Dinosaur Pile-Up’s newest album I’ve Felt Better is a candid look into Matt Bigland's journey through his ulcerative colitis diagnosis, weaved with the highs of finding his wife to the lows of the loneliness that taking immunosuppressants during COVID and the years afterwards had. I’ve Felt Better has simple-yet-raw lyricism which meets a pseudo-chipper 90s rock soundscape to create what sounds like The Front Bottoms meets Take Off your Pants and Jacket-era Blink-182. The main hook of I’ve Felt Better is the journey of Bigland’s struggles with ulcerative colitis, a condition that began to surface during the tour run of their last album but was ignored until the pandemic, when the symptoms became unignorable, and the immunosuppressants Bigland was put on as a result added absolute isolation to the lockdowns that turned many into islands. This health journey is the foundation of I’ve Felt Better; the title (and title track) being named after the default dismissive response when asked about his quality of life; or the simply-put lyrics of tracks including ‘Unfamiliar’ - “Oh lord/sometimes I wish I could change/feel self assured” - and the list of insults towards himself in closing track ‘I Don't Love Nothing and Nothing Loves Me’. In particular, this can be seen on track four, ‘Sick of Being Down.’ “I’m sick of the pressure/I’m sick of not being better” embodies the feeling of stopping when the momentum is building and not being able to start again, while later on in the track the double entendre of being high yet down due to the high doses of morphine and steroids while managing the symptoms medically - such as the hook “Well I’m high/because I’m high/but I’m sick of being down”. This style of lyricism adds rawness to the project because of its conversational tone; it feels as if Bigland is on the phone finally letting his friends know how he’s really doing. On the topic of rawness, the theme of isolation runs deep throughout ‘I’ve Felt Better’, fuelled by the strict quarantine imposed on Bigland as a result of the immunosuppressant medication. This is embodied particularly in final two tracks ‘Unfamiliar’ and ‘I Don’t Love Nothing and Nothing Loves Me’; the former has Bigland discussing wanting to get away and compounded boredom on the backdrop of not being able to recognise his body anymore, while the latter on how the isolation created persistent loneliness and feelings of nothingness. The choice to close on this track, which is slower-paced and more traditionally sad in its soundscape, feels like a reminder that this is still an active issue in Bigland’s life; despite coming out the other side of the hospital stays and finding remedies that work for him, the spectre of flare ups and the emotional consequences persist. Nevertheless, there is a string of optimism threaded through the project in the form of the songs about Bigland’s wife. These tell the story of their long distance love story; ‘Punk Kiss’ about the yearning after they had been able to see each other over the pandemic; big you and me covering the daydreams of their being back together; and ‘Quasimodo Lemonheart’ being a wife-worshipping anthem about feeling your other half is the better one. The smattering of these songs throughout the project offers a light at the end of the tunnel for the project, are sweet in their delivery and have that nostalgic 00s rock feel in their pining. Sonically, I’ve Felt Better is 00s Kerrang distilled into an album. From the structure of swinging power chords into picked guitar melodies that make up the majority of the song structures, to the moods of each track running from the pining love songs covered in the last paragraph to the toxically charged ‘Love’s the Worst’ - an angst-filled breakup anthem about throwing your exes stuff out, before they see you in the night while dating someone else - to emotive introspection about the mental consequences of Bigland’s health journey. Each track is comforting in this nostalgia and all are well executed, though the power-chord-to-plucked-melody structure does become samey by the closing tracks of I’ve Felt Better, which makes them hard to appreciate on a first listen and may impact the overall album’s relistenability. I’ve Felt Better is an impactful project, balancing its raw delivery and high energy soundscapes to craft an incomplete journey of physical healing and introspective revelations. These tracks are a warm hug to those mourning the death of Kerrang! Radio, and though the repetitive structure may cause the album to lessen its impact somewhat on repeat listens, there’s a ‘made to perform’ edge to some of these tracks that excites us for Dinosaur Pile-Up’s tour next month. Score: 8/10 I’ve Felt Better will be released on August 22nd 2025 via Mascot Records. Words: Julia Brunton Photos: Dinosaur Pile-Up

Pittsburgh deathcore giants Signs Of The Swarm are quickly approaching the release of their next album, To Rid Myself Of Truth, which comes two years after their last, Amongst The Low & Empty. With a plethora of features from some of the genre’s vocal powerhouses: Will Ramos of Lorna Shore, Phil Bozeman of Whitechapel, Jack Murray of 156/Silence AND Johnny Crowder of Prison, it promises nothing short of stank-face inducing wonder. Not realising how loud the headphones were when pressing play, this writer naturally threw half of a cuppa all over the desk with the savage sonic assault of the albums namesake and first track ‘To Rid Myself Of Truth’. The instant impact of David Simonich’s corrosive vocals sets the tone for the whole album, with blackened chords throughout and a lip-curling breakdown to send the sparks of rage flying. After a sudden finish, ‘HELLMUSTFEARME’ ignites the flame with another violent opening, cementing its place as the lead single for the album. As we reach the midway point, the pace slows with a jaw shattering guttural that leads us into a ruthless blast beat section alongside a beautifully sludgy riff. We move on to ‘Scars Upon Scars’, which has all the makings of an excellent song to experience live, with the words “Cursed” and “Thirst” animalistically barked. It almost guarantees a tidal wave of sweaty deathcore fans echoing them back, surely something to look forward to on their upcoming North American headline and EU festival run featuring the likes of Mental Cruelty and ten56. Leading into ‘Clouded Retinas’; featuring the signature goblin-mode vocals from Will Ramos, the recurring sinister swell into a more melodic riff, then slamming into a heaving breakdown proves Signs Of The Swarm are capable of writing songs with a sense of maturity, knowing when to lean into a groove and when to unleash out-right fury. This approach is echoed in ‘Fear & Judgement’; featuring Jack Murray and Johnny Crowder. This song hints to the world's current social climate with lyrics such as “it’s them versus us”, “stones thrown and prejudice shown” and “in your fear of the great unknown, ignorance”. The oppressive and downright filthy riffs with impressive vocals from all, again emphasise their balanced approach to song writing. ‘Creator’ brings the album to a close with a crescendo of rage and a deliciously placed solo. For seasoned deathcore listeners, the mix on To Rid Myself of Truth will feel instantly familiar as Josh Schroeder, the producer behind heavyweights like Lorna Shore, and previous Signs Of The Swarm records is once again steering this sonic vessel straight into the gaping maw of hell. This isn't, however, deja vu as the mix provides fresh carnage to mainline directly into the listeners' veins. All the familiar deathcore production tropes are here, with a mid-heavy guitar tone that provides brutal down tuned heaviness and crystal clarity that will turn any smile into a pestilent scowl. While the songs are intricately layered with technical riffs and fills to melt your face off, there is plenty of space between the instruments to allow for various vocal techniques to plow into your ears like an oncoming freight train loaded with bulldozers. There is however, one exception. While the title track offers a near perfect blend of aggression and punchiness, it is at times suffocated when combined with lighting speed double kicks during blast-beat passage, drowning out other elements that would really bring these passages to another level. To Rid Myself of Truth offers an all-gas, no breaks vibe that definitely smashes their “Be. More. Pissed.” goal out of the park. Throughout, it’s proven that Signs Of The Swarm can deliver deathcore magic without relying on parlour tricks to stand out, offering a refresher in the current scene. With influences from the likes of Veil of Maya and After the Burial, there is a diverse mix of deathcore classic blast beats, sprinkled with tasty djenty bops, while tackling topics of Simonich’s own mental health in ‘HELLMUSTFEARME’ and recovery from addiction in ‘Scars Upon Scars’ - be prepared for a cathartic rollercoaster of unbridled rage and introspective honesty. Be prepared to rid yourself of truth. Score: 9/10 To Rid Myself of Truth will be released on August 22nd via Century Media Records. Words: Alice Kenwright Photos: Signs Of The Swarm

The night is frigid, and thick with spectral mist. You're lost in an endless forest, the overgrowth forming a labyrinthian maze of thorns and branches. Before long, your foot unwittingly slips into a ring of mushrooms and you soon find yourself leaving behind the world you know. As you take your first steps through the fairy circle and into this eerily familiar place, you realise, with awe and macabre fascination – you've now entered the haunting storybook land of Blackbriar. Since their first release in 2014, the Dutch symphonic metal six-piece have twisted fairy tales and mythological stories into songs, channelling mystique and magic through their sweeping gothic epics. At their beating heart, they're not just a band; they're storytellers, poets, theatrical folklorists. They’ve added consistently to their repertoire of stories, and show no signs of letting up as a third full-length collection joins their growing library: A Thousand Little Deaths. Opener 'Bluebeard's Chamber' lures us in with an ominous keyboard overture, before thrashing drums and rhythmic guitars come crashing through the stained glass windows. Soon, we're being serenaded by the melodic vocals of Zora Cock as she recites the ancient French folktale of Bluebeard. She puts herself in the place of the tale's heroine, the soon-to-be wife of a noble whose previous wives have all mysteriously vanished. She finds herself overcome with morbid curiosity when she finds one chamber in his home locked tight – within, she finds the murdered bodies of Bluebeard's lovers. Through Blackbriar's interpretation, the story is recontextualised; it's the story of overcoming your denial of a hideous truth, but blaming yourself for ruining the perfect life that existed on the surface. Second entry 'The Hermit and the Lover' turns the next page of the story with little introduction. René Boxem's drum work stands out especially on this track, the thunderous beat the perfect backing to the dramatic story unfolding before our ears. The vocals are haunting with their highs and lows, and guitars match it with their soaring tunes. This is immediately followed up by 'The Fossilized Widow', a tale that is ultimately about a woman frozen in time, who can't bring herself to let go of the past. Here is where the band's talent lies – despite their classical folk tale context, their songs carry timeless messages applicable to anyone. The next story in this release is 'My Lonely Crusade', a track carrying slightly darker tones than the preceding ones. The guitars are especially grimy, and soul-stirring screams fill the air at one point to accompany them. The works of Bart Winters and Robin Koezen, dual guitarists, stand out particularly here with their symphonic riffs. After that comes a standout and favourite, 'Floriography'. It opens with quiet chimes and a soft vocal recitation before cutting into the atmospheric, eerie basslines that permeate this album. Despite the band's fittingly flowery language, there's no need to decipher through petals what they're communicating here. The message is clear – it's a voice begging to be spoken to, desperate for a message that will never arrive. 'The Catastrophe That Is Us' is especially operatic, a gothic soundtrack laced with tragedy and sinister riffs. There's a macabre sense of dread and lurking peril written between the lines of this track, rising to the surface when the eponymous lines are sung. Capitalising on the atmosphere set by this track is the follow-up in 'A Last Sigh of Bliss'. Immediately we're hit with an intense, orchestral wall of sound carried by imposing guitar riffs, and operatic, dramatic keys from Ruben Wijga, before Zora's familiar siren-song vocals make an alluring appearance. 'Green Light Across the Bay' comes in after, a song packed with references to F. Scott Fitzgerald's The Great Gatsby. Zora compares herself to the titular figure multiple times – she's standing on the dock, gazing longingly out at the emerald light in the distance; she's throwing parties in the hope that her love might show their face; she's longing to recapture a love long lost. While the literary references in this track are obvious, they're not as up-front in the following track, 'I Buried Us'. Instead in this lament for a doomed love, we're met with obscure mentions of Taxus - the Latin for yew, a pagan symbol of rebirth. She poses a question: if this couple bury themselves beneath this tree, will their love be everlasting in the afterlife? Finisher 'Harpy' is where the album finds its namesake in one of its lyrics: "I have died a thousand little deaths." In this grand, orchestral epic, Zora calls upon the mythological harpy to take her away so that she might finally break free from the curse of eternally rotting and meet one more, final death. Interlaced between the vocals are the occasional screeches from the birdlike creature, driving home the inspiration behind the track. This one is painted in shades of Celtic rock, the chord progression offering a powerful, resplendent take on an often-overlooked myth and a strong closer to the album. A Thousand Little Deaths is an eerie, macabre library of stories that is Blackbriar's best work yet, and hopefully indicative of what lies in store for their future. Like many classic fables, each song carries a moral behind it, a message behind the folk stories they tell. Some are teeming with literature and folklore references, while others are original pieces, but no matter what approach the band take, they have us fully spellbound. Only time will tell what the next page in the book of Blackbriar will contain, but much like the infamous harpy they sing of, we can expect them to soar even higher than before. Score: 9/10 A Thousand Little Deaths will be released on August 22nd 2025 via Nuclear Blast Records. Words: Naomi Colliar Duff Photos: Blackbriar

It’s not often you come across an album that feels truly refreshing, but Pool Kids’ third release, Easier Said Than Done, is exactly that. The four-piece from Tallahassee have been steadily building their presence in the emo/pop-punk scene for the past eight years, and this record is proof of their growth and ambition. Confident yet experimental, it’s another string to their bow - a full dive into the dynamic, intricate sound that has made Pool Kids one of the most exciting bands in the genre. The record is emotionally versatile. You can slip into it whether you’re pining for lost love, reflecting on life’s difficulties, manifesting something new, or simply seeking a moment of peace courtesy of Christine Goodwyne’s gorgeous voice and understated guitar. Florida, their home state, is a recurring thread - not just a backdrop, but a living part of the record’s emotional landscape. Relationships built and broken, cherished and scarred memories - all are tied to that sense of place. Even if you’ve never set foot in Tallahassee, the themes are deeply relatable, evoking your own version of 'home'. Another key theme is emotional vulnerability. These songs are not afraid to explore heartbreak, anxiety, and uncertainty - feelings that are regularly mishandled or misrepresented in music, but here are delivered with honesty and precision. Opening the record, the title track immediately showcases the band’s willingness to experiment. Kicking off with Goodwyne’s solo vocals, a synthetic background hum seeps in before Andy Anaya’s sharp guitar riffs, Nicolette Alvarez’s steady bass and Caden Clinton’s rim-tapped drums build momentum. The result is an intense, emotional opener about unrequited love: “If only I could let go, it’s easier said than done.” A perfect curtain-raiser for the album’s emotional scope. 'Tinted Windows' was a track that may take a few listens to fully absorb. At first, the pop-punk guitar work stood out - the kind that would sit comfortably alongside early Fall Out Boy - but once the lyrics sank in, the song revealed itself as a bittersweet reflection on love fading. Lines spoken in the heat of romance feel hollow when the relationship ends. It closes with “The end, it’s clearer” against the sound of an oncoming storm - a poetic touch. Next up was 'Bad Bruise', and here, the band’s 2000s emo-rock influence shines. The reversed-vocal intro leads into a breakup anthem full of righteous anger and catharsis. It’s the soundtrack to that moment in a split when you finally speak the words you’ve been holding back, best experienced blasting from a car stereo at full volume. 'Leona Street' comes afterwards, and it's an absolute standout that channels Alanis Morissette in its bridge, pairing tender vocal delivery with an infectious bassline. It tells of moving forward while occasionally looking back, wondering if someone from your past still thinks of you. The chorus is defiant yet vulnerable, and it’s easy to imagine this one becoming a fan-favourite live. Driven by crisp hi-hat percussion in the first verse, the next track, 'Last Word', builds into a crashing chorus before dipping into a dreamy, synthetic haze. The Paramore influence is unmistakable - unsurprising, given Hayley Williams herself once praised Pool Kids publicly. Slowing the pace for 'Sorry Not Sorry', this highlight track is an intimate portrayal of one-sided desire. The lyrics wrestle with the pain of being wanted only in fleeting, inebriated moments, contrasted with the yearning for something deeper: “Better lover, better friend - you can take it from me.” The keys and synthetic guitar create a meditative calm before the song swells again with raw, drunken heartbreak, before we reach 'Not Too Late'. Mirroring 'Bad Bruise', this song also begins with reversed vocals before bass and drums lock into an irresistible groove. The chorus is light and catchy, but the emotion in Goodwyne’s delivery adds weight to the track. Cutting through the air comes 'Which Is Worse', a raw, high-energy cut that immediately feels like a future set-opener. Distorted voices, synth arpeggios, and static fade in and out, giving it a restless edge. Perhaps the most personal track on the record, 'Dani' opens softly before drums and guitar crash in. The guitar solo is a highlight, as is the use of distortion throughout - here representing cloudy, unsettled thoughts. In the final chorus, the band play with the amp settings, creating an unexpected texture that works beautifully. The penultimate track 'Perfect View' is also the record’s only acoustic-leaning track. Warm, intimate, and lyrically focused on the unglamorous but meaningful moments of love: petty arguments, damaged furniture, small domestic rituals. It’s a song that makes you feel the comfort and humour of a lived-in relationship. Finally, the finale comes in the shape of 'Exit Plan'. A fitting closer that addresses the emotional aftermath of a breakup. It’s about moving from uncertainty to acceptance: recognising what’s broken, letting go, and ending on the line “I’m okay.” One of Pool Kids’ strongest qualities is their ability to blend a sense of nostalgia with a unique sonic identity. Their music incorporates pop-punk punch, indie sensitivity, elements of rock, and soft synthetic textures. This combination means every listener can find something that resonates. With Easier Said Than Done, the band have clearly embraced exploration - stretching their song-writing, trying new sounds, and refining the one that will carry them forward. While Easier Said Than Done inevitably invites comparisons to pop-punk and emo greats, Pool Kids are carving out their own path. The record is packed with energy, emotion, and small experimental touches that reward repeat listens. Every track offers something distinct - a riff that sticks, a lyric that cuts deep, a sonic texture you didn’t notice before. It’s the kind of album you can return to for different moods and find new reasons to love it each time. Whether you want a heartfelt lyrical journey, a rush of adrenaline, or just a solid set of pop-punk bangers, Easier Said Than Done belongs in your collection this year as one of the must-hear releases of 2025. Score: 9/10 Easier Said Than Done was released on August 15th 2025 via Epitaph Records. Words: David Waites Photos: Pool Kids

County Mayo’s Nerves have only just released their first EP as a four piece, and their second EP at all, but are already unnerving plenty of listeners who are willing to try out the harrowing post-punk experience that is their debut record Iarmhaireacht. Translated from Gaelic, the title means “that uncanny loneliness you feel at first light”, which is as apt a title as could be - the record takes you through such themes as the Irish housing crisis, emigration, mental health problems, Catholic guilt, substance issues, and the loss of love, to an eerie soundtrack of droning synths and guitars, incessant yet ghostly drums, and ragged vocals. The record only truly comprises five songs, with three additional interludes all titled in Irish - one of many small details that make this record feel birthed out of the mourning Irish hillsides. The songs themselves are more intimately personal, acting like diary entries talking through the slipping sanity of the protagonist, whilst the interludes show the wider issues that may well be causing that deeply personal fall. It’s not always worth looking at, or even considering, a record’s front cover; here though, it’s most definitely worth taking the time to observe things a little closer. In a neutral mix of greys, a mournful procession of ghostly figures - anyone versed in Irish tradition will recognise them as Wren Boys, men and boys in a traditional garb of straw hats and white outfits for a procession with a captured wren, making their slow and steady way to the top of a not-quite-right hill by way of a few sharply turning paths, leading to a devilish or demonic figure. The title of the record is scratched out in Ogham script, another nod to the heritage of their country that’s been slowly pushed out of existence by various governments and ruling parties. All this combined with the lyrical content paints a haunting picture of modern Ireland’s loss of its own culture and historical legacy; a country mourning the loss of itself and its own ways. Making our way into the album proper, we first arrive at a daunting interlude by the name of ‘iarthar’. It takes just 46 seconds to go from that into the first full song proper, ‘Takes a Second’, which is possibly the most difficult of the five to wrench from within your head once it’s nestled there. Full of abrasion, discordance, droning and repetition, the track aches and insists upon making the listener feel something, whether that’s to make them uncomfortable, make them feel the horrible weight of guilt, or even make them feel seen and understood. ‘Dirty Fingers’ takes the stage next, and is the shortest of the full tracks, just shy of three minutes long. Keeping up with the efforts at making every agonising second an eternity, the quartet deal with substance abuse, self esteem issues and mental health problems in a manner that will, sadly, resonate with many who’ve been left by their partner. ‘Through My Chest’ rumbles into life afterwards, building and growing and evolving into a grotesquely alarming piece about hope, lies, betrayal, love and the lack of it. The guitars ring in a klaxon tone as screams of “I see ya!” ring out, vocalist Kyle Thornton almost condemning the listener as the one being observed and found guilty, before the second interlude ‘iarmhar’ gives us a brief moment to breathe, and take in the vast bleakness all around. ‘Act of Contrition’ doesn’t give much time to rest though, delving into the funeral and wake of the protagonist’s former partner, and the agonising experience it can bring. With moments of vast sonic power amidst a sea of floating guitars and soft drums, the music perfectly encapsulates the helplessness felt. A final interlude meets us before the last track proper - ‘néifinn’ takes less than 40 seconds to talk about Ireland’s forgotten lands before ‘Don’t Let Go’ tiptoes into life. A slow beginning to the six minute track that feels like the gap between sleep and worse, Nerves build their way into the finale of their devastatingly powerful EP that hangs in the air like a clogging mist, but is never quite close enough to touch. Industrial drums and droning guitars finally break through the tension, to release any pent up emotion into a pained final howl of love and loss and anguished sorrow. The final lyrics heard, again repeated in that helpless manner that can’t be stopped after a tragedy, are “I don’t wanna let go”, which wraps up Iarmhaireacht with a door slam that reeks of finality. Iarmhaireacht is a Pandora’s Box of emotional pain and sorrow - with discussions of both country-wide and deeply intimate pains and issues, Nerves have concocted a brew that won’t easily be forgotten or topped. Their haunting noise punk cum industrial drone via haunting atmospheric post rock is a trip that takes the listener down the very dark hallway of a life undone by a multitude of societal and personal problems, all to a soundtrack that empowers those most wretched of emotions to wrack you with guilt unheard. Score: 9/10 Iarmhaireacht was released on August 15th 2025. Words: Jasmine Longhurst Photos: Nerves

Do you think that a 16 year old could front a metalcore band? If your answer is no, then let me introduce you to Storm, who might be able to change your mind. Storm is a 16 year old boy from Norway who's already gained a lot of attention online and offline, being nominated for awards and having already played huge stages such as Download and Tons of Rock. His debut album Join The Storm has been four years in the making, with the eyes of the scene already keenly on him. The album is jam-packed with a range of genres from metalcore to deathcore, to rap and EDM, so let's take a walk through each one of them. The opening track is a short intro, featuring a robotic voice that feels heavily inspired by the POST HUMAN era of Bring Me The Horizon, and this voice devolves into a crowd chanting the name of the album with EDM building behind, perfectly leading into the first actual song of the album. ‘Moonlight’ is a genre-melting track, in much the same vein as the album mas a whole, bringing elements of EDM and metalcore together, with sections of autotuned vocals much like modern rap and trap tracks. The breakdown is quite short, with not much build up, but is suitably heavy nonetheless. It also calls back the chanting heard into the intro to the album. The lyrics are somewhat simple yet catchy, and will certainly be an easy sing along for a crowd. The next track ‘Alien Perspective’ is much more electronic and features a drum and bass beat - the vocals are much more rap-based than the last track, but it still keeps an alt metal backing, especially in the chorus. The lyricism is very conversational, which in some circumstances can be done well but in this scenario there are many words that aren't needed, almost feeling crammed into lines. This might simply be a case of overwriting, or a slight language barrier, but frankly for a 16 year old this is still a commendable effort. ‘Walking Dead’ opens much heavier, with elements of deathcore creeping in before switching to a fast paced drum and bass beat, then again switching to a more metal chorus with the most present drums and guitars of the album. The track also features a shredding guitar solo towards the end over some blast beats, while lead vocalist Leo screams over them. Leo's vocals are stable and comfortable flipping between screaming and singing, and there's no denying the kid's talent as main vocalist. ‘Asphyxiate’ is a short interlude that cleverly leads into ‘Suffocating’, featuring distant EDM music which lays straight over into the start of the next track. ‘Suffocating’ has a very grand feeling, and is the stand out track of the album; it's extremely catchy and a great genre-bending metalcore track. The lyrics are some of their best and the breakdown is devastating, although perhaps it could have lasted slightly longer to get even more out of it. The following track is ‘Black Hole’ and it's a lot more pop punk than the rest of the album, almost reminiscent of early 5 Seconds of Summer albeit slightly heavier. The lyrics again are simple yet catchy, a relatable track about being attracted to someone so much that they feel like a ‘Black Hole’. ‘Fame’ returns the sound back to the mix of metalcore with EDM, featuring synths and vocal distortion. The lyrics are repetitive but the vocals change tone quite often, with impressive screams to close out the track. The second to last track ‘Running From My Heart’ starts much more laid back, taking more of an influence from Bad Omens' balladric approach to metalcore. Leo's vocals really take a moment to stand out in the first half as he near-solos, whilst in the last minute the track drops into a drum and synth-filled orchestra to support the last chorus. The closing track of the album ‘Fever Dream’ returns to a classic metalcore tune with elements of rap in the second and third verse, with influences from nu-metal and industrial all the way to the -core genres ringing in the background to make one of the heaviest tracks on the album. This track is lyrically the strongest here, and the longest track on the album, allowing it to have a large variety in sections in a solid display of the genres Storm can traverse. The album is well put together with interludes, varying runtimes and genres representing different emotions throughout. In fact, the only part that fell slightly flat was the end of the album, as it could've been more emotive for fans with an outro or simply switching songs and making ‘Running From My Heart’ the closer. Every song is incredibly well mixed and mastered with seemingly no flaws sound wise, which for such a young artist still finding his bearings in the metalcore genre is incredibly impressive. As mentioned before, the lyricism on the album is by no means bad, but it would be amazing to see some more complexity in future, to allow for even deeper connection and variety. Storm's music is good, no doubt, and this 16 year old has a clear passion for the genre. We just hope to see him continue in this direction, continue improving and to not give up on the music he wants to create. He's clearly poised to be a potent musician for decades to come, and hopefully this can be the first step in a long and successful journey along that road. Score: 7/10 Join The Storm will be released on August 22nd 2025 via Indie Recordings. Words: Amy Smyth Photos: Storm

In the Irish language, Rún is a word with a multitude of meanings; secret, mystery, love. The scope and poetic nature of the word encompass the sound that new band Rún makes. Rún’s self-titled debut album is brought to you by three esteemed artists from Ireland. Vocalist Tara Baoth Mooney (also known as the Clumsy Giantess) has years of creative projects under her belt spanning visual art and textiles. Diarmuid MacDiarmada (Nurse With Wound collaborator, and brother to Cormac MacDiarmada of Lankum) is a multi-instrumentalist with over 30 years experience across many aspects of music scenes in Ireland. The drummer and sound designer, Rian Trench, is a well known producer amongst other things, with a particular presence in the electronic music scenes. The album was recorded in Trench’s studio The Meadow, on Ireland’s east coast. Combined, the trio have created a seven track piece that layers stoner/sludge, cosmic jazz, and acid folk. The album is packed with experimental, all encompassing tracks, and if you were to describe it with one word, it would be layers. Aside from the instruments you would expect, you can hear layers upon layers of chattering and whispering, domestic clattering, and even flies buzzing. The intro track ‘Paidir Poball (Pupil)’ brings an eerie, almost psychedelic feeling from the get go, with stunning traditional Irish vocals. Some aspects feel distanced, whilst others feel right on top of you, with whispering and scraping sounds scattered across the track. They become uncomfortable at times, adding an element of other-worldliness. The welcome durge of the guitars burst in and create a chilling atmosphere that builds. The background scraping and grating can still be heard as the song reaches its peak. The deep choral throat singing soars through, familiar sounds are coming in and out of consciousness which then progress into a robotic vocal, a big contrast to the chanting earlier. ‘Your Death My Body’ begins with an addictive beat, the lyrics here are spoken, with emotional ruptures affecting the pitch and tempo of the piece. Notable influence from the likes of Portishead or Massive Attack can be picked up in this track, with the drum beat and the wavering background synths, the ending sounding like something being mixed in a mixing bowl, that then blends into a structured pattern. ‘Terror Moon’ was the first single, released back in May, and this track provided a great introduction to the group with a driving drum beat that crashes into a hypnotic, reverberating groove. The stoner buzz comes through here, whilst the standout point is the very crisp percussion that sharpens the edges of the blurry surroundings of guitar and vocals. The second single 'Strike It' that was released last month has the beloved stoner driving force, with more crisp drumlines and vocals that break out into wails and then break down even further into rumbling distortion. Rún is a busy album, with lots of elements all happening at once. Each track stands on its own, even the shorter experimental interludes. Many of the sound effects produced throughout the album sound like everyday objects that have been repurposed to make new sounds that are immersive and surrealistic. The level of exploration and creativity in this album is exciting and frankly, enormously impressive. The triad will be playing a small string of shows in the UK in November that you will certainly not want to miss out on. Score: 9/10 Rún will be released on August 22nd 2025 via Rocket Recordings. Words: Danielle Henderson Photos: Rún

Experimental and extreme metal bands are drawing on an ever growing multitude of musical influences, and seem to be becoming less beholden to purist ideals of the past. Yet, however jarring, to navigate the mysterious cartography of algorithmic searches, an online presence still requires a selection of nouns and adjectives to portion them off into their overflowing categories. With a diversity of creative influences, Atlanta-based band Malevich have leveraged this symptom of modern music making. Using a litany of sub-genre headings, they help us define their sound and ultimately, drawing us in, including; post-death metal influenced blackened screamo sludge, death grind and power ambient. Phew. Malevich’s forthcoming LP, Under a Gilded Sun, is a continuation of this cauldron of styles. Neatly and deftly layered on top of each other, it explores a dark and bubbling world of disaffected, anti-authoritarian, grimy discordance. Over the past decade, Malevich’s commitment to intensity and ear shattering sounds in early records like Our Hollow and Only the Flies felt like a release of growling, dark matter, seemingly pouring out of a rip in some demonic dimension of sub-space. Proudly anti-fascist, they have been ever ready to devour the capitalist experiment and ideologically corrupt systems, across the board. Now, with Under a Gilded Sun, they have made this intent crystal clear, stating “Malevich wanted it to be known that they weren’t making extreme music that was void of purpose”. They seem to take personal affront to the scene they see around them, “The lack of teeth found on the thoughtful side of extreme music is concerning; hordes of reverb-soaked faux-black metal bands tremolo picking for the sake of selfish art and not anger”. The record opens immediately into a cacophony of blast beats and a guitar chiming, all draped in fuzz, on the first track, ‘Blossom in Full Force’. A raspy straining voice rallies out at us, with the lyrics, “Existing in absolute discordance. Caught in the perpetual tension between atoms and wholes”, acutely describing exactly how this intense barrage of an opening feels. Drawing out a melodic line with layers of synth and guitar, as the grasping and pained vocals continue, the combination of dirt digging screams and beats, with the eerie atmospheric drifts, produce a strange, but thoroughly enjoyable flow. Malevich introduce three different vocalists from their multi-tasking four piece - Connor Ray, Sasha Schilbrach-Cole, Daniel De-Simone. This dissonant harmonic vocal layering is a mainstay through the LP, adding invaluable texture and depth. A communion of lost souls crying out by the songs close of “No one exists on their own”, and their resistance to the alienation of corporate individualism. Hitting us right in the centre of the album is an unexpected tonal shift, its quiet, its gentle, its unexpected, and so it feels, just as drastic. ‘Illusion Never Changed’ is a clear, distortion-free lament for the earth, or society, or freedom, or all three and more. We are softly carried along, until finally the vocalist can’t hold back any more, screaming back at us, filling the song with a sort of bubble of noise. From here, we jump back into the clawing nature of the previous tracks, a standout being ‘A Sun that only Sets’, full of seriously sweet guitar melodies, from Josh McIntyre and Ray, momentarily invoking a sort of Velvet Underground feel. Depicting a sonic landscape that undulates through gnarly sci-fi vistas and analogue vintage horror, the music drops out several times, only to swoop back in with those post-something guitars, jangling through the gritty haze and guttural death vocals. As it descends into one of Malevich’s well crafted, dissonant rambles, it shakes off the confusion and into a sort of mechanically repetitive ‘fuck you’. The LPs final track is ‘Supine, Under the Gilded Sun’. Atmospherically stomping and smashing through the life force of a cymbal and onwards through a mush of synths, until falling away into a distillation of minimal riffing and singing. Clarity is the wrong word, as there is still grit soaked through it, but you feel it cut through murk. In the train-chug-like rhythm we pendulate between almost soothing, singing, and the forcing out of a mass, of dark, scratchy, pain. As this final track, and the LP, draws to a close, a wall of distortion slowly engulfs it, until all has dropped away into a sparkling, pulsing synth. With a sense of floating through infinity and beginning to lose their transmission, you might contemplate if you had accidentally tuned into someone's swan song. There is something deeply pensive here, combined with a sense of toil and struggle, both ideologically and also in pushing their creative boundaries - "As the costs rise ever higher, my sweat as feed for another". As their creativity evolves and it intersects with radical, progressive politics, even when the message seems bleak, it is where the album feels at its most successful. Under a Gilded Sun may be crying out for justice, but it has a purpose, an essential component, if metal’s confines, and its gatekeepers, are potentially dissolving. What if the only way to go, is unavoidable progress… Score: 7/10 Under A Gilded Sun will be released on August 22nd via Church Road Records. Words: Alana Madden Photos: Malevich

Burn It Down is approaching fast, and if you haven’t got your ticket yet, now is the time! If you haven’t only heard of a few of the bands, or even know just the headliners, here are 10 bands you should check out. Hell hotel This Surrey/Sussex duo formed last year and have had their tracks played on the likes of BBC Introducing as well as local radio shows. They have supported Kid Brunswick, and are slowly building a strong fan base via their shows and social media. Mouth Culture A true upcoming act to watch! They have a fast growing fan base and it’s clear to see why. They have supported You Me At Six on the Final Nights Of Six Tour, as well as having a few festivals and own tours under their belt. Coast to Coast Coast to Coast are celebrating 10 years of becoming a band on the weekend of the festivals. They will be playing a mix from their discography, full of heartfelt anthems! Xile Xile are a band originating from New Zealand, but now reside in the UK. Their style is self proclaimed as Kiwi hardstyle metallic hardcore, and that sums up their sound perfectly! Split Chain Although Split Chain have only been on the scene for 2 years, they have rapidly become a fan favourite, with their debut album released last month. Later this year they will be touring North America with Counterparts. Crashface This up and coming duo have been supported by Alyx Holcombe as well as working together with other bands in the scene. It’s the perfect time to check them out whilst they’re still on the smaller stages as they bring an amazing energy to their shows! Hyphen Hyphen brings a rap-punk sound to the festival, helping his crowd feel like they have a place to belong with his motivational lyrics and positive energy on stage. Guilt Trip This Mancunian metalcore band has been on the scene since 2015 but have formed a strong fan base, touring across the world, including opening for Architects. Perfect for fans of bands such as Malevolence. Cancer Bats Cancer Bats are playing their only UK show at Burn It Down, the first time in the UK since 2019! With seven albums plus a number of extended plays, they have a strong fan base build over the past 21 years. The Canadian band are great for fans of Hatebreed and similar. Static Dress Static Dress are headlining the Friday, playing Rouge Carpet Disaster in full, making it one not to miss! The Leeds band have built up a following with lead singer collaborating with other bands and appearing at several gigs over the past few years. They also opened up on Bring Me The Horizon’s latest UK tour. Words: Angel Turley

Some bands take years to find their voice. PLAIINS crash through the door, already shouting. Their debut album Happy Faces is a brash, witty, and relentlessly energetic blast of British punk spirit with just enough indie swagger to keep things unpredictable. Recorded in Hamburg but rooted firmly in the grit, humour, and chaos of the UK scene, it is the kind of record that feels like a night out gone slightly off the rails; in the best way possible. The band, made up of Chris Reardon on vocals and guitar, Timon Lanzinger on bass, David Suhlrie on drums, and Florian Kaninck on guitar, have been building momentum since forming in late 2020. They have shared stages with everyone from Press Club to ITCHY, dropped more than twenty tracks, and landed features on BBC Radio 1, BBC Introducing, and Kerrang! Magazine. With that kind of pace, you might expect a debut album to feel like a greatest hits round-up. Instead, Happy Faces feels like a proper statement of intent: loud, clever, and bursting with personality. The opening title track wastes no time in setting the tone. It barrels in with jagged guitar riffs, a rhythm section that pushes everything forward, and vocals that shift between shout-along choruses and sly, rhythmic verses. Chris Reardon’s choice to lean into his natural English accent rather than an Americanised delivery makes the whole thing hit harder; it is conversational, but also confrontational. It sounds like someone telling you a joke that also happens to be true. 'Dirty Fish' and 'Be More Animal' keep the momentum high, leaning into the band’s punk backbone but sneaking in indie hooks that keep you humming along even after the tracks end. There is polish here, but only just enough to keep things from flying completely off the rails. The rest is wild-eyed energy and the kind of riffs that kick down the door whether you invite them in or not. By the time you hit 'Hotel Biscuits', you realise PLAIINS have a knack for turning the ridiculous into the memorable. The title sounds like a throwaway gag, but the delivery makes it something you will be chanting the next time you are stuck in traffic. That is a running theme across Happy Faces. The humour is immediate, but there is always something sharper underneath. 'Amazon Warehouse' and 'Do One' push harder into that lyrical bite. These songs still come dressed in scrappy riffs and pounding drums, but there is no mistaking the commentary hiding between the lines. They feel like they are written in the moment, fuelled by the kind of conversations that start light and end in half-serious rants. Then there is 'Executive Me', which stands out as one of the album’s most intriguing tracks. The band have joked that it could be a psychological thriller in song form, and they are not wrong. It is tense and slightly unhinged, building a sense of unease before exploding into its chorus. This is PLAIINS at their most cinematic, without losing their rough edges. In the middle of the record, 'Beef Cake' and 'Sports Bar' are pure fun. They feel like sketches of exaggerated characters you might meet on a Saturday night, delivered with a wink but grounded in a reality you recognise. It is here that you feel the band’s ability to balance cartoonish energy with songs that still work on a straight rock level. The final stretch shows a little more range. 'Row She Said' has a darker, more melodic feel, while 'C’est La Vie' bounces between sardonic humour and something approaching sincerity. 'Special K' kicks the tempo back up before 'Four AM' winds things down with a looser, almost reflective close. It is the kind of ending that feels like walking home after a long night, half-smiling, half-thinking about everything that just happened. Underneath all that chaos though, there is a clear vision. Reardon has said the band wanted the album to be coherent, characterful, and fun while still having depth. That paper bag metaphor he uses, smiling face on the outside, something more complex underneath, fits perfectly. The songs are accessible and often silly on the surface, but they also reward closer listening. The humour makes the serious moments hit harder, and the energy means even the heavier subjects never feel weighed down. Production-wise, the album is tight without sanding down its rough edges. Working with producer Manuel Renner at Ueberlaerm Studios, the band have kept a live, in-the-room feel. The drums were recorded at Sound Pauli in Hamburg, and you can hear the air in the room when they hit. The guitars are crunchy and immediate, the bass has real bite, and the vocals are front and centre without overpowering the mix. It sounds like a band having fun but taking the craft seriously. For a debut, Happy Faces is confident without being overblown. It is punk at its core, but the indie and rock influences keep it varied. Fans of IDLES, The Hives, Soft Play, Bad Nerves, The Streets, and Viagra Boys will find plenty to enjoy here, but PLAIINS never sound like they are imitating anyone. They have a voice of their own; loud, funny, and unafraid to poke at anything that catches their eye. It is rare to find a record that can make you laugh out loud one moment and then land an unexpectedly thoughtful line the next, yet Happy Faces manages it over and over again. It is a debut that feels lived in, like a band who know exactly who they are and have no interest in toning it down for anyone. Score: 9/10 Happy Faces was released on August 15th 2025 via Long Branch Records. Words: Kelly Gowe Photos: PLAIINS

In a world so intent on pursuing sinful goals, Anthrodynia questions the limits of mankind's pettiness and triviality in the Edmonton-based duo's first album Unspeakable Horrors Emanating From Within. With the pair's impressive backgrounds within the alternative genre as a whole (Derek Orther appearing in the death metal band Begrime Exemious, Durrell Smith being a former member of both Mahria and Kuroi Jukai), they become a herald of the music scene. Combining squeaking synths and trigger-happy tremolos in a marriage of doom metal and death metal, the sound carries an underlying sense of emotion with it, allowing the band's first album to be poignant and purposeful. Opening with ‘Severed From Mundanity’, Unspeakable Horrors Emanating From Within is already a heavy hitter. A real sense of evolution is displayed through this track as it outlines the album's descent into mutiny, encapsulating the world with an audible sense of darkness. The instrumentals are thick, sending a ceaseless torrent of water trickling down the listener's mouth in the form of this steady bass, the intensity of it all being suffocating. A distinct tie to organised religion is present, through lyrics such as “where no light will follow, where no violins will sing” in a description of the world to come - if humanity continues with its selfish ways - that is eerily similar to biblical depictions of hell. It's morbid, nihilistic to the extremes, never flattering away from this aggressive stance on life. Derek Orther in this track produces a masterclass in audio manipulation, the effects being firm and consistent, layering together in a deadly cocktail that makes the whole album so venomously addictive. A deceptively simple yet disgustingly eerie bass is heard as ‘Engulfed From Grief’ begins. It is a song that seeps down into your very soul, reverberating around bones and flesh, eating you from the inside out. It builds and builds, anticipation being so thick in the air it is sickening before it comes crashing down into a climax. Masterful manipulation of instruments collide together in this impenetrable listening storm supported by the continuous trill of the drums (Durell Smith). The vocals take on this animalistic portrayal of grief, growling and hissing at times in an anthropomorphism of man overcome by the torment of anguish. Yet, at times, the vocals do seem pushed to the side and forgotten in a recurring theme throughout. The instrumentals are so strong that they overpower it, not slotting together exactly right. It is a nitpick of an otherwise solid album. The track succumbs to a tonality at the end, circling this one fazed out stabilising note, making it apparent that grief has won the fight. ‘Cathartic Dissemination’ is instrumental. Lacking any vocals, it flourishes more than the other tracks as the deliberate layering becomes apparent. It possesses a tonal build-up, depicting the incessant repetitiveness of everyday life before dismantling it down into complexities, disfiguring and tainting the world with a borderline angelic harmony of instrumentals. Through this, ‘Cathartic Dissemination’ departs from usual motifs of hell that are commonly found engraved within the death metal genre. Anthrodynia in their work prefer to be more grey, rather than completely black or white. The track doesn’t paint a depiction of heaven or hell - that is made very much apparent by the synth that eventually picks up and overwhelms the static, angelic beauty, placing the audience in an excruciating purgatory. It ends with a cathartic release as everyday life is severed, a screeching sound being heard as if it were a car with worn-out brakes grinding to a halt, signalling the end of the journey. ‘A Rotten Sun’ is complete whiplash from ‘Cathartic Dissemination’. It is full-bodied and deliberate, not being a simple stinging papercut but a full on dog bite, carrying a purposefully violent tone. Just like Dante's Inferno, it is short but spiteful, with a still impressive runtime of 04:44, which is significantly shorter than the rest of the tracks. It’s small, but deadly, displaying a solid, yet ongoing, evolution of sound with the steady backbone of the drums, the bass serving as the ribcage whilst the deep strumming guitars form arms and fingers of the grotesque, rotting beast that is Anthrodynia. ‘Suffering Pure Light’ carries on with this brutal crusade, the title being incredibly metal in an almost patronising way, with its juxtaposition of light with incessant violence in a condemnation of everything the world deems as ‘pure’. The track is the finishing garnish to an already impressive first album, tying it all together in a cyclical structure as it recalls the same intense elements present in the opening track, ‘Severed From Mundanity’. Whilst not exactly challenging the status quo with its stereotypical interpretations of both the doom and death metal genres and its, at times, surface-level lyrics, Unspeakable Horrors Emanating From Within is still an album that is sure to please fans of Disembowelment, Spectral Voice, and other major pioneers of the genre. Their, while not entirely unique, takes on the genre and their nihilistic sound, churned together with lyrics intertwined thickly with allusions of religion and belief, are sure to send Anthrodynia skyrocketing with success. Score: 7/10 Unspeakable Horrors Emanating From Within was released on August 15th 2025 via Nameless Graves Records. Words: Dylan Milton Photos: Anthrodynia

mgk, or Machine Gun Kelly, has become a significant figure in the alternative hip-hop scene as of the past few years, after switching his genre from his well known hip hop rap and leaning more into his punk side - even collaborating with high-profile figures in the alternative scene such as Yungblud, Kellin Quinn and Bring Me The Horizon. Plenty of his fans think he's done an excellent job expanding his style and connecting to fans all over the world with his music, however there are many who think that Colson Baker should've just stayed at home in Houston, Texas, instead of making music. The controversial musician's highly anticipated release lost americana is finally here, and fans have been excited to hear what was coming next - we can confidently say that you are in for a ride while listening to this album. It's certainly very upbeat, and may even be a real proper summer album, perfect for car rides with the windows down and blasting music with your friends. The album - at points - radiates happiness, and that carefree feeling you can only get during the warmest months of the year. This album definitely has a more overt pop influence across it, however the heavy guitars do pick up in some songs like ‘outlaw overture’. The drumming also plays a big part in this, as it picks up in the chorus but keeps a steady beat throughout each verse. The song ‘dont wait run fast’ opens with an impressive guitar riff, as the overall tone of the album became a lot more angsty here. mgk's vocals are more harsh here, and with the melodic riffs in the background this song takes on a more grungy feel to it compared to the others on the album. A common theme in this album is fatherhood and love, shown off poignantly in the song ‘treading water’. The track is a very emotional one, and fans worldwide have resonated with it deeply. A couple lyrics that particularly stood out are “I wrote this song in room 3, spending Christmas in rehabilitation” and “I broke this home but I’ll change for my daughter, so she’s not alone.” These lyrics hit hard as he sings about his personal struggles in a way that feels heartbreakingly honest, and you really can’t help but listen and take them all in. The track ‘orpheus’ is heartbreakingly similar too, where mgk's vocals are raw and impactful to make the lyrics all the more vulnerable. “I will love you for all my days. Somewhere in a different realm, we’re still together.” You can't help but believe that mgk is speaking from his heart with these lyrics, and they reach every one of us. This album is an emotional rollercoaster that deals with heavy themes, but also keeps it upbeat with some of the songs. You will go from feeling happy and free to crying and screaming along with the lyrics. mgk is raw and honest with his words, talking about real things he has experienced and it is likely an album that people will keep close to their hearts. It doesn't have the consistency of a better album, musically or thematically, but is still a great piece by an artist who hasn't always put his strongest musical foot forwards. Score: 7/10 lost americana was released on August 8th 2025. Words: Kelsey Mainwaring Photos: mgk