For over ten years, Norwegian-Swedish collective ORSAK:OSLO has been honing their craft, delivering progressive post-rock and psych-rock to a dedicated underground fanbase. New album Silt and Static sees them pushing further forward into the bright unknown, with eight tracks that sprawl across genres and capture them at their rawest. Silt and Static is not a concept album; there is no designated through-line within the tracks. The conception was completely natural, recorded spontaneously onto a rolling tape - and yet just like nature, the tracks weave together to create an ecosystem where harmony and dissonance are equally respected. In some places it blooms, in clean riffs and the steady-beating heart of the drum, and in others it wilts, in atonal fuzz and industrial clatter - but each decision feels purposeful. It would be easy for a collection of songs recorded at whim to lose steam along the way, but each track ebbs and flows exactly when it needs to. Opening track 082 Biting In demonstrates this masterfully, building slowly off of a simple distorted riff and hi-hat introduction until the track is densely populated. Around the halfway mark it ebbs again, teasing another riff until everything swells once more. It feels like turning a corner to see a breath-taking mountain scene in the distance, and feeling full of hope that you might one day climb it. That hope is far from the last emotion this album is likely to pull from the listener. With no clear roadmap for the tracks as they were being recorded, what emerged is something that the band describes as their “most honest and emotionally charged record to date”. We see this in the somber and bleak soundscape on 087 Resonance In Ash, where a simple guitar line pulls us heavily through a third of the runtime, interrupted only then by the intermittent drum roll akin to that of a marching band. It’s a track that wouldn’t be amiss on a post-hardcore album, if there was a vocalist around to lend their screeching voice over the top. It sounds like a funeral. As the track inches closer to the end, the guitars build and the drums erupt, cymbals crashing into anger and tumbling into rage. It’s beautiful, and it’s impossible not to feel full of grief as the final guitar notes ring out. In other places on the album, their psychedelic influences simmer further to the top. Single 083 Petals mixes a pure noughties-rock riff with a shimmering, distorted wall of noise. The droning guitar lines and subtle reverb make it hard not to sway along through the 7-minute run time. That reverb is back on closing track 090 Time Leak, though it’s more subtle here when paired with the blues-y rhythm section. Whilst not a show-stopping end to the album, its simplicity in comparison to the rest of the album is a nice tie-off for the grand and expansive soundscapes on show here. Silt and Static is a journey through genres, all masterfully deployed by the O:O collective in some of their greatest and most thoughtful work to date – a feat considering the spontaneity of it all. Whether you enjoy wordless world-building, or music that challenges you to feel something, listening to Silt and Static is an excellent way to spend an hour of your time. Score: 9/10 Silt and Static was released on September 5th 2025 via Vinter Records. Words: Ellen Lovell Photos: Orsak:Oslo

In February of 2021, DINOSAUR PILE-UP’s lead singer MATT BIGLAND made an Instagram post. Over ten slides, he detailed his decline in health since the recording and release of the band’s 2019 album Celebrity Mansion, discussing his battle with Crohns disease and the stress that lead up to it. It was clear to just about everyone – BIGLAND included – that DINOSAUR PILE-UP would be taking a backseat for a little while. Many fans wondered if they would ever be back at all. Fast forward four and a half years, and we finally have our answer. Hot on the heels of their triumphant fifth album I’ve Felt Better, DINOSAUR PILE-UP embark on their first full UK tour since that Instagram post, joined by SNAKE EYES and THE XCERTS. The first stop on the tour is XOYO in Birmingham, a lively venue with a rooftop bar in the centre of the city, in the heart of lively (and heavily grafitti’d) Digbeth. Opening the show are Brighton natives SNAKE EYES, emerging to a room with only a smattering of early-comers – but you wouldn’t know that from the performance they put on. The two-piece are full of energy from the very start, blasting their scuzzy grunge tunes with giant grins on their faces the whole time. Charisma bleeds out of them, and they have the crowd of eager Brummies eating out of their palms in no time. They squeeze a lot into their short set; an instrument swap, a journey into the crowd for the drummer, a plug for their debut album Cash Rich due at the end of January, and a smattering of political statements and reminders to love yourself. They’re a whirlwind of fun, and there’s no doubt that they picked up a few fans in the crowd who’ll be eager to catch them on tour again sometime soon. In a stark contrast, scene veterans THE XCERTS bring the mood down. Lit up in dark blue lights, lead vocalist and guitarist MURRAY MACLEOD hides behind a floppy curtain of hair, not speaking a word to the crowd until they’ve eaten through almost half of their set. The trio sound excellent together, which is to be expected after almost a quarter of a century spent sharing a stage, but only once they start to engage the crowd do they really begin to come alive. “Birmingham is cursed for us”, MACLEOD grins out into the crowd, letting us hear his thick Scottish accent for the first time. “For about five years straight, every time we played here a guy would shout ‘BIFFY CLYRO’ at us.” Naturally, the crowd took this as a challenge, and the band laughed into their next track. Later, MACLEOD thanks the headliners for inviting them to play on their tour after knowing each other since 2012. “We were talking before the show. None of us can decide if it’s incredible that our bands have survived this long, or if it’s a little bit pathetic.” By the reception of the crowd, it’s fairly safe to say that it’s the former. By the time DINOSAUR PILE-UP are ready to come on stage, the crowd is biting at the bit to see them. It’s been four years since they were in the city, and every elder emo within a thirty mile radius has shown up to welcome them back. ‘Bought To Lose It, the opener on the band’s brand new album I’ve Felt Better is the first song on the setlist, and it’s immediately apparent how well-suited their particular brand of grunge-tinged pop punk is to a live setting. Despite the album only having been out for a few weeks, the crowd sing every word back to them. Fan favourite Peninsula sees the first crowd-surfers of the night, but the moshpits in the middle of the venue never seem to stop. The band mirror that energy on the stage, looking every bit as pleased to be there as the fans are. The setlist bounces between new tracks and old, but the energy never falters – even DINOSAUR PILE-UP’s more melancholy songs (Love’s The Worst, I Don’t Love Nothing And Nothing Loves Me) have enough gas in the tank to keep the buzz of the crowd high. When BIGLAND addresses the crowd, it’s to express his gratitude to be able to continue performing like this, and the cheering from the audience makes it clear that this sentiment is shared. Right through to the three-song encore, it’s clear that everyone in the venue is exactly where they want to be. Crowdsurfers sail towards the barrier, fans scream-sing every word, and the band plays like they’re hyper-aware that this was almost all taken away from them. When the houselights come up, one thing is clear; there isn’t a person in the house who isn’t grateful that they’re back. Words: Ellen Lovell Photos: Izzy Sheldon

Burn It Down Festival is where music becomes physical, emotional, and unavoidable. Over two intense days, Torquay’s intimate venues and salty seaside air transformed into a crucible of sound: guitars slicing like knives, drums rattling through floors and chests, and vocals screaming with both fury and precision. This isn’t a festival for casual listening — every breakdown, tempo shift, and dynamic change is designed to move the audience, bodies and hearts alike. From fragile shoegaze introspection to full-scale hardcore chaos, Burn It Down 2025 was a masterclass in tension, release, and raw energy. The festival thrives on contrast. Early acts draw the audience in with quiet tension and melodic nuance, mid-tier bands ignite the pit with controlled chaos, and headliners manipulate dynamics and pacing to orchestrate full-blown catharsis. Every song, every riff, every pause is a tactical choice, transforming the weekend into a living, breathing organism — unpredictable, immersive, and unrelenting. UNINVITED Uninvited opened at Apple & Parrot with “Fallen At My Feet,” establishing a jagged, urgent tone. Guitars cut sharply across the room while vocals shifted from hushed intimacy to raw intensity, pulling the audience into every phrase. “Surrounded By Pain” layered syncopated drums and dissonant riffs, provoking movement in the pit even early in the day. Their closing track, “Uninvited,” built tension and released it in a final explosive chorus, demonstrating their mastery of dynamics and emotional pacing. Even as a first act, they commanded attention through tactical use of rhythm, melody, and controlled chaos. SPLIT CHAIN Spilt Chain followed at The Foundry with industrial-infused hardcore that felt like controlled anarchy. Opening with “God Complex,” mechanical riffs and pounding drums built a tense, relentless energy. “Knives” unleashed abrupt tempo shifts and precise breakdowns, pushing the pit into full-scale chaos. The finale, “Split Chain,” combined tremolo-picked riffs with harsh vocal stabs, creating a physically immersive wall of sound. Every note and rhythmic accent was engineered to move the crowd, making the band’s technical aggression feel both intentional and kinetic. GLARE Glare’s performance leaned into contrast and suspense. “Tropic Gold” began with atmospheric, reverb-drenched guitars, pulling the audience into quiet tension. The sudden eruption mid-song into shrieking vocals and jagged riffs provoked a surge of movement in the pit. Later, “Split Chain” introduced angular rhythms and off-beat accents, keeping listeners off balance. Their strategic use of dynamics, silence, and sudden release transformed each song into a visceral journey, eliciting both awe and exhilaration from the crowd. Static Dress Static Dress closed Friday in full force with Rouge Carpet Disaster. Opening with “Fallen At My Feet,” melodic clean vocals layered over distorted screams, creating spatial tension. “Sweet Dreams” showcased syncopated riffs and polyrhythmic drums, while “Uninvited” featured perfectly timed breakdowns that ignited the pit. Throughout their set, the band manipulated dynamics, pauses, and vocal phrasing to guide the audience through highs, lows, and cathartic release. By the final note, the room was a unified organism of sweat, sound, and exhilaration — a textbook example of musical strategy meeting raw emotional power. SLUNG Saturday morning began with Slung’s dreamy shoegaze. “Graywave” shimmered with delay-heavy riffs, drawing the audience into a reflective, almost hypnotic state. Later, “Slung” built to a cathartic, harmonized chorus with subtle tempo shifts, creating tension-and-release that primed the crowd for the weekend’s heavier acts. The set’s quiet dynamics and textural layering offered a brief, meditative counterpoint to the preceding chaos. MOUTH CULTURE Mouth Culture combined emo sensitivity with hardcore punch. “Bruise Control” started with clean chords and measured vocal phrasing, building tension gradually. “Feed the Rhino” unleashed distorted riffs and dynamic breakdowns, while “Mouth Culture” layered melodic choruses over punishing intensity. The audience moved and screamed in perfect response to each calculated moment, proving the band’s mastery over emotional pacing and physical engagement. BLOOD COMMAND Blood Command’s set fused hooks with controlled chaos. Opening with “Still in Love,” playful melodies masked underlying rhythmic aggression. In “Throwaway Scene,” call-and-response vocals and precisely timed breakdowns drew the crowd into frenzied interaction. “Xile” closed the set with tempo shifts and layered dynamics, balancing euphoria and disorder. Every song displayed careful planning, showing how tactical musical design can generate communal excitement and pit mayhem simultaneously. GUILT TRIP Guilt Trip’s metallic hardcore exploded with “Bind,” immediately removing the barrier between band and audience. “Break Fifty” pushed the crowd with syncopated riffs and off-beat accents, while “Native James” ended their set with brutal breakdowns and calculated tempo shifts. Through rhythm, dynamics, and vocal timing, the band orchestrated an immersive chaos that left the audience both exhausted and exhilarated. CANCER BATS Closing Saturday, Cancer Bats commanded with a masterclass in dynamics and pit control. “Fallen At My Feet” opened with swampy riffs, followed by “Surrounded By Pain,” blending punk stabs and syncopated grooves. The climactic “Uninvited” drove the pit into full-scale frenzy. Strategic pauses before breakdowns and deliberate vocal phrasing manipulated anticipation and energy, creating a shared, euphoric chaos that left the festival on an emotional high. Burn It Down Festival 2025 proved that musical tactics matter as much as raw energy. From Uninvited’s tension-and-release mastery to Guilt Trip’s rhythmic chaos, and Static Dress and Cancer Bats’ dynamic orchestration, every setlist was designed to move the audience both emotionally and physically. Two days of controlled pandemonium confirmed why this festival is one of the UK’s most vital underground showcases, where music isn’t just played — it’s engineered, felt, and survived. Words: Mia Gailey Photos: Ollie Hayman

SCENE QUEEN returned to London with their biggest headliner show yet. Taking over the iconic O2 Forum Kentish Town with a femme dominated night, the set was more vibrant, more pink and more queer than ever, and the audience matched the vibes flawlessly. Supported by the British band’s GIRLI and LAKE MALICE, the night was set off with good atmosphere from the beginning. Before the doors opened, many fans were already waiting outside, and apart from the extensive general admission queue, the accessibility queue was the second biggest one, which only confirms the inclusivity of all three performers. The security at the venue was also very helpful and accommodated fans, who were in need of seats in a quick manner, ensuring they felt comfortable and safe. LAKE MALICE opened the night with their energetic set full of ALICE GUALA’s raw vocals and BLAKE CORNWALL’s riffs and they absolutely nailed it. Being accompanied by EMILY AINGER on drums, the songs were energetic, aggressive and emotional, with many bearing personal significance to ALICE. Inspired by anime music, the songs often featured electronic elements, that only elevated the listening experience. Crowd knew the songs from the start, and it was no surprise they sang every word with no issue and even started moshpits during their set. While the staging was simple, ALICE’s big presence and BLAKEs high jumps took over, making it feel like more than just lights. The main support of the night was the London-based GIRLI. Bringing in her bubblegum pop-punk rap with electronic components, the set was centred around LGBTQ+ support, with a big slander of a certain transphobic writer, femme empowerment, mental health, and the vocalist’s vibrator earrings, that actually worked, as she demonstrated with her microphone. AMELIA TOOMEY the vocalist and founder, was accompanied on drums by LUCY YATES, who has been performing with her live multiple times before. As this was GIRLI’s last evening of the tour, the band performed with passion and fierce and it was obvious they were grateful for the fans’ support, as they once again proved themselves by knowing all the songs word to word. The set brought in a unique energy, as the band’s genre was different from the other two, but it fit in like a glove. After two powerful supports, SCENE QUEEN took over the stage with a big banner and inflatable decorations, and it was finally time for the bimbocore royalty to shine. The vocalist and founder HANNAH ROSE COLLINS was accompanied by her two “bimbros”, a guitarist DANIEL RUDD, also known as BOY HERO, and a drummer JONATHAN SCHWARTZ, and all three put on an unforgettable performance packed with queer and femme support, mutual hate for the U. S. Government and the whole venue’s indoctrination to SCENE QUEEN’s own fake sorority “Bimbo Beta Pie”, for which she chose three different fans from the crowd to join her on stage for the oath. The set had very emotional, as well as chaotic moments, and had everything from moshpits, to crowd-surfers, to HANNAH and DANIEL rapping the iconic Barbie & Ken, that is originally the artist’s feature with SET IT OFF. As this was also the last concert of the HOT SHOWS IN YOUR AREA tour taking place in the UK, HANNAH expressed her gratitude to the crowd multiple times for loving her music and making her feel “like home” every time she is back. The night was filled with love, empathy and gratitude, and all SCENE QUEEN, GIRLI and LAKE MALICE gave their fans all they had and more. Once again proving that their sets are a welcoming safe-space, that does not play around when it comes to equality and fairness, the bands, and especially SCENE QUEEN, proved they do deserve the recognition they are getting and more importantly the voice they are gaining with each new fan, that joins their ranks. Words and Photos: Katerina Stepanikova

It's the beginning of the school year for most kids today, and to help with their education we've provided a list of some of our favourite recent releases in order to ensure their musical knowledge is expanded sufficiently - kids, get reading! Amy Lee + Courtney LaPlante + Poppy - End Of You Three alternative goddesses have come together to provide their huge worldwide fanbases a brand new metalcore banger. AMY LEE, lead singer of EVANESCENCE brings her siren-like signature vocals that have fed a generation of emos as COURTNEY LAPLANTE, lead vocalist of metal powerhouse SPIRITBOX, gives her unique screams. POPPY lends her haunting vocals too, along with her newly discovered metal vocal tones. The three of their voices dance around each other, each so distinct and complementary to one another. The track is produced by the legendary JORDAN FISH, and sets the stage for far more features, collabs, and acts full of women of all statures to get a bit more of the credit they've long deserved. Words: Amy Smyth Carsick - Violence English indie-punks CARSICK have made a name for themselves with their raucous energy and relentless momentum, and Violence, from their recently-released EP, Tough Luck, has them retaining that reputation with ease. A catchy introductory guitar riff has us hooked well before JOE RICHARDSON's lively vocals come in. The track has him steadily ramping up in tempo, and before long he's engaging in a full rap verse that's so frenetic we can barely keep up. The drums are relentless and the lyrics are a constant flow – this is an energy we hope (and can expect, given their track record) to see transferred into their fiery live performances. Words: Naomi Colliar Duff Lord of The Lost - Raveyard feat. Käärija A collaboration of a German band and Finnish musician never sounded better than Raveyard. LORD OF THE LOST brought in their signature riffs and drums, together with CHRIS “LORD” HARMS’ distinctive voice, and topped it off with a twist of KÄÄRIJA’s electronic music and Finnish rap. Two very different styles, yet when heard together, they make complete sense. The gnarly breakdown is unexpected, but hits perfectly, and only proves that both parties have more to offer and are open to experimenting with different approaches to their music. Words: Katerina Stepanikova President - Destroy Me PRESIDENT, still very early in their musical career, are continuing to show their duality, with their new single ‘Destroy Me’. The signature distorted vocals remain but shedding a new light on the act's range - being a faceless artist means not being tied to any particular style, and that's exactly what this portrays. The last minute of the track offers a potent breakdown, stuffed with electronic elements and layered screams, deeper than what we've seen from the band before. Electing for a more emotional feel than their last few releases, with lyrics that explore the theme of being stuck in a loop, we can only hope to see PRESIDENT continue to expand their soundscape. Words: Amy Smyth Sprints - Better As SPRINTS build up to the release of their sophomore album, All That Is Over, we're treated to a fourth single, Better. We're led in with a slow rumble, the first few moments living in an initial calm serenity with dual vocals from lead vocalist KARLA CHUBB and bassist SAM MCCANN before a dreamy guitar takes centre-stage and rolling drums form a strong backbone. As the chorus repeats, it escalates in both volume and intensity, developing into a distorted instrumental passage that feels designed to be witnessed live. Better is a track that showcases the Irish post-punk group's versatility when placed amongst their other pre-album releases, a contrast to the angrier sound they've cultivated, though it retains the same emotional power. Words: Naomi Colliar Duff Teen Jesus and the Jean Teasers - MOTHER Aussie rock four-piece TEEN JESUS AND THE JEAN TEASERS are back and angrier than ever with their latest single MOTHER. The track starts off moody, western-inspired and backed by only guitar, though it soon brings clashing drums and a strong bassline into the mix. Before long, the steady additions lead into a frenetic and ridiculously catchy chorus with dual vocals from ANNA RYAN and guitarist/first-time vocalist SCARLETT MCKAHEY. This is the band at their heaviest, and the rage is palpable when we reach the final minute. A cacophony of wailing screams fill the air before the track's title forms a nitro-fuelled, mosh-worthy chant, leaving energy surging through us even after it's over. Words: Naomi Colliar Duff Orbit Culture - Nerve Nerve is the fourth single by Sweden’s own ORBIT CULTURE, ahead of their upcoming fifth studio album Death Above Life which releases next month via Century Media Records. Throughout Nerve, gritty vocals power over their signature melodic riffs led by Guitarist RICHARD HANSSON. At almost six minutes long, the track is broken into sections which include a good old school guitar solo and choral serenades that are heard under desperate screams from vocalist NIKLAS KARLSSON. This is neither the heaviest or the most punchy of the singles so far, but gives another dimension to what this band can do in their moment of rebirth. Words: Danielle Henderson Scene Queen - Platform Shoes With latest single Platform Shoes, (released alongside the equally as catchy L-Shaped Couch) bimbo-core pioneer SCENE QUEEN stomps boldly out of her well-known music formula and into her next era. Nothing but energy and good vibes from start to finish, Platform Shoes showcases a new side of SCENE QUEEN’s artistry, bringing in powerful vocals that stray from her usual rap or spoken-word delivery without losing an ounce of spunk or attitude. Accompanied by her signature metal-core edge, HANNAH ROSE COLLINS sings of empowerment and self-confidence in spite of a “little tiny man”. Platform Shoes is an instant feel-good anthem that listeners will struggle to get out of their heads, and an exciting insight into what’s next for artist and icon SCENE QUEEN. Words: Heather Swift Editor: Jasmine Longhurst Photos: Various Artists

Britain has a long and storied history of producing excellent punk and punk-adjacent music. Right from the very beginnings of punk, where bands like THE WHO released My Generation to yell about the shortcomings of the day, to the SEX PISTOLS with Never Mind The Bollocks, and the more modern hardcore punk heroes in GALLOWS with Orchestra Of Wolves and Grey Britain, this island has been full of people spitting about what's wrong. Now in 2025, there is more to shout about than there's ever been before, and we need a new set of punks to stand up with spittle-flecked rage, expressing what so many can't. Enter STILL IN LOVE. With their debut record Recovery Language, STILL IN LOVE are about to rewrite the rulebook. Members of the band have spent time sharpening their teeth and their skills in such acts as BRING ME THE HORIZON, DEAD SWANS, LAST WITNESS and many more, so they aren't lacking for experience or ability - but not only do they have skin in the game, they've got real bite. Their hardcore style, with elements of 2000's metalcore and screamo, is packed with raw screams and spinetingling riffs, with enough breakdowns that car insurance is most certainly recommended. Recovery Language as a debut is not just setting out their sonic stall as an act, but also them showing off their beliefs on their sleeves - from the abrasive lyrics on Tell The Truth, cutting into medical and psychological issues that plague so many - "Undiagnosed, self-medicated, paralysed, riddled with self-hatred" - to the pummelling Nervous Impulse, taking the caustic acidity of anxiety and giving it claws, we can see them addressing pertinent issues in ways that don't shy away from the core pains and problems. Preserve & Cherish comes next, featuring SAM CARTER from ARCHITECTS, and this track tends towards the slightly more melodic end of the band's style, as opposed to the previous two songs that have been a hammering of sound, each under two minutes. Coming out at almost three, this gives a semblance of an idea of time to breathe, before a crushing finale to pass into Feathered Nest. This fourth track discusses boundaries, manipulators, narcissists and abusers in all their guises, who plead and beg you to just stop having some dignity, but comes at the moment the protagonist has finally told them that "I never want to see your face again. Sincerely, don't come back ever again." which is both subtle and intensely enjoyable, like a good wine. Track five, taking us past halfway on the track list, is Inherit. This is a HEAVY track, both sonically and thematically, discussing grief, avoidance, and depression. The pain of a loved one leaving is always a wrenching knife, and whether it's by choice, by force, or by death, it's a scar that may never truly heal. Meanwhile, the next track The State Of Things To Come is the first to be over three minutes, and rounds out to a respectable four and a bit - all of which are spent discussing the horrors of modern life. Genocide, political upheaval, the rise of fascism, poverty, occupation, and everything else that is slowly poisoning the planet and its people. It's a brutal track, and worth sitting with. You Have to Let it Go marks the penultimate track on the record, and includes the vocals of ANDREW FISHER of BASEMENT on the track. Further delving into depression, poverty, mental health issues and the crushing pain of living with these problems, it's a difficult track to sit with - but perhaps that's entirely the point. Finally comes the longest track on the record at a little over five minutes, Pillar Of Strength. Another track about losing a loved one, STILL IN LOVE pull no punches on the record and finish up with a screamo-core ripper that'll have you crying whilst tearing your vocal chords apart joining in. Honestly, this is one of the most impactful debuts that the British scene has seen in some time. Full of political statements, with a modern take on a sound that needs more takers, the five-piece are primed to decimate show after show after show - as we saw at their very first show, at Reality Unfolds Festival 2024 - and will surely receive plaudits and flowers aplenty for what is an accomplished, emotive, and crushingly heavy LP. The only complaint? It's eight songs and 23 minutes long, and that is not enough STILL IN LOVE to satiate us. Score: 9/10 Recovery Language will be released on September 5th 2025 via Church Road Records. Words: Jasmine Longhurst Photos: Still In Love

Finnish melodic death metal veterans BEFORE THE DAWN return with Cold Flare Eternal, a record that not only reaffirms their status in the Nordic metal scene but also pushes their sound into heavier, more aggressive territory. Following 2023’s critically acclaimed Stormbringers, this album demonstrates a band at the peak of their creative power, blending melodic sophistication with raw, crushing intensity. From the first note of Initium to the final moments of Ad Infinitum, Cold Flare Eternal is an emotionally and sonically immersive journey through the depths of melodic death metal. The album opens with Initium, a brief but atmospheric introduction that sets the stage for what’s to come. At just 1 minute and 25 seconds, it serves as a cold, cinematic prelude, hinting at the dark landscapes and intense emotions that will define the album. This sense of anticipation quickly gives way to Fatal Design, a track that immediately establishes the band’s signature balance of melody and aggression. Soaring guitars and pounding drums create a sense of grandeur, while TUOMAS SAUKKONEN'svocal delivery injects both menace and melancholy, embodying the tension between beauty and brutality that runs throughout the album. s Above, So Below continues this trajectory, layering dramatic instrumentation and ghostly atmosphere over tight rhythmic structures. The song’s expansive arrangement demonstrates the band’s ability to maintain listener engagement through dynamic shifts, moving effortlessly from melodic passages to crushing, riff-driven intensity. In contrast, Mercury Blood delivers a concise, high-energy burst of metallic aggression. Clocking in at just over three minutes, it is packed with groove-laden riffs and relentless percussion, showcasing the heavier facet of the band’s sound while still retaining their melodic sensibility. Stellar Effect represents one of the album’s more atmospheric moments, emphasizing haunting melodies and expansive soundscapes. Here, BEFORE THE DAWN reveal their emotional depth, crafting an immersive listening experience that balances melancholy and majesty. Following this, Flame Eternal and Stronghold highlight the band’s versatility. Both tracks combine melodic hooks with crushing heaviness, while the intricate layering of guitars and drums, honed at JUHO RÄIHÄ’s studio, adds depth and sophistication to the arrangements. These mid-album tracks illustrate the band’s mastery of pacing, alternating moments of tension and release with precision. Destination stands out as a cinematic and emotionally charged composition. With its rising intensity and epic scope, it creates a sense of forward momentum that carries listeners into the album’s most explosive moment: Shockwave. The ninth track is the heaviest single BEFORE THE DAWN have ever released, combining thundering riffs, relentless drums, and fiery vocals. As the band themselves describe, it “contains the fire of a thousand suns and the weight of a dying star”. It is both a live show highlight and a statement of intent, capturing the raw energy and power of the band while staying true to their melodic roots. The album closes with Ad Infinitum, a track that leaves a lasting impression of grandeur and emotional resonance. It reinforces the band’s ability to balance crushing heaviness with atmospheric beauty, culminating in a final statement that lingers long after the music fades. Throughout Cold Flare Eternal, the emotional contrasts are striking: moments of melancholic reflection alternate with bursts of fury and intensity, creating a dynamic listening experience that keeps the album compelling from start to finish. TUOMAS SAUKKONEN’s vision and experience are central to the album’s impact. Over the past two decades, his work with projects like WOLFHEART and DAWN OF SOLACE has shaped Finnish metal, and his leadership in BEFORE THE DAWN ensures a perfect balance of aggression, melody, and atmosphere. The album’s artwork, crafted by Gogo Melone, visually captures this duality of darkness and beauty, providing a fitting complement to the music. In conclusion, Cold Flare Eternal is a masterclass in modern melodic death metal. It merges crushing heaviness, soaring melodies, and the cold, atmospheric beauty of Finland’s landscapes into an emotionally resonant and powerful listening experience. For fans of melodic death metal seeking both intensity and depth, this album demonstrates that BEFORE THE DAWN remain at the top of their game - an unmissable release that solidifies their legacy in the Nordic metal scene. Score: 8/10 Cold Flare Eternal will be released on September 5th 2025. Words: Mia Gailey Photos: Before The Dawn

German melodic death/doom act NAILED TO OBSCURITY are about to mark their 20th year as a band in style with the release of Generation of the Void, their most expansive and mature album to date. This new chapter is a visceral exploration of turmoil and hopelessness in the post-pandemic era, with themes of emotional expedition and existential confusion. With music videos for Spirit Corrosion and the title track already out, and their upcoming debut headlining tour, the band's evolution from an underground band to a global force is more apparent than ever. Glass Bleeding kicks off the album with an unsettling atmosphere, showcasing impactful drums and an excellent guitar tone that create rapid dynamic shifts of enraged to depreciated. The harsh vocals add depth whilst expressing fantastic pitch range, with well-used double bass and snare rolls during the chorus providing a potent lift. Flowing from there into a compelling tone of subtle guitar reverb, Liquid Mourning undergoes a fluid yet jarring emotional metamorphosis. The clean vocals have a transcendent quality, creating a distant ethereal atmosphere that dissipates with the return of the gut-punching growls, before ending with a dramatically sustained piano. Overcast immediately captivates with its urgent, anxious guitar work and vocals that shift from delicate whispers to foreboding growls. While the emotional depth is evident, the interplay between the two guitars is the true highlight. Contrastingly, Spirit Corrosion features great clean vocal harmonies with an awesome syncopated drum line. The song builds beautifully to its memorable chorus: “and all at once from inside out, it starts to rust, spirit corrodes". The album's title track and feature divider, Generation of the Void, brings an eerie, oscillating riff that creates an unsettling, dystopic vibe. The bass is a standout on this track with the lyrics taking centre stage alongside. Most poignantly, “these idle hands in idle times, just words without life or soul” emanate the post-pandemic feeling perfectly. A special component is the single, sludgy guitar note on the outro, effectively solidifying the dissonant atmosphere. At over eight minutes runtime, Echo Attempt is an epic journey. The combination of the haunting clean vocals and the stripped-back instrumentation allows the lyrics to deliver the story. The song has a significant shift halfway through to a first-person perspective that, despite the anger and dread, conjures a sense of hope in places. Allure is the most vulnerable and stripped-back song on the album, starting softly with clean vocals and guitar with no drums for the first two and a half minutes, allowing the self-reflective lyrics to beam through. While effective, the song’s reliance on electronic sound effects and (potentially) autotuned harmonies are components we’re not the biggest fans of. On the contrary, Clouded Frame emerges with a cool riff and drumbeat that allows the bass to shine. The powerful, expressive harsh vocals return, creating an effective relationship with the guitar melodies. The track also features cool syncopation between the guitar and drums, leading to an epic breakdown with a sustained growl upon the outro. Misery's Messenger arrives with a slightly grungier, funkier vibe - that we love - and features ghostly harmonies that dance around the core melody. In essence, the song is excellent, although perhaps longer than necessary. This drifts into the final track, ‘The Ideas of Life,’ serving as a powerful conclusion and creating an expansive and motivational experience against aggressive highlights. The outro is prominent, with an impeccable guitar part and accompanying background synths, providing a brilliant grand finale to an impressive album. Generation of the Void is a powerful display of NAILED TO OBSCURITY's range, creating an expansive journey through a dystopian landscape full of hopelessness and melancholia. The album's dynamic, cinematic sound combines their signature growls with a new emphasis on haunting clean vocals. The only notable detractor is the possible use of pitch correction on some clean vocals, particularly in Allure. Despite this, the overall production is excellent, with subtle details like dry crash cymbals and vocal echoes being the underrated stars. Principally, the album is a strong creation and a testament to the band's impressive evolution which we are excited to see grow. Score: 8/10 Generation of the Void will be released on September 5th 2025 via Nuclear Blast Records. Words by: Katherine Russell Photos: Nailed to Obscurity

BODYWEB have found their balance on upcoming EP deadwired, the band's sophomore release and first as a quintet. Each cog in the BODYWEB machine is perfectly placed and running smoothly throughout each of Deadwired’s 4 tracks. The soundscape of deadwired moves between the chaotic and the melody-driven, with the former embodied in opening track no faith. Its intro has a chaotic ambience with heavy hardstyle influences before serving choppy hardcore; stopping and starting perfectly in tempo switches punctuated with double bass fills and the electronic elements that keep the chaotic energy of nu-hardcore but move seamlessly in a way that screams quality. To follow it up is shadowboxing, and the introduction of the clean vocals integrated into the project in the bridges that add a quiet to the chaos of deadwired. Still on the theme of balance, these vocals add that balance in the vocals while the production side elevates the gnarly breakdowns with enough variation to give that ‘strangle me’ hardcore feel while taking time to appreciate the technicality in the hard-chords. Having the clean vocals leaves room to appreciate the hooks - case in point closing line “You’re killing yourself to live” which is built to a scream in the outro, and cut just before it gets old. The B side starts with sugarcoated, which switches gears into the lazy emo-hardcore sound reminiscent of LOUIS HARDY’s HIGHER POWER. Again focused on the cleaner vocal with more melody in the chord progression, with the intentional nature of the project coming through in the revisions to the progressions every four bars in a 16 phrase. To close out there is the most recent single deadwire, which utilises religious imagery in its lyrics (“Father are you waiting for me to forgive your sins”) and with its closing sample about faith. The spaciness of the track embodies its theme of fading relationships and cutting people off, with the line “I think it’s time to get off my knees” representing the passive way that many feel their backbone growing. Overall, there are no notes for deadwired. Each of the four tracks span the range that BODYWEB can cover as a group, with balanced and intentional being the best descriptors for the wide breadth of elements that the band utilise in this project. Lyrically, deadwired is honest and angst-filled without cliché, and the only thing left to say is it will be interesting to see how this soundscape would be explored within a full length album. Now it’s time to count down until the whole EP can be added into regular listening playlists. Score: 9/10 deadwired will be released on September 5th 2025 via Flatspot Records. Words: Julia Brunton Photos: Bodyweb

Set in the gorgeous grade II listed Blackpool Winter Gardens, Rebellion Festivals returned for its 29th year of punk by the sea. Bringing swathes of punks from across the world to see the incredible offering of 300+ bands across eight stages over four days of nonstop entertainment is an organisational feat that we can only marvel at. With plenty to keep us entertained over the weekend working out who to see and balancing clashes was no easy feat. Leaving Blackpool North train station behind, we headed straight over to the venue to pick up our tickets and rushed off to see our first act of the weekend. Thursday Thursday started with early trains and a brisk walk to get to the venue in time for Phat Problem and ended with our hearts full and our feet tired in the best way. Phat Problem What a way to start the weekend! Phat Problem have an unbridled infectious energy that at 3pm, and after 5 hours on the train, really helped to get us into the swing of things. Angry street punk with songs to get you thinking they aren’t a band that shies away from sharing their truth or calling out the status quo. They’re not festival novices by any means but they took the Introducing Stage by storm and are definitely on track to be higher and higher up the bill each year. Death of Guitar Pop If you enjoy skanking your way through the evening Death of Guitar Pop are the band for you. Very much Madness and 80s two-tone revival inspired, they blend ska, punk, and pop in such a high energy way that even the most traditional punk fans found them enjoyable. Circle Jerks A legacy band that did not disappoint! While they are definitely not as young as they used to be, Circle Jerks came with gusto. Blasting through their songs, trying to fit as many into their set as they could, but still pausing to chat to the crowd and bring up poignant cultural concerns. As a band in their 6th decade they have seen and sung it all and it was great seeing them share their legacy and insight with such an engaged crowd. Shanghai Treason High energy and high entertainment, leaving us with a spring in our step leaving the Winter gardens to get some rest ahead of the rest of the weekend. Shanghai Treason were an excellent band to finish the evening on, with a banjo, a flatcap, and some absolute belters, they got the party going and had everyone dancing and singing along. Friday After not enough sleep on a sofa in one of Blackpool’s wonkiest rent-a-flats, we were up and at ‘em again, ready for a day largely centered around the Rebellion Introducing Stage. Wonk Unit Wonk Unit are one of those bands that just seem to have a profound impact on everyone around them. Well known in the London DIY punk scene and across the UK they didn’t fail to draw a substantial crowd in Club Casbah. Tugging at heartstrings with their more introspective songs and with Alex bringing up Aubrey, his daughter, to dance around the stage, they are proficient at leading a crowd through their feelings. Skinhawk Incredibly new to the scene and playing the UKs biggest punk festival already! Skinhawk should be the name on everyone’s lips. Having only played four gigs before being booked to play Rebellion they did not disappoint when on the Pavilion stage. Loud political nerd punk immersing you in their story telling and anger at the world throughout a dynamic 30-minute set. Muddy Summers and the DFWs Taking a break from the Pavilion, we ventured upstairs to the Almost Acoustic stage. The Spanish Hall itself is glorious with beautiful representations of Spanish villages clustered around the balconies and it serves as a perfect contrast to the brash and uncouth (in the best way) deliverings of Muddy Summers and the DFWs. Folk punk, comedy, protest songs, and political commentary to keep you on your toes, they have it all and deliver it beautifully. Skunkworm Another new band, and one of the youngest, on the scene and one to keep your eyes on are Skunkworm! With insatiable energy, great vocals, and inspiring technical knowledge and skills beyond their years, Skunkworm are set to make waves. Despite being more progressive than what a lot of the traditional punk bands and fans go for, they gave the Pavilion their all and impressed us greatly. Rifle “Proper rambunctious oi punk and it's glorious.” - Jez from Skinhawk. Saturday Some days are harder to get on with than others, balancing two full on days, a mega busy Sunday to come, and disabilities makes it difficult to stay 100% raring to go, regardless of how much fun you’re having. But Saturday was still happening and we had to be there to catch some bands! Split Dogs If you need a masterclass in stage presence, Split Dogs are the band to see. Having made their Rebellion Festivals debut just last year on the Introducing stage, they have had an incredible year of grafting and gigging across the UK and Europe allowing them to bring their unique punk-inspired rock’n’roll to the Empress Ballroom. Keeping the energy high and the performance entrancing as Harry struts across the stage, not missing a beat. Irvine Welsh Rebellion isn’t just about the music, it’s about the culture of punk too. Having an entire Literary stage dedicated to talks, panels, and promotion across the weekend makes the festival more rounded and intriguing overall. Hearing Irvine Welsh, Trainspotting author, talk about his new book, his experiences as a young punk in the London scene in the 70s, and seeing Oasis on their recent run of tours, was a fascinating insight into how punk is everywhere and is such an important subculture to take notice of at this point in time. Neville Staple from The Specials Saturday nights are made for ska! The Specials are possibly the biggest English 2 tone/ska revival band of the past 50 years and original vocalist Neville Staple does that legacy justice. Keeping the crowd moving and grooving while leading them through The Specials discography is a sight every ska fan needs to see. Sunday The final day and we were ready to go! With achy feet, fuelled by caffeine and an immaculate day of music ahead of us, we ventured into the Winter Gardens one last time. Clobber Walking out to Freed from Desire by Gala and shouting “What's up Blackpool are you ready for the best sounding band of the weekend?” Clobber let you know where they stand right off the bat. Alternating between hard hitting hardcore and equally hard hitting commentary, “I was asked this week if punk rock has to be political, yes, yes it does [...] if any band this weekend stands on stage and doesn't have anything to say, they're cowards and you should treat them as such.” Clobber delivered a raucous set early on a Sunday, with an even bigger surprise as Charlie Longman took to one knee and proposed to his now fiance, Theresa Vendetta (Jawless), we send our love to them! Bruise Control Truly a highlight of the weekend. Bruise Control never fails to bring it - it being a tiny pair of shorts and a glorious mullet. Outfit choices aside, they are a phenomenal band and have such great energy that spills off the stage and into the crowd. Pits forming and headbanging happening as Bruise Control mash together hardcore, post-punk, and talent for days. Redeemon Ska, metal, punk, skacore? Redeemon are a mish-mash of genres that on paper, shouldn’t work, but hearing live is an auditory treat. Pook’s ability to switch from hardcore screams to trombone playing all while jumping around the stage like he has springs in his shoes and still having the breath to address the crowd should be enough to win anyone over. 8 Kalacas After being well and truly warmed up by Redeemon we were ready for Ocho Kalacas, well, as ready as we could be. One of the best, high octane, engaging, musically spectacular performances of the weekend. Coming from Orange County, California, they fold both metal and Latin influences into their music. Most of their songs are in Spanish, but the message and passion goes beyond the language barrier. This chaotic 7-piece gave so much on stage and the crowd loved every second of their set. Millie Manders & the Shutup Closing out Rebellion without seeing Millie Manders would have been a regret, but luckily our weary bones held us up for one last gig. And what a set it was. Filling up Club Casbah like no other band we had seen this weekend, Millie Manders & the Shutup have such a genuine way of connecting with a crowd and guiding them through the full spectrum of emotions. One of the most outspoken acts on the bill, Millie uses her platform exceptionally well. Musically tight, energy immaculate, and lovely people to boot, we couldn’t be happier wrapping up our Rebellion review with them. Rebellion Festivals are back for their 30th anniversary in 2026 with an insane line-up and a whole bunch of celebrations planned. You can get your 2026 tickets now: https://www.rebellionfestivals.com/buy-tickets Words: Kayleigh Fryer Photos: Kayleigh Fryer

After more than a decade of silence, Modern Life Is War return with Life on the Moon, an album that feels less like a comeback and more like a confrontation with time itself. It is a record of dualities - grief set against moments of joy, absence against flashes of connection, despair against the flicker of transcendence. What makes it powerful is not simply the songs themselves, but the way they contrast and collide, constantly shifting between extremes, mirroring the way memory and emotion intertwine in real life. The opening 'Invocation' plays like a ritual, hushed and atmospheric, inviting the listener into a liminal space. Its quiet eeriness sets a tone of reflection and anticipation, making the arrival of 'First Song on the Moon' even more dramatic. That track bursts in with rocky, Soft Play–style energy, jagged guitars, and dramatic, insistent drums. If the opener embodies absence, 'First Song' embodies presence: a rush of vitality that reminds the listener that the band are alive, restless, and unflinching after a decade away. The emotional contrast between these two tracks - quiet introspection followed by an urgent declaration - becomes a throughline for the album, echoing the tension between mourning and living. Nowhere is this tension more palpable than in 'There Is A Telephone That Never Stops Ringing' and 'Empty Shoes'. 'Telephone' is relentless, propelled by commanding vocals and fast, pounding drums. It captures grief as noise, the suffocating weight of longing, and the anxiety of connections that are never fully resolved. In contrast, 'Empty Shoes' drifts into a ghostly, haunted space, opening with a chilling gust of sound that evokes absence itself. Where 'Telephone' demands attention with urgency, 'Empty Shoes' lingers quietly, almost invisible, yet leaving a deeper, spectral mark. The emotional push and pull between these two songs mirrors the oscillation of real grief - sometimes overwhelming, sometimes invisible - but always persistent. In the album’s middle section, the band balances intensity with eccentricity. 'Jackie Oh No' and 'Johnny Gone' are both narrative-driven, the former jagged and theatrical, the latter gritty and grounded. These tracks bring a sense of unpredictability, like flashes of personality or humour amidst weighty emotion. Then comes 'Homecoming Queen', which softens the atmosphere with bittersweet nostalgia. Its melodic, almost tender delivery is undercut by a subtle unease, highlighting the complexity of memory: joy is never free of shadow. The reimagined tracks add further layers of contrast. 'You Look Like the Morning Sun' glows with hope and warmth, while 'In the Shadow of Ingredion' plunges into tension and shadow, darker and heavier than its earlier version. 'Bloodsport' brings raw aggression, reminding the listener that survival is active and defiant, not merely contemplative. Meanwhile, 'Kid Hard Dub' upends expectations entirely with warped, experimental textures, disorienting the listener and forcing a reconsideration of the album’s narrative flow. Its presence highlights the band’s willingness to explore emotional and sonic extremes, leaving space for reflection. The closing tracks, 'Over the Road' and 'Talismanic', bring the record full circle. 'Over the Road' is expansive and meditative, a slow burn of melancholy mixed with resilience. 'Talismanic' closes the album like a ritual, quiet, reverent, and haunting, leaving the listener suspended between mourning and transcendence. The contrast with the opening tracks underscores the album’s cyclical nature, framing grief, absence, and survival as ongoing processes rather than finite events. Life on the Moon thrives on these emotional contrasts. Loud eruptions are balanced by ghostly silences, nostalgia is tempered with unease, and past songs are reframed to reflect present pain and hope. Modern Life Is War capture grief in all its shifting forms: screaming, silence, laughter, and memory. After more than a decade away, the band haven’t merely returned - they’ve transformed absence into presence, despair into fleeting joy, and pain into a powerful, lasting dialogue. Score: 8/10 Life on the Moon will be released on September 5th 2025 via Deathwish Inc. and Iodine Recordings. Words: Mia Gailey Photos: Modern Life Is War

Where pitch black shadows meet the pale white of snow, Tine lives. Through the growing cracks in the ice, the darkness rises up from its frozen graveyard deep beneath. The one-man-band, led by the mysterious and multi-faceted Count Murmur, has been going strong since 2011, and he shows no signs of letting up. A Winter Horrorscape is soon to arrive on the scene, carrying both the grit and aggression of black metal and the soaring melodies of symphonic metal – through this release, the genres collide in a style that is wholly unique. Opening track 'A Feather from Lucifer's Wing' ambushes us immediately, growled verses attacking us from the shadows. A minute in, we're hit with sinister, occult-like chanting that then leads us into an intense riff. The track carries a strong versatility, a shapeshifter in tempo and style. The next part of this journey brings us to 'A Path Through Frozen Woods'. This track seems to exist to establish the album’s themes through Murmur's bitter frustration at the endless white-blanketed forest before him. It's bleak, frigid, and finding your way out is hopeless. Desolation is a running thread in this release, as we will soon come to find out. 'Ex-Cathedra' ties in an interesting religious element only hinted at through ominous chanting prior to this track. This is where the death metal influences cut deepest, growling roars at every twist and turn. Over five minutes into this eight-minute epic, a soaring instrumental takes centre stage. Before long, Murmur steps back into the fray with his outcry against divine rulers. This track soon finds its polar opposite in 'Return to the Black Forest in Winter'. This is a slower, more melodious track that features guest musician Samantha Bounkeua on piano, strings, and backing choir vocals. A haunting ambience permeates this track, offering a welcome respite from the stygian riffs and demonic vocals. The following track 'The Scathing Blizzard' is disarming at first, leading us to expect more of the same atmosphere, but Murmur's rapid-fire vocals hit us immediately with the harsh depth of the eponymous snowstorm. After almost four minutes, the relentless assault lets up as the track comes to an end and leads us into ‘Triumph at Nineveh’ – an eight-minute aria that brings a contrast to the blackened atmosphere when Murmur's cleaner, soaring vocals come in. The next track, ‘Winter Comes’ is a breath of cold air, a beautiful instrumental piece that exudes the frosty atmosphere of a calm night in the snowy woods. It's shorter-lived, clocking in at only two minutes and twenty seconds, but makes good use of its runtime. Tracks like this are what showcase the musical ability in Tine – to pull off these cinematic orchestral melodies in the same album as blackened death metal pieces is true talent. The final, and title track, ‘A Winter Horrorscape’, shatters the peace with its intense riffs and a howling wind soundscape courtesy of session musician Mark DiAngelo. Through this track, the album's themes are fully realised. The winter is endless, all-encompassing, and eternally shrouded in darkness. The forest is a maze, and in the never-ending white, there is no prospect of finding your way out – death is almost certainly the guaranteed outcome. Murmur finds himself succumbing to the blizzard as the song's final notes ring out, and soon all we're left with is the haunting whistle of the winter winds. A Winter Horrorscape is an album that knows the perilous journey it sets out on, but along the way, much like our protagonist, it begins to lose its path. Tracks like ‘A Path Through Frozen Woods’ and ‘Winter Comes’ stand out, creating a strong sense of atmosphere, but others are destined to fall by the wayside, covered up by the falling snow. When the album does shine, however, it shines bright. Count Murmur's snowstorm of musical elements brings together a flurry of ideas that consolidate into an excellently atmospheric record – this is Tine's best work yet. Score: 7/10 A Winter Horrorscape will be released on September 5th 2025. Words: Naomi Colliar Duff Photos: Tine