The twelfth studio album from German collective Faun is upon us - Hex. Hex is an album with stories to tell from cultures and folklore across Europe and parts of Asia. The term "hex", as you may know, relates primarily to witches and their spells, and comes from the German “hexe”, which this album focuses on - discussing female magic in all forms. Terms such as "hagazussa" have been used by the band before, also meaning “witch”, with a song of the same name released on their previous album Märchen & Mythen in 2019. Over the years, the band have developed a body of work that encompasses a multitude of modern and archaic elements - in this album alone it covers English, Celtic, Germanic, Anglo-Saxon and even Turkish narratives and ideas. The band consists of four vocalists - Laura Fella doing only vocals, with Oliver Satyr, Stephan Groth, and Adaya playing the moraharpa, hurdy-gurdy, and bagpipes respectively alongside their vocal duties. Niel Mitra is the band’s keyboard player, sampler and synthesiser, whilst Alexander Schulz is on percussion. The breadth of ability and experience of these artists is consistently shown with their polyphonic vocals and complex arrangements. Hex is brought to life by 'Belladonna', a tune that introduces the abundance of instruments that is expected from Faun. The traditional folk song structure alongside soaring vocals and hard guitar make it the perfect foundation for what’s to follow. The deep earthy sounds of 'Lament' follow, encapsulating the genre with the droning hurdy gurdy and the melodic moraharpa, whilst the piercing bagpipes carry the tune. This track has the power to transport you to other realms, with the repeated hook of “The Gods receive thy soul”. 'Nimue' features the legendary Chelsea Wolfe, and showcases a percussion led, rock ballad-esque mood to contrast itself with what's come before, whilst 'Blot' follows with a swaying, ritualistic beat that's more in keeping with what would tend to be expected of the group. 'Black Eyed Dog' is a cover of the late Nick Drake, originally released in 1986, and then released by Faun as a single earlier this year. Faun’s rendition offers a jaunty upbeat version of the original but still carries the solemn undertones, with the famous lyrics of “I’m growing old and I wanna go home”. Despite the honesty and darkness of the original, they have been able to create a more hopeful version that changes the perspective into something perhaps more soulful. 'Vals' is a multi-tonal and intricate instrumental based on Swedish folklore, featuring guest musicians Daniel Pettersson and Daniel Fredriksson. Both playing traditional Swedish instruments including the nyckelharpa, and the duo will also be touring alongside Faun for their upcoming tour. The track 'Umay' was originally released as a single in 2023, and it introduces other influences from Turkish folk song. The track includes the guest singer Fatma Turgut, allowing this track to add a different spin on the album's core sound whilst keeping in with the theme of female healers. Umay Ana, the originator of the song's title, is a fertility goddess who protects young children and animals. Turgut’s vocals are rich and hearty, and paint a beautiful picture throughout. 'Alfar' brings the album to a close with a hearty and fulfilling tune that shouts the true Faun-style genre that we’re familiar with. At a surface level, this is a great atmospheric album with a variety of catchy beats and genre- defying moments, but on a deeper level there’s a treasure trove of ancient lore to discover, with each song having a backstory and origin, telling you stories of old that span hundreds of years. For those wishing to dig deeper, there’s a plethora of myth and legend to discover rooted in real stories and folklore. Faun successfully fuses the old and the new together with stunning sounds that prove this band lives and breathes the world they have created. Score: 8/10 Hex will be released on September 5th 2025 via Pagan Folk Records. Words: Danielle Henderson Photos: Faun

Since 1998, the Portuguese death and thrash metal veterans Biolence have served their uncompromising music to the masses worldwide, evolving their sound into heavier and gnarlier with each release. Thriving on stages where they can show their fullest potential, the band is not scared of controversy or criticism, and always looks for a way to push the boundaries even further. Now, with Violent Obliteration, their latest release, the band are on a massive rampage to push the envelope that bit more. The album brings in violent riffs, breakdowns and solos throughout the whole album, where some of the heaviest moments are ‘Heavy Artillery’, ‘Extermination Through Mutilation’ and title track ‘Violent Obliteration’. From gnarly screams to stand-out drums, the songs are energetic, chaotic and make the listeners unknowingly start moshpits in their rooms. While ‘Heavy Artillery’ and ‘Violent Obliteration’ go straight into the guitar action, ‘Extermination Through Mutilation’ has a little recording playing, in what is quite a standard hardcore trope, before hitting those fry screams. Interestingly enough, ‘Extermination Through Mutilation’ is not the only song on Violent Obliteration that has an intro playing before the actual song. The other ones are ‘World Plague’ and ‘F. U. B. A. R.’, songs, that are equally as heavy as the aforementioned. ‘World Plague’ is very energetic, showcasing the instrumental abilities of the members, although vocally the song is not doing poorly at all, as there is a variety of different sounds and techniques going on. ‘F. U. B. A. R.’, on the other hand, is more aggressive, using high-pitched guitar tones. The song starts off a bit slower, before exploding into a big bang of sounds, creating a melody, that is reoccurring throughout the song, giving it a distinctive tone. As the album progresses, it is evident the band is ready to talk about the current situation worldwide. As they stated in their official statement about the album, “This upcoming album is possibly our most cohesive, direct, and violent to date, a nuclear bomb of death/thrash metal, with our signature lyrical themes such as the horrors of war, biological and mass destruction weapons, greed, human corruption, and its destructive impact on the planet,”, and this can be noticed not only in the song titles such as ‘Humanity Executioner’ and ’50 Caliber Freedom’, as well as other songs that were previously mentioned, but also in the lyrics of the songs that correspond to each title respectively. Each track proves that the band is not scared to publicly talk about the ongoing problems and struggles and that it stays true to its word, now more than ever. The urgency of the messages is also highlighted with the band’s focus on death and thrash metal, bringing even more attention to the cause. Last, but not least, the narrative of Violent Obliteration is further elevated with the addition of ‘Intro’ and ‘Outro’ at the beginning and end of the album. Although they are instrumental tracks, both contain sound effects of war sirens, bombing and muffled announcements in the background, with no vocals, that are followed by marching instruments in ‘Intro’ and an eery sounding guitar in ‘Outro’. Although many of the songs sounded very similar, the mission to not stay silent about the crimes of the present was full filled, and it has been done in a way that is urgent, uncompromising and straightforward. The riffs were haunting the whole time, vocals were gnarly, and drums and bass did not have a second to stop and breathe. Even after more than twenty-five years, Biolence once again prove to be an important part of the metal scene, that is always ready to come back with even heavier and more powerful music. Score: 8/10 Violent Obliteration was released on September 1st 2025 via Doomed Records, Raging Planet and Selvajaria Records. Words: Katerina Stepanikova Photos: Biolence

Held on the fields of the Fernhill Farm near Bristol, ArcTanGent once again proved to be one of the most fluctuating festivals of the UK. From metal pieces to folk storytellers, the annual festival offers an outstanding music experience that caters to anyone who likes to be adventurous, as well as just enjoying pieces they already know and love. Featuring over seventy bands across four stages in the span of four days, the options were endless and the memories unforgettable, as there was always something to be up to, even in the multitude of stalls across the whole arena. Kalandra Fans gathered at the Yohkai stage to witness the ritual of the Nordic folk band Kalandra, and it was truly an otherworldly experience. From using the modern instruments such as guitar, bass and drums, to using the traditional Nordic ones, every song offered new sounds and unseen perspectives, surprising the crowd more with blending the two together into beautiful melodies. The band members [find the names] gave the audience everything, from stand-out riffs to otherworldly vocals, on the first day of the festival, and it absolutely paid off with their cheers and admiration of the four-piece. Teeth Of The Sea Starting the set with a bit of beats followed by “Thank you, goodnight” and fans yelling “One more song!” has never sounded better than at the Teeth Of The Sea set. After a little pause, the song started again, and this time received a bigger applause from the audience, signalling the PX3 stage is about to get lit – pun absolutely intended. Throwing together heavy synthetic music, live instruments and vocals, as well as unconventional instruments such as bells, the band has managed to create a unique blend of sounds that creates a soundscape worthy of listening to outside in a massive tent. In return, the audience transformed the floor into a fifty-five minute long rave and appreciated the set in all its glory. WARDRUNA With the tent filling at a rapid pace more than half an hour before the start, Wardruna’s set was bound to be special from the beginning. It was not until Einar Selvik, Lindy-Fay Hella, Arne Sandvoll, HC Dalgaard, Eilif Gundersen and John Stenersen came out, that the whole tent burst into big cheers, only to fall into complete silence when the first notes started. Bringing Nordic folk music and traditional instruments, such as Taglharpa, Bukkehorn and Mora-harp to their British audience, the band has managed to tell the old tales and myths that would otherwise be long forgotten and enchant the packed Main stage tent full of metal-heads. All six members were singing throughout the whole set, with Einar and Lindy-Fay being the leading vocalists, creating haunting and beautiful harmonies. The set included a handful of their well-known ballads, such as ‘Fehu’, ‘Solringen’, ‘Voluspá’ and ‘Helvegen’, and was finished with Einar’s solo-encore playing the lullaby ‘Hibjørnen’, which in his own words was “very fitting”. Maud The Moth Although the first ever Maud The Moth set at the festival was on Thursday early afternoon, it did not stop their fans to have their fill in the Bixler stage. Started as a solo project of Amaya López-Carromero and currently turning into a collaboration of multiple artists, the set brought ArcTanGent a unique listening experience with its incorporation of piano, drums and guitar. Finished off with Amaya’s ethereal voice, it was bound to be one of the most beautiful sets of Thursday from the beginning. As Living Arrows When someone says post-screamo, As Living Arrows is absolutely one of the bands to come to mind first. Crowd went absolutely berserk at the PX3 stage for the band’s atmospheric set, and rightfully, as the band blended all the good stuff from bands like Deafheaven, The Jesus Lizard and La Dispute. The atmosphere was only enhanced by one of the fans blowing out bubbles during the set, making it extra fun to enjoy. We Lost The Sea Australian post-rock band We Lost The Sea has brought their emotional set to the festival’s Main stage and was welcomed with a full tent of fans, who have enjoyed their set to the fullest. The six-piece has created dozens of ambient tracks since 2007, centred primarily around the themes of loss, personal struggle, and the human experience, and has recently released a new album, A Single Flower, as well as celebrating a ten-year anniversary of their album Departure Songs. Creating haunting soundscapes with the help of multiple guitars, drums, bass and keyboard, the band managed to grab the attention of everyone at the Main stage. Lowen The London-based Middle Eastern metal band Lowen has absolutely dominated the full Yohkai stage with its theatrical performance and use of props. Formed in 2017 by the vocalist and folk instrumentalist Nina Saeidi and the guitarist and bassist Shem Lucas, and later joined by the drummer Cal Constantine, the band adopted a Western approach to the Middle Eastern traditional music, honouring Saeidi’s Iranian heritage and her parents, who are Iranian Revolution refugees. The set was striking, bold and a real treat to watch, especially with the incorporation of Arianna Mahsayeh’s beautifully sad cello. Kylesa Kylesa has brought their intricate guitar riffs and dual vocal arrangements all the way from the US after their eight years long hiatus, and has honoured Ozzy Osbourne at the beginning of their set by playing Sweet Leaf as their introduction track, to a pleasant surprise or the full YOHKAI tent. From there, the band continued to amaze with their unforgettable and intricate melodies, vocals and guitar riffs. The band was graced with crowd-surfers and a moshpit, that was gradually growing in size, and it was obvious the fans enjoyed the band’s return as much as possible. Leprous The Norwegian giants Leprous took over the Main stage on Thursday right before the headliner, and they brought Bristol an emotional set full of powerful vocals, heavy riffs and light effects. The set was the band’s third time at the festival, and was packed with emotions, singing and pyro. Fans have sung with their favourite for the entirety of their set, and it is not a surprise they cheered every chance they got, as the band brought on the stage everything they had and did not hold back for a second. Sungazer Blending together progressive metal, djent and jazz on the Bixler stage, Sungazer managed to seamlessly come up with unique immersive sounds that are now their signature. The band was joking throughout the set about the number of time signatures they use and took the time to teach the crowd how to dance to off time signatures, as well as how to count to five, making it a fun experience for everyone, who gathered at the tent, while also played their songs, that just make ones body to move automatically. Battlesnake As the last band slot at PX3 quickly approached, the fans gathered to witness the last UK performance of the Australian force Battlesnake for this festival season. Bringing in chaotic energy from the beginning, the band members did not fall behind with their unforgettable show, as the crowd went berserk with moshpits, crowdsurfers and singing. The experience was only enhanced, when Sam Frank jumped into the moshpit during the set and right into the crowd to surf for a bit, and at the end, when every member except the drummer did exactly the same. An absolute force of nature, Battlesnake’s set was one of the most energetic sets seen on Thursday, if not throughout the whole festival. Godspeed You! Black Emperor Godspeed You! Black Emperor have taken over the Main stage on Thursday, and if the stage tent was expandable, it would absolutely get massive. The band offered the crowd an emotional rollercoaster packed with a mesmerising projection and echoing soundscape, that has not left a single eye dry, and went absolutely in with everything they had. In return, the ArcTanGent crowd showed appreciation to the headliners with their shouts, cheers and massive applauses, that were a solid proof the band has been a staple on the post-rock scene. The second day of the festival could not end better than that and anyone who witnessed this explosion of feelings is bound to remember it for a long time afterwards. Ithaca Our first set of the Friday was the bittersweet farewell of Ithaca, and it was indeed a wonderful experience. Although the band’s time was short, they managed to make this an emotional experience, and anyone lucky to witness this is bound to talk about it for a long time. Staged with the band’s iconic orange colour, the whole tent was buzzing with excitement, grief and moshpits, and it was very obvious that everyone will miss Ithaca’s energetic presence on the British metal-core scene. Envy envy brought their unique atmospheric metal to the Main stage all the way from Japan and absolutely emotionally destroyed the whole audience. It was their first time at the festival and they made sure to give the audience everything they could, from hitting vocals to electric guitars played with a violin bow. The staging was simple, but added depth to the overall performance, which is one of the most memorable and surely iconic of the day. Green Lung Bringing in their English folk-induced metal, Green Lung had a full tent for their Main stage performance, and it was spectacular. Coming to Bristol from London, the five-piece band was a fan-favourite for sure, and it was obvious not only from the crowd's cheers, but also from the band’s interactions, which were occurring throughout the whole show. An amazing performance to witness for anyone who knew the band before, as well as for those who have discovered something new. Between The Buried And Me The American progressive metalcore band Between The Buried and Me took over the Yohkai stage on Thursday, and the tent was packed inside and outside, as it was one of the most anticipated performances of the whole festival. Playing their album Colors in full, the band blended together their signature and precise style with ambient lighting, and gave the audience an unforgettable experience that gave big chills. The band has mastered their ways, and this set was only a reassurance that there are not many other bands that can compete with them. Vower Vower has taken over the PX3 stage as the main support and played, to their big surprise, for a full tent. The post-metal band from the UK has crushed their performance and offered the crowd a heavy and emotional experience, as well as amazing music, only for the crowd to sing their songs with them – to the band’s surprise once again. The set was full of appreciation, gratitude and heavy riffs and lyrics and it was obvious the band enjoyed every single second of it. Frontierer Once again, a much-anticipated band, Frontierer took over Bixler with a force and held the standard very high for the whole hour. From very harsh lighting, that is now a staple of the band, to chaotic music, to climbing up the lightning construction, the performance had absolutely everything and more, and every second was a surprise for everyone, who has not seen the band before. Bold and unconventional, the band trashed the stage with their last performance of the day to pieces and did not look back while doing so. Gost Coming from the US, the mysterious Gost headlined the PX3 stage on Friday. Turning the whole tent into a giant rave, the performer brought his unique blend of synthwave, industrial and metal influences, and served an atmospheric masterpiece. Some of the fans even brought light sticks to the performance, indicating that they were ready to dance until the very end of the show. Gost was an interesting addition to the already stacked line-up and a good choice for Friday night. Karnivool Headlining the Main stage on Friday was the Australian rock band Karnivool, and they did not disappoint. Performing for a full tent, the band, consisting of Ian Kenny (vocals), Steve Judd (drums), Jon Stockman (bass), Mark Hosking (guitar) and Andrew “Drew” Goddard (guitar) has brought their intricate compositions and dynamic sound they are so well known for, together with their atmospheric soundscapes and thought-provoking lyrics. The set was emotional, beautiful and big, and it was obvious the crowd enjoyed it, as they were singing together with Kenny the whole time. By the time the set finished, it was hard to believe it is really over, but exciting to see what the last day of the festival brings on the table. Swamp Coffin Our first set of the last day was Swamp Coffin at the PX3, a three-piece sludge band from Rotherham, England. Bringing in their heaviest riffs right from the start, as well as powerful vocals, the band did not even flinch, and the crowd loved it. The set was energetic, chaotic and really fun to witness, proving that the band is cementing their spot on the British metal scene. Burner Next up was Burner, also at the PX3 stage, and although the band had some technical issues before they started playing, it was all resolved quickly. Serving sick hard-rock punk metal and very big riffs, they were bound to smash their performance, and indeed they did, as the crowd went berserk for them. Showing appreciation throughout the whole set, Burner was a great discovery to witness live. Royal Sorrow The biggest discovery of ArcTanGent, however, was the Finnish dark metal band Royal Sorrow. As this was their first ever performance abroad, it was very special, and the band, as well as the crowd, gave in everything they could. From hauntingly melancholy vocals to atmospheric riffs, and massive moshpits, this set had everything, and it was no surprise the band’s fanbase only went up after the show. Royal Sorrow is also set to support Leprous on their upcoming tour, which only made the fans more excited for their return. Rolo Tomassi Rolo Tomassi’s set at the Main stage was something out of this world. The band celebrates twenty-year anniversary this year, and for this occasion, they decided to bring in live instrumentalists, that only elevated their music to a whole new level. Followed by striking visuals in the background, the band gave their all to this set and it returned back to them with fans singing all the lyrics and singing the ‘Happy Birthday’ song to them. An incredible experience for everyone, who went to see the five-piece on the biggest stage of the festival. God Is An Astronaut Headlining Yohkai with their striking performance, the Irish post-rock band God Is An Astronaut brought its instrumental soundscapes to their fans. Another one of the most anticipated bands, they did not hold back from showing their full potential and played pieces from all their albums. A jaw-dropping performance indeed, as it was fierce and powerful, and the crowd did not hold back with reminders of their love and support of them either. TesseracT It was hard to believe the last headliner is just few minutes away, but TesseracT made sure to make the evening one of the most memorable of the entire festival. Armed with Daniel Tompkins’ raw vocals, as well as two backing-vocalists, the crowd experienced many heaven-like moments, that were only elevated to their highest potential with Alec “Acle” Kahney’s lead guitar, James Monteith’s rhythm guitar, Amos Williams’ bass and Jay Postones’ drums. The lighting for this set was one of the most beautiful as well, and it was obvious the band thought about every single detail. As much as the performance was emotional, it was funny to watch the fans throwing around inflatable balloons and swim rings, as well blowing bubbles, especially in moments when Tompkins just stood on the stage looking straight into the crowd with serious face. This performance stuck with us ever since we were there and it was hands down the best headline set out of the four. As the last headliner left the stage, it was obvious that ArcTanGent once again proved that it is one of the most important festivals in the country, not only for its diversity, but also for the support of smaller bands. The crowd was enjoying every performance held over the fields this year and the passion they brought with them created an unforgettable atmosphere, that is hard to get out of the head even weeks after it ended. Words: Katerine Stepanikova Cover Photo: Artemi Falzon

No Play Festival is around the corner, and what better time than now to get your ticket to support independent music festivals and see some amazing bands. If you are heading to the festival, here are some bands you should definitely check out! Lure In First up, from the Manchester hardcore scene, we have Lure In. Now that the stage splits for the day have been revealed, you have no excuse not to catch at least some of their set if you’re about nice and early. With the release of their debut album, ‘We Are All Going To Hell’, the band have announced a free show playing the full release in Manchester the week after the festival, so it’ll be fun to see what’s in store for their festival setlist as they get everyone warmed up for the day ahead. Demeanour While they may be a new band to the hardcore scene, formed in 2024, you may recognise vocalist Izabel Lavin from Rozemary, another band on this year's No Play lineup, which you should also check out if you didn’t manage to catch them at last year's festival. The talent from this group proves that Demeanour has only one way to go, and that’s up, and it’ll be exciting to see more and more people discover what they have to offer. With the recent release of their EP ‘My Own Fate’, what better timing than now to give them a listen? Omoia There is truly something for everyone at No Play, and Omoia is another band worth getting down early for. This Leeds-based queer emo band has recently released an EP by the name of ‘Anthology’, which you can listen to now if you want to get an idea of what's in store for you. This band is blurring the lines between genres, making it feel entirely their own, by blending the raw and catchy lyrics that you can expect from alt- rock or emo with the hard- hitting metalcore riffs with a lean into melodic post- hardcore. Perp Walk Fresh from Bristol, we have Perp Walk, a band that dips between hardcore and punk seamlessly. After being on last year’s Outbreak lineup, the band have become unstoppable this year, playing multiple festivals this year including of course, No Play Festival. The band’s northern fan base is growing exponentially to match that of their southern fan base and If this year’s Manchester Punk Festival performance is anything to go by, the crowd will likely be just as feral and the band will definitely match this energy as they are not one to hold back, delivering high intensity throughout their performances. False Reality If a thrash-infused hardcore band is what you’re looking for to slot into your day at the festival, look no further. False Reality is making giant leaps in the scene lately, performing at Manchester Punk Festival, Burn It Down, and 2000 Trees just this year, as well as supporting bands like Heriot, Stray From The Path and Stick To Your Guns, to name a few. This London hardcore band is definitely a must see at this years festival as their music is nothing short of brilliant and their energy is unmatched. XapothecaryX London vegan straight edge metallic hardcore band xapothecaryx brought out a new EP earlier this year ‘The Machine Demands Blood’, which includes features from A Mourning Star, Not Without Punishment, Iron Deficiency, and Street Justice, covering themes such as genocide, animal experimentation, and addiction, the name of the EP itself being a reference to the ongoing genocide in Gaza. This is another band that is playing somewhat earlier in the day but you can still expect a high turnout, so get yourself along and join in with likeminded people shouting about the current state of the world. Overpower Bristol thrash Overpower are ready to make some more noise up north. Having previously toured with bands including Obituary, Inhuman Nature and Power Trip, this is a band that knows how to command the stage and get the crowd going. Despite not having any new music out so far this year, Overpower are still expected to put on an immense show, promising high energy, plenty of pits and chaos throughout so definitely save some energy for this one because you're going to need it to keep up. Angel Number Self-described as electrogaze/ ethereal/ altrock, Angel Number is a vocally softer band on this list that still offers plenty of hard-hitting riffs and drums throughout, alongside some fun synths. For Angel Number, it's their second time performing at No Play Festival; however, with their latest double EP release, we can likely expect to hear more from these played this year. Whether this sounds like a bit of you or even if you’d just like to pace yourself between heavier bands, definitely check out Angel Number. Buds. This band should definitely be on your list of bands to see for No Play this year. What’s better than shouting along to catchy songs that lean into emo, punk and hardcore all at the same time? ‘Picking Wounds, ’ their newest release, will have you on your feet, singing and screaming along and will be a fun one to hear live. Regardless of whether you're heading home early and want to catch one last band or if you feel as though the day is just getting started, make sure to catch Buds and release some pent-up emotions. Guilt Trip Headlining the festival are Manchester’s Guilt Trip, a band that’s made a name for themself as a powerhouse of the hardcore scene alongside the likes of Malevolence. Continuing to prove themselves consistently by playing to bigger and bigger crowds, they have built a solid fan base that only continues to grow as they have toured alongside the likes of Kublai Khan, Architects, While She Sleeps and more. Their live shows are a high-energy force to be reckoned with, so if, for some reason, you haven’t checked them out already, it will definitely be worth sticking around for their well-deserved headline slot. Words: Libby Percival

What's better than starting your album with a bit of fry screams? Absolutely nothing, and this is exactly how Mélancolia’s upcoming release random.access.misery kicks off! Bringing us ten new songs, Mélancolia did not hold back for a second while making their debut album with Declan White. Inspired by metal goliaths such as Korn, Slipknot, Mudvayne and Spineshank, as well as giving a nod to Whitechapel and Vein.fm, the Australian quintet created brain-tearing sounds that seamlessly transfer from one to another. ‘ALL_IS_RUST’ acts as the introductory song for the album, setting the scene before the one-two punch of ‘icanseethroughtheholesinmyhands’ and ‘Picking Scabs’. All three elevate the listening experience to maximum, through their gnarly, raw and absolutely merciless atmosphere. While the first two tracks mentioned are all about heavy guitar riffs and drums, ‘Picking Scabs’ incorporates more electronic components, creating a type of music that fits perfectly with Alex Hill’s vocals. In ‘boiler.room’, the listener can hear a different approach to the band’s style. Starting off with a slower melody carried by Joshua Taafe (guitar), Billy Morris (guitar), Toby Thomas (bass and backing vocals) and Mason Page (drums), Hill’s vocals shift from melodic to fry screams, as the narrative quickly changes into heavily influenced sounds. The audience is also met with synths once again, and it seems that this sound becomes the band’s foundation throughout the entire album. Next up comes the two guest appearances on random.access.misery, with only one track to divide them, and not only are they both excellent, they also both incorporate themselves into the style flawlessly. ‘Lithia’, featuring Hunter Young, as well as ‘SPIT!’ with Christopher Mackertich, both offer full blast guitars, drums, bass and screams. Notably on ‘SPIT!’, the listener can hear the clear influence of the likes of Korn and Slipknot, which are incorporated flawlessly and elevate the overall sound of the song. The sudden rap part in the song does come as quite a surprise, but it fits in perfectly - as if like a glove. The feature divider, ‘RoseBloomWrist’, and the titular ‘random.access.misery’ come next, and the band once again do not hold back. Although there aren't many moments in the album when the music quiets down for a bit and leaves space for the audience to process the music and lyrics, Mélancolia put a beautifully haunting bridge in ‘random.access.misery’, with just the backing vocals, piano, drums and synths playing, adding a bit of variety to their debut album and allowing for some much-needed breathing space. The last two songs, ‘Cold Now…’ and ‘…Colder Still’ are arguably the heaviest songs on the whole album. The two-song saga is the perfect ending for such a unique album, as it has everything the listeners need – heavy fry screams, unforgiving drums and punchy riffs, as well as the occasional synths that are only complementary to the overall melody. ‘Cold Now…’ brings a merciless, emotive breakdown, and transitions right into ‘…Colder Still’, which starts slowly, but only to continue with the same intensity as its predecessor and finish the album with a flourish. Mélancolia have put everything into making random.access.misery, and it's abundantly obvious that their emotional lyrics and precise melodies will resonate with their fans. Although sometimes the songs felt like they had too many sounds going on at the same time, the songs are still original, raw and full of unforgettable riffs. The debut album is surely a success, and it only leaves one wondering how far the band can go to push its limits to maximum. Score: 8/10 random.access.misery is coming out on August 29th via Nuclear Blast Records. Words: Katerina Stepanikova Photos: Mélancolia

For those looking for a feelgood party album to soundtrack languid days at the beach, relaxing in the sun with friends, Ritual Decay is not going to scratch that particular itch. The long awaited full-length debut from Toronto sonic destroyers lowheaven follows on from their critically acclaimed Collapse EP unleashed on the world two years ago and brings their bleak vision into sharper focus, albeit one swathed in pitch black darkness. Given that the band came together during the devastating background of a global pandemic, this was never going to be a project full of optimism - but rather than forced smiles and saccharine positivity, the quartet captured the zeitgeist and bring something that’s incredibly powerful in its sentiment and honesty. Comprising vocalist/guitarist Dan Thomson, Mikey Buchta on vocals/bass, guitar/keys player Alex Pley and Pat Pajak on guitar, the outfit have managed to blend elements of post-hardcore, screamo, blackened noise, and metal into something that has the sense of the cinematic. Not what could be described as an easy listen, Ritual Decay stands as a jaw dropping achievement in sound, weaving an intense atmosphere that, whilst crushingly heavy, has moments so beautiful that they would bring angels to tears. Built around the feeling of a rotting society and the psychological toll that takes on the individual, the whole is ushered in by opening track ‘In Grievance’, the brutality of the music and Thomson’s almost otherworldly vocals coming from the absolute depths of despair. The switch to clean delivery of the lyrics is striking and give a momentary peak of bright light as the song moves into the soft of huge and sweeping vistas that Placebo have made their own before descending into a barrage of chaos. The wrecking ball impact of ‘Chemical Pattern’ hits next before the fascinating ‘Cancer Sleep’ feels like an eternal battle to the death between Jekyll and Hyde, the two trying to tear each other apart as an apocalypse rages that threatens to consume all life. Following the splintered ‘Nothing Else Frail’, album centrepiece ‘Amherst’ unfurls languidly and proves to be arguably the most extraordinary piece the quartet have achieved thus far. Spacey in feel, there’s an incandescent beauty here that continues to grow into something truly huge and stunning, all the while focused on touching a different part of the soul. Such is the power of this, it’s ideal to purchase the vinyl edition to allow the opportunity to pause before carrying onto the second side - but for those who chose the digital version, it's just a few minutes to recover before continuing onto the turmoil of ‘Mercy Death’ and the truly titanic ‘Fucking Hell’. The pace doesn’t dip from that moment onwards and as the tsunami of sound that is ‘Fighter Valley’ and the moshpit filling ‘Violence’ press on towards the close, the gloves are truly off as the production by Brett Romnes brings a ferocious intensity to every note. Positively dripping with threat, album closer ‘Manic Grace’ balances a tightrope between pain and pleasure in the most sinister way possible, eschewing a cop-out of a happy ending that would have dampened the album’s impact. Despite the overwhelming darkness, there’s certainly some catharsis here but this is due to the optional ability to step back as an observer, witnessing from far enough away not to get sucked into the black hole. An album to truly explore and get to know, preferably with headphones on, Ritual Decay is an extraordinary achievement. It sounds stunning, and frankly marks lowheaven out as a truly special act indeed. The material may be bleak, but their future is ironically bright. Score: 8/10 Ritual Decay is released on August 29th 2025. Words: Paul Monkhouse Photos: lowheaven

This week, Sydney hardcore legends No Apologies make a powerful comeback to the scene with the release their eagerly awaited album Life. New releases usually spark a familiar buzz of anticipation, but with Life the excitement carries extra weight, as it marks the band’s first release since their 2007 debut Survival. After such a long wait, the pressure to satisfy long-time fans while engaging a new hardcore audience could be immense - but Life shrugs off those concerns from its opening notes. It’s immediately clear that the sonic chemistry of the founding members Pete Abordi and Peter Bursky - who have been collaborating since the late 90s - as well as the rest of the outfit; Andres Hyde on drums, Chris Wilson on guitar, and Patrick Taylor on bass, is not only still known and felt, but stronger than ever. With its unflinching exploration of grief and loss, Life offers a real and raw portrayal of life and death. Hardcore - a genre built on emotional harshness, intensity and catharsis - provides the perfect sonic landscape for such themes. ‘Womb/Birth’ kicks off with anticipatory abstract guitar tones layered over the echoes of a didgeridoo, a subtle but respectful nod to the aboriginal people of Australia, a notion that No Apologies are consistent with across their work. Breaking the atmosphere with thrashy guitar riffs that the band have been known for since their inception. Lyrically this album takes us through the darker sides of grief, but with this opening track there is a sense of pride, Abordi stating "From here to eternity, I will remain". We pick up pace moving into the title track for the album, the first of many on the record designed for the release of a circle pit. The opening sentiment is one that stands out - "When I’m in the ocean, I’m with you, it doesn’t matter where", before moving into the chorus with "Life goes on!" Abordi shared on social media that the lyrics include direct quotes from his late father, a loss that shaped the album in its entirety, solidifying the track as a bittersweet insight into the ways that lost ones remain with us and what else is left to do once those we love have moved on. ‘Time’ opens with the visceral ticking of a clock, immediately hitting us with chunky all-consuming riffs. A momentarily sludgier tempo that forces a moment of pause, as Abordi declares that "Time heals nothing". The following track ‘Illness’ keeps the energy high, blending melodic guitar motifs with lyrics that explore the nuances of human morality. Flipping the album tonally on its head, ‘Palliative Tomb’ stands out as a beautiful landscape of comfort in the journey of emotional turmoil throughout this album. A crashing outro demonstrates the expansive feeling grief leaves with you, longing for healing. Moving into ‘Loss’ and ‘Hollow’, we return to the fiery temper of the album and No Apologies thick and thrashy roots, an impenetrable reminder that they are more than deserving of Australian hardcore veteran status. We move into ‘Grief’, the first of two iconic features on the album. The steady and syncopated pace feels perfect for Jem Siow’s (Speed) iconic vocals. Leading into ‘Eternal’, a brief chaotic track featuring another iconic voice of hardcore, Todd Jones (Nails, Carry On, Terror) guaranteed to get the most apprehensive of fans moving if they, by some miracle, haven’t already by now. The album leaves us with ‘Peace’ which has a resounding sentiment of resilience in finality, setting intentions for the future of the life long journey that grief takes you on, with the guttural final lyric of "Hope!" as the guitars play us out. Life is an album that stays true to No Apologies sound, 18 years on from their debut, whilst demonstrating a maturity that only comes from experiencing some of the darkest breadth of emotions of the human experience. Life is a solid contender in today’s dynamic and thriving hardcore landscape, and following their upcoming run of Australia shows we hope to see No Apologies hitting venues further afield so that hardcore fans all over the world can experience the range of emotion on display the way the genre is best enjoyed - from the pit. Score: 9/10 Life will be released on August 29th 2025. Words: Georgia Grant Photos: No Apologies

Hardcore isn’t just a genre, it's also an attitude - and no band encapsulates this like Baltimore’s End It. With their explosive debut album Wrong Side of Heaven, the band have very much cemented themselves as heavy hitters within the hardcore scene. The fast, angsty and candid delivery mixed with the exploration of themes surrounding politics, ethics and integrity within the hardcore scene make for a truly classic hardcore album. Having reached success with their single ‘New Age Slavery’, which features in Tony Hawk’s Pro Skate 3+4, the hype surrounding this project is real. Wrong Side of Heaven is a true representation of classic hardcore in the modern scene, and the whole album feels like a real love letter to the foundations of East Coast US hardcore. The title track, and opener of the album, is an incendiary track that acts like a volcanic eruption upon first listen. The thrash influence immediately makes itself known through the work of guitarist, Ray Lee. With an intense two step part that almost summons your feet to tap along and riffs that are instantly reminiscent of classic hardcore bands like Maximum Penalty and Inside Out, this song sets the perfect precedent of what’s to come out of this album. No doubt, a very strong opener from End It. ‘Billion Dollar Question’ allows the raw and angsty delivery of vocalist Akil Godsey to take centre stage within the sonic landscape of the track. The groovy rhythms of the song are evocative of Trapped Under Ice and the lyrical themes explored within the track are fierce with lines like "Who must die to keep you in your luxury?" Throughout the album, End It stays true to the values and ethics of the hardcore scene. Hardcore always has been and always will be radically political and this theme is at the forefront of this album. A track that highlights this perfectly is ‘Anti-Colonial’. The abrasive and candid lyricism on this song is incredibly impactful within the global political context of the moment. Lyrics like "There’s no reason for these children to die today" are a clear and powerful commentary on the multiple genocides happening across the world. The lyrics, paired with the melodic flow of Godsey and the groove centred instrumental, create an undisputed banger and a real stand out on the album. Just when you feel like you have the record figured out, the penultimate track, a cover of Maximum Penalty’s ‘Could You Love Me?’ offers an almost jarring juxtaposition to the rest of the album. The soulful clean vocals offer something completely different from the rest of the album which is a welcome change of pace. Godsey’s vocal delivery is perfect and really reminds the listener of why they fell in love with the genre in the first place as well as introducing a new generation of hardcore fans to the classics. Again, the band shows great admiration for the early titans of hardcore and this particular track really serves as a love letter to hardcore. Closing the album is the behemoth track, ‘Empire’s Demise’. Another absolutely radical and unapologetic politically charged song. The song offers a critical commentary of the ongoing political situation in the United States. An intense and thought-provoking anthem that is incredibly true to End It, both sonically and lyrically. A particular highlight would be the line "250 years. Empires can not last. I hope the end comes quicker than that", which sums up the feelings of an undoubtedly large portion of their fanbase. The bouncy drums in the track are perfect for a live environment and will undoubtedly get the moshers going, whilst the outro of the track is a cacophony of sound with an intense swirl into insanity. A perfect close to this project. The production and mixing throughout the album are also stellar, with the band having worked with legend of the scene, Brian McTernan who has worked with countless artists including Converge, Turnstile and Angel Du$t. Wrong Side of Heaven as a whole feels like a critique on the global political climate, as well as serving as an admiration of hardcore as a whole. This album has the foundations to solidify itself as a genre-defining album, even when it's so reflective of its influences. We're so excited to see what this project brings for End It and would highly recommend a listen to this fast, passionate and cohesive project. Score: 8/10 Wrong Side of Heaven will be released on August 29th 2025 via Flatspot Records. Words: India Akca Photos: End It

Zatokrev have been consistently pounding out doomy epics for the past two decades, releasing their eponymous debut in the mid-2000s on the pioneering metal label Earache Records, and are about to release their upcoming LP, Bring Mirrors To The Surface, with Pelagic Records. Their career has been an exploration of their musical skills and creativity, within the parameters of their metal realm. Over the years, they have created a sound they can deliver with finesse and dedication, building a rich and detailed ambience of darkness, and aligning themselves in the vicinity of industrial heavy metalists Neurosis and sludge/proto-grunge Thou. ‘Bring Mirrors To The Surface’ follows the bands gradual move to a more atmospheric sound with a decidedly more introspective lyrical focus from their previous releases. “An album in which to truly lose oneself, these songs provide a candle in the dark, an arcane map, providing directions to the tearing down, and the painful realizing, as a means to metaphysical freedom”. Throughout the album they show us the reach of their repertoire, deploying it in each of their monumentally long tracks saturated in moody tones. The sub-text evokes the depths of some hellish cerebral landscape in which they are searching, drawing on the darkest and sludgiest recesses of metal. A standout track is ‘The Only Voice’, an intensely delivered sea of noise with a heavy start, bypassing the long atmospheric build-up employed in some of the other tracks. The vocals are a strained mass blaring out a bitter recital - "A shattering wave of abandoned beings overwhelming grief, unchosen natural equation". A six minute track that shifts in and out of melodic phases, playing with scales gives a lightness that lifts the final moments. The band has been open about the struggles faced in their lives which have given space for the album to come into being, guitarist and vocalist Fredy Rotter contemplates, “Our new album, completed in 2022, reflects a time of profound change and resilience. It's a testament to how challenges were overcome and new beginnings were embraced, both personally and creatively”. The shortest track, ‘Faint’, is full of dynamic riffing and power chords which feels like even more of a release than some of the other more intense tracks. The energy of the song feels like the band are having some fun, playing with the levels, thrashing out at full speed. It has a distinctive Rage Against the Machine feel, particularly with vocal intonations, shouting whilst shredding. A real thumping track that has us losing it and moshing out at our desks by the end, as it descends to a brief, sci-fi warble. A very satisfying pallet cleanse between the vehement darkness. Previously released single, ‘Pearl Eyes’, is full of rippling guitar riffs and power chords. The vocals flip between a straining/screaming black metal style into a creepy singing voice and back again. It’s all building towards one of their epic crescendos, but with a hard and fast finish. In other places on the album, the tracks have a gradual fade out that can last up to a minute, which can be an interesting effect and does feel very purposeful, but in all honestly, it can get stale at points. It is perhaps an inevitable consequence of being surrounded by the majesty of the Swiss Alps, but Zatokrev really deliver an album of epic proportions, from the ambient layers and big stadium riffing, to the eleven minute long final track - these guys are taking their time and they know how to get their point across. Score: 7/10 Bring Mirrors To The Surface will be released on August 29th 2025 via Pelagic Records. Words: Alana Madden Photos: Zatokrev

On August 29th, Kiwi indie-rock quartet The Beths will be gracing us with their latest album, Straight Line Was A Lie. Known for their bittersweet blend of depressing lyrcisim and infectious pop hooks, the band, having formed back in 2014 as a group of tight-knit university friends, have carved out their own space in the scene. With a discography stretching back to 2018, acclaimed chart-topping hits such as ‘Expert in a Dying Field’ and support slots alongside huge artists like The National and Death Cab For Cutie, the anticipation for this album was always going to be high. The album continues the bands exploration of upbeat sadness and lyrical honesty, but with a much sharper thematic throughline. “Linear progress is an illusion”, lead singer and songwriter Elizabeth Stokes explains, with that sentiment truly rippling throughout the record. Across 10 tracks, Straight Line Was A Lie swings between exuberant indie-rock and stark vulnerability, creating a sense of a journey that is both playful and intimate. The title track opens with a breezy summer sound that thoroughly masks its existential undercurrent. Its refrain of “round again” underlines the central theme of the frustrating and cyclical nature of progress. The follow-up, ‘Mosquitoes’, drastically slows the tempo and swaps the brightness of the opening track with minimalist self-loathing. Beginning with a stripped-back production before the full-band crashes in after the first chorus. It closes with the gentle sound of running water, acting as a sonic nod to the “creek” frequently referred to across the song. Avid followers of the band will recognise singles ‘No Joy’, ‘Metal’ and ‘Mother, Pray for Me’, Of these, ‘No Joy’ stands the strongest, combining addictive punchy drums, tumbling riffs and layered harmonies in a comical lyrical contrast, which is what The Beths do best. ‘Metal’, while catchy, does feel somewhat generic in the context, paling next to ‘Mother, Pray for Me’, which plays like an overheard phone call. It is undoubtedly one of the most intimate moments on the record. ‘Til my Heart Stops’ is a standout track. With unsettling distortion unlike what they’ve done before and a ghostly atmosphere, it feels as though it charts the fragility of life itself. It climaxes with a harmonious repetition of “in the rain” before cutting off abruptly, which could be taken as a chilling musical metaphor of a heart-stopping mid-beat. ‘Take’ jolts the momentum back into the album, with a driving, furious bassline complimented by impactful drumming and the records most exhilarating guitar solo. ‘Roundabout’ continues the high energy of the previous track, featuring a well-utilised violin in the outro, acting as a surprising delight. The later tracks build on the atmospheric experimentation previously explored. ‘Ark of the Covenant’ unfolds slowly, opening with subtle static sounds. It utilises a gentle piano and later, echo effects to create something haunting and truly cinematic. The closer, ‘Best Laid Plans’, offers a seemingly sunnier resolution with jangly guitars and a buoyant rhythm, though the inclusion of a voicemail buried in the mix lends it a beautiful and bittersweet feeling of unfinished business. Its extended runtime does, however, soften the impact of what may have been a more powerful ending. Overall, Straight Line Was A Lie doesn’t reinvent The Beths' sound, but that’s not what it set out to do. Instead, it simply refines what the band does best: combining self-aware lyrics with vibrant hooks of indie-rock. Themes of mental health, cyclical struggle, and resilience are woven carefully into each track, ensuring that both casual listeners and longtime fans alike will connect with the music. This September, they’ll be bringing the album to life on their UK tour, which is a perfect reminder that while progress is never linear, it can sound glorious. Score: 7/10 Straight Line Was A Lie will be released on August 29th 2025. Words: Chloe Sodeau Photos: The Beths

Costa Rica’s atmospheric industrial black metal project DUSK, active as a full band since 2016, has built a reputation for marrying extreme metal’s raw force with electronic experimentation. Their latest EP, Repoka, condenses that vision into a snappy 15 minutes, delivering four tracks of retro-futuristic violence that feel both mechanical and otherworldly. Rooted in industrial grit yet sharpened with cyber metal intensity, Repoka is a short but jarring experience, thriving on disorientation, dread, and the uneasy thrill of staring into the abyss. The opening track, ‘DARK SHAMAN .2.25’, wastes no time establishing a suffocating atmosphere. Within seconds, listeners are dropped into what could easily pass for the score of a futuristic horror game, with layers of metallic synths and unsettling sound design working together to conjure a lingering sense of dread. It’s a sound that doesn’t even fully feel human, not only setting the tone but also defining the EP’s trajectory: hostile, immersive, and deeply disquieting. From there, ‘DEMONS BE DRIVEN .2.25’ amplifies the chaos. The track begins with a chilling spoken-word sample of a clinical voice diagnosing “schizophrenic psychosis”, and another replying, acknowledging hallucinations and experiences they know aren’t real. What makes this moment so unnerving is the almost laidback, matter-of-fact tone in which it’s delivered, as if discussing the mundane symptoms of a cold. That calmness makes the plunge into shrieks, blast beats, and electronic punishment that follows even more jarring, as though the listener has been pulled into a fractured psyche. The juxtaposition is haunting, and the track’s seamless transition into the next piece ensures that the central section of the EP unfolds as one relentless, overwhelming experience. The next track, ‘DIRECTIVE7 .2.25’, represents perhaps the clearest intersection of this EP’s industrial and blackened tendencies. While mechanical textures echo throughout the whole record, they take centre stage here. Pulses of synthetic rhythm and metallic clangs dominate the track, creating the impression of being swallowed by some vast machine. The sheer weight of the electronics completes the sensation of inhabiting a world where technology has replaced humanity. It’s claustrophobic, and executed with a precision that makes it a highlight of the record. The finale is where Repoka risks alienating listeners, but also asserts its boldest move: a cover of Slayer’s 1986 classic, ‘Raining Blood’. Rather than attempting to match the original thrash metal sound, DUSK twists the track into their own sonic language. Blast beats remain, but the thrash riffs are mangled by glitchy electronic surges, and wrapped in cyber metal atmospherics. Purists may balk at the liberties taken with this track, but there’s absolutely no denying its uniqueness. By reframing a metal staple through a lens of industrial menace and futuristic distortion, DUSK ensures the EP closes with an unforgettable statement. In terms of production, Repoka feels intentionally unstable, choppy, and abrasive. This EP is meant to disorient and drag the listener into a space where music becomes indistinguishable from nightmare. For fans of experimental sounds within the industrial and atmospheric black metal spheres, this approach will be exhilarating. For the uninitiated, however, it may come across as more punishing than enjoyable. At just four tracks, Repoka is unfortunately brief, but its intensity lingers well beyond its runtime. DUSK have crafted an EP that thrives in extremes, with equal parts mechanical precision and chaotic distortion. It’s a record that challenges as much as it rewards, and in doing so secures its place as one of the more intriguing releases of this year. Score: 7/10 Repoka will be released on August 29th 2025. Words: Zuzanna Pazola Photos: DUSK

Australian guitar pop duo Royel Otis are back, bringing with them their sophomore album hickey. Fresh off the Reading and Leeds main stages after performing to two packed crowds, this album feels like a love letter to those early years of adulthood. Covering heartbreaks, relationships, and finding yourself, this album rides the waves of emotions that every late teen and early twenty-something goes through in their lives. Following their swift rise to fame after viral covers of 'Murder On The Dancefoor' and 'Linger', this album feels like Royel Maddell (guitar) and Otis Pavlovic (vocals) have stepped into their 90’s grunge Nirvana-meets-Fleetwood Mac phase to release this album full of sun-drenched vibes and woozy riffs that are endemic of the duo’s signature style. Opening with the ironically titled 'I Hate This Song', it's a heartbreaker of a song layered with an easy listening composition that is an ode to those that can’t listen to songs anymore because it reminds them of an ex. It’s a great start to an album and really showcases what’s to come with the rest of the record. You're then thrust straight into the controversial single 'Moody'. For those unaware, this song garnered some controversy online due to its questionable lyrics, including “my girl’s a bitch when she’s moody”, and whilst it definitely feels that it leans into the angsty adolescent stereotype, it may have gone a bit too far with that idea. The song did hit the charts, but the juvenile lyrics resulted in the pair having to make an apology. 'Good Times' and 'Torn Jeans' continue to showcase the simplicity of this album. Soft beats, day-dreamy vocals, and head bopping songs that just feel perfect as a soundtrack for sitting on the beach with friends or dancing in a sun filled festival field. 'Car', 'Jazz Burger', and 'Dancing With Myself' also fall into this category of easy listening songs, with each of them seamlessly moving from one to the next. Whilst it’s always good to lean into what you know works and what the fan base enjoys, it can sometimes get formulaic and can sometimes feel that a band are playing it safe. With more songs fitting this category than not across the LP, it’s a shame to see the duo not try and challenge themselves much musically with this album, as you can see that they have poured their hearts into it lyrically. 'Who’s Your Boyfriend' is one of the top tracks on the album. The track sticks with the recognisable style of riff that they've got down, but adds some slightly different drum beats, whereby it almost feels like a rebellion of sorts on this somewhat musically similar album. Similarly, the 80’s synth riff driven 'More to Loose' is a stark contrast to the head nodding songs that both precede and follow it, with its drums moving to the forefront of the song. Whilst Royel Otis have created an album that the fans will love, it almost feels like they have taken the easy route. Whether this step is one that allows them to grow their fan base before they start to challenge themselves musically, or simply just the direction they wanted to take, remains to be seen, and likely won't be fully figured out until their next release. However, hickey is a great album to head bop and dance to for those cool kid festival vibes, even if it ultimately lacks the depth needed to stand out and become that bit more memorable. Score: 6/10 hickey will be released on August 29th 2025 via OURNESS and Capitol Records. Words: Laura Davies Photos: Royel Otis