surprisingly, they feature low on the bill and early in the day, but this does not mean that they can’t put on a good show. ROZEMARY Since the release of their latest EP, The Lies They Made Me Believe, ROZEMARY has been having a breakthrough. Affectionately self-dubbed “baddiecore”, they shift between the nostalgic side of screamo and the darker end of shoegaze to make peace with their pain. The result is surprisingly danceable, sending the tiny EBGB’s pit into a frenzy. Playing their EP in full, with a triumphant rendition of KILLSWITCH ENGAGE’s My Curse sandwiched in the middle, the No Play regulars do not disappoint. XAPOTHECARYX UK hardcore’s most outspoken exports XAPOTHECARYX made their mark with the most abrasive crowd of the day. Ripping the pit apart and leaving no survivors, they command the stage with their shutdown statements on veganism and the state of the world. For a set so short, it certainly packed a punch. This trip up north for the Southern Collective was beautifully brutal and dazzling to watch. PERP WALK Welcome to the sickening world of Bristol hardcore outfit PERP WALK. Engrossed in sludge, festering with caveman riffs and often leaving no survivors, the boundary between band and its audience did not exist during this set, as vocalist Pious Paul, saunters shirtless across the mainstage pit. With each track that permeates the Art’s Club, his words echo with pain and respiration. His path to righteousness manifests in the people he meets, the sermon’s he preaches and the lives touched by the revolting tonality created by his bandmates. OVERPOWER Sieged with harsh vocals and overflowing with cascading guitar riffs, Bristol bruiserweights OVERPOWER have all the charm and romance of the golden age of thrash, with the unpredictability and danger of the UK heavy underground. Whilst they have been previously known to cause a ruckus in chainmail, the pit prevailed with unrivaled camaraderie and chivalrous homage to the shred. OVERPOWER are a force- come hell or high water- that are fierce and should not be underestimated. KNIVES A jazz interlude from gert lush Bristolians KNIVES. Born in chaos and forged in the hellfires of unpredictability, this close-knit collective have welded punk with the need for the experimental, tempoed to political sensibilities. Two saxophone players lead the romp in the cramped EBGB’s basement, as it soon becomes a rage room of pent up emotions, with all six members giving every ounce of energy they had on the tiniest stage possible. KNIVES are a band that commands every golden moment of the independent scene, and matched with Atlanta firecrackers THE CALLOUS DAOBOYS on tour next year, anything is dangerously possible. GUILT TRIP You’ve heard it right - Manchester’s GUILT TRIP headlined a Liverpool hardcore festival. As the smoke filled haze fills the Art’s Club room, the ongoing rivalry between the two warring cities met a triumphant end. Headlining Torquay’s Burn It Down the week previously, the northern crowds matched the intense hardcore hostility with pits that decimated and swallowed the crowd alive. A frantic and turbulent spinkicking sea raged on through openers Fallen At My Feet, Surrounded by Pain and Sweet Dreams. Celebrating their latest album Severance in all its wicked brutality, the set decimated with Tearing Your Life Away and demanded your attention with Eyes Wide Shut. The hardcore heavyweights did not have anything here to prove, but further cemented their domination on the UK circuit. Where brotherhood bands such as MALEVOLENCE have arguably pulled away from their hardcore roots to be an international pariah of shred, it's safe to say that GUILT TRIP have been handed the iron torch. With it, a deep understanding of the underground scene and its devastating roster of intense and brutal bands that make the UK so heavy and hostile. With hardcore, there is no other way. Words: Amber Brooks Photos: Libby Percival

Tucked inside The Grove, a tiny venue in Nottingham, the night begins with the four piece punk band, Sourflake. Coming with them to the stage, comes copious amounts of energy and zeal, their sound infusing old school metal riffs, a pulpy rockabilly edge and plenty of classic punk beats and attitude. The vocals are clear and strong, the singer throwing politicised lyrics at us, mixing it up with punchy rap/poetry. The band purvey a very cool air of nonchalance and there is a relaxed synergy between them. As they draw on this steady well of communal energy, it pulses out through their music and into the room, getting the crowd jolting back and forth. The band are tight and the sound has a lot more soul than comes across in their recordings. The audience are thoroughly enjoying what they catch of the lyrics, there's plenty of staunch leftist politics, of course, combined with lots of humour. Towards the end of their set, they pump up the vibe with some more witty lyrics and do a take on Skepta’s ‘Too many man’. Here, the singer is talking out into the room, and the scene as a whole, shouting in time with the original tune, ‘I wanna feel safe in here!’, and speaking truth to power, the room is about 90% men despite the mixed line up. Go Sourflake! Death Pill Up next is local band, Lindow Moss, and a real change in tempo and style as we get into some very grimy blackened punk metal. The lead guitar does some almighty shredding and we get thrown with some powerful tempos. In an impressive array of movements around the restricted space on stage, the vocalist’s guttural shrieks pull us down into the depths of black metal. Between the blasts, we get some really nice big drum sounds, clashing and lo-fi effects with monumental guitar riffs, which border on a thrashy old-school metal vibe, giving a lot of depth and the desire to throw yourself in the pit. The band seem to be having a lot of fun, belting out their heavy rabble, and the venue, The Grove, has an excellent grasp on the sound engineering so we can really hear the intricacies of what they are playing. When they do slow down, briefly, they have the crowd enthusiastically nodding right down from their waists. Gnarly as hell, Lindow Moss really rep’s the local scene and gives the line up a shake. Before explaining anything, the headliners, Death Pill, blast off hard, and the main singers furiously animated face, whites of eyes prominent, carves an imposing figure, screaming and growling at us with a hardcore banger. Throughout the set, they give the audience plenty of range, so we can all find our groove, from blast beats to low and heavy bass lines and then back to jumped up punk beats. Flipping between the gruff roars, high pitched yelling and a soft singing, there's so much variety here in the vocals, all delivered with a refreshing edge full of riot girl flavored punk that we just don’t get to see enough of anymore. Death Pill When we shift to a doom laden track, it creeps up to us before descending into a vaudevillian gothic wave, with a wash of Tom Waites. The singing comes in eerily sweet and it feels like a sludgey magic spell being cast over the room. As it continues, Death Pill begin to dismantle the song, reconstituting it into an epic proggy instrumental. The finale pulls on more of this saccharine gothism before imploding into a deathcore anthem. When Death Pill joined the stage at the start, they hung their Ukrainian flag, pride of place behind them, as well as decorating the mic stands and drums with small bouquets. It’s an important symbol that unifies the three women on stage, divided by a brutal, unjust war. Though they are keen to share how their music talks about all aspects of life, war and the Russian occupation, is of course front and centre. They share poignant reminders with us about the reality they are forced to live with. Where many friends they used to hang out with in the vibrant Kyiv music scene, watch gigs with, much like we are luxuriating in that very moment, are on the front line defending their freedom, frequently with their lives. An unavoidably real, but essential turn for us, blissfully ignorant in this small, safe, city venue. Things can change in an instant. Words: Alana Madden Photos: Oz Davy

The Hirs Collective UK tour was an impressive explosion of noise, passion and communal activism. At the Manchester show, the Merseyside two piece, Victim Unit, opened, dedicating their performance to survivors of sexual assault, of which the singer bravely identifies themselves as one. The set is emotional and the vocalist, Lotta, creates a powerfully charged performance, setting the tone for the night. Hard and fast electronic drums, overlaid with the guitarist’s, Danny, heavy industrial chugs, keep the background rolling whilst the singer lets rip. From the stage to the floor, Lotta roams, making the most of a never ending mic lead. Though Victim Unit’s whole vibe is emotive intensity, half way through their set they crank it up a notch when Lotta performs a heart wrenching scene, with the passion of a cante Flamenco singer, falling to the floor amongst our feet and writhing with a pain that we, the audience, can’t politely ignore. Feeling torn between discomfort and empathy, it was a startling, and very moving, beginning to the night. The London based, Death Goals, follows next. Another impressive two piece who knock us sideways with their performance, but not without an emphasis on ‘moshing with kindness’, inclusivity and love, alongside, fighting the long arm of fascism: ‘We are two queer people making music for queer people, in a world, in a scene that often doesn’t want us to be within it….We look out for each other, fascism is at our fucking door, so unity, compassion and basic fucking respect for all of us. Agreed?’, agreed! But the desire to lose your shit is completely understandable and when Death Goals kick off, they shoot us into orbit, pummeling us with the queercore banger, ‘Even A Worm Can Turn’. Slamming through the guitar lines whilst simultaneously flipping between screams and death growls, Harry makes this multitasking seem as effortless as each hair flick. The drummer, George, blasts his kit with so much ferocity and speed, it's only missing a protein shake to maximise the gains. The songs bleed into one another and in those intermediary spaces, the percussion rises into a shimmer of sound, creating a sort of deathcore sound bath. Expressing something of the overwhelming, and universally vehement feelings of grief, they introduce ‘COVO’, a song full of grinding overdrive and symbol crashing. Watching Death Goals perform, is as exhilarating as standing on a platform whilst a high speed train passes right in front of you, and when they hit a breakdown, a groove, or some words of empowerment celebrating us as outsiders, we can just soak it up, before hurtling back into that bullet train of sound. The final performance from Hirs Collective is a fever dream; visceral, physical, dynamic and spontaneous, whilst simultaneously delivering a performance of practiced finesse. DIY means doing things the hard and the long way, easily separating the posers from the pioneers. The Collective’s dogmatic anti-capitalist approach pours out through their live music, loyally touring local venues, self-managed and self-produced. This Collective is about truly living it. Before we swan dive straight in, we are told ‘Lets have fun! The human body is the fucking worst thing to be in, but we are all in one, and so lets enjoy!’, and for this brief 40 min set, we do. It inhabits our bodies as a spectrum of energy, being shaped and shifted by the Hirs presence, with their selection of the rawest and fastest blast beats and hyper distortion. It is at times almost unlistenable, in the most addictively listenable way. The only option is to throw yourself in and release some more. Separating the idea of art from palatability and pretension, Hirs Collective, are giving us the kind of un-boundaried expression that most of the creative industries only pretend to understand. The use of campy, femme, anthemic pop and disco samples between their dissonant blasting, feels joyful and frivolous, but for sure, potent and direct. Remember when Donnie Darko used that Tears for Fears cover? Like that, but way better, and here, they are drawing on a deeper purpose, whilst also injecting some fun, booty-shaking moments to enjoy. Though de-individualism is a key component in the Collective ethos, when watching them on stage, it's hard not to be enraptured by vocalist Jenna’s rabid growls and shrieks pulling you into her unrestrained aura. In the Hirs back catalogue, Jenna’s vocals are completely woven through with many many collaborators and members of the Collective, including, Shirly Manson, Melt Banana and Moor Mother. But live, you can’t not be impressed by how she carries the music with supernova energy and hardcore punk spirit. The audience are given a brief warning of one more song which we barely take in, until the end, with an abrupt finish and a polite ‘Thank You’, taking a few minutes to accept. We leave feeling the importance of inhabiting space that feeds your soul, rather than devouring it. Words: Alana Madden Photos: Klaudia Skalska

Mere days before London’s tube strikes made attending gigs into expeditions made by only the hardiest of fans, one lucky writer was sent across London to watch the ecstatic black metal band AGRICULTURE. The four-piece write queer Zen Buddhist black metal that can alternately groove like sludge metal, freeze like Norwegian second wave black metal, or coax you into a sobbing mess of emotions in a way that feels truly special. Playing upstairs at Oslo, in Hackney, the Los Angeles based band were supported by MACHUKHA, an act based in Berlin with members from all across Europe. Their half hour opening slot could be very rudimentarily described as an onslaught of blackened hardcore, entwined with haunting atmosphere and poetry, but this wouldn’t do it due justice. They began shrouded in darkness, staying that way for most of their set apart from a few ominous red lights throughout, and rapidly pushed the sonic intensity from 0 all the way to 100 - their incandescence rose through the mix and reached out into the audience, each iota of rage, anguish and sorrow dragging every onlooker further into the confines of their clutches. As the set went on, you were never quite sure whether it was all one big song, a few tracks, or a number of cut up sections, but they rode the wave and we merely accompanied them through the deeply unsettling atmosphere of their quieter moments, into the hypnotic grooves of the latter part of the set, before more furious, inhuman howls were released as they worked towards their finale. MACHUKHA were uncomfortable, piercing, and deeply, invariably human. After a phenomenal supporting slot, the pressure was on for AGRICULTURE to match the raw power of their well-chosen openers. Not only did they do that, they took it further - emotion poured from them, seeping into every vulnerable crack in each audience member’s armour and working to free any baggage. The majesty of The Glory Of The Ocean was overwhelming in all its MASTODON and BARONESS-like heft, whilst newer tracks Bodhidharma and The Weight threatened to wrench open the collective third eye of everybody in attendance. However, without a doubt the most powerful and poignant moment of the whole night was their final track, Living Is Easy. As the guitar starts to begin the song, the melancholic, bittersweet melody washes across the room, bringing people to tears in an instant - before bassist and vocalist LEAH LEVINSON’s raucous screams sear into being, adding a dosage of abrasion that somehow still only makes it all the more beautiful. As the final notes rang out through the venue, there came an eruption of applause whilst the band packed themselves down. The entire evening was shot with emotive weight, whether from the Ukrainian poetry in the middle of MACHUKHA’s set or AGRICULTURE’s soulful songwriting. Each band has found a style that not only suits them down to the ground, but also connects incredibly powerfully to an audience, regardless of whether it’s their first time hearing the music or the twentieth. As they continue around Europe, we can only hope that these two astounding acts return to our shores in the very near future. Words: Jasmine Longhurst Photos: Atoosa Salamat

The word 'experimental' has always been the most fitting way to describe a band like TALLAH. They exist outside the boundaries and constraints of genre, blending elements of nu-metal and hardcore in a multi-flavoured cocktail, adding drops of trap metal and high-strung intensity into the mix along the way. They made their mark with their debut five years ago, and are back for their third release with tenfold energy, unhinged and unstoppable. Their new album Primeval: Obsession // Detachment is TALLAH at their most original. The story the band takes us on with this release is set in a strange, alien place – the far reaches of the universe. The lives of two star-crossed strangers intertwine here; Ana, a nurse, and Sheelah, an assassin. Polar opposites in mercy and brutality, who are approached by a cabal of cloaked beings who give them both a task – one that will push their morals to the limit. The astral clock reads 05:01, and our story begins. An alien vocalisation leads us into the atmosphere with this short establishing track, and before we know it, the build-up brings us to the final seconds, the lyrics a clean transition to the next track – What we know. This is one that lets us know exactly what to expect with this record – the unexpected. Unbound and unchained, TALLAH put no creative boxes in place for this production, and it shows. Heavy distortion echoes throughout the track, with the rhythmic clashing of drums meeting the subtle groove of the bassline and the quiet acoustic elements hidden beneath the layers of production. JUSTIN BONITZ takes us on a journey through this strange landscape with his unique vocal style – he goes from the deep growls of hardcore to nu-metal rap verses in a matter of mere seconds. augmented channels pure aggression with intense guitars from ALEX SNOWDEN and DERRICK SCHNEIDER, and rolling drums from JOEL MCDONALD, while the contributions of bass player MAX PORTNOY are a little more understated – though still a strong backbone for the track. This is a track infused with a razor-sharp edge, and as fate undoes follows it perfectly. It's raw, heavy, and refuses to grant us a single moment to breathe up until the final segments, when the hardcore elements give way to a short, yet beautiful string segment. We're only three tracks in, and already the production on this album is incredibly impressive. A standout in this album is A primeval detachment – almost the title track, if you switched some words out. This is where TALLAH are at their most hardcore. A steady tick leads us to expect a slow build-up, but out of nowhere we're assaulted by a wall of clashing drums, electric riffs, and guttural screams. This track contains multitudes – groovy basslines, LINKIN PARK-style vocals that cut between singing and screaming every other second, and a violent breakdown followed by taut, tension-filled strings that wouldn't be out of place in a horror movie trailer. undone by fate comes after, dynamic and heavy, hitting both sides of the sliding spectrum and never truly settling on a tone. Over the course of five minutes, we're treated to not just filthy riffs and grimy backing bass, but rapid-fire nu-metal vocals we can barely keep up with, and an esoteric instrumental segment that feels like it's played in reverse, disguising some secret message – it wouldn't be unheard of for a band like this. what we want is the penultimate track in this release, though in practicality it acts as the closer. In title it mirrors What we know, through both the journey of our dual protagonists, and through the melodies it echoes from the past. When we reach the halfway mark, the almost-unheard acoustic elements from the aforementioned track now take centre-stage. It's an unexpected respite from the intensity that's permeated this release, but before long the calm is shattered – BONITZ's vocals ramp up in volume, pitch, and sheer rawness, all building to the final conclusion when the numbers tick over to 07:09. An eerie instrumental worms its way into our ears, and as the dust settles from all that's transpired, we're met with a return of the vocalisations from our establishing track. A foreign soundscape brings together elements from all throughout this record, and leaves us with an almost uncomfortable melody as we fade out to oblivion. Primeval: Obsession // Detachment is TALLAH at their best. Their hybrid sound is a beacon of unbridled creativity and unchained aggression – still, any classification of their genre eludes us, but the esoteric concoction of elements they've brought together is evidence of their talent. This record may take us on an expedition into the far reaches of space, but despite the astronomical journey, it remains distinctly, and uniquely human. Score: 9/10 Primeval: Obsession // Detachment was released on September 5th 2025 via Earache Records. Words: Naomi Colliar Duff Photos: Tallah

French nu-metalcore/deathcore bruisers TEN56. have just released their sophomore album IO, which comes two years after their last mighty album Downer. With a growing fan base and such success with their first album, TEN56. knew they had to go hard on this latest release. Starting the album off with Doormat, within seconds of hearing AARON MATTS’ scream into the mic you can’t help but start tapping your feet, but once the breakdown hits it's all that much more - you could listen to this in your office and still feel like you're in the middle of a moshpit! The song ends, and it's clear already that IO is going to be much darker than Downer, which can only be a good thing. We move on to Pig and Snapped Neck, and already the energy is palpably increasing - this is serious gym playlist material. The harsh vocals paired with the hellish riffs make for an unholy symphony of pure unbridled rage - which is, naturally, meant in the best way possible. The melodic clean vocals blending with the brutal intensity highlight both the anger and vulnerability of the album, and we most definitely want to hear more. After all that, it felt like a certainty more screaming would be on the cards, but instead LIFEISACHORE.MOV started playing, where you'll clock very quickly that it’s an ode to 90s/00s hip hop skits, as confirmed by MATTS himself. Even though it's completely out of left field, it fits surprisingly well into the landscape of the album and is, frankly, a really enjoyable moment! Before you get too comfy listening to infomercials, we’re taken straight back to the heaviness of gutturals with I Know Where You Sleep - it’s only a minute and a half long, but will have you wanting to grab a neighbour and form a circle pit in your living room. Good Morning blends effortlessly with the previous track, and is possibly the one song here that everyone needs to hear live, as it’s the perfect song to grab the metalcore fan next to you and make a new lifelong friend to, whilst moshing with each other. We then move on to Earwig which functions as a feral collapse of tension with unrelenting riffs and socially critical lyrics, that expose toxic behaviours of people who like living vicariously off other people’s issues and enjoy revelling in drama as explained by MATTS. The next track ICU captures desperation and defiance, gift-wrapped in heavy grooves and a rhythm that just won’t yield. Just like Good Morning, ICU has all the makings of a song that needs to be performed live. This song dives deep into personal struggles and trauma, and will no doubt resonate with plenty of fans. The title track has MATTS change the pace up, with a soft spoken rap at the beginning and clean vocals letting you know that the journey we've experienced together is coming to an end. Changing genres up right at the end comes as a pleasant surprise, slowing the pace like the cool down of a workout. It ends the story with self revelation and reflection. IO offers the listener a journey into the depths of MATTS' mind during the writing of this album. This album delivers a sound that fans of TEN56. will know and love, whilst simultaneously opening the doors to new fans who enjoy mixing genres and sounds as a way of inclusion. Anyone, no matter their favourite genre, will find a song on this album that they can relate to. There is a diverse mix of nu-metal, deathcore and rap, that covers a broad set of topics under the theme of mental health and struggles, which will find a real place to reside within the TEN56. fanbase. Score: 9/10 IO was released on September 5th 2025 via Out of Line Records. Words: Dollie Himuyandi Photos: ten56.