British metal isn’t just surviving right now, it’s thriving. We’ve rounded up 10 of our best and brightest home-grown bands hitting the country’s biggest festivals this year. From the blood-soaked fields of Bloodstock to the genre-bending stages of 2000trees, UK bands are pushing boundaries, redefining heavy music, and proving that innovation and intensity go hand in hand. Heriot There’s a feral precision to Heriot; a band that doesn’t just play shows, but drags the underground right through to main stages. Their fusion of industrial abrasion, sludgy chaos, and hardcore menace is completely uncompromising, and live, it feels like standing in the eye of a storm. Heriot don’t do subtle. They batter through comfort zones and warp genre lines with a brutal elegance. Whether they’re grinding through dissonance or dropping into eerie calm moments, they keep you locked in. Heriot aren’t appearing at Bloodstock 2025 to simply entertain, they’ll be there to break new ground in the genre. Miss them, and you’re missing the future of heavy music. Waterlines If metalcore’s next leap forward has a name, it might just be Waterlines. Infusing electronic flourishes into bone-snapping breakdowns and massive choruses, this northern outfit are walking a tightrope between emotional catharsis and raw aggression, and they’re not falling. Think shimmering synths, razor-sharp hooks, and a live show that feels like being hit by lightning in a rave. There’s a clarity to their sound that cuts through the noise, and a charisma that pulls crowds in like a magnet. Bloodstock 2025 won’t know what hit it. This is future-facing metalcore for a generation raised on chaos and catharsis. Ba’al There’s beauty in the bleakness of Ba’al. Their music moves like shifting weather, slow, ominous, and impossible to ignore. One minute it’s spectral calm, the next, it’s blackened fury crashing down like waves in a storm. Drawing on post-metal, doom, and atmospheric black metal, Ba’al write long, cinematic pieces that feel more like rituals than songs. Their live show is a slow burn that leaves you desperate for more; moody lights, distant screams, and walls of sound that hit like grief. It’s immersive. It’s devastating. It’s unforgettable. At Bloodstock 2025, Ba’al will summon something ancient and emotional. Be still. Let it consume you. Shrapnel Shrapnel are thrash with a bloodlust. Hailing from Norwich, but sounding like they were raised in a nuclear bunker full of Slayer tapes, they’re here to tear the main stage down with sheer velocity and riffs for the Gods. Their sound is sharp-edged and snarling; frenzied solos, galloping drums, and a vocalist who sounds like he gargles gravel for breakfast. But there’s extreme finesse beneath the fury. Shrapnel are tight, technical, and utterly relentless. This isn’t nostalgia, it’s a fresh injection of thrash brutality with a steel-plated backbone. Prepare for a whiplash-inducing set that’ll have pits spinning and necks snapping from the first downbeat. Cage Fight Cage Fight sound like a riot in a concrete box, and that’s exactly what they bring live. Their blend of hardcore punk and crossover thrash is political, punishing, and boiling with rage. They don’t just play songs, they spit venom, challenge the status quo, and throw down with fists-first fury. Featuring ex-TesseracT guitarist James Monteith, there’s pedigree here, but the heart of Cage Fight is pure underground grit. Expect chaotic riffs, scathing lyrics, and a crowd erupting into a battleground. At Bloodstock 2025, Cage Fight are not here to play nice. They’re here to carve their name into the main stage for years to come. Sylosis Sylosis are the heavyweights who never stopped evolving. Their brand of ever-evolving, genre crossing metal is sharp as broken glass and just as dangerous. Led by the ever-prolific Josh Middleton, Sylosis fuse blistering guitar work with massive hooks and intelligent songwriting, delivered with a finesse that calls back to the urgency and precision of early Metallica. Their live show is surgical in its precision but never cold or dull, there’s fire, there’s sweat, and there’s a legacy being reaffirmed every time they hit the stage. At Download 2025, Sylosis return not as survivors of the scene but as masters of it. Prepare for an onslaught of modern metal mastery. Bleed From Within Bleed From Within are the UK’s answer to the global metalcore juggernaut, and at this point, they’re leading the charge. With groove that slams like a wrecking ball and choruses that could level arenas, they’ve spent years sharpening their sound to a diamond edge. Their live sets feel like controlled chaos; tight, explosive, and brimming with momentum. There’s no filler here, just wall-to-wall bangers delivered with undeniable passion. At Download 2025, Bleed From Within aren’t just taking to yet another stage, they’re planting a flag. This is modern metal with purpose and power, delivered by a band hell-bent on leaving a legacy behind, not just a setlist and a couple of guitar picks. Split Chain Split Chain are the sound of digital decay and emotional ruin. Synth-laced metalcore that broods, bites, and breaks down walls. Their debut offerings have caught ears for good reason: dense atmospheres, searing guitars, and vocals that drip with urgency and anguish. They lean into contrast, industrial shimmer meets jagged distortion, vulnerability meets rage. Their aesthetic is sharp, their message clear, and their live show an overwhelming sensory hit. Split Chain are the new breed. If you want to see where the UK scene is headed next, get in the crowd, or get left behind. Unpeople Unpeople don’t follow rules, they write new ones in feedback and defiance. Their sound is an ever-morphing beast: jagged post-hardcore, seething alt-rock, moments of spoken word and sudden eruptions of noise. It’s raw, it’s thoughtful, and it hits like a conversation you weren’t ready to have. Their sets are electric, confrontational one moment, fragile the next, always alive. At 2000trees, they’ll draw in the misfits and the musically curious alike. This isn’t just a performance; it’s a reckoning. Unpeople are carving a space for something real, and it demands your attention. Vower Vower glide between genres with grace and power, melding the tight musicianship of prog with the emotional punch of post-hardcore. Their debut EP hit hard, full of layered instrumentation and soaring vocal lines that feel both intimate and cinematic. Live, they harness that intensity and transform it into something physical. Visceral riffs, walls of sound, and moments of silence that speak louder than words. Playing both Download and 2000trees, Vower are stepping into their moment with a sound that’s as ambitious as it is heartfelt. This is the sound of a band ready to rise, and they’re doing it on their own terms. Words: Vee Richardson

The HIMALAYAS ‘BAD STAR’ tour kicked off in Leeds almost exactly a month after the release of its titular second album. A follow up to their 2023 album ‘From Hell to Here’, several singles and first Ep Ecstasy released in 2016, since then they have had a meteoric rise, from working with members of AC/DC to touring with the Foo Fighters and supporting Manic Street Preachers. Their own tour has taken the Welsh-based four piece band across the country, playing Leeds, Glasgow, Brighton and Cardiff among others with a veritable host of openers crossing style and genre. BAD STAR’s London leg took place at The Garage, one of the capital’s more accessible venues due its location, layout and commitment to inclusion. Doors opened at seven, and the first opener came on at a prompt 7:30. With an almost bewitching sense of stage presence Juju and her three piece band (Abi, Jess and Adam) brought a haunting energy to the stage. The group dressed in all black, while Juju’s military-style jacked in particular embodied a chiquer version of every teenage emo’s fantasy of somehow channelling the energy of a My Chemical Romance music video. When it came to the music itself, these vibes were only amplified by a combination of strong backing and brooding vocals. The performance was powerful, poised and professional, it's unsurprising that Juju has already been picked up by BBC Introducing Bristol. It’s clear that when it comes to gothic rock this is an up-and-coming name to keep an eye on. Next up were Luna Bay, an alternative rock band consisting of Connor O'Mara, Sammy Penniston, Rye Milligan and Alex Ross. Luna Bay have been playing together since university, with endorsements from Jack Saunders, BBC Radio 1, BBC Radio Wales, BBC Introducing and Radio X. This impressive list of accolades was clear in the way that they took to the stage. Their set was a little more laidback, leaning more towards the indie side of alternative while still bringing an enjoyable energy. Songs such as ‘Hometown’ and ‘Video Star’ brought a fun sense of 2010s teen drama soundtrack nostalgia with the right balance of edginess and good humour to still sound culturally current. The band also spent more time engaging with the crowd personally than the other acts, talking about their experience opening for HIMALAYAS the night before for the Brighton show, and asking fans how far they’d come to see the gig. Finally, HIMALAYAS themselves took to the stage at 9:15. Their set, spanning discography from 2017 to 2025, was full of cult classic songs both old and new, encapsulated in a whopping hour and 15 minutes. From the moment the HIMALAYAS set foot on the stage, the venue was filled with charged anticipation, one person even ran straight into the centre of the crowd to try and form a pit before the first song even started. The band kicked off with BAD STAR’s opening track ‘Beneath the Barrel’, a gradual build with a heavy focus on acoustics that slowly built into ‘Alone’ from Hell to Here, before jumping back to BAD STAR for ‘Hung Up’. Despite dipping between eras, each song transitioned with a seamless sense of continuity. Three songs later and by the time ‘Somebody Else’ started an animated mosh pit began to form, as the energy from HIMALAYAS' performance became contagious. For visuals, the band were dressed in matching black boilersuits sporting the HIMALAYAS logo. While the lighting engineer pursued a very strobe-heavy approach to covering each track, with bright lights shifting in colour, size and shape in time with each note. This worked best with songs such as ‘Thank God I’m Not You’, their most well-known single with at the time of writing over 51 thousand streams on Spotify alone, where the performance was a pitch perfect rendition of the studio recording. Though it was equally impactful on lesser-known tracks such as ‘Afterlife’, which deserves a similar number of streams in the future. While there may have been a discrepancy on streams between songs online, there was no similar favouritism within the venue, and particularly not in the pit. Fans clapped and cheered enthusiastically for every single song, with the clear passion of a dedicated cult-following who had been familiar with the discography for years. Attendees varying from middle-aged men to the alternative teens and a shirtless man wearing light-up sunglasses. Despite being a broad church, all were united by a strong bond to the HIMALAYAS sound that was heartwarming to witness. When it became time to encore, the band ended on not one, not two but three farewell tracks, starting with ‘Cave Paintings’ before returning for ‘Flatline’ and ending on a mashup of ‘From Hell to Here’ and ‘Gangsta’s Paradise’. This was incredibly fun, particularly for those in the pit, and included an impressive guitar solo during ‘Cave Paintings’. But on a practical level, a long encore was probably not the right move for a London-based venue. Overall it was clear that all three artists put on a show to remember, with nonstop top quality performances, production and passion. We can only hope to see them all on bigger stages in the future. Words: Q Cummins Photos: Rebekah India

Six summer nights and twenty bands ready to get you moshing, Real Life Presents is putting on an entire week of heavy shows at the New Cross Inn. The Real Life Summer Jams will take place from the 2nd to the 8th of July. (Minus a much-needed rest day in the middle!) As a central hub of everything extreme, Real Life Presents always delivers on bringing the freshest metal and hardcore acts to London. All of the lineups represent the best in both UK and international heavy acts, a must-follow for anyone who wants to keep up to date on the breakthrough scene. Take a look at the week’s schedule of events below: 2nd of July - New Orleans Deathmetal baddies Brat serve alongside Brazilian thrashers Eskrota, Jawless and Skrapper 3rd of July - A double hardcore header of punk rockers Destiny Bonds and abrasive metallers Big Laugh, alongside UK representation from the almighty Flesh Creep 4th of July - Hardcore Punk San Franciscans Fentanyl shine alongside Perp Walk, Kute, No One and Flesh Prison 5th of July - US hardcore veterans All Out War make their presence known with Realm Of Torment, Temple Guard and King Street 7th of July - Want the extreme? California metallic hardcore outfit Xibalba decimate with Bloodgutter and Mutagenic Host 8th of July - Onslaught from Australian hardcore outfit Terminal Sleep rounds off the week of shows alongside Spaced and Still In Love Find out more and get tickets here. Real Life Presents also hosts Reality Unfolds Festival, a weekend of meticulously curated acts who truly pack a punch.

It has been tough figuring out how to write up Cwfen. They can’t be defined through simplistic means, nor do they fit snugly into one of the thousands of genres thought up by well-to-dos online. No, Cwfen are an entirely different beast. From cloudy Glasgow they came, but now, within a mere two years of existence, they stretch their long, blackened hand over the British isles and beyond - touring with the likes of Faetooth and Castle Rat in 2025. It’s quite rare to see a band pick up so much hype in so short a time, but one passing glance at their stage setup is enough to reveal their secret. It’s haunting. There’s a dryad on stage covered in thorns and woad screaming over a riff that sounds as if Crowbar and Cocteau Twins made the beast with two backs. In fact, that was a lot of people’s introduction to Cwfen - it was certainly mine. An Instagram reel of a performance of their song ‘Penance’ got a lot of people asking when they would come down to their neck of the woods to do the same. Soon after, they featured in some bonafide metal publications and secured a broad touring schedule for the rest of the year. With their new album Sorrows having been released to great acclaim, things are looking up for the Glaswegian quartet. And now they’re on my computer screen sipping on white wine and petting their fabulously shaggy cats. Before me is their songbird; Agnes Alder, already a striking looking lady with her doe eyes and raven hair. On-stage she transforms into a weird sister, resplendent with darkened war-paint upon a misty stage. Beside her is Guy De Nuit, her partner-in-crime and the axe-wielder with his long, flowing hair draped over his shoulders as he rocks a Jesus Lizard shirt. Live he shares co-vocal duties and conjures their crushingly heavy atmosphere. Over two hours we shoot the breeze across the digital chasm, many things are discussed: women’s rights, DEVO, Glasgow, and of course, just who the hell are Cwfen? “I think the genesis of Cwfen and this record,” Agnes muses, still mulling over her wine glass, “comes from the fact that we're all very broad listeners, and we all like a lot of stuff from jazz pop, classical music, etc.” Cwfen started as a darkwave project back in 2023. No grand plan, no thirst for clout. Just some friends making eerie, beautiful noise. “We didn’t set out with any ambitions for this band” Agnes shrugs, Guy adds that “we’ve all had our young, trendy efforts already. We just wanted to make music with people we liked. We thought, ‘well, let's just make a band,’ a group of friends to play a show. It wasn’t an attempt to get a foothold in the record industry. It wasn't an attempt to really do much of anything other than make music.” The irony, of course, is that by not trying, they accidentally became one of the most compelling heavy acts around. Go figure. “We didn’t set out to sound like anything,” Agnes insists. I ask them about their influences for Cwfen and beyond and, well, that turned out to be a shotgun shell of a question. Many, many names, some quite unlike one another, are thrown around: 11th century nun Hildegard of Bingen, avant-garde artist Diamanda Galás, Georgian polyphony in general, artists like Alcest, Amenra, Steve Albini, Charli XCX, DEVO, and Queen. “Myself and our bass player are both big Queen fans” says Guy, “Their initial fervour to create economical but impactful music… There’s not allowed to be any dead space. There doesn't need to be eight bars of just rhythm chords in order to kind of get to this ability, nothing's fucking happening!” He exclaims with glee. One thing is abundantly clear now, they wear their influences on their sleeve but not one inch of them feels shackled by it, impressively managing all of this without any of them overbearing upon the music. Part of it is down to the lo-fi nature of some of the recordings and the mixture of soft and harsh vocals. Agnes howls like a wolf to the moon. Her voice rings in a raw style that can’t help but sound oblique. I ask her if it’s safe to do that without shredding her throat into mincemeat. “I'm gonna say something that's probably gonna bite me in the ass,” she retorts; “I've never once lost my voice singing,” she audibly knocks on some wood, “it’s not happened.” She then elaborates on how she got her unique singing style. “I grew up singing and in school choirs I was taught the importance of diaphragmatic breathing and how to do it safely. So I read a lot, not only vocal theory stuff, but like anatomy, physiology, all of that kind of stuff. Nobody ever talks about the endorphin rush of primal screaming therapy. It's for me, I wanted to do it, and I wanted to do it well and with conviction and be able to almost have a volume knob on it,” apparently her music teacher at school thought her voice was too ‘wilful’ to be in the choir. “I was good at singing. I was a powerful singer, but because I had a low register, it didn't fit within the types of things they wanted you to sing at school.” I tell her that’s what they told Shakira, she chuckles. “I've had this reflection since Cwfen started, that actually my voice was meant for metal.” They go on to talk me through some of the songs featured on the new record. “Embers’ came from reading this amazing Hannah Kent book called ‘Devotions’, it’s story about two Lutheran girls who fall in love… And the consequences are enormous. ‘Embers’ feels important for me as a queer woman, I’ve not experienced the oppression that was in the books I’ve read, but I definitely feel like that's an important telling of history that I some way have a connection to. It's definitely very cathartic.” She picks up her enormous cat, Zelda, and continues. “The other one, I think for me, is ‘Wolfsbane’. I've been a feminist my whole life. But this came from a period of righteous female anger at the way that society is sliding backwards in terms of people's rights. When I'm singing these songs, I feel 10 times bigger. It's such a strange thing. I feel like I'm on the edge of breaking down when I’m singing them. And if you watch us perform live you'll see me close my eyes, because otherwise I'm gonna cry.” I ask Guy to elaborate on the other songs and what they mean to him. “I'll stick with ‘Rite’, which [at the time hadn’t] been released yet,” he says. The name originally was a bit of a pun. It used to be ‘Rite to Die’ as in spell or incantation. It’s still the refrain of the chorus.” He looks pensive for a moment. “It's quite a political number… It's about self-determination and not letting people be put down, not believing in the wrong things, and sticking up for your friends, neighbours and family. And yeah, it feels personal on that level.” Guy continues on to describe one of their favourite singles. “Penance’ was the other one that was personal for me as well. It was more about standing up to bullies in a way, resisting persecution, but on the behalf of other people, not doing it for yourself. You as an individual can probably take a little bit of abuse, but when you see it being directed at people who don't deserve it, it makes you angrier. And that's what that song was about, righteous justice.” Agnes’ eyes gleam, clearly invigorated by the mere mention of ‘righteous justice.’ “This might be the last swing of the bat for us musically,” she says. “I mean, some people go to therapy, we write songs, right? I think that's probably where the intensity of the performance comes from as well. Because you're singing about stuff, it's so much bigger than you that you don't even feel self-conscious while you're doing it.” And that’s it, the praxis of Cwfen laid bare. For them, it's not about achieving technical prowess; it’s about authenticity. By forsaking personal lyricisms, themes of feminism, queerness, social justice, and anti-authoritarianism are incidental, not forced. They’re not an explicitly political band, but their sense of righteous indignation is as genuine as they come. And according to them, they owe a lot of their transgressiveness to their beloved Glasgow. According to Guy; “Most of the other people in the band were born in West Scotland, but they all were peripheral to Glasgow, and it tends to be a kind of collective subconscious, a fairly ego free zone,” he says clearly with a great love for the city. “People won't really give you too much leeway on acting like you're better than anyone else. It's quite a level headed, streetwise place to be, and I think maybe that's been an influence.” Agnes assures me that Cwfen couldn’t be made anywhere else, “It’s a working class city with a strong sense of social justice,” she says. “Very left and very working class, it’s not a conscious thing, but if we're taking a step back and reflecting on what has come out at this very particular point in time, in this very particular place, I can see those fingerprints in it.” Nowadays the algorithmic pulse of the music industry demands polish, pretense, and performative engagement, Cwfen walk a righteous path. What makes them so compelling isn’t just the way they sound, though that in itself is captivating, it’s the way they mean it. There’s a kind of daring in honesty these days. Theirs is a sound built on catharsis. Every guttural cry from Agnes’ chest, every jagged riff conjured by Guy, is a testament to feeling things too deeply, to knowing that sometimes music is the only space big enough to hold the weight of rage, tenderness, and love all at once. Their constitution isn’t the curated kind you’ll find in a PR bio. It’s in the lyrics, the influences, the unguarded moments when tears threaten to spill mid-verse. It’s in the refusal to soften their message, in their ability to evoke a curse and a requiem in the same breath. And that’s why Cwfen are rising with such velocity. Not because they’ve cracked some sonic code or courted the right tastemakers, but because in a scene choking on revivalism and recycled edge, they’re simply, determinedly real. Funny what great riffs and uncompromising lyricism can do. By the sounds of things, Agnes and Guy have had prolific lives in and out of the scene, and now feel like they have settled down into their niche. Cwfen is their new reality, and as of now, it seems like this will be their home for a good while. Agnes states, “I've made my peace with the fact that if nothing happens with this record, it is a beautiful record of a musical life lived by four friends. And I think that we have made something that is deeply personal to us. We're gonna have this totem at a really special time in our lives, but for us, that's almost enough, it's such a special period. We'll see what happens.” Sorrows was released on May 30th 2025 via New Heavy Sounds. Words: Kiarash Golshani Photos: Cwfen

With the release of their new album ‘FINDING PEACE’, Desolated thought it only right to pull off two kick-ass release shows to celebrate this new era for the band; bringing fellow Hardcore giants, Shattered Realm, the underdogs, Bayway, and the new band on the scene, Low Life. This show brought together a line-up that let Underworld in Camden know what Hardcore really is, with one of the most aggressive crowds in the scene.  Starting the night off with ease were Low Life, who gave Underworld a taste of what London Hardcore can do, combining their intense spoken word with unclean vocals to bring in their hip hop influence that floods their music, very clear to see this band have a very bright future ahead of them, with their energy, aesthetic and talent; the scene is going to get to know this band very well. Next up we have Bayway, all the way from New Jersey, this band really upped the ante. A massive highlight being of course their vocalist Jayway, who not only was hilarious, but really committed to bringing out the aggression in this crowd; even at one point stepping down to crowd-kill the edges of the pit to get everyone amped.  Bayway again showed their Hip-Hop influence with lyrics really reflecting their environment in New Jersey as well as mixing rapping with unclean vocals. It honestly sounded like they took Hip-Hop beats and melodies and just make them the heaviest they could, with a killer bass tone, and even heavier guitar tone. The riffs, the drums, the vocals all game together to make them a perfect opener for the next two bands, if you ever see this band, get your two step on because their probably the hardest but funkiest hardcore band I’ve seen.  Then came Shattered Realm and all hell broke loose, with the nature of the level of hardcore this band bring, the crowd reacted in a similar fashion, the pit filled up with flying fists, some clean as hell fly kicks and just overall chaos. With absolutely the most intense set of the night, majority of the people had to leave the out just due to the pure aggression felt in the room.  This all fed back into the Hardcore Veterans themselves, giving it their absolute all and showing London what New Jersey Hardcore can do. It seriously did not disappoint, with the most gruff riffs, unclean vocals and drums; bringing an old style of hardcore i’m sure most of the crowd are not used to, but let’s be honest, hardcore of the 90s and 00s was where the genre was at an all time high with the intensity.  The crowd certainly reflected that with the faster songs making it seem like a bomb of hysteria had gone off, more contact in hits were being made than ever before, the swings got faster and everyone turned into animals it was fantastic. Finally Desolated took to the stage, and they proved themselves to be the headliner, first of all announcing to the audience to come closer as the ‘Heavy band just played’, they certainly didn’t hold back either, pulling of a mighty performance and not even with their own gear, due to their van being broken into the night before. They disregarded this fact though, talking about it and their GoFundMe but proceeding to absolutely kill the set with their sheer hardcore dominance; which is just a testament to their insane talent. Exploring their discography with their fans to celebrate the new album and new era, with no holding back, more aggression, more intensity and more punches to the face. Vocalist Tony Evans certainly let us know that, with some insanely consistent vocals to couple the bands chemistry to deliver the best set of the night, there was a real sense of community here that was quite beautiful. The fans seemed united by the celebration of the album and the devastation of the robbery, the pain and happiness was shared vicariously through the music, and solidified to me once again that Hardcore fans are the nicest people around.  Words and Photos: Ben Blisset

Metal 2 the Masses 2025 has once again delivered the goods in the form of riffs, roars, breakdowns, and the occasional battle vest held triumphantly aloft. From sweat-soaked venues across the UK and Europe to the hallowed grounds of Bloodstock, this year’s hopefuls have been tearing it up for a shot at the New Blood Stage. The full list of winners is still unfolding, but we couldn’t wait to shout about the first wave, so here’s a roundup of the first few bands who’ve fought their way to victory. If this batch is anything to go by, Bloodstock is in for one hell of a summer. Cyprus - Speak In Whispers Speak In Whispers opened up the finals of the Metal 2 The Masses competition back in April and absolutely smashed it out the park with an electrifying performance, winning the first slot at playing Bloodstock open air this August. With powerful vocals and a high energy stage presence, they captivated the audience from the first note. Giving a polished yet raw and authentic performance, they engaged well with the crowd whilst executing memorable riffs with the emotional intensity that truly embodies the spirit of metal. We look forward to seeing them perform at the new blood stage on the 10th of August, Good luck guys! - AN Scotland - Nothing Speaks Nothing Speaks are a fast rising force in Scotland’s alternative scene, taking home the Metal 2 The Masses crown this year with their high-energy, Offspring-leaning brand of grunge-infused alt rock. Punchy, melodic, and packed with attitude, their sound blends catchy hooks with a raw, rebellious spirit that nods to the ‘90s while keeping things sharp and fresh. With an electrifying live show and a growing reputation for tight, adrenaline-fuelled performances, Nothing Speaks are quickly proving they’re a band to watch. - VR Northern Ireland - If It Bleeds Northern Ireland’s If It Bleeds smashed their way to victory with a hard-hitting fusion of groove and thrash that’s as tight as it is explosive. Heavily armed with crushing riffs, pounding rhythms, and a ferocious energy that we can imagine had bodies moving from the first note, we can see exactly why they took the top spot. With a sound that channels the raw aggression of classic thrash with the swagger and weight of groove metal, a combination that hits with serious force, If It Bleeds seem more than ready to bring the noise to the New Blood Stage. - VR Leeds - Theocracide Pure thrash metallers Theocracide took the crown in Leeds, flying the flag high for the genre with unrelenting force. Their sound is a full-throttle assault of unadulterated riffs wrapped in razor-sharp precision and breakneck speed; a true homage to classic thrash with a modern, blistering edge. With aggression in every note and no compromise in sight, Theocracide are proudly carrying the torch for thrash metal and proving it still has plenty of fire left to burn. - VR Sheffield - ThunarWülf Thunarwülf, what can we say? You’ve done Sheffield proud. Serving up a stirring blend of folk and Viking metal, and weaving mythic themes with soaring melodies and powerful riff work, Thunarwülf sit comfortably alongside bands like Elvenking, Thunarwülf balance ferocity and finesse, delivering tracks that feel both epic and deeply rooted in tradition. With rich instrumentation and an unmistakable sense of identity, they’re carving out a unique space in the UK metal landscape, and proving that the spirit of the old gods is alive and well in modern metal. - VR Leicester - Baelfýr Baelfýr were triumphant in Leicester, delivering their signature sound of doom and death metal, soaked in just the right amount of darkness. Their sound is crushing yet atmospheric, blending slow, oppressive riffs with bursts of feral intensity. It’s a style that feels both ancient and fresh, steeped in shadow but never losing its edge. With this win, Baelfýr have firmly staked their claim as one of the most compelling underground acts in the region, and we believe their ascent is only just beginning. - VR Southampton - COMPOUNDS What a band! COMPOUNDS joined the New Blood stage as the crowned winners in the Southampton finals of Metal To The Masses, and boy did they deliver! This 5 piece seem determined to push the boundaries with a hybrid mix of punk and hardcore metal that would leave any audience mesmerised. Their engagement with the crowd holds an air of authenticity and heightened emotion, which combined with their incredible vocals and thrilling musical mash up leaves us in no doubt that they’re a band to watch! Congratulations COMPOUNDS, We’ll see you on the stage! - AN Manchester - VMBRA What a way to close out the month of May! Manchester’s ears were met with the intricate riffs and powerful choruses from none other than VMBRA- prog metal darlings who were determined to shake things up, and that’s exactly what they did. From entertaining the crowd and fusing a connection with everyone in the building, to providing an intoxicating thrill of an atmosphere, they truly submerged us all within their music. Despite Manchester being arguably one of the toughest regions in Metal To The Masses, we’re not surprised that they won. We’re expecting them to take the New Blood stage by storm this August, and they’ve definitely made their way onto our must see list! - AN Essex - Mechromorph Mechromorph, Essex winners, are bringing pure slam chaos to the New Blood stage this year, and we couldn’t be more excited. Blending brutal breakdowns with infectious grooves, they deliver a sound that’s tailor-made for both pit veterans and headbangers alike. Whether you’re there to throw down or just feel the weight of the riff, Mechromorph bring the kind of energy that grabs you by the throat and doesn’t let go. Get ready; this is slam with serious bite. - VR East Anglia - Koba What an absolutely breathtaking sound Koba are bringing to the New Blood stage! This group blends instrumental trance and metal into a unique sonic experience. Hypnotic melodies intertwine with crushing riffs to create something truly spellbinding. It’s a sound that hits just as hard whether you’re there to chill with some good vibes, or to throw yourself into the pit. Their performance in the finals clearly left its mark, and it's no surprise they've earned a place on the New Blood Stage this August. Massive congratulations to Koba, we can't wait to see what you bring next! - AN Somerset - Rizen Just as their name suggests, Rizen have certainly risen up through the ranks as a serious competitor in the metal scene! The Somerset winners are incredible at pulling you in from the very first note with an edgy yet addictive blend to their music. This combined with raw energy and breathtaking performances definitely makes this group one to watch! With something for all moods and emotions they certainly know how to bring in a crowd. Well done Rizen, See you in the pit! This is only the beginning. With two more batches of winners still to come, Metal 2 the Masses 2025 is already proving to be one for the books. From pit-starting slam to soaring prog and everything in between, these bands aren’t just here to fill a stage, they’re here to make an impact. Bloodstock better brace itself, because if this first wave is anything to go by, the New Blood Stage is about to be absolutely levelled like it's never been before. Cover photo - Ace Cheng Words - Vee Richardson and Athena Nikita

The Messenger Birds are not here to play it safe. With their new EP, GRAMMY AWARD WINNING ALBUM IT’S ALL A BLUR, the Detroit duo delivers a loud, unfiltered statement on living in a world ruled by misinformation, online performance, and emotional fatigue. The title itself reads like a swipe at modern spectacle, but the music underneath is anything but satire. This is a serious, scorching take on disconnection and disillusionment. Right from the opening track, 'FAKE LIVES', the tone is set. The song crawls in with uneasy ambience before slamming the listener with heavy guitar riffs and pounding drums. There is an immediate sense of urgency. The vocals cut through the chaos with lyrics that target the hollowness of digital identity; it sums up the band’s view on the curated self-image that dominates social media. The track is intense but sharp, controlled but wild. It grabs you by the collar and does not let go. Second track 'LOST THE PLOT' throws you into the fire even harder. The tempo picks up, the riffs hit faster, and the vocals feel close to cracking. Everything about the song sounds like it is teetering on the edge, perfectly matching the subject. It captures the overwhelming feeling of information overload, where the noise is constant and focus is impossible. There are no clean moments here. It is relentless in the best way. 'BLACK HOLE LOVE' slows things down but does not ease the weight. Instead of aggression, it leans into emotional heaviness. The track feels like a love song buried under layers of fuzz and feedback. It is romantic in the most painful way. The guitars hum like static, and the vocals sound distant, as if sung from the bottom of a well. It draws on elements of post-rock and industrial, echoing the moodiness of bands like Radiohead while maintaining its bite. This is the most atmospheric track on the EP, and it's also the most haunting. The final track, 'REPRISE', strips everything back. It is quiet, ambient, and short, acting as a kind of comedown from the chaos that came before. There are no big moments here. Instead, it feels like standing in the aftermath of an emotional storm. Faint melodies drift in and out, and the silence between them says more than any lyric could. It is a thoughtful end to an otherwise explosive record. In just four songs, The Messenger Birds manage to capture the anxiety, noise, and numbness of life in 2025. They do not waste a second. Each track is focused, polished without being overproduced, and emotionally raw. The guitars are thick and punchy, the drums hit with real weight, and the synths add just enough unease to the background to keep you on edge. The EP builds on the foundation laid by their earlier releases like Everything Has to Fall Apart Eventually and Tragic Comedy, but it sounds leaner and more refined. Where those albums sprawled across full tracklists, this one tightens the grip. The result is a more impactful listening experience. Influences like Nine Inch Nails, Royal Blood, and Queens of the Stone Age are easy to hear, but The Messenger Birds have carved out their own identity. Their strength lies in their ability to merge sonic violence with emotional vulnerability. The songs are angry, yes, but they are also honest. There is no empty posturing here. Even at their most aggressive, there is always a human voice beneath the noise, trying to make sense of it all. GRAMMY AWARD WINNING ALBUM IT’S ALL A BLUR is a compact, powerful EP that does not shy away from the ugliness of modern life. It captures the chaos without getting lost in it, and that makes it more than just noise. It is a signal worth tuning into. Score: 8/10 GRAMMY AWARD WINNING ALBUM IT’S ALL A BLUR was released on June 13th Words: Kelly Gowe Photos: The Messenger Birds

Standover’s studio debut …When a Clenched Fist is No Longer an Option is a punchy hardcore playbook filled with dirty crashes and metallic soundscapes that cover every rhythm of the genre throughout its 10 tracks. It strikes a good balance of swinging angst and thrashy chaos, moving between each seamlessly. …When a Clenched Fist is No Longer an Option opens on the swinging angst side with ‘Gloom’, serving layered screams pushing anguish over a manifesto of misery, then picking up the pace with ‘The Noose’. The mixing choices in this track stand out with the choice to call and response with a radio in the prechorus before a pull no punches breakdown. The swing is brought to the uptempo tracks in ‘Doomed’, with a classic metal style intro to a satisfying “Go!” before launching into a manifesto of promised suffering and the anger it brings. The latter half of the track is punctuated with a half time breakdown that appears to be a signature for Standover; a textbook convention but executed skillfully throughout the project. The final Pre-interlude track is ‘Off the Leash’, the first filler-feel track on the album, but still nicely chaotic and armed with a violent breakdown that’s hard to fault. The Interlude features a scene about the uncontrollable nature of deep seated rage, then hits the swinging chord progression for the beginning of ‘Watch it all Burn’, whose highlight is the midpoint guitar solo. A winding gorgeous shredding melody that transforms into a power riff as the drums in the back deepen from a ride lead to the floor lead that backs a politician’s press release waffle - a nod to the politically-charged nature of Standover’s music as they proclaim “we’re all f**king doomed”. Follow up ‘End You’ is a great warm up track, which switches to a punch in its riffs while maintaining trading melodies as it resolves into upward scales and more searching solos in its breakdown. It is the perfect intro to project standout ‘Forever Contempt’, which over its two-and-a-half minutes fits in a full build up complete with low scream, punk infused verses with a head banging stop and start motif before filling out its sound with constant double bass rolls picking up in the breakdown into evil military rolls on the foot. The final third of ‘Forever contempt’ is relentless until its crisp China cymbal finish, saying what it needs to say then packing up with efficiency - no notes. ‘Dead to Me’ is the other piece of filler though has a punchy beginning before a downward- winding tempo, but album closer Slave pulls this right back up in its own introduction, staying relentless into its chorus. The breakdown is swung and is honestly anticlimactic for a closer, having little variation of its runtime then ending with a wind down/fade out that leaves the listener wanting in not the greatest of ways. The fade in on ‘Gloom’ does make for an effective cyclical feeling when listening to this album on repeat, however. Overall, the word for …When a Clenched Fist is no Longer an Option would be punchy. The thrashy elements were welcome and were balanced well with the swinging soundscapes, and no-messing short tracks are always welcome in a genre that likes to keep it pushing. This to the point that ‘Slaves’ seemed to struggle for content in its slightly longer runtime, but that is not to begrudge a band that may need to keep their stamina throughout a set. As mentioned a couple of these tracks came over as filler - though not ideal, neither ‘Dead to Me’ nor ‘Off the Leash’ are bad tracks by any stretch of the imagination. …When a Clenched Fist is no Longer an Option has everything a harcore fan would want for discovering a new band tied in a chain link bow, and is absolutely worth the listen. Score: 8/10 …When a Clenched Fist is No Longer an Option was released 9th June 2025 via Gutter Prince Cabal. Words: Julia Brunton Photos: Standover

Parisian hardcore crew The Prestige have just recently dropped their latest full length album, AMER, and it’s a riveting ride. Mixing together a concoction of the abrasiveness of Converge, the emotional heft of Counterparts, and the ominous inevitability of life itself, AMER is a deeply unsettling journey that you can’t help but continue on, even though you’re sure it’s only taking you further and further downwards. The eleven songs vary fairly substantially in length, with two of them around a minute in length and another two over six, so there’s plenty of room for variety here - clearly The Prestige don’t feel hemmed in by hardcore’s traditional sensibilities. The album careens between the more expected brute-force runs of screams, downtuned riffs, and machine-gun drums, all the way to eerily ominous moments of almost-calm, that m anage to make you feel like there could just be something watching you. The album opening is a phenomenal three track run; title track ‘Amer’ sits, appearing to be ever so dainty as the minute long intro, before it’s followed up by ‘Bête Noire’ and ‘Léger de Main’. However, dainty would not be the word for any moment on this album. The muscular guitars of The Prestige rip through the listener’s headphones, trying their best to drag you back through and into the uncompromising world of this French experimental hardcore group. All three hit like trains, with just enough of the skincrawling atmosphere included so as to never let you feel comfortable, even with the otherwise ferocious sounds of the rest of the album whirling you into a state of madness. We’re then met by ‘Enfants terribles’, which brought to mind another French heavy band’s album of a similar name, but the writhing heaviness of the former is a far cry from the overt technicality of the latter. ‘Voir Dire’ came next, and as a previously released single fans have had plenty of time to get used to it. It’s all but ready made for a live setting, and is awash with intensely evocative lyrics. As vocalist and guitarist Alex Diaz said about the track: “‘Voir Dire’ is a poignant exploration of inner struggles and family legacies, blending poetry and melody to capture the essence of our humanity.” Track six, ‘Négligée’, follows on with the poignant lyricism and raw vocals, but as the longest track here - over six minutes - it takes its time to evolve and to grow into what ends up being an incredibly potent emotive piece of music. ‘Ingénue’ gives listeners a brief break, as one of the least overtly aggressive moments across the album, before ‘Marquee’ and ‘Apaches’ extend the crushing intensity of the album nearer and nearer the end of the 37 minutes we are given. The last two songs take eight minutes between them, with ‘Petite Mort’ lasting just two and finale ‘Cri de coeur’ taking a full six to close the album off. ‘Petite Mort’ is arguably the most comforting The Prestige has ever been, but ‘Cri de coeur’ takes the atmospheric intensity found throughout, blends it with some of the hardcore sounds they’re so good at, and makes for a phenomenally dark and unsettling album closer. With lyrics describing the emotions experienced after losing his grandfather, Alex Diaz is at his most devastating here. AMER is unashamedly powerful, suffocatingly dark at times, and always stupendously emotional. French hardcore is doing better than ever, and this album is a glorious example of the scene’s brilliance. With this release, The Prestige have truly pushed their heads above the parapet and are making a claim to be one of the country’s best and brightest. Score: 9/10 AMER was released on June 6th 2025 via Banshies. Words: Jake Longhurst Photos: The Prestige

In the city of Nashville, Tennessee, there is a band. Their name is Orthodox. Their music is absolutely anything but. On this fourth album in their time as a band, they’ve managed to increase the intensity, the aggression, and the songwriting ability across the board. A Door Left Open is as close to a horror movie atmosphere as hardcore gets, with an unsettling atmosphere that leaves everything feeling a little bit off pervading the entire record. As is expected by the group, it addresses various topics and themes of religious and anti-religious schools of thought, as well as a reoccurring nightmare signer Adam Easterling dealt with on tour, and the idea that sadly, life is out to get you. Much as is to be expected, the album rips out of the gate in a foaming, frothing, frenetic frenzy of furious guitars and seething vocals. ‘Can You Save Me?’ kicks the door down, making no pretences that this band is here for anything other than ruination. Fans of the band may be well aware already of the infamy their live shows hold, even within the hardcore scene, and the live experience has been kept in mind here on these furious pieces of music. The track opens in much the same way you’d expect their live show to, and then rolls straight into breakdown tempos to whip things into a riot in seconds.’Body Chalk’ comes next, and at barely a minute long it’s not a grower, so it makes up for that by just blowing the doors off the recording studio. Track three ‘Dread Weight’ has all the heft suggested by the track title. The breakdown at the end notwithstanding, it’s a bruising song with gnarly riffs throughout - and then the breakdown is a straight up facemelter. Fourth track ‘Blend in with the Weak’ includes the voice of Matt McDougal, of the well known metalcore act Boundaries, and his abrasive gutturals bring a welcome level of bonejarring mania to proceedings. However, even these two excellent tracks don’t quite compare to the behemoth in fifth, ‘Godless Grace’. The riffs are powered by some unholy energy, the vocals and lyrics are brutal as anything, and the drumming is artilleristic. The last minute or so will likely bring the listener out in uncontrollable gurns. Tracks six and seven, ‘Keep Your Blessings’ and ‘Scared Place’ respectively, are both the type of nasty that will get the spin kickers excited, and the crowdkillers smiling in that very unnervingly gleeful way they do just before everything erupts. Both are full to the brim of that exact unnerving energy that the record was intended to have, and both are built for the chaos of an Orthodox live show. ‘Step Inside’ takes the tempo down a tad but not the ruthlessness, nor the visceral rage, so is merely a slower pace for people to mosh to. ‘One Less Body’ is notable here for two reasons. It’s the only song on the record with any clean vocals, and those vocals are performed by the legendary Brann Dailor of Mastodon. The track opens with a massive yell of “What the fuck” to get it going, the riffs are groovy, it’s all going smoothly for the band at this point. Lead single ‘Searching For A Pulse’ is about the aforementioned nightmare - “This is about a reoccurring dream I would get every time we left for tour that my house was burning down and I couldn’t make it home in time to save it," explains vocalist Adam Easterling, revealing it would crumble to ash as he finally made it back. "I tried to write something that encapsulates an overall fear and eventual submission to being powerless." The track perfectly captures the emotional devastation, whilst still keeping the energy and aggression where it’s expected to be. On the last stretch of the album, Comeback Kid’s own Andrew Neufeld joins Orthodox for ‘Commit to Consequence’, the penultimate track of the LP. The song is full of more swing than a jazz band, and yet still the belligerence of the band manages to overcome any sense of fun to keep things as rabid as possible. The final song here is ‘Will You Hate Me?’, capping each end of the record with a question. This is the longest piece on the album, and it takes its time, allowing the song to expand and flow out into the only song that isn’t blind anger, allowing for a moment of reflection on the last half hour of devastation, even as such lyrics as “Death offers no relief, only certainty” wash over you, before the final crushing blow hits and silences the LP. Orthodox don’t know how to make a bad song, and that much is blatantly obvious here. The group have released one of this year’s very best hardcore albums in A Door Left Open, and have more and more doors opening up in front of them as we speak. Score: 9/10 A Door Left Open was released on June 6th via Century Media Records. Words: Jake Longhurst Photos: Orthodox

Outbreak Festival returns in June 2025 to Manchester’s BEC Arena and for the first time ever, London’s Victoria Park. Often hailed as the leading UK hardcore festival, Outbreak 2025 is sure to be an exciting, action-packed 3 days, split across 4 stages! While the opening day, 13th June, in London brings us a smaller line-up, it is bound to be no less electrifying. To make sure you don’t miss out on seeing some of the hottest acts this year, we’ve collated this list of the top ten bands that are must watches at Outbreak, for you lucky readers. Slowdive Headlining at this year’s Outbreak Festival, this innovative shoegaze band has been giving us legendary live performances since 1989. With their dreamy vibe, fantastic visuals and immersive sound layers that engulf you, the atmosphere of their set is sure to be breathtaking. You can expect to hear extraordinary basslines, and a good mix of newer tracks and their classics, compiled for a perfectly flowing setlist. Recently, they performed at the Brooklyn Paramount, where they opened with “When the Sun Hits” to an electric audience – wildly singing along to every word. Slowdive performances draw in a chilled crowd, who can often be seen gently swaying to the ethereal music, eyes closed, before breaking into song when a fan favourite starts, creating a collective experience rather than a roaring mosh pit. Julie Julie’s set at Outbreak is sure to be insane! This up-and-coming band is definitely one to put on your watchlist as remarkable things can be expected from them. Their genre is a blend of hardcore, and shoegaze and every set is packed with raw emotion and energy, ensuring a thrilling atmosphere. You’ll be shook by their passion and intensity on stage – it’s going to be a set you won’t easily forget! Their debut album, “My Anti-Aircraft Friend” was released last year. It is a beautifully wild listen, with hard hitting heavy drums, distorted guitars and gossamer, hazy vocals – we can’t wait to hear some of the tracks on it at Outbreak. Superheaven Bringing us mind-blowing live performances since they first took to the stage in 2012, you can look forward to an atmospheric wall of sound, blended shoegaze, and grunge. An unreal experience! The stage presence this group has is mega, giving us emotionally charged music and so much energy. Superheaven draw in diverse, enthusiastic crowds, a real community you can expect to see singing along, head-nodding and a hint of vape smoke, rising from the masses. They recently played a gig at the Brooklyn Steel during their 2024 reunion tour – here they performed several classic songs, and the audience got hyped up quickly, excited to watch them again after their long hiatus. Trust us, you won’t regret seeing them at Outbreak! Pest Control Pest Control are going to bring a pure adrenaline, chaotic show to the stage at Outbreak. Their blend of hardcore and thrash metal creates an infectious, frenzied mosh pit of fans who aren’t scared to get rowdy and intense. Speakers blasting an aggressive, raw sound – producing a notable set you don’t want to miss. Their stage presence is intense, making every one of their performances unforgettable. Pest Control dropped their most recent album, “Don’t Test the Pest,” in May 2024, we can expect to hear some tracks on this played in their set at Outbreak! Pain of Truth This band is a must-see due to their hard-hitting raw energy, and hardcore/metal sound that’s perfect for moshing. Pain of Truth’s genre can often be described as metallic or beatdown hardcore. Their pits open up into brutal, and aggressive, super energetic crowds. Heavy breakdowns are part of their iconic sound and Pain of Truth’s crowds always match their crazy performances - stage diving and totally losing themselves in the power of their music! While we can’t say what exactly is going to be on their setlist at Outbreak Festival this year, we expect there to be a number of tracks from their 2020 album, “No Blame… Just Facts,” and some EP’s from their early days. Witch Fever A four-piece doom-punk band hailing from Manchester, UK, Witch Fever was formed in 2017 and since then they’ve shot to fame, defied many expectations – breaking genre boundaries, and they released their debut album “Congregation” in 2022. They’re known for really connecting with the audience and bringing a ton of vivacity to their shows. Witch Fever blends punk, noise rock and doom with distorted, heavy guitars and gorgeous but intense vocals. Sure to put on an outstanding performance as usual at Outbreak, especially with it being the return to their home town, on Sunday - 15th June at the BEC Arena. Deafheaven Deafheaven combines shoegaze with black metal - their music often has features of harsh vocals, blast beats mixed with melodic passages to create such a unique sound. They can be considered quite differently to other bands at this year’s Outbreak festival, but their music still packs a punch, and their set is sure to be a memorable one! Their best album is largely considered to be their 2013 release, “Sunbather”, and we think there’s a fairly good chance Deafheaven will perform tracks from this at Outbreak. Their most recent live show was at Sick New World festival in 2024 where they played a medley of tracks from their discography, many of these being from their last album, “Infinite Granite” and of course, from “Sunbather”. This set was well received and there was so much positive energy, and fans headbanging along. Contention Formed in Florida in 2019, Contention is a band in the metalcore genre. They’ve gained a powerful reputation in breakneck speed, and are rising stars within the metal scene. They blend elements of punk, metal and hardcore to produce their music. Their shows often create sweaty, intense, beer-fuelled crowds and you can often leave one of their performances with that “been in a mosh pit all night” aroma – a sure sign of having had a great time! The nature of the band makes them perfect for a festival setting and they’re absolutely going to rock the stage at Outbreak 2025. Drug Church Drug Church is a rock band known for their honest, raw lyricism. They deliver a killer mix alt-rock, grunge, and punk, creating an abrasive, but catchy sound. Drug Church always put on an extremely amped-up show, guaranteed to stick with you. “Hygiene” - their most recent album was dropped in 2022, and it delves into societal issues and personal struggles, which has resonated with many listeners and garnered them new fans. We hope several tracks from this will be on the setlist at Outbreak! Some tracks from their earlier albums, like “Cheer” and “Hit Your Head” are also expected to be in their set. We’re sure you’ll have an outstanding time watching them at Outbreak regardless! Kumo 99 Since forming in 2022, LA based duo, Kumo 99 has quickly built a dedicated following, becoming wildly popular within the DnB scene. Their live shows are totally unique – aggressive punk mixed with electronic dance sounds and a captivating stage presence that will grab your attention. A chance to see their raw, pure energy live! Since their performance at Coachella 2025, fans online have been raving about how superb they were! Their Coachella set paired punchy vocals with rhythmic beats and awesome light shows were added into the mix to create an experience like no other. Catch them at Outbreak so you don’t miss out on the chance to hear one of their digital hardcore sets live in the UK! Words: Elliott-Jae Boulton

This year’s M2TM Manchester Finals was nothing short of legendary. Held at the iconic Rebellion venue, the night brought together a stunning mix of local talent, past champions, and guest bands to celebrate the very best of the underground metal scene. With pits erupting, bodies flying, and riffs shaking the walls, the spirit of Manchester metal was alive and thriving. The competition was fierce, the vibes were electric, and one band rose above the rest. Rhum Knuckles Kicking off the day in true rock ’n’ roll fashion, Rhum Knuckles brought their signature blend of classic rock covers to the stage, instantly setting the tone for a day of high-energy performances. With tight musicianship and a clear love for the genre, they had the early crowd singing along and moving from the first chord. A perfect opener, their set felt like a warm embrace from rock’s golden era. Rupcha Farms Rupcha Farms came in swinging with a genre-bending mash of political rap, pure energy, and heavy riffs. Imagine The Prodigy being filtered through a metal lens, and you’re still only halfway there. With razor-sharp lyrics, pounding beats, and hooks you’ll hum for days, they had the room bouncing and thinking in equal measure. Their ability to mix catchy choruses with a pointed message makes them not just entertaining, but important. Easily one of the most unique acts of the night. Higher State Higher State didn’t just perform, they purged. With overwhelming heaviness and unflinching intensity, their set was a visceral, emotional release that hit like a punch to the chest. Blending crushing breakdowns with beautifully chaotic instrumentation, they delivered a set that was as cathartic as it was technically brilliant. Every scream, every riff, every beat felt purposeful. Higher State are a force of reckoning for anyone needing to feel something raw and real. A stunning, standout performance. Pulverise Flying the flag for the Nu metal revival, Pulverise took to the stage with relentless energy and total command. Their fusion of chunky riffs, big hooks, and infectious swagger brought serious early 2000s energy, reimagined with a fresh, modern twist. The band had the crowd moving from the get-go, channelling a frenetic mix of all our favourite bands. Pulverise didn’t just revive Nu metal, they reminded us why it ever ruled in the first place. Beyond Extinction Beyond Extinction came to destroy, and destroy they did. Their set was a masterclass in relentless heaviness, featuring earth-shattering breakdowns, monstrous vocals, and a sound so dense it could crumble walls. The pit action spoke volumes, these guys know exactly how to whip a crowd into a frenzy. Combining aggression with precision and flair, they left the crowd in a state of beautiful destruction. Pure, unfiltered filth, and we loved every minute of it. Competion Finalists: Technologist Returning veterans Technologist opened the competition side of the night with brute strength and groove-laden aggression. Having previously reached the 2022 semi-finals, they hit the stage this year sounding more refined, more confident, and heavier than ever. Their unique blend of groove and death had the audience moving, heads banging, and fists pumping. With razor-sharp execution and undeniable stage presence, Technologist reminded everyone that they’re not just here to compete, they’re here to conquer. A ferocious opening shot for the finals. Competition Finalists: VMBRA VMBRA’s set was nothing short of spectacular. With not one, not two, but three powerhouse vocalists at the helm, they delivered a genre-defying performance that seamlessly fused melody, brutality, and atmosphere. Every member brought something unique, and the chemistry between them was electric. Their new material added depth to an already impressive repertoire, and their command of the stage was unmatched. VMBRA delivered a set that felt huge, cohesive, and fearless, taking the energy in Rebellion to another level entirely. Competition Finalists: Covert One of the youngest bands on the bill, Covert proved that age is nothing when you’ve got talent and presence in spades. With a gripping blend of hardcore and deathcore, their sound was tight, punishing, and surprisingly mature. Their stage show had all the energy and polish of seasoned veterans, and the crowd reacted accordingly. If Covert are this good now, it’s frightening to think what they’ll be in five years. Manchester metal has a bright future, and it might be wearing Covert’s name. Competiton Finalists: DWINGLE DWINGLE brought chaos, colour, and charisma in a set that felt like a metal gig fused with a fever dream. Shirtless, sparkling, and constantly in motion, they turned Rebellion into a disco-metal playground with pits, stage dives, and crowd chants aplenty. Their theatrical flair was balanced by tight musicianship and clever songwriting that proved they’re so much more than just a party band, they’re serious entertainers. The most fun set of the night by a mile, and one no one will forget them anytime soon. Square Wild 2023 winners Square Wild returned to Rebellion with a set that reaffirmed why they’re one of Manchester’s most celebrated prog rock outfits. Funky basslines, tight drumming, and soaring vocals all blended seamlessly into a sound that was both polished and pleasantly off-kilter. With their mix of prog, punk, and pure fun, they delivered a vibrant, energetic set that had the crowd grinning from ear to ear. If Square Wild were a victory lap, they ran it with flair and style. Hellbearer Fresh off their 2024 win, Hellbearer returned to last year's stomping ground and didn’t hold back. Despite battling technical issues, they powered through with a vengeance that reminded everyone exactly why they took the title last year. With blistering speed, snarling vocals, and enough energy to level the building, they left nothing behind. Hellbearer’s resilience and power under pressure made for a compelling, triumphant set, and further cemented their status as one of Manchester’s most formidable metal acts. The Crawling As headliners, The Crawling delivered a crushing finale that combined death metal brutality with doom-laden atmosphere. Their sound was suffocating in the best way; dark, slow-burning, and endlessly heavy. From the first ominous riff to the final note, they held the room in a trance-like grip, proving they belong on much bigger stages. A perfect closer for a night that celebrated every shade of heaviness the underground has to offer. M2TM Manchester has proved once again that this city’s underground metal scene is thriving with creativity, energy, and pure fire. Every band brought their A-game, but it was VMBRA who rose to the top, earning a well-deserved slot at Bloodstock Open Air. With a stacked lineup, a packed venue, and a crowd that brought relentless passion, this year’s finals weren’t just a competition, they were a celebration of everything we love about metal. Until next year, we can’t wait to see what you have in store! Catch VMBRA at this years Bloodstock Festival, taking place 7-10 August 2025. Headliners are Trivium, Machine Head and Gojira. Words: Vee Richardson Photos: Ace Cheng