Almost three decades into their career, West Virginia’s Byzantine proves once again why they remain one of modern metal’s most fiercely underrated acts with the release of their seventh studio album, Harbingers. The band delivers a stunningly diverse and technically masterful body of work, one that’s equal parts aggressive, melodic, and deeply human, which will surely catch the listeners attention and reel them in. Led by founding vocalist and rhythm guitarist Chris “OJ” Ojeda, Byzantine has always operated at the intersection of groove, thrash, and progressive metal. On Harbingers, that formula is not only intact, it’s evolved. This is their first major release since their 2020 EP Live from Trident Music Facility, and it’s immediately clear the band has poured every ounce of themselves into this record. The album opens on a meditative note with 'Consequentia', a brief - but impactful - introductory piece featuring harmonic guitar lines and ethereal vocals. It’s a soulful, almost spiritual invitation into the chaos to come, establishing a cinematic scope and tonal depth that runs throughout the album. The next song, 'A Place We Cannot Go', wastes no time shifting gears. It’s a riff-heavy, high-energy beast of a track driven by thunderous drums and Ojeda’s signature vocals. A drum build-up leads into a surprisingly melodic chorus, adding dimension without compromising the track’s sheer intensity. Then comes 'The Clockmaker’s Intention', a standout moment on the album. Its powerful riffs and precision drumming form a solid backbone, but it’s the piano, an incredible subtle touch that elevates the song. It’s a masterclass in balancing heaviness with beauty, a theme that continues to echo throughout Harbingers. Mid-album highlight 'Riddance' is a full-throttle mosh anthem. With rapid-fire guitar work and whiplash-inducing time signature changes, it’s Byzantine at their most technical and aggressive. Alongside the equally as hard hitting title track 'Harbinger', this track is about society leaders overcome by greed, doing anything and everything to continue their ultimate race for power. Closing track 'Irene' begins with delicate acoustic strumming, offering a moment of reflection before erupting into a swirling storm of emotion, while still showcasing beauty within the chaos. Across its nine tracks, Harbingers is not just an album, it’s an experience. Whether it’s through intricate musicianship, clever compositional twists, or raw vocal delivery, Byzantine makes sure each moment counts. Perhaps more importantly, with the release of this record, Byzantine hasn’t just returned, they’ve raised the bar. For long time fans, it’s a triumphant continuation of the band’s legacy. For newcomers, it’s a perfect entry point into one of metal’s most creative and consistent forces, having a taste of everything for any type of metalhead to headbang along to. Score: 10/10 Harbingers will be released on June 13th via Metal Blade Records. Words: Sage James Photos: Byzantine

Buckcherry first crashed onto the rock scene in the late 90's and have kept their foot on the gas ever since. They’ve toured alongside the likes of Alice Cooper and Steel Panther, achieved multiple Billboard Top 200 debuts, and most people will, at the very least, recognise their hit songs ‘Crazy Bitch’ and ‘Lit Up’. Now, Buckcherry are back with the upcoming release of their eleventh album, Roar Like Thunder, a massive 25 years after their first release. Roar Like Thunder has an incredibly sharp production driven by big riffs, heavy rhythms, and is dripping with that sleaze we all expect to hear from the band. This album is in no way a reinvention, but that’s not a bad thing. If anything, it’s a bold reiteration of who exactly Buckcherry are. They’re not here to chase trends or experiment with their sound, they do what they’ve always done, they do it well, and they know it. The title track, ‘Roar Like Thunder’ opens the album with a frantic rhythm and a super catchy chorus. It’s a great opener that sets your expectations high, without putting forward the best the album has to offer just yet. We then dive into ‘When the Sun Goes Down’, with its punky and frenzied instrumentals. They’re paired with frontman Josh Todd’s gritty vocals and cheeky lyrics about being captivated by a badass lady, so we’re sure this one will quickly become a fan favourite upon release. The third track, ‘Come On’, channels the iconic sound of AC/DC right from the very first notes. It’s a stompy and groovy summer anthem that takes us nicely into the next song, ‘Talkin’ Bout Sex’. As the title suggests, this is the token cliche track of the album - it’s likely what many casual listeners who only really know ‘Crazy Bitch’ would expect to hear. That by no means makes it a bad song though, the chorus is an absolute earworm and there’s a gorgeous riff in the second half of the song that makes it really stand out. ‘Blackout’ is up next, and on first listen you may just think it’s a song about partying like there’s no tomorrow, especially with how grungy the vibes of this one are. However, the lyrics add a much more sombre tone to the song. Josh sings “when I blackout, I let my loved ones down”, touching on the harsh reality of addiction and the hardcore party lifestyles that the music industry still heavily glamourises. This track is quite profound, and one of the best on the album. We briefly move back towards a groovier vibe with ‘I Go Boom’, which features some kickass horns and a really fun guitar solo. It’s full of explosive (forgive the pun) energy and will definitely be an exciting one to see live! The seventh track, ‘Set It Free’ is still super punchy but a bit slower, and more of a toe-tapper than a head-banger. We get some more emotionally profound lyrics about letting yourself be whoever you want to be, which is a sentiment we totally agree with. ‘Hello Goodbye’ continues with the softer sound, giving us a little bit of a break from the intensity of the previous tracks. It’s the closest we get to a ballad, though it’s no less powerful than the rest of the album. The gorgeous songwriting and heartfelt lyrics like “I’m so ashamed of the truth and the lies” make this a really hard-hitting track. The penultimate track, ‘Machine Gun’, circles back to that AC/DC influence we heard earlier in ‘Come On’, but with the classic Buckcherry swagger thrown on top. Finally, we get to the closing track of the album, ‘Let It Burn’. We’re quickly hit with incensed instrumentals, bringing the album full circle and reviving the vigour that the previous couple songs had held back from unleashing. The song sends a clear message that these guys don’t plan on slowing down any time soon, and frankly leaves us wanting even more. Overall, this album feels like a very natural progression for such a well-established band. Buckcherry aren’t here to prove anything, they’re here to tell us they still know how to rock out and are never going to stray far from that raw, guitar-driven sound. Returning fans will enjoy the familiarity behind these fresh tracks, and any newcomers will regret not paying attention sooner! Score: 9/10 Roar Like Thunder will be released on June 13th 2025 via Earache Records. Words: Zuzanna Pazola Photos: Buckcherry

In the ever-evolving and progressing genre that is metalcore, Midwest quartet Archers are here to show exactly why they are a part of the latest set of bands moving the genre forwards. Their next release, Temporary High, is a five track EP set to be released just in time for the band's first ever appearance at the UK's own Download festival, and it's bound to make some new fans out of anyone in attendance Archers started their musical journey together in 2015, and less than a decade later have been able to tour with bands such as Catch Your Breath, From Ashes to New, Magnolia Park and Imminence. Hopefully that means that you may have heard of these guys before, but if not, we think any fans who enjoy the blending of metal with any genre should be tuning into Temporary High! The EP launches straight into the heavy metalcore sound of ‘Better Off’, as lead singer Nathanael Pulley perfectly blends his deep growling with smooth melodic vocals. The song utilizes trap beats at times, and even some melodic rapping which Nathaneal pulls through into a scream at the end, which ended up being one of our personal highlights of the whole EP, even at just a minute and a half into the first track. ‘Wide Awake’ opens with electronic synths creating a spacious and airy sound, perfectly reflected in the opening vocals. The drums slowly build to a compelling chorus that you'll certainly find stuck in your head. Drummer Grayson Mesarosh flawlessly set the tone of each section, using half beats and ravenous fills to take advantage of every moment, which will be ideal for moshing at their upcoming shows. The next track, 'Safe Now', slows the momentum to present an unmasked side of the band, starting with a slow piano that employs a symphonic use of backing vocals and hums. The song is wondrous and full of raw emotion, a deep bass humming throughout. In the second half of the song, drums gradually build in the peripheral, before launching into a full scale chorus. The lyrics are powerful being mirrored in the tone of Nathaneal’s voice - both in higher and lower forms, and even growing into growls at points - this song will surely be a tear jerker for the fans. ‘Never Enough’ picks the EP right back up, with shredding riffs and a deep beat, mixed with sultry aggressive lyrics that portray a relatable rage. The band added electronic elements throughout, but those are more in the background for this one, keeping the instruments in the forefront. The breakdown is the perfect tempo for some earth-shaking moshpits, before leading into a packed final chorus to close the song out. The last track on this EP takes things back to the trap beats heard in the beginning, starting off with more pop influence than its predecessors. The chorus sees the full band come back in, to support the built up dynamics with full drums and guitars. ‘Crooked Smile’ has Nathaneal using the upper register of his vocals. which stay buttery and smooth while opportunistically accenting lines with growls. To summarise, this EP is five tracks compacted with the punch of a full album - the mix of genres and emotions throughout make it one hell of a rollercoaster. We anticipate that many metalcore fans will adore this EP, and we hope that it brings attention to the bands talent, even with non-fans. The band have a full schedule to smash this year, so be sure to head to their socials to see where you can hear these and so many other bangers live! Score: 9/10 Temporary High will be released on June 13th 2025 via SBG Records. Words: Amy Smyth Photos: Archers

New England natives Death Rattle have finally brought their fans their long anticipated album The Moral Chokehold, after eight long years of waiting, and it is jam-packed with riffs from the first song to the last. Coming from an area that has a long history of producing some of the most influential metal acts in modern metal, the band's working towards achieving the same success, and it's abundantly clear that they are not going to be stopped anytime soon. Featuring a number of meticulously constructed pieces, The Moral Chokehold is a promising release that's been very thoroughly thought through when pieced together, and it is a stunning comeback after a long time without new music. The first three tracks, 'The Light', 'Malthusian Dependency' and 'Nietzche, and the Fall' all share many similarities in the execution of the melody, featuring heavy riffs and drums, but are divided when it comes to rhythms and technicality. The band is well-known for these elements, alongside with the raw intensity and passion of their delivery. These have been evident since the start of the album, and it is exactly these qualities that make these three songs stand out on the album, together with Trey Holton’s voice, that can easily give a person goosebumps. On the third song of the album, 'Nietzche, and the Fall', listeners are able to hear a harmonious euphony right before Ryan Vanderworlk’s guitar drops and delivers a bone-chilling bridge, only for the harmonies to pick up again after some harshly delivered screams to deliver the line “Where is the meaning? Where is the meaning in this life?”. On the other hand, in 'The Light' and 'Malthusian Dependency', we do not get as many vocal harmonies, so the sound purely relies on Holton’s raw vocals, which are paired well with Vanderwolk’s guitar, Brown’s bass and Morin’s drums. The album changes its rhythm a little with the track 'Veils of Consciousness', diving deeper into slower, yet very dynamic melodies. The usage of synths throughout the recording give it a new dimension that pairs well with the sound of the snare drum. It is also the only track, that does not use any vocals, meaning the sound of the song relies purely on the usage of instruments and the execution, which went well. Providing a somewhat sought upon escape from the intensity, complexity, and in some cases repetition of Death Rattle’s records, it is a well-placed track, sitting right in the middle of the album. After this little break, the album continues with the intense music. Finishing off with the track 'The Darkness', the band closes their newest project with a heavy metal drop that's all about guitar and drum work, giving the audience a variety of sounds, and once again the track features some interesting harmonies. The last song does not feel as intense as the rest of the release, yet the music is fitting its name in sense of the lyrics and usage of instruments, and it is still an interesting piece to listen to. The Moral Chokehold is a good comeback album for a band that's already been touring with some well-known names, and its composition is very good. Although some of the songs do sound similar in nature, there are pieces on the release, such as 'Nietzche, and the Fall', that boast unique elements which makes them stand out from the other songs. It is a very enjoyable album to listen to and definitely is suitable for anyone who enjoys metal with a little bit of intricate instrumentalism. Score: 8/10 The Moral Chokehold was released on May 30th 2025 via M-Theory Audio. Words: Katerina Stepanikova Photos: Death Rattle

The experimental quartet from Philadelphia, Kaonashi, is swinging into summer with full force as their third studio album I Want To Go Home, accompanied by a UK and European tour, has just landed. Assembled by the lead vocalist Peter Rono, drummer Pao, bassist Ryan Jones and guitarist and vocalist Alex Hallquist, the band's breaking out from the known genres and sub-genres to create their own unique sound, and has been met by various opinions about their journey. In I Want To Go Home, the band aims to push the musical boundaries even further than before, brushing off labels and monikers with their music. Although many songs sound similar at the first listen, which is little confusing, after listening to the songs for a few minutes, it is possible to hear some influences from other genres and bands, such as tempos, snare and guitar work. Vocally, Rono’s voice is very similar to that of Bryan Garris from Knocked Loose, as the listener may hear in each of the songs. His voice is very prominent in the song 'When I Say', which is not only lyrically excellent, but also features very prominent guitar parts that are present throughout the whole song, as well as a big punchy bass line that forms the core of the melody. On the other hand, in the song 'Fly On The Wall (An Orange Sidewalk Paved Around Your Feet)', the band features clear vocals from both Rono and Hallquist for majority of the track, making it an interesting change after mostly screaming in the previous tracks. Featuring Hallquist’s riffs, as well as Pao’s drum work, the song otherwise does not stand out visibly from the rest of the album, but it is an amazing piece to change the narrative a little. I Want To Go Home also features a spectacular transition between two songs that's featured right at the beginning of the project, namely 'Confusion in a Car Crash' into 'Fairmount Park After Dark'. The former features an extensive guitar work that resembles a Middle Eastern melody with no words, before cutting off and going right into the brutal sounds of the second track. Featuring heavy sounding drums, crying guitar and humming bass, lead by Rono’s distinctive voice, the song starts off a long line of energetic songs that are sure to make for a good healthy moshpit or two. The album not only displays Kaonashi’s yearning for freedom from the constraint of genre labels, but also a guest appearance from Anthony Green, the current vocalist of L. S. Dunes and The Sound of Animals Fighting. The song 'J. A. M. I. E.' is just a little over two minutes long, but resembles fairly typical post-hardcore music in nearly every way, albeit with a little twist at the end in terms of the acoustic guitar changing tones. Apart from featuring the well-known singer, the song gets lost with the rest of the tracks on the album, if one does not pay attention to it. The album is not a bad release, but it is also not a revolutionary one. Many of the tracks sound remarkably similar melodically and lyrically, making a full listen not so exciting. On the other hand, the guest appearances were an excellent choice to change the listening experience a bit. It is also important to note that Hallquist’s guitar lines are as sharp as they can be, Jones’s bass is punchier than a boxer, and Pao’s snares are always on point. It is certainly an interesting piece to listen to, and would be recommended for anyone who is not afraid to experiment with different styles, or likes their music to be unpredictable and surprising. Score: 6/10 I Want To Go Home was released on June 6th 2025 via Rude / Equal Vision Records. Words: Katerina Stepanikova Photos: Kaonashi

Hardcore pop punk band Stateside have released their highly anticipated LP ‘Where You Found Me’ under their new label Pure Noise Records. Having been on the road for the past three years, their new LP is described as an exciting collection of their experiences on tour and also the emotions and hardships that come with touring around the world. There are features with exciting artists and having released three songs on the album ahead of release day, fans were buzzing with excitement whilst they waited for the rest of these tracks. Stateside have taken their sound to a new level with this album, exploring the emo/rock side to their sound and it is passionate, emotional and inspiring! This LP is an emotional rollercoaster, but starts with the upbeat song ‘Heads Up Big Guy’ that leans into their pop punk sound - but also touches upon their more hardcore side. with some screamed vocals sprinkled in. Within the scene the band have come through, this is not heard all that much, but Stateside capture this sound flawlessly and their talent really shines through, as we see what direction the band wants to take. One of the songs that was released prior to the album is titled ‘Stay Sweet’, featuring Joe Taylor of Knuckle Puck and, entirely unsurprisingly, their voices come together to create a stimulating listening experience. While Joe’s vocals aren't heard so much throughout, their voices together really compliment each other, with Joe’s voice being a little deeper and adding a richness to the vocal mix. We're certain that fans of Knuckle Puck and Stateside will share a love of this song and bring people together because of it. Similarly to the first track we hear on the LP, ‘Vista Verde (So Far So Good)’ features a lot of upbeat guitar riffs. However, this song is less positive, and in actual fact it feels like being on the road and missing your loved ones - or more specifically. losing that loved one or the relationship you had with that person. While the song feels upbeat, the lyrics are a different story that plenty of listeners will find they relate to. The topic of loss seems to be a prevalent theme in this LP, and it is mentioned in many of the tracks; ‘The End's Not Near It’s Here’ captures the emotions of losing someone while not being ready to, but knowing you still have to let go, in a beautiful way. “I’m not ready, I’m not” is chanted a number of times throughout this song and it's even in the background overlapping other vocals, which really captivates the audience and gives us an emotionally healing listening experience. ‘Like A Rosary’ and ‘Aly’s Song (So Close So Far)’ are beautifully composed songs with lyrics that have a real depth of meaning. These will both impact people in a plethora of different ways, yet both also contain thrilling riffs that will instantly boost your mood and have you singing and dancing along. These songs live will be an incredible experience, so let’s hope they're added to the setlist on their upcoming tour! The band have definitely dealt with their fair share of hardships while on tour, and they've captured these feelings on this LP to create something truly special, which is relatable to everyone. This album has a lot more slow songs than fans will be used to, although considering the feel of the album it’s a good fit. ‘On A Clear Day You Can See Forever’ is an example of this - it starts off with a slow guitar riff and soft vocals, and even when the guitar picks up, the riffs remain soft and have a nostalgic feel to them. ‘Bitter Spring’ is about the season coming whilst you're still missing what used to be and mourning a relationship you once had. There is a lot of emotion layered into this song and when we listen to it we feel the nostalgia and sadness that's present, but also the anger hidden beneath. The screaming is a great touch and it's not heard throughout the album very regularly, but when it is, it comes in unexpectedly and it sweeps you off your feet. ‘California Calls You Home’, featuring Vamachara, has the same feel to it, although the theme of this track is all about missing home and longing to go back. Towards the end of the track, we hear a high pitched screaming and it really brings a lot to the song. It is not something we see in pop punk very often, but Stateside definitely knows what they're doing! Stateside ends their album with ‘Mile Marker’ and it is a real banger; in fact, it brings the whole album together and finishes it off with a feeling of hope that you can get through whatever you’re going through. With lyrics such as “I’m feeling fine so let's talk about what's on your mind”, it almost feels like the ending of a chapter. It is abundantly clear from listening that Stateside are a band of many genres, feelings, and sounds, and every song on this album captured a different emotion. This album has perfectly demonstrated their enormous talent, hard work, and ability to provide a brilliant project, so the future is shining for Stateside! Score: 9/10 Where You Found Me was released on June 6th 2025. Words: Kelsey Mainwaring Photos: Stateside

It’s a beautiful spring. Trees sway in the cool breeze while the sun looks down happily upon the earth. The insects feed off of the flowers, the birds feed off of the insects, and they make merry in their nests back on the trees. It’s warm and wonderful. It is not the kind of environment you would associate Katatonia with, that’s for sure. For nearly three decades, these Swedes have specialized in weaponized melancholy. From their early doom-laden dirges to their sleek gothic makeovers of the 2000's, the band has been less about stylistic boundaries and more about sustained emotional weight. Even though they’ve changed their styles more than a chameleon at a disco - well… at least until 2006. Since then, they've settled into a lush, sorrow-soaked identity that’s been soundtracking breakups, spiritual crises, and long walks in the rain ever since. Originally helmed by Jonas Renkse and Anders Nyström, Katatonia’s core has now shed one of its architects. Anders has bowed out, presumably as he harkened back to the time when they were a far heavier band. Now, it’s just Jonas Renkse steering this melancholy ship. The departure marks the end of an era, sure, but Katatonia was already evolving into Jonas’ personal baby. And this baby? It’s come in the form of a deer on fire next to a telephone tower, it’s Nightmares as Extensions of the Waking State (gesundheit). With that title alone, expectations are strangely opaque. The lingering question is: “will they permanently return to their heavier roots?” The short answer: No. The long answer? Noooooooooooooooooooooooooo. Instead, Katatonia have doubled down on the windswept melancholy they’ve refined since The Great Cold Distance, adding just enough distortion to get their heavy puritans cautiously optimistic without scaring off fans who discovered them through ‘My Twin.’ To their credit, this one is notably heavier than 2023’s Sky Void Of Stars - right off the bat the opener, ‘Thrice’, launches from a synthy prelude into some pretty crushing riffs. It kind of feels like some of the better late-era Dream Theater offerings. The lyrics are classic Katatonia: “The nightmares shut out/Behind the curtain for now/We’re running through a field of evening grass". It’s dark, it’s moody, and it sets the tone beautifully. ‘The Liquid Eye’ is another strong example of the album’s architecture; interweaving heavy passages with more soft, restrained movements. The dynamics move briskly and confidently. Then comes ‘Wind of No Change’, a title likely to leave the Scorpions scratching their heads as to what happened to their wind. It’s a meditation on the desolation of modernity, complete with a choral arrangement belting out “hail Satan” over a dark, stomping riff. Before you take it too seriously, it also delivers the fabulously deadpan line: “And lord Jesus/Or what’s his name again”. Satanic flourishes aren’t Katatonia’s usual domain, but when a track hits this hard, you let it slide. Excellent song. ‘Lilac’ veers into progressive territory, its arrangement punctuated by moments of subtle silence behind the vocals which lend the track a lighter touch. The guitars, meanwhile, can’t seem to decide whether to erupt or withdraw, giving the track a simmering tension like a pot boiling over. Fans of modern-era Katatonia will more than likely find much to appreciate here. The following track, ‘Temporal’, opens with a standout riff layered over warm synths and a melancholic guitar line that soars across the mix. It’s a highlight; bittersweet, cinematic, Katatonia at their most refined. The solo, though brief, cuts like an ice-cold knife through the heart. It serves as the album’s centrepiece: that baroque candelabra in the middle of the table that everybody seems to be talking about. The second half kicks off with ‘Departure Trails’, which unfortunately doesn’t quite live up to its predecessors. It’s atmospheric, yes, but at the same time it feels weighed down by a mild case of filler-itis. Then again, there’s probably someone out there for whom this is their song, and the rest of the world “just doesn’t understand” it like they do. The next track ‘Warden’ blends in so well with ‘Departure Trails’ that it sounds a bit like they’re the same song at first. It distinguishes itself with a stronger chorus and a few sanguine guitar flourishes. Credit is also due to the drumming, which ranges from tight rock beats to more restrained, jazz-tinged phrasing, nuanced and unpredictably expressive. ‘The Light Which I Bleed’ carries a whiff of Peter Gabriel’s So if Gabriel leaned more into overdriven guitars. The chorus is deviously catchy, and the instrumental layers grow richer with repeated listens. As for the lyrics, gloomy as all hell: “I’ve come to pay you again/The worthless currency of being.” Sheesh. Then there’s ‘Efter Solen’, sung entirely in Swedish. And that’s not even the strangest thing about it - it’s fully electronic. In an album leaning slightly heavier than usual, it’s a bold swerve, and somehow, it works. Finally, ‘In the Event Of’ brings the record to a close. It’s apocalyptic in tone, describing a world unravelling under the weight of something nuclear or worse. There’s something wrong with the sky like the narrator is witnessing the same Armageddon as Dan Swanö’s Uncreation. It feels like Jonas is narrating the end of days, while the guitars quietly mourn beside him. The lyrics capture a perfectly terrifying outlook: “If you read this it means you still have eyes.” The drums rumble to a hell of an ominous closer. With that last downer, the album fades into black. Well, well, well, Jonas. Even without Anders, you’ve managed to deliver a record that is satisfyingly heavy, yet still grounded in the band’s modern identity. Turns out it can be done. But don’t get it twisted; Nightmares as Extensions of the Waking State is still first and foremost another modern Katatonia album. Yes, there are nods to their heavier past, but the clear intent is progression. The heavier accents are just that – accents. They continue to evolve on their own terms, even if some fans (and some former members) are requesting them to ebb back toward their doomier roots. It’s heavier, but not heavy enough to be a reinvention. It’s bolder, but not radical. It’s Katatonia; self-assured, sorrowful, and still soul-shattering. As they look to the future, it might be that they’ll discover another direction that will bring them a whole new legion of fans, bossa-nova Katatonia, anybody? Anything is possible at this point and it is a true testament to the enduring legacy of this band that they can reinvent their sound so many times and still come out with such good material. The sky’s the limit. But for now, they’re finely tuning what they’ve already got. And what they’ve got is damn good. Score: 8/10 Nightmares as Extensions of the Waking State was released on June 6th 2025 via Napalm Records. Words: Kiarash Golshani Photos: Katatonia

Bands that can tell stories throughout their albums are always great to listen to, and Battlesnake are no exception within the genre. Becoming widely known across Europe and the UK last year, the band is not only bringing their new and highly anticipated album Dawn Of The Exultants And The Hunt For The Shepherd with them this summer, but are also playing numerous shows across the continent, including a headline show at the iconic Underworld in Camden, and sets at the Download and ArcTanGent festivals in June and August. Offering the best mixture of elements from bands like Queen, King Gizzard And The Lizard Wizard, Judas Priest and Black Sabbath, the listeners are in for a treat with Dawn Of The Exultants… and its eleven colourful tracks. The seven-piece Australian band uses various transitions and filler tracks throughout the album, such as 'Dawn Of The Exultants', 'Beelzebug’s Nativity', 'Fowl of the South' and 'The Borning of the G', to narrate their upcoming songs for the listeners. During the opening track of the release, 'Dawn Of The Exultants', the band use their time to build into a full intro on “The Fathers of Iron Flesh”, pulling the audience right into the storyline. With the usage of choral vocals in the background and a gradually peaking intensity, the band achieve a memorable first impression. The same impression is present in the second narrative 'Beelzebug’s Nativity' too, with the usage of similar melodic sounds. On the other hand, 'Fowl of the South' and 'The Borning of the G' surprise the listeners with different soundscapes. In 'Fowl of the South', the band decided to use bagpipes, a surprisingly simple yet staple choice, which gives the song more dimensions throughout. Paired up with the sounds of rain and thunderstorm in the background, the track gives the listeners a short glimpse into the diverse world of Battlesnake. Meanwhile 'The Borning of the G' serves a quick yet noble close-up accompanied by trumpets. Throughout the different songs on the album, the listeners are met with various usages of guitars, drums, bass and other instruments, as well as vocals. The first full-length track, 'The Fathers of Iron Flesh', is an energetic blend of sharp riffs and catchy lyrics, often referencing religious characters such as Jesus, bringing up head-banging breakdowns. In contrast to this, the track 'Beelzebug II', as well as 'Murder Machine', shows off sounds typical of legends Judas Priest and Black Sabbath, showing off the band’s angrier side that's more prominent across the album. Diving into the world of kooky synths and endless guitar possibilities, the band absolutely pays homage to some well-known bands, while taking their own approach. The absolute highlight of the whole project, however, is the final song 'Moto Exordium', which is not only beautifully composed but also lasts for impressive six minutes and fifty-four seconds, holding the title of the longest song on the album. The band bring back their religious motifs from the beginning of the album, paired up with slower, yet hauntingly powerful melodies, and simultaneously give a spotlight to the guitar work throughout the whole track - although this is most prevalent at the end, where the instruments blend into intimate harmonies. The album was meticulously planned from beginning to end, including the order of each of the tracks, and it is a perfect mix of full-length tracks and fillers, giving the listeners a chance to understand the story behind the release more. The only downside would be the ever-changing topics that can sometimes seem chaotic, however if the listener does not pay attention to the lyrics and just enjoys the music itself then this is not a big problem and wouldn't affect the listener’s experience. Dawn Of The Exultants… is absolutely one of the best pieces released this year thus far, and the wait for it was more than worth it! Score: 9/10 Dawn Of The Exultants And The Hunt For The Shepherd was released on June 6th 2025. Words: Katerina Stepanikova Photos: Battlesnake

Passive angst and layered riffs make up Diaz Brothers’ sophomore album The World is Yours. Their sound is that of a British Foo Fighters, with the technical ability present in the soundscape melting into a background rock sound whose tracks could melt perfectly into any radio rotation or pub playlist. The World is Yours opens with a classic “f*ck Diaz Brothers”, before the first of the sharp melodies that are part of this project’s signature. This opener features another classic convention in the form of metaphors of love as addictive substances, and sets the tone well for the rest of The World is Yours. The track that stands out in the first half of this project was fourth offering 'Ego'; beginning with picking up the pace from the beginning tracks with a building four bar guitar riff present as the second half of each verse melts into its bridge and chorus. 'Ego' is a punchy “that’s enough out of you” ballad. that is also the first instance of mile-a-minute punk drumming getting its time in the sun. It’s the perfect modern rock song, drawn back only by a too-fast fade out right at the end. The midpoint of this album is all about the intros - 'Anxiety Landslide' swells back in then hits a Metallica-charged riff, then 'Great British Fake Off' serves a little more punk in its introduction. Sandwiched between these two is second standout 'Who Am I': the drum solo in the beginning resolves into deep melodic rock. The fills are gorgeous throughout this track, while the swell back up into the final chorus and the warped shredding to accompany it makes for a satisfying listen from start to finish. The final third of this album is made up of the chilled out offering 'By My Side' - a track that sounds like a rewrite of Foo Fighter’s 'Monkey Wrench', which isn’t quite a compliment nor quite a criticism. Following this is single 'Departure Lounge', which is the track that conjured the phrase passive angst and features, but it is penultimate track 'Blink' that stands out in this last section of The World is Yours; a call to action and final send off, that fades out with a feature of a fading piano mixed with record static. The actual closer 'My World' is a cover long performed by the Diaz Brothers, and works well as an epilogue with its learned feeling within each part. To critique this project, it must be said that there is a sameness in the riffs and structures of many of the tracks throughout The World is Yours, that feels like it stems from the lack of face to face practicing time that Diaz Brothers enjoy. With one member hailing from the South and one the North, the ability to bounce from one another face to face proves difficult - and the quality of what they do produce considering is very high - but the lack of “I’ve been messing about with this lately” that comes with regular face time shows in the comfort of similar chord progressions and identical builds and resolves. The other thing that glares is how similar Diaz Brothers are to Foo Fighters in sound and energy; this is not a claim of copycatism though, rather of coincidence as the amount of times the thought crossed the brain was astounding. As a mackem, it is clear how well this sound goes down in Live Lounge or upstairs Independent sets (iykyk) and it’s hard not to have a soft spot for an album recorded so close to home. Overall, The World is Yours has a plethora of solid riffs, drumlines and enough mature angst to see a listener through the train home from a rough day at the office. Absolutely recommended to fans of the Foo Fighters, anyone who described themselves as indie in the 2010s iteration of the label, and those whose idea of a very nice day out is heading to the pub with your dad or child for a pint and a band that a distant relation or friend is playing in. Score: 8/10 The World Is Yours was released on June 6th 2025. Words: Julia Brunton Photos: Diaz Brothers

Volbeat have always known how to write catchy rock that's just on the cusp of metal, but they've just come out with one of their heaviest releases yet, capturing the live feel the band have become known for and extending their sound at the same time. The band have always crafted catchy songs, unusually on the softer end of hard rock, but they've turned up the influence of metal on this latest release. Many of the songs feel like they're finally free to turn the amps up to 11, with moments feeling reminiscent of Metallica and others feeling as arena-ready as the earlier releases from Ghost, while still keeping that doom metal inspiration. Volbeat also certainly know how to entertain, as their albums aren’t full of one style of rock - they take moments to have more balladic tracks like 'Acid Rain', which harken back to the bands more anthemic style. The overall pacing of the album helps to keep it feeling as fresh as their earlier releases. No, this album does not contain the bands heaviest work - that would be when they released a track with Barney of Napalm Death - but it is the bands most consistently heavy album. It wont put off any long time fans, as the band have often flirted with more extreme music, but it may open them up to more hardened metal heads who aren’t already converted. Within the context of the bands albums, God Of Angels Trust adds some material that will help create an even more dynamic live set. The tracks feel alive with riffs that drive the songs along, most notably perhaps on 'By A Monster's Hand'. The power the band still have, given they're onto their ninth album, is very impressive, and so is mixing up the formula of their signature sound. The band haven’t ever created the most experimental music, but they do know how to push their own sound forward. One of the downsides for those long time fans may be the lack of the traditional Volbeat sing along anthem, as the tracks seem to be focusing more on musicality than the lyrics. This does not, however, diminish from the overall quality of the album, as there is nothing to put long time fans off, but they might be surprised where the band have decided to go. The lyrics are great and contain many of the traditional elements - including many references to Satan, especially on the track 'In The Barn Of The Goat Giving Birth To Satan's Spawn In A Dying World Of Doom', which is also a very strong contender for one of the bands best song titles across their discography. The one thing that may put off non fans is the bands vocals, which can come across as a little cheesy at points, although by now the band does know how to write for them. They never seem out of place and always settle well into the mix. If anything, the band sound more cohesive than ever - every instrument is placed perfectly in the mix in order for it to feel as close to live as possible. The vocals specifically do feel live, rather than overprocessed studio recordings, adding an element of humanity to the album. The album is a well written, cohesive work; it doesn’t change who Volbeat are as a band, but instead it shines a new light on their inspirations. The album knows when to rock, when to roll, and when to take its moment of calm. Another fun release from a consistently fun band. Score: 8/10 God Of Angels Trust was released on June 6th 2025. Words: Will Freeman Photos: Volbeat

On their debut album, Dinosaur Death Pose (DDP) hit the ground running with the audacious No Sign of Life. Originating from Dundee, Scotland, DDP fuses punk's raw energy with thunderous hard rock riffs and true authenticity. With 11 tracks this polished you would swear they had a label behind them. No Sign of Life gives you the narrative spark similar to Muse’s Drones whilst offering a captivating unfiltered fury like Green Day and, in part, a sprinkle of The Magnus Archives. An album truly not to be missed. “If you are hearing this, you are not alone” Right out the gate, the album grounds us in a narrative that feels developed and genuine. A call log from Channel 29 opens proceedings, acting as a protagonist for this striking story. A small view into this world that then leads into a crashing start from the first song proper in 'Dancing At The End Of The World', a song full of the unmistakable fire that punk brings. The production is smooth and polished, allowing each member of the band to shine in their own light. The chorus of 'DATEOTW' really explodes with an infectious energy that had us singing along on a second listen. Going forward from a cracking opening, 'Hurricane' storms in next. The guitar work really steals the show, you can really tell there is true talent behind every chord. It really keeps you on your toes whilst feeling irresistibly danceable, a flawless showcase of talent and a perfect song to light up any gig. After 'Hurricane', the album slows down with 'Whispers'. This is certainly the stand out vocal track on the LP. It brings a mellow yet introspective pause, that is the perfect breather at the halfway point of the album. Upon the first listen, there was nothing to feel but admiration at the incredible vocals on 'Whispers'. This isn't to say that the vocals were anything less than great in previous tracks, but there is just something about this one that truly stands out above the rest. The line “and I hear silence but still it seems so loud” scratches a part of the brain in the best possible way. There is something about the way it hits that has made it very hard to forget - it's memorable, relatable and beautifully delivered. This is absolutely one we'll return to. “Sell your body, sell your soul...would you like to upgrade your smile today?” We arrive at the penultimate song, 'Sell Yourself', a sharp commentary on the influence of social media and digital self-monetization. It forces you to confront how we present ourselves, how we treat others, and, most painfully, how we treat ourselves. It's difficult to hold back from releasing a full-throttle scream during the line “you fucking wanted it this way”, even it feels like DDP were holding back when they could have gone all in on that raw, guttural release. Still, the backing vocals in this track are stellar, a notable layered presence that adds the perfect finishing touch to an already powerful and well-crafted song. Finally we reach 'Chasing Ghosts'. A fitting, powerful closer to an already stellar album. There is a raw desperation woven into the narrative, brought to life through beautifully crafted lyrics, emotionally charged vocals and top-tier production. Much like 'Whispers', the vocals are once again phenomenal. It is the kind of track where you can picture a packed crowd singing in unison, arms raised, voices cracking, a true moment of connection between the band and their audience. This is a moment we would dearly love to experience, and hopefully will do soon. It isn't just a closing track; it is a send-off that unites everyone listening. A perfect ending to a wild, emotionally loaded ride. “You are the best of us” With No Sign of Life, Dinosaur Death Punch has delivered a debut that doesn't just demand attention - it has earnt it. From its explosive opening to its gut punching finale, the album showcases a band that understands the power of narrating, emotion and raw sound. DDP masterfully blends punk grit with hard rock weight, all whilst carving out a sound that feels entirely their own. If this is their starting point, the future looks deafeningly bright. As the final echoes of 'Chasing Ghosts' fade out, one thing is clear: Dinosaur Death Pose didn't just arrive, they kicked down punk rock's door and stormed right in. Score: 8/10 No Sign Of Life was released on May 17th 2025. Words: Sid Tiddy Photos: Dinosaur Death Pose

It’s no secret that those of us at Out Of Rage Network are huge Turnstile fans. After all, our very name comes from their incredible 2016 release, 'Non-Stop Feeling'. Since then, we’ve watched the Baltimore five-piece evolve from one of modern hardcore’s most vital voices into a truly boundary-defying force. With 2021’s 'GLOW ON', Turnstile didn’t just cross over—they obliterated genre lines entirely, delivering a sound as euphoric as it was aggressive and opening doors for a new generation of open-minded heavy music fans in the process. Now, with 'NEVER ENOUGH', the band releases their most anticipated record to date. And if the lead-up to this album has proven anything, it’s that Turnstile’s success hasn’t distanced them from their roots—it’s deepened them. Earlier this year, they played their first show of 2025 in true Turnstile fashion: a free, all-ages benefit concert in their hometown of Baltimore. The show raised over $35,000 to support vital services for unhoused individuals—an act of generosity that reinforced their commitment to the community that shaped them. The band also enters this new chapter with a key lineup shift: Meg Mills, who fans will recognize from her time with Big Cheese and Chubby and the Gang, has officially joined as a full-time member. Having previously stepped in as a touring guitarist, her addition is both well-deserved and widely celebrated, bringing even more energy and punk lineage into the fold. Notably, this is the band’s first release without founding guitarist Brady Ebert, who departed in 2022 shortly after the release of 'GLOW ON'. Can Turnstile once again expand the scope of what hardcore can be without losing the pulse that’s always driven them? NEVER ENOUGH To put it bluntly, the answer is yes. ‘NEVER ENOUGH’ is a triumphant release that will no doubt become a firm favourite of fans both old and new. Whilst it’s true that Turnstile have shifted their sound significantly away from that of their roots, that core element is still there. The energy, the passion. Those who argue the band is now too mainstream or no longer a hardcore band are missing the point. The band are a driving force behind a new legacy of hardcore music. Turnstile, having spun out of Trapped Under Ice way back in 2010, wear their hardcore roots with pride. The naysayers will write this off as ‘GLOW ON 2’, which doesn’t give either record the credit it deserves. Whilst ‘GLOW ON’ has clearly laid the foundation for Turnstile’s ever-evolving sound, each record to date has been a distinctly separate era for the band, with a new sound and a new image. The band's passion has never been more evident either, with frontman Brendan Yates co-directing a 50-minute visual album that premiered at the Tribeca Film Festival. We knew from the start that this album would be stylistically eclectic. Pre-release singles 'NEVER ENOUGH', 'SEEIN’ STARS', 'BIRDS' and 'LOOK OUT FOR ME' each hinted at different directions. Yet somehow, with the guidance of iconic producer Will Yip, Turnstile have created something so magical—so cohesively brilliant—that it defies all expectations. Not just expectations for what a Turnstile record can be but for what hardcore can sound like in 2025. In many ways, 'NEVER ENOUGH' feels like the natural culmination of everything Turnstile have been building toward for the past decade. Fully embracing melody and experimentation in a way previous releases were always a little too hesitant to touch upon. The sequencing is meticulous, the pacing feels cinematic, and the emotional weight hits harder with each listen. Themes of loneliness and heartbreak are a common thread throughout. Whether you like hardcore or not, there's something here for everyone. The record is almost genre-agnostic, fusing elements of emo, synth-pop, and even a touch of R&B. There's even a flute solo (have SPEED started a new trend in hardcore? If so, we're here for it). The entire album flows so effectively that it feels almost effortless. Genres blend in ways we haven't really seen before, but it's executed so perfectly that it feels natural. 'MAGIC MAN' closes out the album with a somber, synth-driven ballad. It's an aptly melancholic bookend to this phenomenally well-crafted album. It's hauntingly beautiful and a sad reminder that we'll likely have to wait a couple of years for a follow-up to 'NEVER ENOUGH'. Gatekeepers be damned, Turnstile are still as grounded in their hardcore roots as they’ve always been. They have remained open-minded to external influences and have formulated a sound that's uniquely their own in every sense—and we can't wait to see how they continue to grow and evolve. If you're lucky enough to be catching them at Outbreak London or Glastonbury this year, you're almost certain to witness one of the most iconic performances of the decade. Charlie XCX was right. It truly is a Turnstile Summer. 10/10 Words: Andy Nile